Prison Diary LXV: Ode to Pedro Pablo Oliva / Angel Santiesteban
Posted on November 12, 2013
That the essential Cuban painter Pedro Pablo Oliva (National Plastic
Arts 2006 Prize Winner) was expelled in May 2011 from the Popular
Assembly of the province, Pinar del Rio, is the best thing that could
have happened in his life. Since then, the admiration he has won for his
work has grown infinitely. A great artist should not tarnish his name or
his work with a dictatorship.
Many biographies, however small, highlight the relationships and
defenses of the many artists drawn to fascism led by Adolf Hitler, their
names tarnished for the rest of human existence; and the same thing
happened to the intellectuals who stuck to the Latin American
dictatorships. Unfortunately, the same will happen to those involved
with the totalitarian regime of the Castro brothers. Luckily, most of
them tend to be mediocre types who earn their flattering salary.
I remember I attended the Home Workshop of Pedro Pablo Oliva in company
with Dagoberto Valdes, when paying my humble service as a jury member of
the Vitral magazine contest. Then he spoke to me about the painting "The
Great Blackout," of extensive dimensions. Really to watch him, I felt
part of the story of the Cuban nation was laid out in front of me, in a
genuine and original manner.
His family kindly saw to us, invited us to explore the spaces. Minutes
Later Oliva arrived and we offered him a brochure given with the
intention that he would dedicate it to us. He did so with the humility
that characterizes him, and jokingly, given the quantity of fans, he
commented only Ricky Martin was allowed that. I, who was one of the last
of the group, replied, "Don't be fooled, if the singer was here, and
without reproach, I, at least, wouldn't ask for his autograph." He smiled.
Thereafter, each time I went to the capital of Pinar del Rio, I took the
time to get to his workshop and delight in his latest creation. There I
saw the picture of Fidel Castro supporting a large stone on his head,
which greatly alarmed the then Minister of Culture Abel Prieto.
For several years his daughter visited my house because she was a
classmate of the daughter of a cousin of mine. With her I could exchange
views on his work, season with family anecdotes that enhanced his
stature as a human being.
Days after expulsion of the provincial parliament which acted as a
delegate , I went to the Colegio San Geronimo in Old Havana . It was
raining , and quickly walked past the restaurant La Mina, where
upstairs, Oliva has his workshop. He crossed in front of me, also in a
hurry, seeking shelter in the doorway of the restaurant, and I could not
resist the excitement and shouted, "Maestro, Cuba never admired you so
much," then, surprised, with those eyes of a laughing child he knows how
to offer, he stopped and looked at me excited.
I smiled and continued my quick step to take shelter in the portal of
the Palace of the Captains and he in turn continued and avoided the
rain. I knew that rain was a way to clean your history, away from all
the official events and artists supporting the dictatorship, and that
thereafter he would have less space in the media, but more time to do
his work. He had that feeling of the lone ranger who supports any artist
relegated by the totalitarian regime, and subjected to the nation's
cultural ostracism, although as in Oliva, his nails are sunk in the
island where he is rooted.
In any event, an artist creates for the rest of humanity and for all
time. That is the advantage we always gave over the politicians in
power, no matter how late they are in abandoning their prolonged season.
All Cubans, like you Pedro Pablo, dream of a better Cuba. And we have
the unquestionable right to demand it.
Ángel Santiesteban-Prats
Lawton Prison Settlement. November 2013.
11 November 2013
Source: "Prison Diary LXV: Ode to Pedro Pablo Oliva / Angel Santiesteban
| Translating Cuba" -
http://translatingcuba.com/prison-diary-lxv-ode-to-pedro-pablo-oliva-angel-santiesteban/
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