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Home My WebLink AboutR-98-1143J-98-1206 11/17/98 RESOLUTION NO. g ~ - ~. 1 `~ A RESOLUTION ACCEPTING THE DONATION OF A GLASS MOSAIC TILE MURAL, CREATED BY XAVIER CORTADA, AS A MEMORIAL FOR THE MORE THAN 20,000 MIAMI-DADE COUNTY RESIDENTS WHO HAVE DIED OF AIDS, SAID MURAL TO BE LOCATED AT A SITE APPROVED BY THE CITY MANAGER, SPONSOR(S) OBTAINING ALL PERMITS REQUIRED BY LAW, AND AT NO COST TO THE CITY FOR ITS INSTALLATION AND MAINTENANCE; AUTHORIZING THE CITY MANAGER TO EXECUTE THE NECESSARY DOCUMENTS, IN A FORM ACCEPTABLE TO THE CITY ATTORNEY, FOR ACCEPTANCE OF SAID MURAL. WHEREAS, Xavier Cortada, an acclaimed local artist, created a mural for display at the 12th U.N. AIDS CONFERENCE as memorial to the more than 20,000 Miami-Dade County residents who have died of AIDS; and WHEREAS, Mr. Cortado has donated a replica of his mural, made of glass mosaic tile, to the City of Miami, to be permanently located at a site in the Downtown Miami area; and WHEREAS, the City Commission wishes to accept Mr. Cortada~s donation, subject to the site being approved by the City Manager, sponsor(s) obtaining all permits required by law, and no cost to CITY COMMISSION MEETING OF NAV 1 7 1998 Resolution No. the City for installation and maintenance; NOW, THEREFORE, BE IT RESOLVED BY THE COMMISSION OF THE CITY OF MIAMI, FLORIDA: Section 1. The recitals and findings contained in the Preamble to this Resolution are hereby adopted by reference thereto and incorporated herein as if fully set forth in this Section. Section 2. The donation a glass mosaic the mural, created by Xavier Cortada, as a memorial for the more than 20,000 Miami-Dade County residents who have lost their battle against AIDS, said mural to be located at a site approved by the City Manager, sponsor(s) obtaining all permits required by law, and at no cost to the City for its installation and maintenance. Section 3. The City Manager is hereby authorizedl~ to execute the necessary documents, in a form acceptable to the City Attorney, for acceptance of said mural. Section 4. This Resolution shall become effective l~ The herein authorization is further subject to compliance with all requirements that may be imposed by the City Attorney, including but not limited to those prescribed by applicable City Charter and Code provisions. - 2 - ~O-~.~.~~ immediately upon its adoption and signature of the Mayor.~~ PASSED AND ADOPTED this 17th day of November 1998. JOE CAROLLO, MAYOR In accordance with Miami Code Sec. 2-36, since the Mayor did r-ot indirat~ ~~~r,ti,,,p of this legislation by signing it in the designated pl provia~d ~??~' 'nc,,.<a;~ '~~'i'' becomes effective witi, the elapse of ten 1 day fr m th nt ~%~n=rr a :~.~.: ~ ~=~`~~~' regarding same. without the Ma or cising o. -' _ ATTEST: . Iter J. Fo .City Clark WALTER J. FOEMAN CITY CLERK APPROVED AS T ORM AN,E3'~CORRECTNESS :~ C I TY~,f~ATTORNEY 100:BSS ~~ If the Mayor does not sign this Resolution, it shall become effective at the end of ten calendar days from the date it was passed and adopted. If the Mayor vetoes this Resolution, it shall become effective immediately upon override of the veto by the City Commission. - 3 - TO: CC FROM: DATE: RE: 3621 Southwest Third Avenue Miami, FL 33145 Tel: 305-858-1323 Fax: 305-857-9282 e-mail: xavierCcc7cortada.com website: http://www.cortada.com N N 111 ~ ~ ~ ~ ll1 V ~ MEMORANDUM M ~ R ~ LL M ~ ~ ~ U ~ _ ~ a ~° ~~ ~ m o L Hon. Joe Carrollo, City of Miami Mayor H ~ ~ °' ~ ~ R Hon. Willy Gort, City Commissioner ° ~ 3 Hon. Joe Sanchez, City Commissioner Hon. J.L. Plummer, City Commissioner Hon. Tomas Regalado, City Commissioner Hon. Arthur Teele, Commissioners Mr. Donald Warshaw, City Manager Mr. Walter Fceman, City Clerk Mr. Georg Linsi, Swiss AIDS Federation; Ms. Alexandria Douglas, Florida AIDS Action Council Mr. Keith Cromley, Florida AIDS Action Foundation Ms. Lark Bennett, Care Source/AIDS Walk Mr. Tom Birt, Bisazza North America. Xavier Cortada, Artist November 14, 1998 Donation of glass mosaic replica. of the "Bridging the Gap" Mural, created with the participants of the 12~' World AIDS Conference in Geneva It is with great humility that I offer the City of Miami a monument in memory of the tens of thousands of South Floridians who have been lost to the AIDS pandemic--over 20,000 in Miami-Dade County alone. Bisazza, an Italian glass mosaic manufacturer with North American operations based in Miami, will create the monument's facade using 20 mm glass mosaic tile. The monument's facade will therefore be a glass mural, reproducing the image of "Bridging the Gap", a mural which I created with the help of hundreds of participants during the 12~' World AIDS Conference held in Geneva earlier this year. Enclosed please find a picture of the mural (which is currently under the guardianship of the Swiss AIDS Federation), news clippings of my work, a Bisazza catalog and other documentation. Bisazza would underwrite the cost of labor and materials costs involved in creating and installing the 30 foot long by 10 foot tall glass mural. Of course, we must find an appropriate, permanent and prominent site for the monument in Miami's downtown (Bayfront Park, Biscayne Boulevard). Bisazza. will also provide the Florida AIDS Action Foundation with alife-size reproduction of the mural for its December 15` World AIDS Day luncheon, where the mural donation will be formally announced. The AIDS Monument will be unveiled and dedicated before 18,000 participants of the annual AIDS Walk on Saturday, February 215`, 1999. The Bridging the Gap mural serves as the perfect vehicle to tell the compelling human stories behind AIDS. As we approach the end of the century, and the dawning of a new milleniurrr. we are a global community looking hopefully toward the end of one humankind's worst epidemics. There is much to celebrate today as science and medicine offer a sense of resolution to a disease that even a decade ago seemed unconquerable. The mural expresses the realities of individuals at various stages of the disease and from all over the world, offering insight into their personal struggles and triumphs. And presenting a full picture of the gains and the stumbling blocks, the disparities and the universalities, associated with the disease. A F 0 U w c ~4 ~0~~~~ ABOUT THE ARTIST Xavier Cortada, 34, is aCuban-American artist living and working in Miami. Cortada works primarily in acrylic and oils on canvas, although he has created numerous murals and has an impressive portfolio of drawings. Like his artist father and uncle before him, Cortada draws inspiration from the Cuban modernism and the vanguardia artists. His work is also informed by the twisting currents of twentieth century art, the visual barrage of advertising, the iconography of estampitas religiosas, Saturday morning cartoons, the stained glass windows of Gesu Catholic Church in Miami, and importantly, his travels through Africa and Latin America. The painter's visual heritage can also be traced along the black lines and collapsing spaces from Pablo Picasso to Amelia Pelaez, who also inspires Cortada's tropical palette. The portraits of long-necked women and translucent faces are subversive Modigliani's, while the syncretic sensibilities of Wifredo Lam influence Cortada's easy blending of symbols and cultures. Cortada slashes and tortures the canvas with knives and hard-bristled brushes evoking the athletic gestures of Willem de Kooning. Francis Bacon teaches him to thrust his personal passions and secret desires on cloth, layers of paint rubbing together creating a bruising picture of the artist's soul. The artist improvises and plays on canvas, manipulating meaning and texture to get his message across. He is also an attorney and community leader, who combines his artistic talent with his concern for social and political issues. Among the topics he has explored through his work are community development, racism, violence, poverty, political freedom, AIDS, and Cuba. Cortada has exhibited in Washington, D.C., New York City, Berkeley, San Antonio, Madrid, Johannesburg, Mauritius, Nairobi, Dares Salaam, and Palm Beach. He was the first foreign artist to exhibit in Soweto after the end of apartheid in South Africa. Cortada's work has been recently shown in solo exhibits at the ArtCenter/South Florida in Miami Beach, the Museum of Contemporary Art in Cuzco, Peru, the Museo Tambo Quirquincho in La Paz, Bolivia, and the Regional Historical Museum of Santa Cruz, Bolivia. In November 1998, his work won the Grand Prize Best of Show in the "Arte + Ante" group exhibit at the Florida Museum of Hispanic and Latin American Art in Coral Gables, Florida. Cortada has also lectured on the use of art as an agent of social change and/or painted murals with community groups in places as diverse as Philadelphia, Pennsylvania, Leadville, Colorado, La Paz, Bolivia and Freetown, Sierra Leone. In addition, he has painted murals for HBO, MADD, the Indiana Governor's Office, Miami-Dade Cultural Affairs Council, and Miami-Dade County Art in Public Places. In July 1998, he was commissioned to paint a mural for the 12'h World AIDS Conference in Geneva. In Miami, he has collaborated with museums (the Lowe Art Museum, the Wolfsonian, Miami Youth Museum), and non-profit groups (including the Miami Lighthouse for the Blind, Centro Campesino, the Little Haiti Housing Authority, and Health Crisis Network, Miami's largest AIDS agency) to create community murals. In December 1998, Cortada will unveil two 24-foot tall glass mosaic murals on the new Niketown building at Shops at Sunset Place in South Miami. d - .~.. ~i. ~. Xavier Cortada 3621 S. W. Third Avenue Miami, FL 33145 website: www.cortada.com EDUCATION: December 1991 Juris Doctor University of Miami School of Law Coral Gables, Florida Phone: (305) 858-1323 Fax: (305) 857-9282 e-mail: xavierCa~cortada.com December 1991 Master of Public Administration University of Miami Graduate School Coral Gables, Florida December 1986 Bachelor of Arts in Psychology University of Miami College of Arts and Sciences Coral Gables, Florida LICENSURE: 1992 Admitted to the Florida Bar, June 9, 1992, and thereby licensed as an Attorney and Counselor at Law in all Courts of the State of Florida. ART EXHIBITS: 1998 'Arte + Arte ", Florida Museum of Hispanic and Latin American Art, Coral Gables, FL 1998 City Link Best of Gallery Show, Art Serve, Ft Lauderdale, Florida. 1999 "CUBABA," ArtCenter /South Florida, Miami Beach, Florida 1998 "Compartiendo con Bolivia, 1998:" Opening of a year-long cultural program entitled "Sucre -Plaza Mavor de la Cultura Iberoamericana ". The exhibit is to coincide with a meeting of the federation of binational centers. Then, the exhibit travels to Tarija for the International Festival de la Cultura "Abril en Tarija", and later to Potosi a/o Oruro for an exhibit in coordination with the Partners of the Americas. 1998 "Cubans in America," Florida Museum of Hispanic and Latin American Art, Coral Gables, FL 1997 "Compartiendo con Bolivia," Arts America-sponsored solo exhibit touring South America with openings at the Museo Tambo Quirquincho (La Paz), Museo Historico Regional (Santa Cruz), and Centro Boliviano Americano (Cochabamba). 1997 "inter%cambios", solo exhibit at the Museum of Contemporary Art in Cusco, Peru 1997 "The Condition of Pandemics: Towards the Millennium," Longwood Arts Gallery (Bronx Council of the Arts), Bronx, New York 1996 "Aspects of the Human Condition" --solo show at the Galeria Sol y Luna, San Antonio, Tesas 1996 "Home...a nice place to be," Palm Beach County LISC, The Breakers Hotel, Palm Beach, Florida 1996 ART ACT, QueeRoots/QueerSpace, group show, Miami, FL 1996 Cuban Artists Capitol Exhibit, House Office Building Rotunda, Washington, DC 1996 "Women Through the Eyes of Latin American Artists" --Carib Art Gallery, SOHO, New York 1995 Berkeley Art Center Association 11th Annual National Juried Exhibition, Berkeley, California 1995 Moscoso Gallery--Latin American Art, Washington, D. C . 1995 "Mwenge" and "Heart of the Matter" -- USIS Community Center, Dar Es Salam, Tanzania 1994 "Mwenge" (Hope)-- United States Cultural Center, Nairobi, Kenya 1994 "Heart of the Matter--Drawings Depicting Substance Abuse and other Problems in our Society" -- United States Embassy, Port Louis, Mauritius 1994 "Delivery: To the People of Soweto," Ipelegeng Center, Soweto/Johannesburg, South Africa 1994 "Acrylics on Canvas" --Washington Irving Cultural Center, Madrid, Spain e7~- . ~K ~~~~ Cortada, Xavier: Curriculum Vitae, Page 2 ART PROJECTS: 1998 First National Victims Mural, an 18 foot long mural created with victims who lost their loved ones to drunk drivers during MADD's National Leadership Conference, Dallas, Texas 1998 "Bridging the Gap," a 20 foot long mural created collaboratively with participants of the 12`h World AIDS Conference at the Palexpo Convention Center, Geneva, Switzerland. 1998 "Love Mural," Arts in Medicine art project created with children, family and staff of the Jackson Memorial Hospital Children's Cancer Clinic, Miami, FL. 1998 "Reach for the Future," Miami-Dade Art in Public Places residency at Palm Springs Middle School, Hialeah, Florida. 1998 Commissioned to by Wolfsonian/FI[J to facilitate creation of a community mural in conjunction with its Public Works exhibition, featuring the mural studies from the 1930's, Miami Beach, Florida 1998 Artistic License: commissioned bv_ the Miami-Dade Cultural Affairs Council to work with fourth graders at Coral Gables Elementary in the creation of a community mural. 1997 World AIDS Day Mural in Little Havana, Miami, Florida 1997 Little Haiti Housing Association Murals Project, in collaboration with the Lowe Art Museum. 1997 Red Ribbon Week Mural, Delaware County Coordinating Council, Muncie, Indiana 1997 Art as Power, a collaborative art project between the Lowe Art Museum and students from the Cuban American National Council's Little Havana Institute, Miami, Florida 1997 Compartiendo con Bolivia, a special public mural creating project sponsored by Arts America, United Stated Information Agency and social service youth organizations in La Paz and Santa Cruz, Bolivia. 1997 Bodega de la Familia Mural with Lower East Side families affected by drug abuse, New York, NY 1997 MADD Youth Power Camp Mural, Ft. Worth, Texas 1997 Naranja Sunset Point community mural project, sponsored by Miami-Dade Art in Public Places in collaboration with LISC and the Miami-Dade Housing Agency. 1997 MADD National Youth Summit Mural ,unveiled at the Capitol, Washington D.C. 1997 Anti-drug mural: Governors Office for Drug Free Communities, Indiana 1997 "Faces of Addiction" Murals commissioned by HBO during Family Dialogue days in Atlanta, Georgia and Ft. Lauderdale, Florida. 