{"id":71,"date":"2020-08-21T09:44:30","date_gmt":"2020-08-21T14:44:30","guid":{"rendered":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/?page_id=71"},"modified":"2020-08-25T12:07:56","modified_gmt":"2020-08-25T17:07:56","slug":"memories-of-the-underdevelopment","status":"publish","type":"page","link":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/home\/memories-of-the-underdevelopment\/","title":{"rendered":"Memories of the Underdevelopment"},"content":{"rendered":"\n

\u201cHow does one get rid of underdevelopment? I believe that\nevery day that passes is more and more difficult since underdevelopment taints\neverything\u2026In underdevelopment everything is forgotten, people are\ninconsistent; there is no sense of continuity\u2026\u201d This is a reflection by Sergio,\nthe main character in the Tom\u00e1s Guti\u00e9rrez Alea film Memorias del subdesarrollo (Memories of the Underdevelopment)<\/em>.\nAlthough filmed in 1968, the story is set in the months prior to the Missile\nCrisis of October, 1962, a 13-day period of tension between the Soviet Union\nand the U.S. over the installation of nuclear-armed Soviet missiles in Cuba. On\nthe edge of a nuclear war, Sergio walks the streets of Havana and reflects upon\nsome of the pressing issues of the then-new revolutionary process.  <\/p>\n\n\n\n

This section shows how Cuban poster art reflects on the nature of life in an \u201cunderdeveloped\u201d country. The work of contemporary Cuban designers highlights how recurrent themes of social mobility and sexual identity persist in some Cuban cultural products of the post-Revolutionary period. <\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

 Nelson Ponce, designer<\/em>
Muestra de cine Cubano del ICAIC (Contemporary Cuban Film from ICAIC)<\/strong>, 2012
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez <\/em><\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

Nelson Ponce, designer<\/em>
Premio Literario Casa de las Am\u00e9ricas<\/strong>
(House of the Americas Prize for Literature), <\/strong>2011
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez <\/em><\/p>\n\n\n\n

The stylized animals in this poster for the 2011 Premio Literario Casa de las Am\u00e9ricas <\/em>reference an exhibit of popular Peruvian art that occurred in connection with the awards celebration that year. The exhibit, \u201ccondor contra toro\u201d or \u201ccondor versus bull,\u201d references a traditional Peruvian festival involving a fight between a bull and a condor, which symbolize the Spanish oppressors and the Peruvian loyalists. <\/p>\n\n\n\n

The poster is based on the novel Yawar fiesta<\/em>, by Jos\u00e9 Mar\u00eda Arguedes. The Fiesta de la sangre (Festival of Blood) <\/em>celebrates the cultural victory of the indigenous culture over the Spanish oppressor. <\/p>\n\n\n\n

Written by Eileen Symons class of 2021, Art History major with French and Fine Arts minors, and a Museums Gallery Attendant.<\/em><\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

 Claudio Sotolongo, designer<\/em>
Homenaje a Adolfo Llaurad\u00f3 (Tribute to Adolfo Llaurad\u00f3)<\/strong>
2009
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez <\/em><\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

El camino de la vida<\/strong>
(The Path of Life)<\/strong>
Isabel Santos, director<\/em>
poster and film 2016
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez<\/em><\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

Ernesto Ferrand, designer<\/em>
Fresa y Chocolate<\/strong>
(Strawberry and Chocolate)<\/strong>
Tom\u00e1s Guti\u00e9rrez Alea (Tit\u00f3n) and
Juan Carlos Tab\u00edo, directors<\/em>
poster and film, 1994
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez <\/em><\/p>\n\n\n\n

Fresa y Chocolate (Strawberry and Chocolate) <\/em>was a groundbreaking film in its exploration of homosexuality while tracing the development of a complex relationship between two men, Diego and David, in Havana. Initially David conspires with another character to report and expose Diego\u2019s homosexuality. However, their relationship evolves into a fraught platonic friendship. Eventually, David has a change of heart and becomes increasingly affectionate towards Diego. At the end of the film Diego must migrate. In 1994 for Cubans, migration meant permanent departure. <\/p>\n\n\n\n

Ernesto Ferrand\u2019s design focuses on an important final hug in the film. Highlighting only the hands against the black background, the poster attempts to capture the contained emotions of a relationship fractured by separation. <\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

Ingrid Behety, designer<\/em>
Memorias del subdesarrollo (Memories of the Underdevelopment)<\/strong>
Tom\u00e1s Guti\u00e9rrez Alea (Tit\u00f3n), director<\/em>
poster 1999 \/ film 1968
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez<\/em><\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

 Ra\u00fal Vald\u00e9s (Raupa), designer<\/em>
Los dioses rotos<\/strong>
(The Broken Gods)<\/strong>
Ernesto Daranas, director<\/em>
poster and film 2008
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez <\/em><\/p>\n\n\n\n

 [UD_EXHIBITION_ITEM] <\/em><\/p>\n\n\n\n

 Julio Eloy Mesa, designer<\/em>
Clandestinos (Clandestine)<\/strong>
Fernando P\u00e9rez, director<\/em>
poster and film 1987
silkscreen on paper
Collection Morri\u00f1a-Men\u00e9ndez <\/em><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cHow does one get rid of underdevelopment? I believe that every day that passes is more and more difficult since underdevelopment taints everything\u2026In underdevelopment everything is forgotten, people are inconsistent; there is no sense of continuity\u2026\u201d This is a reflection by Sergio, the main character in the Tom\u00e1s Guti\u00e9rrez Alea film Memorias del subdesarrollo (Memories […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":47,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"page-exhibition.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-71","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/pages\/71"}],"collection":[{"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/comments?post=71"}],"version-history":[{"count":48,"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/pages\/71\/revisions"}],"predecessor-version":[{"id":306,"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/pages\/71\/revisions\/306"}],"up":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/pages\/47"}],"wp:attachment":[{"href":"https:\/\/exhibitions.lib.udel.edu\/black-with-a-drop-of-red\/wp-json\/wp\/v2\/media?parent=71"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}