SKU: 73292082015

Eduardo Santana - Iluminado

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Eduardo Santana - IluminadoEduardo Santana, This work is 14 x 10" (35 x 25cm). Acrylic, graphite, collage and watercolor on paper. Done in 2022. Eduardo Santana is a teacher of fine art at one of the Universities in Havana. He is a highly skilled artist, with a substantial degree of conceptual brilliance. Surrealism is a challenging genre for any artist. Some of the Cuban artists tackle this challenge as well as artists anywhere in the world today. Where do these influences

Eduardo Santana, This work is 14 x 10" (35 x 25cm). Acrylic, graphite, collage and watercolor on paper. Done in 2022.

Eduardo Santana is a teacher of fine art at one of the Universities in Havana. He is a highly skilled artist, with a substantial degree of conceptual brilliance. Surrealism is a challenging genre for any artist. Some of the Cuban artists tackle this challenge as well as artists anywhere in the world today. Where do these influences come from?

Santana has participated in nearly 50 group shows, several solo shows, and has work in collections in Spain, Germany, Portugal, the Netherlands, Norway, the US, Canada, France, the UK, Italy, Mexico, Guatemala, Venezuela, Argentina, Slovakia, and Switzerland. 

Throughout Latin America, the European art movement Surrealism was enthusiastically accepted by certain segments of the artistic community. Many artists were drawn to Surrealism’s emphasis on the irrational, the emotional, the personal, and the subconscious. In general, European Surrrealist artists examined “primitive” art and folk art to discover an instinctive spirit, a reference point that was relevant to Latin American artists searching to establish a distinctive art based on their own multifaceted traditions.

Highly influential in the implantation of Surrealism in Latin America was the founder of the movement, the French poet-philosopher Andre Breton. In 1934 the Chilean artist Roberto Matta, who had worked in France for Le Corbusier, abandoned his training in architecture, so that he could pursue art in Paris, where he became associated with Breton and the Surrealists. His early paintings placed nonrecognizable biomorphic forms onto a receding spatial grid. In his later works scratched and drawn figures occasionally take on the appearance of menacing Latin American generals, operating as one of the few references to his homeland in his otherwise generalized time and space.

Surrealism also allowed many Latin American artists to explore their individual ancestry. Cuban artist Wifredo Lam joined Breton and his Surrealist circle in 1940, after they went into self-exile in Martinique. When Lam returned to Cuba, he began to examine his own African heritage: his mother was Afro-Cuban, and his godmother was a Santeria priestess. He explored this heritage in his work, depicting tropical fantasies filled with forms suggestive of African sculpture, masks, and figures. This emphasis on African forms also related to his contact with the Surrealists, who saw all “primitive” (narrowly meaning non-Western) artistic expression as connected with humanity’s common subconscious forms and experiences. Lam was particularly influenced by his contact with Picasso, who early in the century had used African sculpture as an important inspiration for Cubism.

Some biographical notes:

CURRICULUM: Eduardo Santana Navarro. (Ciudad de La Habana, 24 de octubre de 1966.)

Studied at Artes Plásticas in 1980, in the foundation of the Museum Ernest Hemingway, San Ffrancisco. de Paula, although much of his training was self taught.

Solo shows: 1. “Paisajes”, Galería de Arte “10 de Octubre”, 1991. 2.“Pinturas” Galería Sala de Arte “Tretze”, Castellón, España, 1992. 3. “Habana de estos Tiempos”, Galería “Imago”, Gran Teatro de La Habana 2001. 4. “Manipulaciones”, Galería Fernando Boada, 2006. 5. “Vindicación de la armonía" 2010.Galeria Virgen del Camino. San Miguel el Padrón. 6.Sutil-Lente,exposicion de fotografias,Galeria Virgen del Camino,2014. 


Group shows:

Salón Provincial de Jóvenes y Adultos, auspiciado por el Departamento Provincial de Cultura; 1980.

“Primer Salón Nacional de Pequeño Formato”, “Salón Lalo Carrasco”, Hotel Habana Libre, 1981.

Salón de la Ciudad 1982. Centro Provincial de Artes Plásticas y Diseño.

Salón "Paisaje 82” Museo Nacional de Bellas Artes, 1982.