1996 Community grant from Cultural Affairs Council of Metro-Dade County to establish the "Murales de! Centro" Project in an art trailer at Centro Campesino CDC --facilitating gang-involved children of migrant workers in creation of art 1996 Community grant from Cultural Affairs Council of Metro Dade to implement the Miami Lighthouse for the Blind "New Visions Project" --bringing together clients, volunteers and neighborhood (Little Havana) residents to create murals challenging societal perceptions and biases about the visually impaired 1996 "Voices" -- an 8' x 20' mural created with AIDS patients, staff, and volunteers of Health Crisis Network, Miami, FL 1996 "Animals as Architects" -- an interactive mural commissioned by the Miami Youth Museum and created with children from Centro Campesino Farm worker Center in Florida City, Florida 1996 "Metaphor" --a collaborative substance abuse art project created by civic and community leaders from six American cities (sponsored by JO1N TOGETHER National Leadership), Hilton Head, South Carolina 1996 "Hands" --created Community Center mural for Metro Dade County Naranja Parks in collaboration with youth from the neighborhood, South Dade, Florida 1996 "Hope-~--created Miami Lighthouse for the Blind mural with visually impaired children, Miami, FL 1996 "Stand for Children" --a movable mural created with students from Homestead High for the Metro Dade Countv Children's Services Council, Homestead, Florida 1996 "Hasta Cuando?" -- a Mother's Day mural created with youths and residents from a Puerto Rican barrio in Northern Philadelphia, Pennsylvania (sponsors Join Together & United Neighbors Against Drugs) 1995 Donated "If you want Peace, Fight for Justice" painting for creation of Legal Services of Greater Miami's Campaign for Justice poster, Miami, Florida 1995 UNITY, Inc.--facilitated "Unity" mural creation with youth representatives of seventy (70) Native American Tribes from the U. S., San Diego, California. ~~-Y~~~ Cortada, Xavier: Curriculum Vitae, Page 3 ART PROJECTS--continued: 1995 Central Rockies Prevention Project, Leadville, Colorado--worked with diverse group of students, undocumented persons, parents, civic leaders to develop amulti-cultural community mural celebrating diversity and portraying a message of hope for the future. 1994 Arts for Africa, Pretoria, South Africa--used art to communicate with street children addicted to drugs.//Good Morning South Africa-- national television interview on social justice artwork. 1994 "Woman of Africa"--an art and verbal presentation made to a Women in Development group in the United States Embassy of Freetown, Sierra Leone. 1994 Surgir, Medellin, Colombia--worked with school children in the design of "Quiero Paz" (I Want Peace), ananti-violence Medellin school art project. OTHER ARTS AWARDS. ORGANIZATIONS AND CONFERENCES: 1998 Best of Sbow Grand Prize for the Arte + Arte exhibit, Florida Museum of Hispanic and Latin American Art, Coral Gables, FL 1998 Lithograph for Special Olympics 1998 OpeningCeremonies on Bayfront Park, Miami, FL 1998 Lithograph for the South Miami Art Expo, January 1999, South Miami, FL 1998 Sheldon Lurie Art Against AIDS Auction VII, Coral Gables, FL 1997 Niketown Miami--commissioned by Nike to create three paintings for the new Miami Niketown, two of which will be enlarged as 24 ft. by 20 ft. glass the murals and places on the exterior of the building 1997-present ArtCenter /South Florida, Exhibitions Committee, Miami, Florida 1996 4th International Congress on Education Cities: The Arts and Humanities as Agents for Social Cbange, Chicago, Illinois 1996 Miami Arts Exchange (MAX), member, Miami, FL 1996 South Florida Art Center Ground Level Advisory Committee, Miami Beach, FL 1995 Manhattan Arts International 1995 Cover Art Exhibition, Award of Merit 1995 Berkeley Arts Center 1 lth Annual National Juried Exhibition, Berkeley, California PROFESSIONAL EXPERIENCE: 1993-present Professional and Community Artist 1992-present Attorney-at-Law and Community Development Consultant 1993-96, 1998 Adjunct Assistant Professor of Psychiatry, University of Miami School of Medicine, Center for Family Studies/Spanish Family Guidance Center 1995-1997 Program Director, LISC South Dade Development Program 1993-1994 Annie E. Casey Mental Health Initiative for Urban Children in East Little Havana, Miami, Florida, Interim Project Director 1992-1993 Research Assistant Professor of Psychiatry and Director, Juvenile Violence and Delinquency Prevention Programs, Center on Minority Families/Center for Family Studies, University of Miami School of Medicine. 1990-1992 Executive Director, Reds House Adolescent Drug and Alcohol Abuse Center, Miami. 1985-1989 English for Speakers of Other Languages (ESOL) and Substitute Teacher, Dade County Public Schools FELLOWSHIP: 1993 National Leadership Fellows Program for JOIN TOGETHER, a National Resource for Communities Fighting Substance Abuse funded by a grant from the Robert Wood Johnson Foundation to the Boston University School of Public Health. Cortada, Xavier: Curriculum Vitae, Page 4 BOARDS/COMMITTEES & TASK FORCES: 1997-present Little Havana Initiative of the Miami-Dade Health Department HIV/AIDS Office 1997-present Children's Cultural Coalition, Miami, Florida 1997-present University of Miami School of Law Children and Youth Law Clinic, Advison~ Board 1995-1998 Health Crisis Network Board of Directors and Advocacy Committee Chair. Miami. Florida 1994-1997 Dade County Bar Association Juvenile Court Committee, Chair 1993-1996 Dade County Juvenile Justice Council, Executive Committee 1993-1995 City of Miami City-wide Community Development Advisory Board 1993-1996 Miami River Neighborhood Restoration Corporation, Member 1988-1998 Board of Trustees, Regis House Adolescent Drug and Alcohol Abuse Center. Miami, Florida President (1989-90), Vice Chair (1990-1998) 1988-present Local Board Member, Selective Service System (Draft Board) 1993-present Founding Organizer and Advisor to l~ecinos En Accion, a grass-roots neighborhood corporation in Miami's East Little Havana neighborhood 1992 Adolescent Juvenile Justice Task Force, Center for Substance Abuse Treatment U.S. Department of Health and Human Services 1992 Founding Organizer and Facilitator of the Wynwood Youth Group in La Mission San Juan Bautista of Corpus Christi Catholic Church in Miami 1992 Member, Dade County Hispanic Affairs Advisory Board 1991-1993 Chair, Advisory Board to Metropolitan Dade County Hispanic Family Development Project 1991-1993 Chair, City of Miami Youth Task Force, Miami, Florida. 1991-1992 Hispanic Working Group Member, The Miami Coalition for aDrug-Free Community 1991 Panel Chair, Florida Foster Care Review Panel 1990-1993 Chair, Membership Committee, Dade County Prevention Network for Alcohol and Other Drugs 1988-1990 Vice-Chair, City of Miami Mayor's Committee on Youth Gang Activity, Miami, Florida 1987 White House Advance Team for the 1987 Visit to Miami of Pope John Paul Il, Miami, Florida. HONORS 1997 "Xavier Cortada Day"Proclamation on April 4, 1998 by the City of Miami. 1998 "Xavier Cortada Day"Proclamation on April 4, 1998 by the City of Miami Beach. 1998 "Xavier Cortada Day" Proclamation on Apri14, 1998 by Miami-Dade County, Florida. 1998 Entered into the Congressional Record of the US House of Representatives, 105`h Congress, First Session, in Washington on April 22, 1998 (Cuban American Artist Xavier Cortada). 1997 Presented with a Key to the Miami-Dade Housing Agency for facilitating the Naranja Public Housing Mural Project, Miami-Dade County, September 8, 1997. 1992 Price Waterhouse/South Florida Magazine UP & Comers Award 1992 Entered into the Congressional Record of the 102nd Congress, Second Session, (Vol. 138. No. 19). Washington, Wednesday, February 19, 1992. 1992 United Way Dorothy Shula Award, Finalist 1991 Vice-President's Award for Service, University of Miami 1991 University of Miami Fraternity Alumnus of the Year Award 1991 5`h Circuit Governor, American Bar Association Law Student Division 1990- Voting Member, ABA House of Delegates 1989 National Vice-Chair, American Bar Association /Law Student Division 1989 Silver Key Award, Law Student Division, American Bar Association 1988 Iron Arrow Honor Society--Son of Chief, University of Miami 1988 President, ODK National Leadership Honor Society at the University of Miami 1986 Speaker of the Senate, Undergraduate Student Body Government, University of Miami 1985 Listed in Who's Who Among Students in American Colleges and Universities 1982 The Miami Herald Silver Knight Award e7~-~~~~ Cortada, Xavier: Curriculum Vitae, Page 5 SELECTED CONSULTING ACTIVITIES: 1998 MASTER-PEACE, a collaborative school-based mural project of Art in Public Places, Dade County Public Schools and the Regis House Little Havana Cultural Program, Miami-Dade, Florida. 1995 South Florida Coordinator, Floridians for Access to Justice--a campaign sponsored b}' The Florida Bar, The Florida Bar Foundation and Florida Legal Services to preserve federal funding of the Legal Services Corporation 1995 Central Rockies Prevention Project, a special project of Colorado's 5th Judicial District Attorney's Office. Served as a Community Development consultant and developed a Needs Assessment for Hispanics in Leadville, Colorado. 1994 University of Miami Center for Family Studies--Adjunct Faculty and Consultant to: Shenandoah In Action: Drug-Free Schools Prevention Project, a grant from the Center for Substance Abuse Prevention and the U.S. Dept. of Education Drug-Free Schools Office Human Ecologv Treatment for Hispanic & African American Substance .Abusing Adolescents, a grant from the Center for Substance Abuse Treatment 1994 United States Information Agency--Guest Speaker/Trainer in Madrid, Spain: Lisbon, and Viseu, Portugal; Punta Delgado, the Azores; Freetown, Sierra Leone; Johannesburg and Pretoria, South Africa; Port Louis, Mauritius; Dar es Salam, Tanzania; and Nairobi, Kenya. 1994 East Little Havana Community Development Corporation--provided technical assistance with grant writing. 1994 UrbaniZa, Inc.--assisted with the development of the neighborhood agendas and strategic plan for the Metropolitan Dade County Empowerment Zone Application. 1994 United States Embassy in Bogota, Columbia, Narcotics Affairs Section--Keynote Speaker for Surgir's International Conference in Medellin, Colombia. 1993 Washington State Migrant Council--Keynote Speaker for the Hispanic State Conference on Child Abuse Prevention and Intervention 1993 The Annie E. Casey Mental Health Initiative for Urban Children in East Little Havana (University of Miami, $130,000 for the planning year from the Florida Department of HRS; $3,000,000 for the four year implementation grant awarded to the Children's Services Council of Metropolitan Dade County). Worked with East Little Havana's social services providers, schools. political entities, business leaders, religious institutions, community and economic development groups, law enforcement officers, city planners, community leaders, parks personnel, youth and families in the development of acommunity-based, family-centered project aimed at making the delivery of social serviced more responsive to the needs of children and families in the community. 1993 United States Information Agency--Guest Speaker in Honduras, Guatemala and Columbia 1993 Mid-South Summer School, University of Arkansas at Little Rock--Presenter 1992 United States Information Agency -- Guest Speaker in Santa Cruz, Bolivia 1992 Center for Substance Abuse Prevention National Volunteer Training Center -- Training of Trainers for Hispanics; Training of Trainers for the Religious Community 1992 Dade Community Foundation -- Neighborhood Grants Program PROFESSIONAL PAPERS/PRESENTATIONS: Available upon request: Extensive presentations before civic and professional groups throughout the United States, Latin America, Africa and Europe and Co-author of eight articles and five abstracts in refereed clinical journals during 1983-1987. ~~-~~.~3 C~itu ~~ittmi'~ettrh r~~~rl~ As Mayor of the City of Miami Beach and on beha~/' of the City Commission and our Community, we pay tribute and acknowledge the achievements made by Xavier Cortada a young Cuban American artist living and x~orking in Miami. Xavier Cortada will exhibit his most ~~,p~,~ ~ recent x+vrk CUBABA that addresses issues of Hispanic a~lture and identify in America. The exhibit is about then and now. About identify and belonging. About being Cuban, about being American. Being both, and being neither. Depicting a sxdrl of images of Cuban nostalgia and American reality as seen by someone who grew up in the middle of the exile enslave; and, WHEREAS: WHEREAS: CUBABA is his fast solo show. Xavier Corfada xnrks primarily in acrylic and oils on canvas. He has created numerous murals and has an impressive portfolio of drawings. Cortada draws inspiration from the Cuban modernism and the vanguardia ariisls, as his artist jather and uncle before him. Xavier Cortada impresses you not only with his talent, but with his heart. He has captured the attention of a-t collectors, critics, and the media; and, The Maori Bench sty Commission and the Qitizens of our Community tender this Prodamation as evidence ojthe high esteem in which we hold Xavier Cortada. His paintings reflect his optimism and his enthusiasm jor rs;/e, energizing everyone around him. NOW THEREFORE, DO I, Nelsen O. Kasdin, as Mayor ojthe City ojMiami Beach, hereby proclaim Saturday, April 4, 1998, as XAVIER CDR TADA in the Cily oJMiami Beach. IN WITNESS WHEREOF, I bare hereunto set my hand and caused the Great Seal ojthe Qity ojMiami Beach to be a,,Q4xed ~at,~ , .Board of County Commissioners Dade.~oun'tylOf~!'a . `~HEREAS~ Miami-Dade County takes pride in recognizing cultural initiatives which serve to elevate standards of life in our community, and WHEREAS: Xavier Cortada, a talented Cuban-American artist and a distinguished resident of this community, premiers his latest body of work at the South Florida/Artcenter, April 4, 1998, and WHEREAS: This fantastic exhibit, titled "CUBABA", reflects Mr. Cortada's concerns regarding issues of Hispanic culture and identity in America, and WHEREAS: Mr.Cortada, an attorney and civic leader, combines his artistic talent with an understanding of social and political realities which he demonstrates with profound sensitivity through this vitally relevant exhibit, and WHEREAS: It is fitting that official recognition be given to Xavier Cortada for his exemplary cultural and civic contributions; NOW, THEREFORE: BE IT RESOLVED, THAT I, .ALEX PENELAS, MAYOR OF MIAMI-DADE COUNTY, FLORIDA, do hereby proclaim Saturday, April 4, 1998, as IN OBSERVANCE THEREOF: I call upon the good people of Miami-Dade County to join me in recognizing this extraordinary artist's outstanding contributions to South Florida's cultural prestige, and in extending him best wishes for continued successx in his future endeavors. ALEX PENELAS, MAYOR THE CITY OF ~~1IA~~1I, FLORIDA 9fl/ie/~ea.~ ~ .,~ t/ze ~.~ec% urriter ,fjitdi~e ./jjaui~ors~ once sa:d. ~ "~ :s a~ ~ort% to- crcalc, Ges:de ~,~~ ~~~~» add 7?~/uI`ea~ • .~auier 6'artada; 2, yi~ted /11.a..u; a.~t:sG, :~ t/c arc~ie~ibe °~ f t!~ adueue~ u.1,.o- tfi,~acry/z dcdi~:atian erred hand uia,~,~irour~ /coca- to-,~eadc le:~yoals i~ ~ ~ and 4~~ie/~. ~ ~ronz ,~r:l 4 b~u~ouy~i../11ay, y, ~d ; 6'ortad2 u~ilG Ge /~.rser.~.~:~ "6'uGaGa.,, n s~ie~ °f/'rr~'ati'J~ a/oa~ t/e ea~6ene'ue °f9'rnu,`'!~' u~ G'ulia2 :2 ./1'fiairu~ erica! ofyrnoiiry u~ i2 6'ulia2 ~ ./lc~i~ Co- 6'a~irdcz, "97uy dill t/ee sutirl of unc9e~ of '~~Ga~ ~os~a9:a, and ./~inPrica2 rea~ as ,reel G~.roneeone co/zo-~r~reur ~' i~ t/ze middle oft/ze eade e.~claue-",~ and ~~iei~ea6.• .~ocal aulltorflies; 02 Ge%alf of flee comnuuu~; salute bier G'ortad,~ far lus- GazG^c6,utian~ to- flee ~nG ev~urnceinenG of ~/lliaini ;~ iinaye ~~~. ~z ~i~rei~aitCP~ ~i!ere~~ f kcal/. u~bo~L alL ~esidenl6 of rite G'dt~ ~/~ianei' Co-Joiti ine :2 l/te ~~~~~~. ~, ~~~ 5'Ui~~ f• 9/ereunto- scG ~ land and cause !/e seal of ~ ~~, of ./{'emu; co- Ge ~~ ~ane.~ .~i~ t/e ice oft/ze..~~a~or oftlto 6'cty of/'~.iaini,, ~. ~~4~ ~~' ~/ oe G'arollo- ~~ ~~ ~~>v~ ~. ~on~res~ional 'I~e~ord Cuban-American Artist Xavier Cortada The Honorable Ileana Ros-Lehtinen of Florida In The House of Representatives Wednesday, Apri[ 22, 1998 Ms. Ros-Lehtinen. Mr. Speaker, I would like to pay a tribute to Xavier Cortada for his newly unveiled exhibition entitled, CUBABA. Having exhibited on four different continents, this month marks the inception of Xavier's first solo show in his hometown of Miami, Florida. Growing up Cuban-American in Miami was the foundation that inspired Xavier to paint the enlightening cultural celebration that is CUBABA. With combined elements of Hispanic culture and of Anglo-American college life, Xavier gave life to the feelings of "identity and belonging, about then and now, about being Cuban, being American, being both and being neither." The renegotiation of identity that mirrors members of the Cuban generation who find themselves "on the hyphen". The Miami-based artist is also an attorney and a community leader w-ho is able to express his concerns for social and political issues while exploring topics such as community development, racism, violence, poverty, political freedom, AIDS, and Cuba. Prestigious accomplishments achieved by Xavier include having been commissioned to create public art for organizations such as Nike, HBO, MADD and Indiana's Governor's office. He has been commissioned to create community murals by museums such as the Lowe Art Museum, the Wolfsonian and the Miami Youth Museum. In CUBABA, this talented painter and social voice has reaffirmed the existence of bi- culturalism through his celebration of oil colors on canvas and expression of Cuban nostalgia and American reality. hKO(:l:EU[\Gti A\U O1:13A"I'Eti Ol "1•HI•: 1 ~)~rh COtiGKI?tiff, FlK>T tiEJ~[O` i ~ . r i f,~ i. ~` ~' r` Cubaba reaffirms the precarious Coming up Cuban-American, caught somewhere on the gangplanlr between idenfities, Xavier Cortada always strug- gled to span the two worlds that defined him. He was the Americanito who knew Cuba only through the hazy remi- niscences of his parents, and the Cubanito who grew up praying to La Caridad del Cobre. The kid from upstate New York who stumbled over his Spanish, and the Miami exile who labored to learn the difference between share and chair. But it wasn't until he hit college that the contradic- tions of duality turned sharp. Encased in that Americano world of fra- ternities at the University of Miami, Cortada was never farther away from his Cubania. He had been raised in that near-Cuba that was el exilio and now here he was, a world from the enclave that defined him. His childhood had been spent surrounded by friends from unvisited but familiar places -places like Matanzas, Pinar del Rio, Camaguey. Now, living at the Lambda Chi Alpha fraternity house, his friends were from truly distant locales - Missouri, Massachusetts, Kentucky. He was suddenly a for- eigner in his own home. It is in this muddled place that Cubaba was born. It was someone's mispronunciation of his name. And it stuck. Cortada became Cubaba, a foil to himself, a frat house caricature in sombrero and toga who brought comic relief to the pain of otherness even while empowering the Cubanito in the Mexican hat. Later Cortada came to view those Cubaba years as a young- ster's crude attempt at negotiating identity - a necessary passage to self-discovery, and ultimately, self-acceptance. Cubaba, the exhibit, is product of those explprations of self, and of one Cuban-American's coming to terms with what part of his identity is truly de aqui and what part is de alla. The Cubaba series offers not the simplistic iconography of Cuban nostalgia, but the tempered expressions of being caught somewhere between the truths and the myths that frame el exilio. When are you most Cuban? When you're wearing your Cubaba persona in good-natured defiance of shame? Or when you're kneeling before your virgen on the edge of Biscayne Bay. And when are you most American? When you're praying for an unknown island, safe at the edge of that bay, or when you finally find yourself on that mythical island, praying among strangers in a strange place? Cubaba reaffirms the precarious balancing act that is bi-cul- turalism. And the endless search that is finding a sense of place and person when you are the product of two worlds. "They distill the swirl of images of Cuban nostalgia and American reality ~ La discriminacion no muere (Discrimination never dies), Oil on canvas, 1998, 48" x 36" The Varela Painting, Oit on canvas,1998, 36" x 30" h ~ ~ E~ 1 1 ~ ' ~ ~ ~ l Xavier Cortada, 33, is aCuban-American artist living and working in Miami. Although he has exhibited in museums and galleries on four continents, Cubaba is his first solo show in his hometown. The exhibit is truly a cultural cele- bration. About then and now. About identity and belonging. About being Cuban, being American. Being both, and being neither. "They distill the swirl of images of Cuban nostalgia and American reality as seen by someone who grew up in the middle of the exile enclave," says Cortada. The work embod- ies the experience of fashioning a new hybridized identity in Cortada's life outside the Cuban community and mirrors the unconscious and constant renegotiation of identity that characterizes exile life. Cortada works primarily in acrylic and oils on canvas, although he has created numerous murals and has an impressive portfolio of drawings. Like his artist father and uncle before him, Cortada draws inspiration from the Cuban modernism and the vanguardia artists. His work is also informed by the twisting currents of twentieth century art, the visual barrage of advertising, the iconography of estampi- tas religiosas, Saturday morning cartoons, the stained glass windows of Gesu Catholic Church in Miami, and important- ly, his travels through Africa and Latin America. The painter's visual heritage can also be traced along the black lines and collapsing spaces from Pablo Picasso to Amelia Pelaez, who also inspires Cortada's tropical palette. The portraits of long-necked women and translucent faces are subversive Modigliani's, while the syncretic sensibilities of Wifredo Lam influence Cortada's easy blending of sym- bols and cultures. Cortada slashes and tortures the canvas with knives and hard-bristled brushes evoking the athletic gestures of Willem de Kooning. Francis Bacon teaches him to thrust his personal passions and secret desires on cloth, lay- ers of paint rubbing together creating a bruising picture of the artist's soul. The artist improvises and plays on canvas, manipulating meaning and texture to get his message across. He is also an attorney and community leader, who combines his artistic talent with his concern for social and political issues. Among the topics he has explored through his work are community development, racism, violence, poverty, political freedom, AIDS, and Cuba. Cortada has exhibited in Washington, D.C., New York City, Berkeley, San Antonio, Madrid, Johannesburg, Mauritius, Nairobi, Dar es Salaam, and Palm Beach. He was the first foreign artist to exhibit in Soweto after the end of apartheid in South Africa. Cortada's work has been recently shown in solo exhibits at the Museum of Contemporary Art in Cuzco, Peru, the Museo Tambo Quirquincho in La Paz, Bolivia, and the Regional Historical Museum of Santa Cruz, Bolivia. 'en by someone who grew up in the middle of the exile enclave" Guantanameros, Acrylic on canvas,1996, 24" x 30" Compartiendo con Bolivia, his Arts America/USIA sponsored solo exhibit, is current- ly in Sucre as it tours throughout South America in ~~''~ 1998. In January 1998, his work was part of the "Cubans in America" group exhibit at the Florida Museum Manipulaciones (Manipulations), Oil on canvas, 1998, 48" x 36" of Hispanic and Latin American Art in Coral Gables, Florida. Cortada has also lectured on the use of art as an agent of social change and painted murals with community groups in places as diverse as Philadelphia, Pennsylvania, Leadville, Colorado, La Paz, Bolivia and Freetown, Sierra Leone. In addition, he has painted murals for Nike, HBO, MADD, the Indiana Governor's Office, Miami-Dade Cultural Affairs Council, and Miami-Dade County Art in Public Places. Locally he has collaborated with museums (the Lowe Art Museum, the Wolfsonian-FIU, Miami Youth Museum), and non-profit groups (including the Miami Lighthouse for the Blind, Centro Campesino, the Little Haiti Housing Authority, and the Little Havana Institute, among others) to create com- munity murals. In October 1998, Cortada will unveil two 24- foot tall glass mosaic murals on the new Niketown building at Shops at Sunset Place in South Miami. r Comunion en la Plaza (Communion in the Plaza) Acrylic on canvas, 1998, 53" x 86" ~;~,- CUBABA, Oil on canvas,1998, 48" x 36" CITY OF MIAMI, FLORIDA INTER-OFFICE MEMORANDUM The Honorable Mayor and SATE November 17, 1998 Mem,},Zers of the Commission F'L` sua,ECT Pocket Item RO~^ 'r/ Joe Sancl~a REFERENCES: ENCLOSURES: Mr. Xavier Cortada, an acclaimed local artist, is donating a glass mosaic monument to the City of Miami. The monument, a replica of the Geneva Aids Muriel, is planned to be placed in a public place in Downtown Miami. In order to continue the beautification of this city and to increase the arts in public places, I respectfully request this issue to be discussed at the next commission meeting on November 17. The short notice is due in part to the unveiling being scheduled on December 1, of this year. I appreciate your quick attention in this matter. r ~J~-~.~.L~3 3621 Southwest Third Avenue Miami, FL 33145 Tel: 305-858-1323 Fax: 305-857-9282 e-mail: xavier(c~cortada.com website: http://www.cortada.com November 9, 1998 Alexandria Douglas, Executive Director Keith Cromley, Director of Development & Media Relations Florida AIDS Action Foundation/Florida AIDS Action Council 12490 NE 7~' Avenue, Suite 214 Miami, FL 33161 Dear Ms. Douglas and Mr. Cromley: It is with great humility that I offer the Florida AIDS Action Foundation/Florida AIDS Action Council use of a mural I created for the 12'~ LJN AIDS Conference on AIDS held in Geneva earlier this year. The mural would serve as a memorial fior the over 20,000 Miami Dade Courriians lost to AIDS. The piece, titled "Bridging the Gap" will be reproduced in glass mosaic file by Bisazza, an Italian glass mosaic manufacturer wide North American operations based in Miami. Enclosed please find news clippings about the mural and other documentation. Bisazza would underwrite the cost of labor and materials costs involved in creating and installing the glass mural. Of course, an appropriate permanent site for die monument must be found Bisazza will also provide the Florida AIDS Action Foundation wide alife-size reproduction of the mural to unveil at its December 1~ World AIDS Day luncheoq where Mayor Alex Penelas will serve as guest speaker. ~~ Prior to the event, I would like to work with you and other community leaders to secure the right location and to seek other sponsors to underwrite the cost of building a pedestal and installing lighting for the memorial monumenrt. Later, we can work on the logistical details. The AIDS memorial can be unveiled and dedicated in die Spring of 1999 (perhaps during the AIDS Walk). Enclosed please find a slide of die "Bridging the Gap" mural as well as information about my work, and Bisazza catalogues. please call me at your earliest convenience at (305) 858-1323 so we may discuss this project. Sincerely, Xavier Cortada mac: Tom Birt, Bisazza North America 8530 NW 30"' Terrace; Miami, FL 33122 Tel: 305-597-4099; Faz: 305-597-9844 DESCRIPTION OF MOSAIC general name of mosaic YK name of Color Table famiglia 20z20 mm mosaic class Internal Project type of fixing 15z15 322 dir type of joint cemento base file size 0.78 inch page size 12.56 inch horizontal size 30.00 foot 426 tx vertical size 1035 foot 147 tx extreme area 3.10 sq. foot effective azea 3.11 sq. foot real weight ~ 259.716 kg strokes employed 1 nr A let total of pages 290 nr horizontal pages 29 nr vertical pages 10 nr statistics tiles employed 44 nr _ joints employed 0 nr no complete pages 38 nr mosaic.• YK pag. 1 di 1 ~yy Cyc b' Q '- Yo~$ d ~~tut~{ Chi E>.o.tt _ ~ ~ -t ~~ ~ ~ ~~L t y~E ~~~oE'~-~ ~~ i~+~l 8~C5EF~ a~~u ,~ ~ ~ ° - ~ ~ ~ v '3 ~ E L'.:Let e ~ .~ ~•~• ~: - --~ ..` D o a - t 9 ~ C ~£ s t!1 =3~ - W ~ ;:~ e Q o ~~~ ~W~ 'Z~ 0~ ~Ua i 69 E a~'~ E~ E a$°o ~~~ ~.~ S E a~ ~" O s c'EvQ ~•~ ~~ #~' ~~ ~ ~ ~ ~~ w ~g~ ~ E v ~ V ,e `w ia~QF'~V r;v'~ ~U c t w mEu~ »ry $=~~E ~~~ ~y~ ~ac".s ~u~ ~ riL E c VI Q ~~~~~~~E~ ~~r c ~ s+ S! ~ a,~ Ss i~C7a g o ~~ ~~ ~~~.~ A ha J g N 9 ~ w ~'~ `iI .~ ~a~ w $e~ w 7f G c a _~~ • 'CwS t Y ~. ~~ ~~ E~ ~ 8n ~ = ~~~~d r~ E=.> E"B ~$U._~~.. ~rs os [ c U' v ~ b'- ~ O ~~ w ~ =_ ~ =~~.~E~ ~~e~~ ~q ~~~ ~~~ ~~~ s • 9 a • ~ e~ •~ ~~$c,~~~~,cECs~F .e °.>~ = g~~ ~ ` ~,~~ 8~ € E „~ w ~lie.Ss ~ w~ #c ~ e ~° '~. ~ ~~'C~T' ~ c _ •° c O C~ g~~r Y O a~ wp w~~ ~ «" ° $ .~ ~ ~'- O ~ ~ p~ N ; ~~` v E. 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G v O E G'~ •~ «• O •p G~~ c v. ~ c y ~ ~,X >,•fl C.~ v, rv _ L •p a -, v a~ v, ea ~., G o a p c a 'D v, u v ~ ~ G y ca d ~ ;~. ~ Cy ~ ~ ec a c•D.o aE 4 ~v~G v. ^'~ G c u G v u rv a ~~ :~ ~"' G ~ u Z - i r V~ ~. •J ~ ~~ E _ t~ ., ~c ~ r: ~ G tc .J _ ~ • R. ~~-~~~~ 2.. icy. -~. _ a 3 r 1 ,~ (~ ..~~~ { .!. i` ~•f _.~ __ 'r ~ ~ ~zy~ . r} `~S~ A Colorful Palette, an Open Canvas ~; Fk,ri~la awns from being a sleepy Southern state into that nu,ne~ and artists are tn~ing to figure out ho~~~ to get a metrrpulis, and as inunir~ration an~i the racism imolt eci their first shun in \ew ~i,rk Cin' or Paris. But thats chang- in that her~~ins cu ceaporate rhrou~,h assimilation. the ten- ing. "Chr ne~c kirl un the block, the ne~c empire, is tilismi. ,ion an~i the passion anal the stru~,gle :uul the an,,st create 1 look at .Miami the «a~ l Ir,uk at Italy' at the beginning of oppurn~nities h,r ;trusts to express thcroselces. the Renaissance. It's Florida's turn to become a cultural ;rate. Fluri~la is cull a ctrl' ti'uum% titate and tltc ntunel t~ e hat'c iti cert ~ r ttulg -.\rrrrrr (;orr;rd,r n ern rn'tr.rt in .llrrnri ;~ bo rtucs h, r.c ur7 fi~egrrr~rtly to mullet-. PeUpIC ;1rC still CI'~'In to hf,*U rC UtIC tchat Cr, ilu tvitb -sn,~k :;vrh rurnmrnrrty ~rurr~s etc l7rrr'f nj~yuntl_' untrrrrrh pru~n-rrnrs. ff1 z~C -: ~~-~~.