Invitado por el Grupo "Versiones del Paisaje", por el X .Aniversario del Parque Lenin. Galería Amelia Peláez 1982.

Salón de la Ciudad 1983 Centro Provincia de Artes Plásticas y Diseño. Con el grupo "La Vigía", expone en la Galería de Arte del municipio 10 de octubre en 1984.

Salón 13 de marzo, 1986. Departamento de Actividades Culturales de la Universidad de La Habana. Exposición "Fiesta". Museo Ernest Hemíngway. 1988.

Exposición “20 Años de la Galería L” Direcci6n de Extensión Universitaria, 1988.

III Salón de Pequeño Formato. 1988. Dirección Provincial de Cultura de Camagüey. IV Salón de Pequeño Formato. 1988.

Galería L. III Salón de Artes Plásticas "Arístides Fernández" Galería de Arte Universal. Güines, 1990.

IV Salón de Artes Plásticas “Arístides Fernández”, 1991 Salón de la Ciudad, 1994.

Exposición “Reencuentro”, Galería 10 de octubre 1996. VIII Salón de Artes Plásticas "Arístides Fernández, 1996.

Exposición “Oh La Habana”, Galería Ciudades del Mundo, 1997.

Exposición "Proyecto Horizontal en Portugal" Vidigueira e Beja 1998.

Homenaje del Grupo Proyecto Horizontal a Amelia Peláez, Hotel Habana Libre Tryp, 1998.

Exposición Proyecto Horizontal en: "Mito: esperanza ecléctica de la luz". 1998.

La Madriguera, Sede de la Asociación Hermanos Saiz. Exposición "Fe Horizontal". Convento de San Francisco de Asís. Oficina del Historiador de la Ciudad, 1998.

Exposición de Proyecto Horizontal, Galería Imago, 1998

Exposición de Proyecto Horizontal, "Son Arte”, Pintura Cubana de Fin de Siglo. Barcelona, Exposición de Proyecto Horizontal, "Hecho en Cuba” Prestige, arte y antigüedades. Barcelona Exposición de Proyecto Horizontal, Galería Galiano, 1999.

VII Salón “La Copa”, Galería de Arte de Marianao, 2001.

Salón “Waldo Luis Leyva”, Brigada Hnos. Saiz, La Madriguera, Quinta de los Molinos, 2001.

Salón de la Ciudad 2002, Centro Provincial de Artes Plásticas y Diseño, Ciudad de La Habana. Salón “13 de Marzo” Galería L, Extensión Universitaria.

Salón de Pequeño Formato “Fayad Jamis”, Galería L, 2002.

Exposición “Mas allá de los muros”, Galería de San Miguel del Padrón, 2002.

Exposición “Del Paisaje sus Aristas” Galería “Orígenes” 2004.

Exposición “Acción Virgen” Galería de San Miguel del Padrón, 2005.

Grupo Proyecto Virgen. 36 Exposición segunda edición del concurso de arte digital de la Fundación CLIC, El Salvador 37 Exposición permanente LIVING IN HARMONY en El Centro de Fotografía documental en Austin, Texas 2005

38 Exposición Sinastría Galería de Arte Virgen del Camino 2006.

39 III Salón Panorama 42, Galería del anfiteatro de Marianao 2006.

40 Salón de Arte erótico Fayad Jamis, Galería de Arte de Alamar 2007.

41 Exposición de fotografías en la ciudad de Hamilton por la celebración de la semana de la cultura Hamilton, Canada 2007

42 Salón de Arte Digital ¨Pixelart¨, concurso de arte digital. Sancti Spíritus.2008.

43Salón Sancti Spíritus Abstracto 2008.

44 Exposición ¨Imagen Sonora¨, asociación Faticart, Italia. Obra donada para el Museo de Arte Contemporaneo. 2008

45 Salón de Arte Digital ¨Pixelart¨, concurso de arte digital. Sancti Spíritus.2009.

46 Exposición colectiva en homenaje a Antonia Eiriz.2009.

47 Exposición colectiva dedicada a Antonia Eiriz 2014 en la Galería de SMP

48 Exposicion colectiva La Columna Infinita,San Fco de Asis,2016 .

Awards and honorable mentions:

1 Mención “Primer Salón Nacional de Pequeño Formato”, “Salón Lalo Carrasco”, Hotel Habana Libre, 1981.

2 Mención II Salón “Arístides Fernández” Galería de Arte Universal, Güines, Coauspiciado por la UNEAC, 1986.

3 Mención “Concurso 26 de Julio”, Dirección Política de las FAR, 1990.

4 Primer Premio en Exposición “Paisajes en Homenaje a Amelia Peláez” Taller de Cerámica Parque Lenin, 1990.

5 Premio en “Arte Colonial”, Salón Convocado por la ACAA, 1996 . Premio en Pixelart, concurso de arte digital. Sancti Spíritus.2008. 2do premio “Arte Vida”, Salón convocado por la Galería de Arte de San Miguel del Padrón 2009.

Mención en el 2do Salón de Artes Plásticas “Arte Vida” 2011.

Distinctions: -

“11 de Junio“. Otorgada por la Asamblea Municipal del Poder Popular de San miguel del Padrón。Año 2007. -“Gitana Tropical“。

Otorgada por la Dirección Provincial de cultura en el año 2009.

Membership: La ACAA.

Proyecto Comunitario Muraleando Murals: Escuela Secundaria Básica “Luis Melián”. Municipio San Miguel del Padrón 2003.

Escuela Primaria Nguyen Van Troi”. Municipio 10 de octubre. Proyecto comunitario Muraleando 2003. Centro Provincial de Superación para la cultura.

Proyecto comunitario Muraleando 2003.

Muro de la Termoeléctrica “Antonio Maceo”, hoy escuela de capacitación del MINBAS. Municipio Regla.

Proyecto de murales Cuba-Brasil 2003.

Donations:

Obra de técnica mixta / cartulina a Casa Guayasamin para el proyecto la capilla del hombre 1996.

Obra de técnica mixta / cartulina para el proyecto “Una obra para Pablo” 1997. Mural, acrílico / madera de 8 m cuadrados a la ESBU “Luis Melian” 2003.

Obra acrílico /cartulina para premiar la 22 edición del concurso nacional de cuentos Ernest Hemingway, 2010.

Obra donada para premiar la 23 edición Encuentro Nacional de Video.2010.Centro Hispanoamericano de Cultura. Obra acrílico / tela para formar parte del patrimonio cultural del municipio San Miguel del Padrón entregada al Museo Municipal.2011

Obra acrílico / Cartulina para homenajear a Pedro Pablo Rodríguez, Premio Nacional de Ciencias Sociales y Humanísticas en el marco de la feria del libro en su 22 edición.2013

Colaboraciones suyas han aparecido en la Revista Revolución y Cultura.