~~ U O W C'7 m m i ~ ~ ~ m O ~ D lr_ E 0 v d L 3 3 ~, N t1. m O U 0 'a LL Special mural starts Olympics Students accomplish an exceptional task Ilry aAtalawA wALt'Elta Herak Staff Wntar For a little while each day, Cinthia Cas- tro managed to wntrol her usually uncon- trollable twitches and jerks and command her feeble fingers to hold a brush and paint. Out of her creativity, and that oC l2 stu- dents like her at Kensington Park Elemen- tary, evolved a grand mural with splashes of bright blues, shocking pinks and sun- light yellows, sprinkled with bats and balls and self-portraits. The 60-foot mural -which they named "The Gift" - stands az a symbol of achievement in spite of at times insur- mountable obstacles for thousands of chil- dren who tonight ofFicially become ath- letes of the 1999 Special Olympics in Miami-Dade County. The mural will be unveiled during open- ing ceremonies to kick off the Olympics at PLEASE SEE MURAL, ffi Exceptional students create mural for Special Olympics MURAL, FROM to for the past tv: weeks, Cinthia. 9, and her classmates at the Little Havana-area school diligently labored on the painting, supervised he Miami artist Xavier Cortada. He was asked by Special Olympics officials in work with mentally disabled chtldrcn to era ate a mural for ilia gams. Kensington Park, at ' I I NR' 30th Ave., is one of the district's Exceptional Student Education centers and enrolls 200 in its special education programs. "I knew what it took for these kids to do tha. It was very. very dificult," Cortada said. "For many oC them, it took everything they had " It was a long, tedious process. E•+en before bringing out a single paint brush, Cortada had to find a way to explain the concept oC sports to the youngsters - 10- and II-vear-olds whose minds function like kin- dcrgartners. "I got dolls and had them running around paper bases so that they could understand the ¢ame of baseball." Cortada said. "Then we went outside to the playground and we [`laved... Finishing the work was a testamrnt oCwill power for the mentally and physical! chal- lenged fourth- and- fiRh-graders, all ofYwhom have trouble performing the simplest of tasks, like tying their shoes or holding a pencil. About half of those in the class suffer from Down's syndrome, a congenital condition that makes them especially susceptible to infection, including bacteria! meningitis. Cinthia and several others, whose bodies move spontaneously even when they don't want them to, have cerebral palsy. "1 kept challenging them," Cortada said. "1 wouldn't just step in for them. I wouldn't draw for them. "I felt it would have been patronizing for me to do the work for these kids," he said. "Whenever 1 needed to do touch-up, they were always in the room. I wanted them to feel the connection." Slowly, a stroke at a time, the children caught on. "As a result, their social skills have improved and their ability to Collow direc- tions," said ezccptional education teacher Janet Ludwig, who works with teacher assis- tant Luis Alvarinaz. "They somehow got the message that there was no second chance, that IF 10U GO Opening ceremonies for Miami-Dade Coun- ry'stall, winter and spring Special Olym- pia t»pIn at 6:30 tonight at 88yhont Perk Amphitheater on Biscayne Boulevard in downtown Mbmi. Festivities include a torch run, parade of ethbtes, fireworks. unvtsAtng of the mural and the symbolic Ifght- irro of the Olympic torch. Thor event is lies end open to the public. Special Olympics tell sporting events run through Oct. 31 at vari- oussites around the county. For more infor- mation, cell Genes Lov- alass at 305-406-9467. 6:30 p.m. in downtoW^t Miami s Bayfront Park. they had to do what he said at the time he said to do it." The kids followed difficult instructions, like tracing outlines of each otheri bodice to create 13 silhouettes tined along the canvas like pint- sized soldiers. They cut out squiggly hearts and placed them at the center of the images - a symbol of the strength it took for them to remain Focused for so long, even when they felt they couldn't. "We thought it appropriate to place the hearts there, because many of these kids have had multiple heart surgeries," Ludwig said, "and this is definitely a work from the soul." The children weren't the only ones who got a lot out of this oftentimes emotional exercise in stretching beyond limits. "It was sheer loy," said Cortada, who has worked before with children with AIDS and cancer. "lt was about me az an artist teaming from these kids, seeing joy in a subtle way. Thc way they called me X when 1 walked in the classroom. The way [hey smiled. "My heart became very soft. 1 saw the world in another way by being with (hest kids. "1 remember walking out of the class one day and saying, 'My God, I'm blessed.' " ~~-~:~~~ ArM~ b -ATIeCK fAtttil / tssrata et.a PROUD PAIIfTERB: Students In Janst Ltrdwig's exceptkxtal education lose at Kensington Perk Elementary display their work. 'SHEER JOY': Miami artist Xavier Cortada supervised the painting on which classmates diligently labored for 3'h weeks. FREE Weekly news & entertainment connection to 8roward & Palm Beach ~ 7-t 3, i ~3a "Art is a kind of illness. " - Giacomo Puccini ?his o.c!ca!~cn has !ested ^•ar'v ideas once is rceonon as xS ergnt years ago Some nave teen re!atrvey good (The Muvc Issue. Paul Ga!btas 'D~ary of an AIDS Worker- series}, others were unquestitxteby bad (any- one mrss the Secret Shopper we don t} But cur most lasting !lea came •mlh the very first ssce cf XS on Jan. t6, tg91, when we tlevaetl an eMrre, h~-cobr pie to James Swar(h0U('S acrylic on canvas -Jotuney N74.- Withal faM, every subsequent issue of XS and now Ciry UrHc bas featured the wale ~ a South Flontla arosL As ii subjectng artists ro a week of ptrbGC scrutiny were not ertagh. every fah we round up the previous years worth d Gallery ~ entrants fa a friar exarttnaebrt at M- an active parnc.Dant and an ermuseC f Sorr?e- wrat :aut~eus aC.ccae of ;^e bCal art scene 'Thrs ~sn t :he clxnate fa art.' admits Shaprco, who nabbed Best ~n Stxnv honors al last years 1-brlt. th2 Musetun Of ARS fnghtfuly presOgiau annum exhibition. 'I tlrudc every. body corrtes fire and then aauts get foggy tram me sun. But artsts make art .n sp'te of whether anyone wants it a rqt.' indeed they do. And as you'n discov- er in the fWbwxtg pages. they're creating d b droves. tram Jody Brewster scomputer-gener- ated pep an, to painter Xawer Ctxtada s cobr- ftil representatrons of -growing up Cuban b Miami and of grownng up in Cuban Miami' to~ Lynne Krotrs unique apiNOpnation m tlead but- terflies roDon Shearer's arresting and unprece- i ') ~; Serve m fort Lauderdale. This Saturday, Oct. dented 'Positive Heart.- painted with the HN- 10. the Crry LNc Best of Gallery Edvbirion tainted bbod of an -artortyrraus stranger" rehuns, showcasing marry of the 55 artists Of course. rrarny of rite Cary Lnrr Galiery wtto have ~~ ~~ Dori Shearer, 37, of Holywood, used a stranger's HIV- appeared in tt>ese pages over the posdive blood m create this wont. 'tha piece carne tp me txnuse ff was an arns5 ~wII reman as anonyma:s as ate tlay trey about bsirig positive n your mind and over~mmg arty ilkress; he says. past yeas Judging the affair once organ sLau- `•rst sutxrnr•,ed .rev .vCrk `or ~,r cors:deranon n rerxe Pamer, tamer Museum of Art (fart Lauderdale) curates and present curator of nature Others ma svdee the proverbial ad mire i oroviCec :rev aosta n `ran, oven,s:n ~' Y 9 g"re cc~or n ~ photographer Cyde Butchers coNection Pamer wdl dole out one award fen Best m Show th~ev composttx:rtsl. fir>mng acclaim. `prune and a gr .-. stat,cr ar•Org rear' noro s ucper arxi several txxxxabie mentions echelon. C+ fey cold aY end up ^awk~ng sad cc.~^ arc ~ vas xrtrz,is at'he Swat- Shoe. ~ 0 As fa [he artlSfS themselves. they are an ~mpreSSive bunch this year, tnclUd- AS $hapMO Says. ff reCpgrnnon 7.ce5nt arrive tCCay tCmCrrCw 3lwavs 'J~e!ds ~p rig mere than a few nationally (and .n some cases world) renownetl painters promise '`Mto knows, in a hundreC years rr^rr rc-v .veer, i m ceaC. people xrl say. O~c ~ (HUCng), coiiag!sts (Bruce Retarder), computer rag s's iLaurence Garter) and folk you see the stuff Minn did?" ~ m arp StS PAM YC n - F ( s u 9i But br rove rese SS ar, s's a - _ , rng : ;,,rge •~ _se c~ _s uric •_~cer snc~ ~ f gut Te -a;c->; of tre Ga~'ery artists ar_ creatve .rc ~. c_a s st:, .ry rg •a clod" -^err- figures urreccgn¢ac,e wtll never •ea ; a , , ., _rr> ~ _..arncr ,,,-err; cczz'e- '' 0 sewes a pace r, re cver;,op::~ateC r,CicubuS~y ccmpentrve ar, rror!~ wre:rer :era cr inert and n the m `"- reg a;cnry of cases. a rev_• _n n O aOrOad Mimi SnaG~tC 's Ore Of tr±OSe artists jrnC2 mcwng t0 South` OnCa Tom New Jersey Behbltl. The Art Issue '2 years agc.:he Fa: Jacde des e rorag~st/asserrc•age asst ^as estac:sred verse f as octn -Jake Cline a from pays 17 Xavier Cortada Comments: 'The paintings are really about growing up Cuban in Miami and of growing up in Cuban Miami,' says Xavier Cortada of his colorful, stained glass- inspired works. Ttie son of an accom- plished painter, Cortada, 33, has lived in Aliami since he was a boy, an experience he shared earlier this year at the much- publicized CUBABA exhibit at the ArtCen- ter in Miami. Though that exhibit has since closed, you can still see Cortada's work at his Web site, www.cortada.com. Confect: 305/858-1323 ~~-:~~~3 Universidades tle Miam ti :«*.t~ Ind~' yy (1~ IY~ MAPTES q ~:c ;E PTIE MERE ~E !~A ~ Itp.//www. Nt~mettl-tom reservan la Pintura de Xavier Cortada, `ComuniGn en la Plaza', que se use Como cartel pars un simposio sobre Cuba en la U.M. MIGUEL SIRGADO E! Nuevo Herald reservar y transmitir la cultura de un s es una obligation de la instituciones que se ocupan de este tipo de menesteres. En los Estados Unidos, donde multiples comunida- des de inmigrantes se ha asentado en los mas disfmi- les punios de su geografia, las universidades se con- vierten en un importance pivote para sistematizar el estudio de los sedimentos que definen las nacionali- dades en sus diferentes enclaves. El estudio de los aspectos sociologico, historico, artistico, religioso y economico constituye una la- bor minuciosa que va mas alla del simple hecho de almacenar information muerta. Debe ser un proceso vivo a interactivo en el cual participan la mayor cantidad de elementos involucrados en el proceso de preservaci6n cultural. VEA CULTURA CUBANA, 2C Pagina disonada por IRIS ~UIROZ / El Nuevo Heradc • ~ ~ ~ ~ Seccion ~ 1 ~. ~ MIAMI Y FLORIDA Santoral del Dia Miami, Florida, Sabado 5 de Se tiembre de 1998 sAbado 5 -San Lorenzo Juetiniano p Domingo 6 -Santos Faunto y Zacaria, Develan en el Centro Mater mural de Xavier Cortada Cortada, un ex alumno del Centro senala como Tema de su obra "Aboguemos por ~8 ber,~anoa ZOS nlnoS ~~ Xavier (derecha) y POR GUILLERMO Pablo Cortada n CABRERA LEIVA al bello mu ral Ha sido develado el reciente creado por ellos en el mural pintado por el conocido Centro Mater artista Xavier Cortada en el Centro Mater de esta Ciudad . Deb~o Palilo , que liens por Tema "Abogue- Cortada, ,tea C.istina Ca- mospor los niiios" y que ref eja la importancia de que los ninos rraeco, Direc- estudien pare que puedan ayu- tore de Centro Mated Maria der a la comunidad. Eugenia Cos- 11 t Xavier Cortada, quien fue vier Cori da. alumno del Centro Mater cuan- (Foto RUBEN do nirlo, es hoy un celebrado CABRERA) artista del pincel que ha man- tenido estrechos vfnculos de admiracidn y reconocimiento con este plantel, siendo el mu- ral un" valioso aporte de su inspiracidn pare exalter el merito del estudio, como base del desarrollo y capacitacidn del vino. La Dra. Ana Cristina Carrasco, Directora del Centro Mater, expresd a DIARIO LAS AMERICAS su satisfaccidn y su agra- decimiento por esta hermosa contribucidn artistica al Centro, sobre todo por venir de un ex alumno de esta escuela, que ha triunfado en el Campo de la pintura. Hizo la invocacidn a Dios, en el acto del develamiento, el Comi- sionado de IaCiudad deMiami, Hon. Jce Sanchez, quien fue tambien alumno dei Centro Mater cuando niiio. viene unasvez porsmes al Centros pare hablarlesea to sninos de la importancia que time el estudio y la asistencia a clases pare ilegar a ser un adulto titil a la sociedad. ~T . ~~-~~~3 n y ._ ~ Tr,~ ~ ~ L L '- U C a ~ c C • O ~ w O] H >~. y ly .~°. N c? 3 F--~ r--~ ~~ attai ei~i#N iP aa~l ~si~a~ia~tF- - 3 •~a 1 ~ 4.p •a;~1~ m ~ ~ ~ u . uuema, ` . ~ C `c3~~=~ > ~ g ~a E c G=„-a O ma c" E Y v E^~' ~ ~ Y ... 3 „ m G ~ E ~'` `~~'~ utxE'`E ~, C r V C N E W ~ scs~,_E+r? ~ ,~mE ~ `^oG° A N w 't C tC«L G v W• ` W~~ ~ J ~Y~/ - t V~ t V V m0. C V n ~ E y ] . v 1 m $ `c Art ~ ~. ~ ~ u 3 y~ ,. V ~ ~ ~ W '" _ V 7 V V w Y~ ~ n v 3 t E u' t~s e R ~~ w w q W a b ^ '~`.c'~a E ~v`u y ~ ~iti - ` omnEX eL pwa ~ ~ a- ~ • (~ t C w ~^ c Oi0 ° ~•at O O ~ 3~-3t==_•_~ - EE .'7> ~ w w~0 4pCp ~ ~ Lq$pw$ ~( 70~ria36~EYG~GL r•m C~cYi u~ COV O~`-CJ O~fC~ Ewv ,CYm O W Ev ~ t ='" u ~ W h W C. C t.. 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J` ~ J ~, ~ N ~ ~ J I I - •-• J ~~ JfN J ~ ~ ~ f r - .1, v ~ 9 G := r. - _ ,r f J~ r J n J "' ~ _ .-. ~ :J ., ~ r - ^J 11 > ;^ f n - _ ~ .~ ._. ~ r r ~J .: J :-. . ~ ~.. %.- _.. J ..~ . _ ~ ~ .~, _. 'r ,._ _ ~ _ J , , , r .'~ - j ~ ,r r ~~ - - - a _ ~ ~ - -~ *' ~ .. - n - - - '~ ~ ~ ~ - _ _ - . _ =_ _ ==~~5-~.~~3 m ~ L~ m . .. U ~ N c `° c N ~ ~ t6 ~~ X a~ a i W t m m = U c a c ~ ~.. Z m o w ~ X W ~' mat d~ rn ~ m ~ E io _ 3 LL ca € ~~ a~ C O .~ c c 3 a~i ~o L U d 3 a 3 v c W a N W Z Q 0 z N A Z d 61 THE I~ERALD, SUyDAY, JUrtiE 21, 1998 .~rtgs~ ~r~ftin mural ~~th w®rldl Tessa ~ Y g Miami's Xarlsr Cortada - whc has a law degree and a master's in public administration but spends his days as an artist -leaves «'ednesday for Switzerland, where he'll create a mural for the GAIL ~~~Q~~ PEOPLE !N 12th Interna- tioaal Confer- ence on AIDS. Convention attendees are to participate in the creation of the mural; Cortada sold the idea to organisers several months ago via a-mail. TrIE ARTS "Your job - as an artist is to create oppoRunities," said Cor- tada, 33, a grad of Miami High and the University of Miami. "That's as important as the pro- cess of painting." His plan: to obtain from 1,040 , of the 12,000 participants a slip of paper with a sketch or an essay about AIDS at the end of "a mil- ; l e n n i u m plagued by • plagues," he :says. He'll cre- ate a central image and then ` incorporate the other material onto the can- vas, which is to be more than 60 feet long and 20 feet high. "It's a way to help the confer- Cortada erica not end," Cortada said. By July 3, when the gathering closes, he's scheduled to have completed the work, which will then travel to different cities every month until the next International .hiDS Conference in Dakar, Senegal, in 2000. The Geneva convention culmi- nates astring ofgood luck for Cor- tada. Last year, he was commis- sioned to create asix-panel mural in Washington by Mothers ,4gainst Drunk Driving, which brought tc Capitol Hill youngsters affected by drunk drivers in each or the nation's 43~ congressional districts. The work wound up incorporating 450 pieces of art. Last month, aorta-man show of his exuberant, colorful.paintings - Cubaba -closed at ArtCen- ter/South Florida on Lincoln Road. And in October, at the opening of Niketown in the Shops at Sun- set: Place in South Miami (rising from the rubble of the Bakery Centre), Cortada will have three paintings on display, two of which will be copied and magnified into glass mosaics that will cover the exterior walls along U.S. i. Each painting will become 108,000 pieces of glass. One captures base- ball, the other soccer. He beat out SO~ther applicants for the job. e7~`~~~~ JOC~L 'SATURDAY, JUNE 2~, 1998, F' SECTIG': C;lie ~:3er~t~ TEACHING A YOUNG ARTIST Miami painter Xavier Cortada helps 3-year-old grant from the Miami-Dade Cultural Affairs Coun- Kristin Alexis Agosto with her drawing at Jackson cil. The children are being treated for cancer, Memorial Hospital's Children's Cancer Clinic on sickle cell anemia and hemophilia. A mural of their Friday. About 150 children participated in the artwork will be displayed at the clinic for other chit- "Arts in Medicine" project made possible by a dren to enjoy. MOLLY VAN WAGNER /Herald Sta}t SMOKf fRONi A Cuban Cubist ~'> . . rami artist Xa+ ier Cortada proudly hosted the open- ing of lis Crrbabn exhibit in Miani this past spring. The son of Cuban inunigrrnts, Cortada's exhibit was geared towards the Latino popu- lace u1 south Florida, but cvas not limited to that group. "Cuban, American, both, or neither," says Cortada of his all-inclusi ~ e target audience. The ttvo-week exhibit celebrated cultural di~•ersitt; and provided communih• members with the chance to nericork and socialize. Various civic, profession- al, and educational groups were represented at the exhibit, held at the prestigious Artcenter on Miami Beach. Gro+ving up in tittle Havana, Cortada identities equally with Cuban and American cultures. "We're seeing a new breed of citi- zens," he says of Cuba's recent contribution to American s+xiety. "~ti'hat the Irish, Germans, and Italians did in previous genera- tions, the Cubans are doing now. The sho+~~ is geared towards any- one with a hyphen in their nation- alitt; whether they're Cuban- American, Italian .American, or Jeccish :American." It was Cortada's inunersion in American culture that provided 38 SMOKE • sut~talFa t~vs i~.. 1~ the name for his exhibit. Asa stu- dent at the L~ni~ crsih of 'Miami, lis surname was nlingled bt' his fratemiri- brothers into "Cubaba," and the pidgin-Cuban sobriquet stuck. Cortada ++~ent on to earn his la+~ degn~~ at U?~I, though his art muse precluded am hrhrre as a barrister No+~• ?3, Cortada describes his ~+ork as "an amalga- mation of DeKoonig and Picasso, ++•ith a lot of color thrown in." Once the sho+v closes, Cortada will start working on a mural that Nike has commis- sioned him to design for a new 'Niketown' complex in Miami. Onlike many of his art colleagues ++'ho esche++' the marriage of conunerce and art, Cortada is eager to spread his message via ant' available means. "I"+e taken nr, art all o~ er the +~ orld, in an effort to rer h as mam as possibk~,"" he comments, mentioning recent +~isits to the impot•erished townships of South Africa and begrimed streets of Buli+~ia. "I ne~~er reall~~ bought into the 'star+~ing artist' concept. Plus, +~ ith m}' girth, I can't really pull it off." Spoken like a true .American. held afete-a-fete in Mexico City in late January. Culbro counsel Ross The protracted legal ~~rangles over the rights to the 'Cohiba' name have continued, as the Grisham~sque plot heats up and takes new turns. But first, a little background... Cuba's Castro government originally produced the Cohiba dgaz in 1966, selling it in select shops in the early 1970s and marketing it overseas 10 years later. General Cigar, a subsidiary of Culbro, did not purchase the rights to the existent Cohiba name when it registered its Dominican-made Cohibas in the U.S. in 1978. Until recently, the agars were sold sans bands or boxes. Habanos S.A., which oversees all of Cuba's cigar brand names, filed suit last fall against General for trademark infringement, among other charges, seek- ing to void General's registration of the Cohiba trade mark. It wasn't their fast attempt: about a year before, Habanos S.A. had unsuccessfully petitioned the U.S. Patent and Trademark Office to wipe out General's trademark. General's launch of its new Cohiba blend this past fall, in which the banded and boxed smokes were widely available in the U.S. for the first time, prompted Habanos S.A. to step up their efforts. In an effort to settle their differences out of court, the warring factions Wollen called the summit "amicable and positive," adding that "both parties are working on a written agreement," and that they were to meet again in the spring. Right around the same time as the Mexico meet- ing, the Cohiba Chronicles took another twist. General won a court battle with Global Direct Marketing (GDM), which was importing nnother Dominican-made Cohiba into the U.S. The cheeky GDM folks caught General's attention.by issuing a press release stating that General's Cohiba trademazk had been suspended, and warned tobacconists and consumers alike to look out for General's counterfeit Cohibas. GDM distributes cigars made by Monte Cristi de Tabacos, which manufactures Dominican versions of Cohiba and Montecristo. The judge in the General v GDM case ruled that GDM can no longer use the Cohiba name, but General was not happy with GDM's subsequent adherence to the judge's rul- ing. According to Wollen, GDM has continued to dis- tribute Cohibas, and the 'C' word in question still appears prominently on the GDM Web site. General slapped a contempt of court citation on GDM for their alleged disobedience, and that decision is cur- rentlypending. ~'rr~i~~ ;,ARLES ^ KEY BISCAYNE ^ LIi ~ LE HAb'ANA ^ MIAMI ^ SWEETWATER ^ WEST MIAMI ^ WESTCHESTER ~~ THURSDAY MAY 28, 1998 ~e ~ittmi 3:~ier~ll Painting the walls of City Beautiful Gables officials consider proposal to allow murals WORK IN PROGRESS: Artist Xavier Cortada sorts through pieces of glass which will be placed over a mural created by students at Coral Gables Elementary. The mural will be installed in an interior courtyard later this year in celebration of the school's 75th anniversary. The city is currently debating a plan that would put more murals across town. ey ELAINE DE VALLE Nera1C $lae Writer Picture sualling dawn Miracle Mdc, looking thmu¢h ~enulows at the wedding gowns..hnes and jewels, reaching nc~ red light a1 Salzedo and stopping. Cvld. Caught by a cvllagc of colors to the left, you see a the view from a cliff vn the Mediterra- nean. Or a Romero Britto abstract of the Bittmore Hotel. Urban art? Eyesores? City officials are mulling a law to allow murals in the City Beautiful: a town where prop- erty owners need government approval before they can paint their buildings in just onecolor. Now, murals arc a no-no. But Gables Planning Director Rich- ard Bass, who found more than 20 blank walls in the Central Business District that can be filled with art, says murals could be a creative, artistic way to activate the downtown. Not everyone likes the con- cept. Gables commissioners say they are supportive, though cau- tious and skeptical. Mayor Raul Valdes-Pauli said the city must initiate a murals program to stay within the circle of major world cities. But Vice Mayor Dorothy Thomson urges caution: "We need tv go slowly. It's a big deci- sion and we need to explore all the ramifications. It's something we should nut have second thoughts about after the fact." Andres Murai, code enforce- ment board chairman, has many concerns. "How are you going to PLEASE SEE tWNtALS, 14 v ' Atl w y wrov a~roaE r M.rtta stet ~? z ,_ 7€ °yQ Nev M£y_oaa ~,~~° ~r Etu~uv-cv ~c~~'vr _~ ° C> i~ ~`y^y-c~v q v~p r €r ~'-' ~ ` ° eS=L.caw ~--ci~=~r.%_'oR a U C ~ 3: WO ~vey~G;> r6p~yL Ofi„ 9E~~n i' OY =~ ~~v ~~v~~ ~0 ~.. ''_•~+V m E c b0 C C _ 6~ £ E.-o3ao 3 Eoccs >.°U ~~~v~"'v Cc.__3.-'on- cEq^ yR _c m ?,~ fi' 1. n. 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O ,--~ I ~ cC .... ~ _ i~ ~ F Itilensaje a la juzentud en obra de estudiantes de escuela secundaria Los estudian- tes de Palm `` Springs Middle ?! School, 1023 - R'est cane 36, Hialeah, traba- ~ ~ i~'`. ' jaron con el pintor de 1liami ~. ~ ~'' "'~'- Xavier Cortada ~`~~ ~ _, pare crear un ; , mocaico de cris- ,,~ ~ ' ~-'' ' tal, con el pro- -~~~,, ~ : ' posito de envier `~ ~ ' un mensaje a ~~~.,rr^'"'"~r '; las futures ge- =: ~,,,.. rM""" neraciones. Los estudiantes titularon la composition " Proyectate hacia el fnturo" . En la foto superior, el pintor Cortada, a la derecha, observe la obra en que tambien participaron los estudiantes. En la foto inferior, Vi- vian Bonnet entrega a Cortada una proclamation de Hialeah. (Fotos GC .~ G~ .L"i ~.+ .~ !.., O .. ; a~ie`i _., ., ~.. ..r, ..~• ri „i r,~... r .a... .Y'r ~v V .~:: ....- ~. :'~ mt o° ~~'"~mN v,~~ om ~ m c~ E~o a~~N o` my N 3 E O LL U N ~~,cs__tc*~ 4 -cE ~ O Ctl ~ CV a y m O m '~ co ~ p L tD ~ t E m o,= ~~ f" d ~.' ~ .' 0 ~ ~ U ._. 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V L N .. °y 'C f_ -c E2 a u c u A-`c ~' u c ~ N` c°v Z o E ,~ i ~u i Et A H.0-°> o co, °,`-°c m~ a ~v° ~ ~% Z.E`oY ~yLU"~c n-c~EA.uu..E u,~A..~`o ~v_ELu AL OC O m _ N ~ c ~ 3~=v ;~Y yfF-°-eeo ;.?',?c _u Ot gag ~?03c c- c o Q e u ,. `n ~ " $ h oAE=i f=-.~t~c'°u °E~£~E °u~TA°J` `~wory a J ~.~~v~ up NONE VL.E~OOU.J ~°C'°c ~e0 3c y ,ow '„ ~°.t2 `oR nULC .ui • r~.. v.> n_Y n-Y3= ~. z U O m m C7 m ~ ~' rr ~ N a¢ L ~ ~ q .-• '~ C o ~ i N Q O ~ ~ ~ Artist's life permeates his paintings emories come in mosaics for artist Xavier Cor- tada. The fragments of his childhood surface like swirls of colored glass in shapes only a kid from Miami would recognize: The tittle Cuban hexagon at the shrine to Our Lady of Charity. The wan- nabe-blond quineeanera waltzing in a hoop dress on her l5th birth- day bash. The Miami fret boy's juxtaposition of kegs and cafe. His art is a kind of eye- w i t n e s s account of the culture clash that defined his formative years. But its message goes beyond the uZ cubanito identity cli- BALMASEDA che. It's about memory. What Cortada remembers in his 33rd year is what has shaped who 6e is, an art- ist whose star is soaring. Who he used to be is what shaped the exhibit he launches tonight at Art CentedSouth Flor- ida, at L037 Lincoln Rd., Miami Beach. To his Spanish-challenged Miami High buddies who always stumbled on his last name, he was "Cubaba." It was a nick- `: name that stuck and took on a life of its own .. well into col- ~'. lege. He wore it - N ~^ ~ ~,,. like a toga at Lambda Chi Alpha parties, creating a _ Taco-Bell- meets-Animal- Cortada House cartoon. As a jab to those who thought Cubans and Mexicans came from the same place, he'd sometimes throw on a Mexican hat over a toga and whoop it up. He even made up a "Cubaba" dance, a cross between The Wave and the guaguancd. And it was all in jest, back in the years before multiculturalism was an expressed concept. Taboos questioned Behind the punch lines, the guy in the Mexican hat was processing some pretty huge cultural stuff. The Miami-raised boy, born in Albany, N. Y., was beginning to question some of the taboos of his Cuban culture. He began to bristle at the streaks of ractsm, radio demagoguery, political manipula- tion, homophobia. His sometimes jarring reper- toire of memories is exposed in this exhibit, which he calls Cub- aba. There is a painting titled Los Verdes, The Greens, an indict- ment of racism that refers to the term some uppity white Cubans used to describe black people. The stately figures in his painting rub a finger on their forearms to stress their point in characteristically racist code. Then there is Radio Bemba, Radio Mouth, a portrait of a radio hate monger. "You see, no ears. It's all about mouth," he notes. There's also a flashback from Cit- rus Grove Middle School, where Cortada fiat danced the conga in a talent show. And, of course, there's Cubaba, a self-portrait from the fret years. ConNicitng forces One of Cortada's most striking pieces was inspired by his first trip to Cuba, cone-day jaunt for Pope John Paul II's mass in January. It reflects the clashing forces he sensed that day in the plaza, where he stood in a green University of Miami shirt shouting "Libertad~' Cortada's range of subjects tell the story of a local renaissance man, a muralist whose works hang in cities around the world, a social worker with a law degree who dab- bled in local politics. Plus, like any good cubanito, he has a website: httpd/nww.eortad~.eoen That is how Nike found him last year and commissioned two 24 foot-tall murals of glass mosaic at its upcoming megastore on U.S. 1. For this project, Nike con- tracted an Italian the company, Bisazzi, to magnify Cortada's paintings into stained-glass murals. Now that company pro- motes the "Xavier Cortada Line," the amplifications of his oil can- vases. Not bad for a Miami fret boy. ~~-J~~~~ ~ (/J } Q ~ ~ ~ r ~ ~ ~ ~ _N a J_ °C _ m Q .~ U m A `O? 1~1 J Q. ._ W i..~ m ~ •~ '~ ~ ~ n. Q ~} V o ~ n ,: 0 '~ O O v T « ~ U fn Y cv ~ m ~O U~•- z y L iC ~ O L y a' ~ >, cc~~ ~ ~ a F-tip-o - L O.~ > ~ 1 '- 'v U ~ ~ b ~" J .- c; G ~ ~ - ~ ~ ' n ~ - j :y > , ~ , " ~ ` ~ U c r _ -- ~ ~ G . V ~ c'3 >' u p O ~ J ~ a >> p v. c i - ~V~t 9 ,~n~ G„~;nC v:E ~ V J O ~ 7 C ~ , ~ rn - L >' a cC ~ r Y ti-. . .. ~ :7 ~ C ~ Y C ~, v 3 ~ G G ~ ~ ,~~ o ~ r, pp ~ ~ ~ ^^ ;ri G ~, ~c C 'O 3 , j . N_ V r ~ ~ S ~~ ` ~y • • c,L~~ ~~ a a~.c L G '~ ~ ~ = rC - _" C C -O .C .C U • V C u V ~ ~ ci n O X • ~ ~^y O = ~ '~ X :~ O C ` 60 c." 1 ~ U ~ G_ V O u 'p ~' U D~'OL` c I G ~n u v=- -<r.,,~i t. 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J L+ -= •~r ~ r • r ~ ~~ y~ r =, y•~ U ~ :~-~ ~~~ _~ C C~.~ - r /. t J - --_ =s~= - '-~~ -- -_ ~~,_ -_~ _,~__ __ --_~ ^ ¢j ~Y~ nOG `~~~' C~OC .~i~ry'b r.,~0~.=3~ ~~ ~..~ ~~ ~' V S... :..1 C :~~.W.1 T- _ --~:J ___`._ _T.na L°.w2., ° `o ~': ate= _=Y ~~~~"` m`- ~-¢o 9 J-~ n ~ ~ _~ ~' 7._~ = ~_-~ - ~. ._ =T 7- 0~ O Y41~ C ~ .. ~ ~~.~ Y p J J ° r Gy L i ~ _ _ _ ~_ _ _ - _ _ y ~ G n- - Y.. ...c ~ _. _ _ y __ _ J O~ J ' _ ~G___ _ _ ~:i L~. ~7~..~.. ~~ L~y~~.~i sw g uo!~oag 9664 '41!~dy '~(epung '!au!luag-uns 90 L 3JVd ~1d1S = -u a ~u au ~f_ _. ~r [ ~ CPERA REVIEW, 2G ~ CdNCERT REVIEW, 6G t~ .-:_:- ~hc iicrn(~ Joshua ~eVl~2 BEAUTY OF THE UNUSUAL• Sculptor Joshua Levine, posing with some of his slippery. self-lubricating rubber slugs, exhibits his work Feb. 1d-March 7 et ArtCenter/ South Florida on Lincoln Road Mall. Levine's goal is'to bring back the idea of the art superstar.' JON KRAL i neraw Stall A SEW BREED Of ARTIST Abby Gen~ei PERSONAL: Abby Gennet, wno grew up in North Miami Beach,otten mixes social commentary into het artwork. TMs is One of the self-pOrtfallS that define her work. ~~ /r ABBY GENNET These days you need more than talent to catch the public eye. Sales savvy and an understanding of the market are musts. ~ TANANARIVE DUE MerNd Stan Water avter Conada is not shy. Gruen that he once expected to make his career in pohucs, the Miami law-school-grad-turned-art- ist is no stranger to self-promotion in the name of spreading ideas. W'Mch is exacth~ what he's doing now, except wuh apaint-brush. And Conada. Lke other emerging artists, is teaming that there's a lot to be said for an outgoing Ixrsonaltty when it comes to finding an audience. "You've got to be a real entreDreneur," says lane Gilben, director of Art Center- Sou[h Flonda in Miami Beath. "I think there was the old myth about artists that once they show there talent. someone will become their pawn and take care o(them and move them forward. And there's less of that mythology pracnt today." Here's how three young artists arc taking ca rc of [hcroschcs: XAVIER CORTADA A Nike researcher had (Quad Canada's Wcb sae at www.cortada.rnm, where he has elaborate presentations of hts surreal-styled paintings. 