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SKU: 73292082015

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4.2 ★★★★★
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Richard Reese (author of Understanding Sustainability)
Port Orchard, US
★★★★★ 5
A short book loaded with sharp insights
Every year, Canadians eagerly huddle around their radios to listen to the Massey Lectures, broadcast by the CBC. For the 2004 season, Ronald Wright was the honored speaker. He presented a series of five lectures, titled A Short History of Progress. In 2005, Wright's presentation was published as a short book, and it became a bestseller. Martin Scorsese's movie, Surviving Progress, was based on the book. It was an amazing success for a story contrary to our most holy cultural myths. Wright believed that the benefits of progress were highly overrated, because of their huge costs. Indeed, progress was approaching the point of becoming a serious threat to the existence of humankind. "This new century will not grow very old before we enter an age of chaos and collapse that will dwarf all the dark ages in our past." He pointed out that the world was dotted with the ruins of ancient crash sites, civilizations that self-destructed. At each of these wrecks, modern science can, in essence, retrieve the "black box," and discover why the mighty society crashed and burned. There is a clear pattern. Each one crashed because it destroyed what it depended on for its survival. Wright takes us on a quick tour of the collapse of Sumer, Easter Island, the Roman Empire, and the Mayans. He explains why the two oddballs, China and Egypt, are taking longer than average to self-destruct. The fatal defects of agriculture and civilization are old news for the folks who have been paying attention. It has become customary for these folks to believe that "The Fall" took place when humans began to domesticate plants and animals. Wright thinks the truth is more complicated. What makes this book unique and provocative is his notion of progress traps. The benefits of innovation often encourage society to live in a new way, while burning the bridges behind them as they advance. Society can find itself trapped in an unsustainable way of living, and it's no longer possible to just turn around and painlessly return to a simpler mode. Like today, we know that the temporary bubble of cheap energy is about over, and our entire way of life is dependent on cheap energy. We're trapped. Some types of progress do not disrupt the balance of the ecosystem, like using a rock to crack nuts. But our ability to stand upright freed our hands for working with tools and weapons, which launched a million year process of experimentation and innovation that gradually snowballed over time. We tend to assume that during the long era of hunting and gathering our ancestors were as mindful as the few hunting cultures that managed to survive on the fringes into the twentieth century. But in earlier eras, when big game was abundant, wise stewardship was not mandatory. Sloppy tribes could survive -- for a while. Before they got horses, Indians of the American west would drive herds of buffalo off cliffs, killing many at a time. They took what they needed, and left the rest for legions of scavengers. One site in Colorado contained the carcasses of 152 buffalo. A trader in the northern Rockies witnessed about 250 buffalo being killed at one time. Wright mentioned two Upper Paleolithic sites I had not heard of -- 1,000 mammoth skeletons were found at Piedmont in the Czech Republic, and the remains of over 100,000 horses were found at Solutré in France. Over time, progress perfected our hunting systems. Our supply of high-quality food seemed to be infinite. It was our first experience of prosperity and leisure. Folks had time to take their paint sets into caves and do gorgeous portraits of the animals they lived with, venerated, killed, and ate. Naturally, our population grew. More babies grew up to be hunters, and the availability of game eventually decreased. The grand era of cave painting ended, and we began hunting rabbits. We depleted species after species, unconsciously gliding into our first serious progress trap. Some groups scrambled to find alternatives, foraging around beaches, estuaries, wetlands, and bogs. Some learned how to reap the tiny seeds of wild grasses. By and by, the end of the hunting way of life came into view, about 10,000 years ago. "They lived high for a while, then starved." Having destroyed the abundant game, it was impossible to return to simpler living. This was a progress trap, and it led directly into a far more dangerous progress trap, the domestication of plants and animals. Agriculture and civilization were accidents, and they threw open the gateway to 10,000 years of monotony, drudgery, misery, and ecocide. Wright says that civilization is a pyramid scheme; we live today at the expense of those who come after us. For most of human history, the rate of progress was so slow that it was usually invisible. But the last six or seven generations have been blindsided by a typhoon of explosive change. Progress had a habit of giving birth to problems that could only be solved by more progress. Progress was the most diabolically wicked curse that you could ever imagine. Maybe we should turn it into an insulting obscenity: "progress you!" Climate scientists have created models showing weather trends over the last 250,000 years, based on ice cores. Agriculture probably didn't start earlier because climate trends were unstable. Big swings could take place over the course of decades. In the last 10,000 years, the climate has been unusually stable. A return to instability will make civilization impossible. Joseph Tainter studied how civilizations collapse, and he described three highways to disaster: the Runaway Train (out-of-control problems), the Dinosaur (indifference to dangers), and the House of Cards (irreversible disintegration). He predicted that the next collapse would be global in scale. Finally, the solution: "The reform that is needed is... simply the transition from short-term thinking to long-term." Can we do it? We are quite clever, but seldom wise, according to Wright. Ordinary animals, like our ancestors, had no need for long-term thinking, because life was always lived in the here and now. "Free Beer Tomorrow" reads the flashing neon sign on the tavern, but we never exist in tomorrow. The great news is that we now possess a mountain of black boxes. For the first time in the human journey, a growing number of people comprehend our great mistakes, and are capable of envisioning a new path that eventually abandons our embarrassing boo-boos forever. All the old barriers to wisdom and healing have been swept away (in theory). Everywhere you look these days; people are stumbling around staring at tiny screens and furiously typing -- eagerly communicating with world experts, engaging in profound discussions, watching videos rich with illuminating information, and reading the works of green visionaries. It's a magnificent sight to behold -- the best is yet to come! Richard Adrian Reese Author of What Is Sustainable