'I saw Xavier's stun and [said. 'Oh my gosh, 1 love this man's paintings!"' says Cheryl Hunter, a designer at Oregon- based Nike. ARer that, 33-year-old Conada was com- masioned to paint a 20.f[wt-high mural that will be displayed on the wall outside rho new Niketown store under construction on US I, at the former site of the Bakery Centre. Cor- tada was chosen from a pool of 50 other art- ists- (Conada's mural, which depicts a highly stylized image of soccer playing as a means of banging people together, wdl go up this fall). Bu[ Conada insists the point of his Web site, which he designed last March and updates constantly, isn't commercialism. He wants to leave a legacy. "It's not about painting something that will make today's marketing director at Nike happy -that's not my audience." says Cor- tada, who began painting (or the first time One day last fall, out of the blue. Nike I.'.t QUICK READ it nYP l-'i? ~(? F ~I P ~ - Ln Mt'nR,rS .v tY ,. - Cal ~~ <<0-649c tr, y ^,; - ,. 1 ~ 1~ -. _. ' . o PLEASESEE ART19Ta, 70 Sari ~;?a' ~ c Ir i°~ l Huma under- our ca for mt ~'1` hr aurrr This is a coi . Karla Fasc Tu,~ The pn~nt- because Tu~k~:~ ~ ~ ~: ~ `' IEONARO PITTS Jr. remarkahic as.. ~- took u0 her eau... mcl G, Pope Inir ~~. her aicums' lac cangclist Pal h supporter of t., petitioned for n _ The rca>nn !~ fucker ••.a~ embraced C:-: ~•~ become. the. ~a:. The argumcr naked hvlxx ns~ That Tuckc: course. ohvu+u~ and transfiguran But can we h- Favc TccFcr woman. ho•+ n~ ?LtA~: High h~ to I~fiss begins it ^ iF VOU GO.7G eyAUORADS.eu Herald Stak Water n the I-am-~.+ I ~90s who s u pctcs in the ~I pageant. It rhra•~,in•-r that. Gx a d+u:- hopctuls. hcgir. Sundae wuh tr Miss At~am. Scholarship a i. ICSi. She's a enlle. scnmr, a prod u. of the (ostcr-car system who pla r. to work at one +• Miami's t~•. accounu ng tlrm~ Or a high. school student :~ San Salvador aro~ he awareness of Or an asp!re nccomplishcJ P wants to Launch d rn nt•4r1~ n'. i' ~~-~.~~3 SATURDAY, ~EBRUARV 7, 1998. THS HERALD ?G aggressive marketing pays off for savvy ne`v breed of artists :STS, FAOM 1G high school five years ago. r years of social advocacy e- He has toured from Latin sica to Afnca as an at-risk h expert. --.fy audience is whocveis g to drive up US 1 in some netic-propelled car 50 years now, who'll look a[ that and 'Oh, [hat was the art in the .)s. That was a Cortada in the Js.' And to me, t guess the best 1 can market myxlC is that i • what t do really seriously, I think about it in the way a ~spective would want to look ty work." mbining art wfth work or that reason, Cortada says, never concerned himxlf with <ing sales. He was able to sup• t himself by combining an stir message with his social .ice work, which dovetailed ,fy in!o his first one-man show Madrid in 1994 -where he sent as a speaker, not an art- But he took a cratcload of his stings with him anyway, and ;et up an exhibition. he strategy paid otf. By 1995, sold his first paining in San onio -for 54,000. Cottada's Miami solo show, entitled ~cba, is on the exhibition edult at the ArtCenterlSouth rids April 4-M1iay 9. Because I was a guy who was dentialed with degrees, 1 was ky enough to be able to get that J of stutT. t didn't have to be a nny's waiter and then paint at ht in my studio," says Cortada. iut even now that hts art is Pull- in an income of its own -and r*.ada is more artist than social ~kcsman - he says his aim is money. To me, art is truly about ~ressien. It's abou[ leaving my ---emcnt on this world," says rtada. "The truth is, it sounds sly bizarre, but this is net about ing paintings. And my audi- t is 50 sears away From today that's tht w-a) I envision self. That's the way I think [ . kct mssc!r'. eY GENNET "totog;a -~ r 1bt; Ger-:c;. 25, z - ! t ..I s t5 r sr' ,.- .>cl-,ro.ot., r,r. r- aEt~ar ~ surart r n~a sun `This is not about selling paintings. 1~1y audience is 50 years away from today - that's the way 1 envision myself.' XAVIER CORTADA, South Florida art'.;: nary step of asking to see Gennet's slides. Just a Cew mo« seeds. One day, they might sprout. "1 just want to get (my work] out there. I just want everyone to sec it. There's definitely messages I'm sending out in my work," Gennet says. "It's not like I'm trying to become famous or anything. It's really exciting forme when people buy my work - it's a really nice feeling when people respond to my work the way they do." JOSHUA LEVINE When Joshua Levine graduated from the School of the Act Insti- tute of Chicago and came back to Miami four years ago, he realized an artist's life wasn't what he though[. The artwork itself, he found, was only the beginning. "I had an cztremely unrcahsuc view of how the art world works," says Levine, 25. "1 wasn't aware of the an of getting your work shown. There's a whote'nother art in that." He'd hoped to leap into galleries with his offbeat, childhood-inflw enttd sculptures fashioned from ma[erials like wax, soaps and latex. One piece, made of polyes- ter resin, is a formless flesh-col- ored core sprouting multiple limbs, like an accident of genetics. One of his newer works is a collec- tion of large, colorful slugs made from slippery sel(tubricating tub- ber. But breaking in wasn't as easy as he thought. "last summer. 1 didn't expect to be part of any shows, so 1 rcal- ized~i(I wanted to shoo my oun work, the best way to do it would be to put on my own show." he sass. "1 also wanted to insal~.c other people whn;t work cnjo}ed, ether anm; : knc~c." Making it happen So, he aske;: h:; IanCinrJ i(h could Conav_ some spat m a Nenh V:ami uarchousa. tit c::- pat.ng anti<:;, a w ,hc. I:r• ...-.~. the show in August in a 3.800- square-Coo[ space. The mono;' covered printing costs for the invi- tations. Local galleries and the Museum of Contemporary :\r. helped spread the word. And it was a great idea, says Bonnie Clcarw•ater, director Di MoCA, where Levine is a volun- teer She says Levine has learned (coin her, and from his former Uhi grad school professor, sculp- tor Robert Chambers, that artisa must create their own escitement- "You can't sit around and com- plain," says Clearwater. "He's smart in that he voluntcus at the museum, so he's gotten to meet al'. the international artists who co:~.c through, so there's an exchange c. ideas. it's having a sou«e of dia- logue that's important. \\'c're drilled into him the idea that you want things to happen, yo'.: have to do it. Things don'[ haCptr. on their own - an individual car make a change." Next Saturday, Valentine's Da Levine launches his fiat solo show, Lave Srory, at AnCec- tcr/South Florida's e.xhibincr. space at 800 Lincoln Road Mah fir. Miami Beach, which contir.uc; through March '. He also has been selected to participate in Art- CenteNSouth Florida's 13th ann:- verrry show in plarch, and he is now represented by Ambrosin~~ Gallery in Miami. Levine afro wants to Pitt r. another yourr;, artists' exhibrt~o-. this summe:. "The end goal would be to bn:: _- back the idea of Chu art superstar. i foci that to•.~ard tF.c end o([hc'SG< and the collapse of the att marF.c. wilt the'SOs pep a.^.tsts who dir.: an lost iLS 'cciebn:yrsm."' say- La' i nc. "M~ persona. coal is to e'.c^:=- alh hr,~,; that u:l L -: It a sat. b . ar o.t.ouc Tha:~; r. <'.::Ind what Cr is°. ::'ll it •.~-: n;,; :. Ju-•sni:h is _,~!ot stcd:na . -, - o. ..-_ ,I .,_ ATTENTION-GETTER: Xavier Cortada's Web site featuring his artwork led to a commission to paint a 20-foot-high mural for the new Niketawn store on US 1. her mother, Meg Green, a (finan- cial planner who appears each Sat- urday on NBC-6's Goad :5lorning. South F;orida. "She used to always get ragged on by Neil Rogers. hty mom said, 'Y'ou know what? As long as he's saying my name, 1 don't care what he's saying.' She's always a big supporter of me and my work, and she's ahvays encouraged me to get out there and push my stufT," says Gennet, who grew up in North Miami Beach but now lists in tie••v York. Gennet eurtently has a photo exhihition at the Stephen R'att G311cry in Miami':: Design Dis- trict, which tuns un[ii Fcb. 27. Gennet's stylish soli-portraits range from lampoons to social commentary, In one. She-s:rouch- ;cg:n a l:n_r bez in her bathroom; G. ~t Jcp-as hu--"i _; a pr~-t .. dapb~ir;; of her nesborn fi rte,:y ~!'"~: ano;i:cr \L\f ~cnu~:. T. ^.t c. n:cr~s s rd. i ~ ~ ~ Rd-. baby, then dolling up in the mirror [o go back to the prom -based on a real-itfe event last year. Gennet, who was trained as a photojournalist, moved to New York nearly five years ago. She supports herself by doing com- mercial photography for bands and actors and working as a studio production manager at a photog- raphy studio. "When 1 first moved here, 1 started planting all these little seeds, and they're all starting to sprout," she says. "The past cou- ple years, I've had l3 shows. 1'vc FILM FESTI>,'AL SCHEDULE Here is teday'S lineup for !ha les- tr.a! tau screenings at the Gunman Center !Cr the Pertorm:r.g Arts, 174 E. Fla^yl?r St. M ami?. Tick?t5 ar? 58 !3G tvr F T Sr-aety momCe•51 and are available through TiCket- master. (95a) 523-3309 ~n Broward, ("x05) 358-5886 in Gade and (56 p 9EE-33G9 n Patin 9each, cr at Ue Gusma box ol!,Ce 174E Fiag;er just been building up my mailing hst." Trading fsrora In a barter arrangement with a magazine Called POPsmcar, which is also a printing company, Gennet shoots photos in exchange (or frfe postcards. The minimum batch is 5,000, and she uses them [o promote her shows. She blan- kets coffee shops, rcmrd stores and video stores. "ft's super-important, because we « ally don't want to work with an artist who says, 'OF:, here arc my pictures, go sell them,"' says M1fichelle Sas. general manager at Stephen \t'att Gallery. "WC look at it as a partnership. 1\'e're not just here to promote the artist - thc artist Is promoting himself or herself as well." Gennet keeps a soiling list of }50 ga'Icnts, a^. lox e:; anJ maga- nnes She h•t, art gather rtes t -hakc'tard. Bawd on Itcr c:reu'~- 'ion at \L;.m: Beach's Gramercy (ntcmational Contem porarc Art fair at uta Raleigh fiatci, too i..rgc Euli<~ics took the Drchm-- <at~h ~~~~'-hi~tr entc'rtal%ln?ent at tee 19Jr5 Sreii.~;rc=Sea S{,vtc. take rr mina fli,,'1)t at Lu))IUlrics Lr;=rt and Sound Treater and check r,rrt !'airla Cola at SlrnFr•:. ~9~5'. Art Alliance Art Gallery- the;:,n~ tirn~tu::!ti,rnd Through Stac 6 '~_ L:r..:~ r .. ... ~`.h.:mi Itc.r.i: ;-~-"i- The Americas Collection - i' Fr ...+:, r~u:b:- Art and Cultural Center of Hollywood - . ~+ .t~ + +;: .i,r +_ ;,:.~.. Thnrut;h \tac 10 ~ !..rr.-.,., s' Art Museum at Florida International University - +r::;r >,;., \tac t5 Mac 15 Junr 5 ArtCenter South Florida - . : . ~~::,:,_ r,lt, _ ~ ~ ihroul,h Naa~ _ u ~+xh +. •Through .. \fac 9 Through Na} ArlSpace. Ramon Oviedo - r~~+++. .. .. . ,, ,.. \f as L Thnwl,h \fac it i ~:.....~ ...ic-- G.:lic•nr`. Il`.~r \IaJru.: jrr . l+,ra~ liai~lrs. ~ ~ ,yi-,i`+3. Bal Harbour Gallery - I,uL X<•n+-`(x•rnrc Nay'-10 ka! Har- >hnpnr~. ~r.und finer. `)-lx~ Q,lima Ate . Br Harhnur Barbara Gillman Gallery - Hrrnrarr Lcornna la.c -t;rn:-+rirs . -rn;an Lr.~nards tra,k and arhnr phntu¢rajths :., !rurnds _..:' t F .^:':,r. }ltzernld. Hulidac ant: Sinatra Through August 31 • tc P8s spr.;a: d+,a.n:rnung Lr. . .~ f :rm, i :~•r Franc + n Nat' 3. The s rr!mq B ..!:r; `;zv Bass Museum of Art - t: r: r+f U!'~::~kr :, ~n^r; ~,'lrrr+<.;:, n: .n:~i . L; ,i Through lone' 1':,;+- Tbr t::i Through June 28 ':': P::rk Atr \L n•.~~ lirl.lt - -_ Belcher Gallery - r,i t1 , Through May 15 ' +r+ s - - \laa 16 June 16 ~a:irr t -'e w:r h rr, !it .. .:,.;..:.:., \ .... Ongoing "1~ :!ms Boz Gallery - '.t .., Fr., ` Through May t0 ,' s ~ \~ Eaton Fine Art-Generic Night Cities -u !+ _ ihruugh Vtaa 9 e +-,. ,, • A ~. ..al~. ,. ,,, _ .:ur. it.. Ik.+,it !t.,i : ?lac _'1- Galerie Douyon - !;, . _..,. .+. ., ~~ ~ ;: I ;t',, , •,. t ,. . - Through lac 9 n .: M~a}~ ~15 Junc~20., Joy MOOS Gsllery - Sr+''-Taub-ti: :'a;ruan' Ubrks or .i r! Through Nay 15 ~~~ S F ~~th Trr_ Sliamt- 30>--^t•~!?- LOWe Art Museum - Cmreauc of \hami >LE.A. eshrhnu.r Through Nay 31. Curxnmers n' Beane- frghreentir Crrr:. Fiourr tesael. Through July 31 1301~titanford Drnr. G Miami Art Museum -Ann Hamiltwr U"Deer:. \ isual. aud;: nlfacton s;muli. Through June'..-Inn Hamilton the h nerd rhr oi7!ea. Through June'. Ceu U-brk U'Drrt~ 6 Im. Nac 1-Jul}' S 101 u'. F!agirr 3t.. \liami. 30~-i'i-3000. Miami Museum of Seienee - S,'.aR TREK": Ferterana: Scir, Font modular displacs alloca csitors to command the ~;.,~ and get a close look at Drops and costumes: mulumrdia ` Through Nay 3 3_'3i1 j 1liami Aar ,Miami. i0i-g;i-i_,- MUSEUM of Art -Duane Hnrtsorr A Surt'er ojHrs 1rDrks J)- rhe _,Os ro the 9ps Features life-sized sculptures sunrt;r Hanson =entire exucre. Through Aug. 2: UDrks hr Jlar.: Bnm Through Aug. 2: tropical Terrain: Soath florhla _' scaprs. Through Aug. 2: to a Aarraru'es Paumngs hr P+ Oisrn mri Rebecca Beer` Ptnkrrer Through Jul}- 5 Gl, errs. The S!on teller. Nae 1LOet. 15 One E Las Olas H R?^ Lauderdair 9~i-~?~-»iN= Museum of Contemporary Art - feu Ar: iu South Fh,nci: Uurks he Rohrr. Chambers. Dsr Frirdmar.. >lark Hancil+ Lcnnr Iinal!. Daniri Lorenzrtt,. \1. Lynne Rheam. Loiua ar,-\\ hire ind D> \lallacr )fay 8-July 26 --~i \-E i'~: \nrth \liami- 303-393-6?1 L Museum of Discovery and Science - Specrnt Ejjr•cs ' Ir tier esh::^,a shonca.r~ anifacts. trim and video dips frr,;r ular moc;es. highlights the scientific pnncipies of spcrwi rfkct Through Nay 12 i01 S.V:'. tircond tit.. For, La::.. rrdale 9~,-te--ti6a- Nordstemp Fine Art - u-arks M' Botrm. Caider. Cezar.rr ,a!I. Hartn_. Hcnknrt. Lan:. \Lro. Stella. \13rhol and ;u. Ongoing k+00 Clin[ Alourr Rnad. juitr 103C. Boca Rut+` ;uI QHF-v a~~. Norton Museum o1 Art - Faru.:!r:+ \Irrnhra of the cr;mr are asked to choose faanntr weeks of art front their un Iectlons. or from the Sunnds rrsen'e collecron. Througl Nay 1'. t7 C Eschrr Through June 21 .i,uruals a~ Jlu Nay 16-Aug. 23: Drnucnrs. Sclccnorrc jronr thc• A'or7un c-- Cnl/rc!iur: Nat' 23.Oe[. 25. 1t~1 5. Olia'e Ace. nest P.+I: Rice b FElkenberg Gallery -Glenna Guodacrc. wh++ >~ u'r rite mrn:n: llrtram \Ci,mrn ~ 1lcmurial to \C'a>h;r.gu,r.. , prr~rni~ !ter tr„ri: Ongoing ;_~ \\+>nh Ayr .Palm hc.:, T.Curtsnoc fine Arts - litter/r.~r Srrurcr pamtmF, and ~.. br E;,r!hirrn H,+i;nr~ Through Mac 15. Parer; as ;nrc,rt.. t o{ts ;, a:;k ttra.r Ongoing ^~.9 \.E Rath tit.. Furth ~. Wallflower Gallery - Rnnhnrr. C.t:4rr A multrmrd::, an.i ; u~ tzn:.,:a `r. reie•hranng the rnrrgr nt a+l+:r and h,nn ~. ai:`m. p,:n ,m any arhims:rd trains May 8-June 19 1" Tiuni a :L-un; ;r+;-; y.n~e,,t Wolfsonian-Florida International University - Pui,tn u Fa r.unr` •he tu~t.,n and rule ul Puhht a.*t m the C ~ Through July 3L !)n,uirrt; rhr trouts Dc :au•rr> / , rb,~ r \;v. 1=r~i: u:n~i+i • F,ru Ar.hurnural Jc~:.m .end futon.;:. ti:.~tt m,` .,, ++m~ Irmrn;cd ht .+rucrnu•. h+:n6.. p.unr:c. .:n I Mir.!`-Nac IS- Voc. 1 I'~+'1 \\~~hutcrn'. Arr. U;.r 86 - ~ ~ MIAMI M E T a 0 - ~- o,° _ _ -_ r W - - _ = - 4t Z _ - ~ - - ~ _ - -_ _ _ ~ ~ ` - - - - F rOr` IV ^ ^M x r... °' 3 ~ '~ 3 U o2S U m O Q7 a ~ ~-: w ~ ~ N ~ >•. w ~ w U Q u7 to C .~ N J- - -' - -~ _, z z - _ - .3 `' O f f ~t :. ~. t rt Painting a Bright Future Art has always helped define cultures and connect indi- viduals to their communities. In this spirit, Xavier Cortada. an artist. attorney, and community leader, works to promote a sense of histor}' and awareness in dis- advantaged communities. He is currently developing. in collab- oration with the Lowe An Mu- seum, amural representing apre- Columbiantemple inthe foyerof the Little Havana Institute. an alternative school that focuses on dropout prevention. There stu- dents incorporate images show- in, their cultural background. Based on his belief that art ~' ~ ~ .-- Xavier Cortada works on the Hasta Cuando mural in Philadelphia. murals with groups in cities as' diverse as ~~~a>hington, D.C.: Freetown, Sierra Leone; and '~4edellin, Colombia. "Art is a uni~ ersal language that embraces all cultures-it is dte great equalizer; 'says Cortada. "Efforts in which people learn to interact and work together teach people to respect each other's diversity. It also teaches them thateach person has a valu- able role to play." Cortada, an accomplished Cuban :~merican artist raised in ~4iami. reflects the cosmopoli- tandivisions ofhis adopted home- town in his work. A product of the forces that shaped Miami. Cortadabridges the gap between his parents homeland, which he knows onl~• through their rem- iniscences.and the modem Amer- man metropolis wfiere he grew up. He shortens the distance be- tween nvo cultures by bringing together elements relevant to all people. even where. Jtr~rciitu Bnrbassa HItiPi\IC • DECEMBER I9Ui ~~-~~~3 ~ .~ ~ . -`~ tutu the creati~ e pnkess hrin:= pev- pl: together, he a: iii ~ h pnxtu,[cs :ut a, an went of social change. Thi: ~_oal has led him to exhibit hip ~~ ork. ~~i~ e lei turns, :utd paint arte cubaba oming up Cuban-American, cau~_ht somewhere on the gangplank between identities, Xavier Cortada always struggled to span the two worlds that defined him. He was the Americanito who knew Cuba only through the hazy reminiscences of his parents, and the cubanito who grew up pray- ing to La Caridad del Cobre. The kid from upstate New York who stumbled over his Spanish, and the Miami exile w•ho labored to learn the difference between share and chair. But it wasn't until he hit college that the contradictions of duality turned sharp. Encased in that Americano world of fraterni- ties at the University of Miami, Cortada was never farther away from his Cubania. He had been raised in that near-Cuba that was el e.riliu and now here he was, a world from the enclave that defined him. -- His childhood had been spent surrounded by friends from unvisited but familiar places -places like Matanzas, Pinar del Rio, Camaguey. Now, living at the Lambda Chi .41pha fraternity house, his friends were from truly distant locates - 'vtissouri, Massachusetts, Kentucky. He was suddenly a tbreigner in hi, own home. It is in this muddled place that Cubaba was born. It wa> someone's mispronunciation of his name. And it stuck. Cortada became Cubaba, a foil to himself, a frat house caricature in cumhreru and toga who brought comic relief to the pain of otherness even while empowering the cubanito in the Mexican hat. Later Cortada came to view those Cubaba years as a youngster's crude attempt at negotiating identity - a necessary passage to ;elf-di>- covery, and ultimately, self-acceptance. Cubaba. the exhibit. is prod- uct of those explorations of self, and of one Cuban-American's com- ing to terms with that part of his identity is truly de ~ului and what part is de alla. The Cubaba series offers not the simplistic i~unu_>raphy of Cuban nostalgia, but the tempered expressions of being caught somewhere 1.¢ GENERATION n • unv ae between the truths and the myths that frame el erilio. When are you most Cuban'? When you're wearing you Cubaba persona in good- natured defiance of shame'? Or when you're kneeling before your vir- gen on the edge of Biscayne Bay. And when are you most American? When you're praying for an unknown island, safe at the edge of that bay, or when you finally find yourself on that mythical island, praying among strangers in a strange place° Cubaba reaffirms the precarious balancing act that is bi-culturalism. And the endless search that is finding a sense of place and person when you are the product of two worlds. Xavier Cortada, 33, is aCuban-American artist living and work- ing in Miami. Althoush he has exhibited in museums and galleries on four continents, Cubaba is his first solo show in his hometown. The exhibit is truly a cultural celebration. Abou[ then and now. About iden- tity and belongin~~. About being Cuban, being American. Being both, and being neither. "They distill the swirl of images of Cuban nostalgia and American y i _ _ _ ~ l _ - / _ _ _ _ i _ - = - ! _ - _ _ - _ - - - ~ 5 - - - I. - - _ ~ _ = _ _ _ _ _ f! - _ = ~ -_ _ ~ E - i . - . l: L - . ~ ... r. ._ t u ~W `cd- a E= E~ ~`~ LOO :a E~ ~3 C z= _ ~~ ~ V t y~= ~ ~~ E 3 u z L J `'i C L~ L 7 n~' j ~ C rJ" y d~- J L D ~' w 3 ~ u ~ ~ E ~ o = Z' ~ M _GG ~ ~ oC ~ s `, u r ^ y~ C~ C ~ r. Y~ i y W L C :J U >. ~~ L 3~ N E ~ _T L c; ;~ >, d S. ~C aU c ~'u ~ c L S C ~ ~ JL C 7 C n` ." c~ .~ ~~ L n ~~ E L C v~ y L C oS y '- 3 ~ O E C G ~ C u c_ . c W y c N ~~ ~6' L q~ v CJ t .~ C G~ ~ 3~ t y ri_ ~ c Y 3 C L L C7 R s ~ E `c s ` .n ~ ~ ~`- c~=j E c .^ `c' ~ c 'E u "' 2 -v 3 i C C .m 7 L C~~ C 7U u C Q .E ~ t~ 04 J e d lL ~ c_ c L 3 _ 7 L L L Y= yl'C O n j .'~ C r y a C O ~' C J ~ ~C u `o ~~ C. y~ c~ .E n E U n~ c cu. 5 ':~ ? L Y 1. ~ i THE LONGEST RUNNING WEEKLY ON SOUTH BEACH XavierCortada Mounts New Exhibit• ' 1' M f i ( ~~ ~ ~.~.1 f -~ ~.: .., ~~ ..~ .~ `Z x~ ..~ J J ^ - - J \../ J J v j .J ~/ „ - J /~ l J ~ l t 1 - .~ v _ L ~ L J T - - ~ N .~ [~ ~' .U C ~ T _ ~.+ C _C ,r ~ ,,, G T ~=~ J ~ ^j J r j ~ ~ .3 r T ~' J E ~' ~ J J ~ v i u w ~ _ L^ ~ 7 - x '~ _ ~ - ~ J rJ L :J t - n v 3 ~ - i, - ei - ~' T J u ,_., J r L 3~ r.. ~ ~ ¢ J T 3 J J :L ~' ~ ~ ~ '~ _ J f T y r J _T J C V J J ` J ~ J '~ 'J 7 C J G -_ ~ - J J _ - J y ... :1~ -U -_ ~ :J _-. :L - - -, J 1 J ! . J ... - J J L ~. 1 J ~ - J ~ ~ 1 J r 5 n L .~ ..' C CJ L JO~~~~ rover Coconut Grover O Page 17 ' rtada Has Solo Exhibit Xavier Co tarot artist ?Cavier Cortada addresses issues of culture and identity in his cola exhibit . Cuh:rha" at the i nh•r tiouth f h~rda on `Miami Brach. - Lincoln Road. The cho~.~. lecturing - ~~( Cortada'. mr+st rccem works. ~.d nn April ~, and ~~ill xrvc as a i~ I.x nine other receptions culmi- r~. +~ith the Grand Finale on Mai 9. ;d M the Florida Go~rrnor's Cuba i.nry Gmul?- I he painling.:uc realh about the nencr of gro~~ mg up Cuban in Mi- uul ofcm~~in_ up in Cuban Miami." C~+rtad~t. "The. distill the swirl of ~,~ ~+f Cohan nostalgia and American t~ a~ Bern by someone who grew up c middle of the exile enclave." The exhibit s title °Cubaha" was .alb the painters college fraternity ..name. II was coined by a fellow stu- whomispronounced Cortada's name. tada created an alter ego named +aba that combined stereotypical ele- rts of Hispanic culture and lo-American college life. The experi- of fashioning a new hybridized rtitc in his life outside the Cuban exile lase mirrors the unconscious and scant renegotiation of identity that rtcterizes exile life. Fhis is particu- . true ofthe generation that finds itself the h} phen.° 'the exhibit is truh a cultural celebra- "Cortada said. "About then and now. gut identity and beloneing. About ~tg Cuban. beine American. Being h. and being neither." In style and tent. Cortada. like his artist father and le before him, draws inspiration from Cuban School of modem art, evoking tropical palette of Amelia Pelaez, and the syncretic sensibilities of W'ifredo 1.am. And yet he offers the fresh point of view ofa young Cuban-American born in Albany, New York and raised in Miami. gr,rcrtidh balancing the influences of two cultures. teetering behyren hvo languages. fits heart beats at once for his northern birthplace and for a tropical homeland hr knows through the reminiscences of his parenu. Cortada's style is an amalgam of cubism and expressionism as filtered through the sensibilities of Cuban mod- ernism. The Miami-based artist works primarily on canvas. although he has created numerous murals and has an impressive portfolio of Drawings. He is also an attorney and community leader. who combines his artistic talent with his rnncern for social and political issues. Among the topics he has explored through his work are community development. racism. violence, poverty. political free- dom..41DS, and Cuba. Cortada has taken his work to four continents: giving lectures and painting murals with community groups and using art as an agent of social change in places as diverse as Philadelphia. Pennsylvania: Leadville, Colorado; La Paz. Bolivia; and Freetown. Sierra Leone. Locally he has been commissioned to create community murals by museums (The Lowe Art Mu- seum, the Wolfsonian, and the Florida Museum of Hispanic and Latin American Art) and non profit groups (including the Miami Lighthouse for the Blind. Centro Campesino, the Little Haiti Housing Au- thority. and the Little Havana institute among others). In addition, Cortada has been com- missioned to create public art for groups like Nike, HBO, MADD and the Indiana Governor's Office. Cortada has exhibited tius. Nairobi, Dar es Salaam, Peru, and in museums and galleries in Washington, Bolivia. He was the first foreign artist to D.C., New York City, Berkeley. San exhibit in Soweto after the end of apart- Antonio, Madrid, Johannesburg. Maori- held in South Africa. 1 i /ij.r ~ PERFIL / 4 ETC Thomas Moore. Jamas Baldwin y Paul Robeson / 5 ESTANTERIA 'Alt en La Habana Como en el cielo' de IJ Armas Mazcelo. y `Cr6nica de hbrces y bandidos' de AndrEs Oppenheimer. / b MUSICA: Andrfs Oppenheimer. " Welcome Every Guest', mtisica de Rowland y `EI Lao del cello' / ~ ~rC~l1 ~f'1: Postre, / S DE RONDA g ARTE: Lydia Rubto la creacidn Como teorema. / 11 MISCE- Lt\NEA: Hector NSJera y Pedro Le6n Zapata / 12 MODA: Los 'The Vattla Printlg' de 1 /, ~"IQY Xavier CoAada roctros de InEs Sestre / i•~ EN LA SALUD / 15 SALUD: Lai vtrtudes de Ia siesta. / 1 fa WALTER Y MARIA REGINA / 17 FEFITA Y CRUCIGRAMA / 18 TIRILLAS Portada: JOSE PACNECO SILVA Edici6n disaf5ada pOi JUt.K) C. HERNANDEZ F=otos de ley pinturae en portada: ROBERTO KOLTUN Fotos de InAs Sestre en portada: CORTESIA OE LANCOa~c Redactor en jefe: DANIEL FERNANDEZ a...re.,+e e.+n,,.;..r raw:nvt A AIAQAM ARMANf)0 ALYAREZ BRAVO rold H Asf, Cubaba es una pmtura que (rata de artnomiar cl habcr e CritiCO de A.ro de Ei Nuew nacido en Estados Unidos con 1 artists miamense Xavier el ancestro cubano. Un proceso i Cortada ells presentando - en que los elemcntos de ident su exposici6n Cubabrr, en dad y los recuerdos demandan el Art Center/South Flori- un espacio propio y distinto, a da. La mucstra, stoats el expo- pesar de la fuena de to ameri- sitoc es sohre la expericncia de cano y to cubann- crecer en Miami y en el Miami ~ exposicitin 'Crrbaba', de cubano. EI pintor, comp su padre y Xavier Corrado. puede r•isitarse su tfo, se inspira en el moiler- halts e! 9 de marn, en Arr Cen- 1037 Lincnbt uh F7oridn /S nismo cubano y la vanguardia, su trabajo se informs Ademas , or rer Road, Miami Beach. Hnrario: , de lay diversas Corrientes del ar- d ~a 10 aoi~rn ~s es mre rcSl to del sigla XX. el caudal vi- n p r ~ t p. lust de la television, la icono- graffa de lay estampitas religio- Cuba en Barcelona sal, lay Liras comical, los vura- Ies de Gesu Catholic Church, El historiadar inglEs Hugh cn Miarni, y sus viajcs a travcs de Africa y America Latina. Thomas scabs do prescntar cn Barcelona, Espana, lay pnmcras Today eras con0uencias ha- entregas de la ColecciJn Ceiba, ten dcl trahajo de Cortada una de la recien treads Editorial bdsqueda y un encuentro. Tam- crto- rc Casiopca. Los autores que inau- guran la coleccion son cl pintor p bicn sc traduccn cn un rio plastico Ileno de energfa, y escritor Juan Abrcu, el n.,rra- colorido y diversidad, en que dor y ensayista Antonio Bcniter. cads sfmbolo puede enfrcntarsc Rojo, y el cnsayista Ivan do la a su complemcntario. En resu- una colecci6n que plasma, men Nuez. a c t , desde una perspectiva personal, sayis- textos los vedoso de una experiencia que machos, ~~-~.~ ~~0~11NICAL 19 DE ABRIL DE 1998, EL NUEVO HERALD ~. Ronda nd~ce dAkftRl*APlr!N'i15`~~ ~ AQR14.-DEi?~,.E~ NklE~4O NERAt.D `'~ ~:<;~~: „ .:, u~ ~v~',?;; uN Cuban in {~,i~;~;, .-; ~ -~a,-t'.~'t'i;1o outsiu8 the ~±.;e' c+ ;dig ~;,~,?:ion-iluoking -, '-,~ ,,,. "'--se ±ssues oaf cultur° i.9ic •.:i. 3. ~ i;.,•~f._i;:" -~r~ _h,~ `Deus of his !rir:s::~l.r, !:i ~!a:iOn, ~ub~ba, on v;~: t~e~.-~~sr,~~~~:~ ~~t~~9t9a, 1037 L:nca+n ~U., rl~iiart'~i ElPach. The x{'i:ii~`!+~''._ ;'.'.S S t3i:~n ~rorl'1 the *,:in~~~r'~ ~~c:llege ni~.kname -the rc~s;~ <;; a e1lr,•~, st~:dent's mis- p {-rillirlC+Y*i~r',~• T~?e artist laier applies. _i?a~ :?ame io his artistic alter egc, on° chat offered a ,~rQot~/oical look at the hybridiza- _c;c~, of C;:han Americans. . ad~~issicn: free. Gallery hours: 5 to i0 p.;n. ',~lednesday through l=riday and ~ *.0 10 p.m. Saturday ~clcGe~j Tuesday and Sunday). An ari5-t's reception in Cortada's hon- ~,~ +.r~i!! ca aL 3 p.m. Saturday. Ca!! (30~~) 53~-3339. ~~r~l/*J MMiI~/:1111-~iltllt~~ ~_ ~~ •~ u c , i 3 •~ ; Faithful want riest P to be saint Cubans eagerly await the pope's decision ' Pries backed for sainthood rwncu, rnvM ,w and that m nsdlf is a miracle' In the V:udhanos tnvor Pnpc inhn Paul II a the mxt prnbfc :amt-maker m the hrston of the -hurch To broaden the church's box, he has named saints m pre unucl~ osrrlonkcd pans of !hc worlJ m -IuJ ne Atnda anJ A u \nJ h ha ro Ifcrn•A amthaxi Juring his mgr. •• D;isrnral irascls as wmdthing o(a gill to the local thurth. Aga nst them: Canoni[annn as slnw•movmg procu Vaucan burcaucrals ar_ l h '•d In bd searching still for I r of o(a mire old that can tx uirinut'J to th linen' awn ul \-ae la wen as a hs;dmg Iha± nos no nadnufu ssplm vion. 'N c me an rig Inr a miresh ,.uJ Vt b r O to io ( snsro . .rho h a psxrfe hug'rrnm the CeU~ t 1 pit+m nt th • retie of tvela unum[auon anJ is lne m+.,t Iwh n-u sxpcn tin the ,uhJs t in th i n t J Stale,. "I'se h n mferm •d that there drc ~o s p -c nibti s but nuthhg ha. c f th m. a d C-sit ro the n -w t o toll g xmman n Ih~ Uw n( Hrouklcn. Es cr ..her I g 1 na . Fray to Folic Var clu ~n f f ou hair a muada Ici nli An 1'nt I the tat decade the Cathm I ~ (~hl - h rcqui-cd proof of two mr I- f m h ,n if canon and hso more f r can ~uzat nn. \~ one of '+erJ fl n- u+ tr amhnd can- onlrar n ih Hops now rWUi rd, u,l , , m r~ 'c at rack tugs. ' Ih' pop can aJsancc Ihr th I cs cn one mire I her ohs ha. never door that hslon. ' Chn~ro. sail. Hrsausc of that, Gsnerm does not expect the pope to bdatlfy Van•la during his papal sort to tuba this ss cck. :_ .. . ._ ~. ----.. .__~. ~ -~.. xr h ~ - J4 ~ -R 3 :- / ~`~~.~4~r .