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 20, 2013
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Richard Clark
Birmingham, US
★★★★★ 5
Wright is right
The fact Wright attacks popular concepts of progress is enough to merit five stars. Until 1955, when I was 25, I naively believed progress was inevitable, natural, and simply a part of human nature and society. I attended the Earl Lectures that year. Swiss Theologian Emil Brunner presented three addresses on "Faith, Hope, and Love" at Berkeley, California. Westminster Press published his series in a book given the same title. I shall quote a few remarks. Brunner traced the burgioning faith in progress to the nineteenth century, when "Darwin's theory of evolution seemed so to support and enlarge this optimistic evaluation of progress as to see it in a cosmic perspective." But the doctrine of progress is not the same as evolution. "Although this idea of progress had a success for which the word 'triumph' is hardly an exaggeration, there were warning voices raised against it, voices of men of weight and importance who were not willng to accept the new doctrine," he said. "It was a new doctrine because it was not known to antiquity, it was not known in the time of the Reformation, it was unknown in all Asiatic culture. It was a new thing! The idea of progress became an axiomatic conviction which needed no proof and could not be disproved." At one point, Brunner said, "Since Hiroshima the world does not believe in progress anymore." The end of WWII was still fresh in our memories, and I suppose that's why he said it. We know, today, that it didn't take long for much of the world to revive and renew its faith in progress. And now it's stronger--and more dangerous--than ever. I'm not opposed to every aspect of progress. Progress, when it moves in wholesome and healthy directions, is a blessing. I'm glad my dentist is able to fill--and save--my teeth without pain. And when it came time for my doctor to pull my cataracts and replace them with implanted lenses, I marveled at the miracle. It was a quick and painless operation, and now I have wonderful vision. It's that dogmatic idea of progress based on greed and cold indifference to global warming that concerns me. It's that ongoing waste of limited resources, whether they be animal, vegetable or mineral, that concerns me. We are pulling the carpet from beneath our feet, and the king is pulling hardest of all. And who is the king? Ignorance! Ignorance is king!
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Reviewed in the United States on September 21, 2008
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Kevin S. Grail
Battle Creek, US
★★★★★ 5
My favorite book, in any genre
Ronald Wright is an amazing scholar and writer. His style is fun and easy to read while delivering impeccable historical research. I have listed to this book several times over the years and I appreciate it more each time. I recommend the audio version more than the print version because of the compelling way Mr. Wright delivers this 4-Part lecture series to his audience (now in book form). Note to Amazon: Please make this book available on Audible, CDs are cumbersome.
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Reviewed in the United States on July 3, 2018
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J. Edgar
Chelsea, US
★★★★★ 4
How many trees do we have left?
In this book, the author takes a look at the downfall of civilizations. Yes, that's plural. There are several models of how civilization is progressing. One is that we're getting better and better as time goes by. Another, less popular one states that we are actually in decline, going down from some sort of golden age. You'll find many of these proponents in the old age homes and such. For them, the only disagreement is when we are declining from. Wright takes a look at the cyclical nature of the rise and fall of civilizations, taking examples from several once- prospering civilizations. This book stands as a call to action that something must be done to grow smartly and be careful on how we allocate the scant resources we have left. While he doesn't hit an anything new, this book's strength is its concise nature. The several examples are familiar and in that have more impact. The strongest example is one he visits several times to show an analogy of current times: Easter Island. This isolated speck in the Pacific was once a thriving mini-civilization with culture and art. And a lot of trees. These trees helped the islanders fish and raise their ceremonial head sculptures. However, these trees also were a poorly cultivated resource. Someone not too long ago cut down the last tree, and the island is now a wasteland and anthropological curiosity. We are doing the same thing. How many trees do we have left to cut?
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Reviewed in the United States on October 14, 2009
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W Lorraine Watkins
Bozeman, US
★★★★★ 3
Good on Review Short on Direct Experience
It is an extensive review of the literature on rise and fall of civilizations with observations on our's. Extremely well footnoted and referenced it however suffers from the author appearing to have little direct primary experience in the study of his topic. Nonetheless there is good information here and substantiation of the notion that cultures come and go, frequently going as a result of the lack of capacity necessary to change group behavior in response to certain challenges. He presents compelling evidence that those overwhelming challenges often revolve around irrational and compulsive exploitation of natural resources. Sadly I share the author's pessimism in regard to our global culture being likely to respond adequately to the ongoing destruction of our livable earthly environment. I fear the planet is headed for a massive kill off in the disturbingly near future.
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Reviewed in the United States on April 13, 2013

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