~ Y~~ Y'om' j[-~~ ~ .. ~_-'. . ~ } ~i[(r~~~...yyy4CYaar _ [ I ~ rTa < ~f yvM -? • e ? : '~ - >s ~~ j f6 ~il ~ jitS " t, ~IC , .~~~t ~ ~ ~~: I .~ ~ i "~"r?1 71 ~ ~ 'ft 7Y ' t~ N r~, ~ f, P~ it Y^ rt+0i - MC '~1~ .. fir.. _. r ~ ~!'~' ~ - ~:y ~y ~ ` 7` I~ '~. _i.. ;s ~~~, ~ ~~ }erg"+• - . A high profile +ESSCar A sat.rt e t "ra° s+." f..cn So. \,; ri l,i will likcl} hasc i !ugh pn,I I!e ;+.'.n l; ui,uh f nd,s STRONG IMAGERY: Xavier Cortada, born in the U.S., expresses the pain antl struggle of the exi e ,.hen the pontiff .c cchcJuled m experience ttvough his painting of Father Felix Varela. aCuban patriot who died in exile. ,nit Varla's remains at the Um- rnlh n( Has aria. Husan. Horn m Havana m 178g i ~ arch ss as a prolific author who he g:uncd prommrncc as an edu- i sulleJ for Cuban mdrpenddnce tour and philosopher uumSp.unSGyoarshciorcMani. ItrnahsanccmanwhouugMthc Born: 1788 in Havens. voice fortobranceendecume- Hc ssrnid of human dignity, the foot u+une m (bba on con,utu- Ordained: 1811, the Havana nismduringatimeof~nti-Cath- ntrd fur cnhghtenmdnt anJ the unit law, N'rotr ph7sia tcxrbnoks plocese. olio sentiment. ministered to J:mgm of fanauasm. He diddt and was a talented siohmst N'hn AeeompliMmen7s: Revolu- Irish immigrants in New York, aJsucatc armed revolution, but helped found the Phdharmomc tiOni=ed education In Cuba... and became well-knownfor acts bchdseJ IreeJom begins m the Sxicty of Havana. pioneered efforts to win Cube's olcharity- .oul and the best weapons arc After risking his life by advocat- independence from Speln.... DiW: 7853. a laennitess ante npintual. mg Cubab indcpenddncc from Ahtx tleeing to the United in SL Augustine. The pups could use Varcla's Spaui, he was forted to flee to the States In 1g29. M became a ,IorJ> and poisoner hlstnn• to UmteJ States in 1821. in New 9y APRtI WITr -tereld Sten Writer (~uhan patriot Jose Mani once vlsned the grave of ~'athcr Fehs \arela and called the 19th Century •nca -who lahi+rcd to free his homeland (turn ~panuh rule - "the Cuban saint." how Cuhar. Cdih- ~ha on Ihd idand, m .Huth FlunJa and hrnughnul the j ' ~uhan diaspnra arc ` ~ ~ f~. f' -sarong anxiously to t~ P earn d I'npe John "aul II agrees. The Vancan nas ~ccn insCS[t gait rig The pope's Cube visll wlli ~hclhcr Vucla be felt in Soutn Flonde, lB. .hnulJ hensmc the ~Havena seminary attracts 'first Cuban nfTaally' young converts. lOA. Ieclared a cmnt of the ~ At the Vatican, the pope 'roman Ca[hohc names 22 new cerdinels. 7A. 'hurch Srhularls church ktccn+cs. including ~ Miami pan:h priest and n rot fired college professor 'non Fcre Hwta)ne. have tra celcd widely and .oarchod uas•nceh m help the Vaucan document the da wnnngs and good Narks of Varela, who died m ~sJc In SL Vugusunc m 18~i. Dozens of South Florida Catholics devoted to b'arcla -they call themscl yes Varelianos -arc praying thn week that the pontiR will use his visit to Cuha. which hrgms Wednesday, [o dalare the lxati- ficaunn of Varela. hnngmg him one step loser to ,amthucxl "This is an emotional lima let me tell you," said Francisco Muller. S8. a church organist and member of the Father Varela Foundation, a Miami group JcdicateJ to promoting knowledge about the priest. "Father Varcia Nas a man of such heroic virtue Ihat tl'. almost like he came from another world. He ununl people -even Iwhtically divided pcoPle - PLEASE SEE VARELA, t0A J r;ns a larger moral anJ historic point about Cuba. "If he wishes to ~ ork, he continued ha mlellecluai crusade for mdcpendcnre, but i.,uo a tunJdmnalion of the also lxcamcasclficss pastor to the othdr pas. u a Jixumcnt, repro- i[arion- and h„ of heist rnl+ Cuban n'gime nowaJay ~. all he poor. He mmisicred to Irish canting both Varcla's exile writ- became Servant of God has to Jo is loofa Varela:' said immigrants. visiting the mast ~ngs and Cortada's (amity Ietltrc In Rome, the Vaucan .q+p,ruur,! " Jnsr H. Hernando[ of F:ey Bis- wretchcJ during a cholera out- from Cuba or adsucate h,r Ili, a "postulator r,nnc. a rcurod (idorgetoNn IJni- break. anJ became known for giv. "It's a very painfu{ expenenee. came of Varela, ca nomratron +cr.n7 Jdan and histon professor ing hie own meager possessions- missing someone you've never and too site Doswlaturs. ,i hu helped collect and examine induJing hu coat in winter - to eeen:' Cortada said. "What this R'orking through a tribunal li \'arela's writings for the Vatican. the nosh. painting is about is how this suf- Cuba and the l , 5.-based Cnm- :Vrcadq, Varcia is venerated by faring Is a Cuban right of passage. mission of the Ucautlcauon of many Cuban Catholics in South 'An enehsn7ed mirror' Varcia is telling me, these writ- Father Felix \-arch. Varclas Florida who consider him the per- The richness of his accomplish- logs, fief them make you err:" advocates conducrdJ mcuculou- feel symbol of a papal visit to merits make his hfe something of The Rev. Frannsco Santana. a research on his life. Cuba m which politics and faith an enchanted mirror in which priest active in ami-Castro exile ' In August 1996. Varcla's advn- arc so intenwtned, many esdds sec their struggles t help but believe that politics. can ' rates gathered in Havana for a o: r- Spurrcd inpan by the effort to rcflrclcd. ' s Cuba will quake the Fidel Castro emony. They Dlaced the rccnnl hasc him canonized. Varela deco- Muller, who holds a master s Jay the patriot-priest becomes St. then had constructed of hie tee, in Miami have formed the dcera• in phvvcs. cello Varela a Felix Varela. extraordinary bid mw a hm. foundation to spread his story. °trcasurc to he JurnccrcA." "It would he like a national cdalcJ it anJ made) h to Kumc i~~ make twice yearly pilgrimages to "To roc, lid is an e.aample o(an exorcism," Santana said. °Thc he cxamincJ h) the Vatiran'~ St. ~l ugustine. where he died, anJ mrelhgent hclicvcr." said Mulicr. Holy Spirit descending not only m Cungrc~m ion for the C,tuuc nl cuccessfully lohbied to have his wim w-rites a nossdetter for Varela rho person of Felix Varela but on Sainte. -the ultimate dccumn re,n image placed nn a U.S. stamp. Jds'otces. "His harmonizing faith the whole nauoo. Nith the pope. pecans gather monthly at a and science hasc giccn me a lot of Miami resuurent where they cat mcptral wn.~ A secular hero ilia Varelianos are nuN piny m~ hreaklast. heron to a Ieeturt anJ Miami art fist lavmr Cortada. In Cuha, Varela ha, been bent fur the cau,t ul(uha, anJ for bui~ J,cru.c a current topic through the t3, is painting a port ra it of Varela known as a secular hero. One of eta. The?`re looking tar muss lr~ Ito. of Vurdla's life and ideas. (or an cxhihn exploring the artist's the highest medals of honor that :mJ x'emg diem all aruunJ. ~~Ecdrs evdc identifies with personal struggld fnr Cohan iddn- Castor's gos crnmcnt awards is °Thc yids of the Hul) F-ether is hon." salt rho Rr+. Jose Alcncn- uty. Born in the United States, nanird fur Varela. guiJcJ by the hanJ n(roJ." Ci.- Jct. pastor of Corpus Christi Cortada knows Cuba only through That secular imago of Varcia is nenx said. "N'e'rd alreaJy .rang Catholic Church m Atiami, where family stories and Icuers from ref- thangmg a the Catholic Church ilia results. iha• upholding of the the belle will ring nut the Cuban atives he has never incr. in Cuha gamy ct rcngth aftrr scar, lanh of rhr Ix•ople. hlost of the national am hem the N-elk, in Hic raceral, suncal pnnrait of nl rcprrssion. In the miJ-14g0.. +ung psoplc m Cuha hose not honor of the pof+d's suit to the Varela ShONS IhI` priest N'llh finds the hishnps of Curia asked rho I+ccn hapu[dJ or roof Hoed. but eland. paws msleaJ of hands. In the tear- Vaucan to convder Varela for nuN they arc asking quocunns To V'archanos.the !acts of Varc- mg grip none paw Varela holdsa sainthood. The Vaucan accepted abmu God..\nd if that is nut a la's hfe arc as familiar as the boy, Cortada as a child. In the Varela as a candidate !or canon- muscle. what is"" 'J r: `~ ~: ~ i `` /~i~~.y I :.. ~ ~G1,~?'V t'1~ '~~.J M~rC:! i,~ Local artist, leadine Hispanic community leader and member of Health Crisis Network's Board of Directors, Xavier Corrado hos developed o; mural project called "Voices." Health Cnsis Network's clients, staff and veiunteers hcve came together to par~cipate in this emotional undertaking- , The morel represenh our community's fight against AIDS. Participants in this group project ex- ' arer !heir emoticns through letters to lost loved ones, poems, slogans, warnings and artwork. This labor c' love is a coiiectlon of persona! reflections on AIDS. All of these are presented together in o portable. mViti-panel murei shot speaks for our entire community. As a member of HCN's Board of Directors, Cortada serves es Choir of the Board Advocacy Committee. He hos o clear vision for the committee to elevate advocacy to a new level in HCN's mission, broadening our bole of supporT in the community. Urdu Cortada's leadership, the committee will firmly advocate for programs and funding on behalf of HCN, prevenh,on efforts within the schools and on behalf of clients and consumers. They v, ll else gather policy issue information, build relationships with elected officials and partner with other AIDS advocacy orgonizotions ~ In addition to being an accomplished artist, Cortada is an attorney for the Local Initiatives 1 Support Corporation (LISC But, says Cortodo, "I don't see myself as a traditional anything. I'm not c traditional artist, and I'm not o traditional lawyer." Most of his paintings dea4 with soc!al themes, including drugs, politics, racism and violence. By ueatir.g e mural about AIDS, Cortada has remained true to his tolling. He has successfully deve- oped ether community arts projects in Africa, Europe, South America and all over the U.S, bringing dwerse people together in coi!eborative projects which express creativity and passion for life. Xavier Cortada is en artist with a mission. Art is o vehicle which he uses to convey substantial messcaes about our satiety. "Wards evaporate, 'nut art is lasting," Cortada explains. "Voices"' will trove. to health fairs and community programs throughout Dade County. The mural s currently on display in our training room of 5050 Biscayne. . . roV1N~-,. ~' - 1 _ 1 NCN Goes World Wide Strap yourscl(in. Cvberfan...Health Cri~i~ tietaurk is on the \1'orlJ R ide \~eh' Initialh~ carted as a pro hone prujeet h~ ~~ friends at Cn•rl:\bilite. the produrimn ar development of our wchaile «a~ under- taken by two tireless volumeer>. Robert Lassiter and Doug Fish have made our leap into the techno future a realitc. Ruben Lassiter is donating the domain sio while Doug is de~el~ping the wehpage. Visit our site at http://www.hcn-miami.org - 1 , I L .\ ,. ~. .. . ... .. .. , ~J ,. - - .. ~ . .. . ~ .. .~ L ..:> 1 ~~ ...~ iC :\ L 1 .. iii .\ .` :1 WEDNESDAY, October 22, 1997 Elaine Hutf /The Star Press photos a ~, ~ ~ ~ ~! ~ - .. . .~•` ~* g~~ t~~' ~ .. COMMUNITY ART: Delta junior Ian Law (above) works on a mural that will be unveiled at 8:30 a.m. today at the Horizon Center as part of Red Ribbon Week in Delaware County. Artist Xavier Cortada (below) talks with Law about the painting. Cortada is an internation- ally acclaimed artist known for his com- munity murals. 8:30-11 pm Red Ribbon Dance-, Memoriabi3uifding; Lions Delaware.County °" Fairgrounds, free admission. All high school =students in Delaware County are invited to enjoy themselves at this alcohol-free and drug-free dance. Shelby SapuseN/The .~ La Razdn . a rear -anee„ r + ~N ~'',Mn nr ta): soc _ _>cl ... ,,,i,...,,,J,,. h F, ,nr, r••.n 1h lrri IL: -ur i. r," .n,,, ur;tn I r~ nnvr (~,-rr, mn. nr!,. u )'rr ~hnr Jr N„rLnul.r! r,rnr, t, rl Jn,~rr, ~r de'I lLnrn Tarrrha (lrn nrnmrlta rl dr n•ctnr ,1, r~nhurn dr irr :1lydlrlin QUE HUBO, QUE HAY... ~- i i .l ~;~ ~.. I F-L biUSF-O TA1180 QUIRQUINCHO dcsarmlla en Jos ulbmns digs mucha acti- vidad do indiscutible calidad, antenoche se tnaugurb la mues- tra fotogrAfica "Banceos. Jos caminos del Nuevo Mundo'". en la mi<ma eI fntbgnfo fran- cEsFerrante Ferranti nos pasta con su ant a distintoc Iugares de Bolivia. Brasil. Portugal. Espana. MEzico y la India. En el acto inaugural el embajador de Franda.Jtan-Michel Mar- laud. noc hablb wn predsibn del artists. su trayectoria, su prestigio y Jos libros a editar- secon ilustracionesrkl rttismo; luego el directorde eultura de la Alcaldia en improvisado discurso dio pot inaugurada la exposici6n. intercsante anotar que entre la concurrcncia se not6 una mayorfa de personas de la comunidad intemacional, en particular europea- Raor- damos a Yveline de Marlaud, csposa del embajador de Fran- cis, al dirccror de la Alianza Francesa, Alberto Bailey. Mar- celo Arauz.Luis Zilveti, elcon- sejero de la Embajadadel Ur~- guay. Ariel Rusinol. el cbnsul de Espana, Enrique Ojeda. Mario Rios, entrc ovos. Es de lamentar que Jos funcionarios que tienen que hablar no pre- parcn sus palabras adecuada- mcnte y aunque Sean boltemios no cuiden un porn mss de cu prescnaa; tambiEn vimos que un asisten[e -aparcntetnente empleado de la sass- consu- mil+ en prxrr tiempn Inm++s dnnkc que lkgbapenlerelam- trol. Una expnsrcibn do calr dad que nn se debe perder. Ayer al mediodia, tambicn en cl Museo Tambo de Quir- gwncho, se abnb la expnsicibn del stunts estadountdense Xavier Cortada. con el nom- bre "Compartiendo con Boli- via". Adentis de que la mucs- tra es de pot si digna de verse pot su contenidn y simlxrlrr gia. nos impre<ionb Ia perso- nalidad del pinhx, su prerxu- pacibn pot Jos problemas que afectan a lajuventud; es un acti- vina cnmunitario que crcc y practica el arte cumo una aher- natrva pars la conducts anti- social: ha trabajado con ji+~e- nesadictos,delincuen[eseina- daptados en murales cnmuni- tarins, Iran cuales se pucden ter cn cl lugar do la cxprGciba En cl momento de la inaugu- rtcibn escuchamos Jas palabrac de prcsentaci+in a car¢n del director de USIS. Donald Terpstra; luego el artists hitn una ezplican6n de sus I icnzos y de su apouolado a travEs dcI arte. Nos gust6 cerentre la con- currcncia a algunos jbvenes rehabilitados y ninon de Ia calle que twbajaron en Inc muralcs, cumo tambiEn a Hugo Castellanos rcpresentando al Banco de Santa Cruz., coaus- piciadordel evento, Miriam de Reynolds, Violets Barrag5n, Mims Pardo Valle. Cecilia Cbrdova, Mariano Baptista y el senor en distintos tonox de verde que parccia una Tana reciEn Salida del charco, entre machos mss. Un artists di(e- rente con un mensaje pars combatir Jas lacras que afec- tan a nuestra juventud. y t „ i (5 irdm~,r- , + lrirvar C,n n-r dir ~:~t,~r dr Cl.S, !)~+nulrl Trrlnvn. }• rl rlirerlnr dr7 Mrccrn Tnnrhn Quiryuunirn Xarier Cnnadrt e.cplirnrrdn rtr nhrrt la rnrhnj radar Juan-,4firhr! Mrrdaud cnnrersa rnn Marcelo }r-n u:-. l_ur, Zi/crn, rove nrrnc Minen Pardo, Miriam dr Reynolds y un religinso Ahnr. Marlnud rnn miembrn.t de la embnjada francesa y el dvrrau de !n Aliartza Fmncesn L'n nrnrnvntn rn rl arte innu,turnl do !u reprsirirSn dr Gnmda I_'I arnctrt Frrrante Ferranti run el embajador de Franria lean dfirhel,tfarLrud ,4'irinr v jrirrnes yur rndi: Aron Jos murrrlCr rnn rl pintor X-nt~irr Canada E:' r~n.ud dr EcparJn. Enriqur Ojeda y dos amigos Dandn nlgunns toques '~EI~IARIO CIAO TURAL TAVIER CORTADA OUIERE COMPARTIR CON BOLIVIA Este viernes 10 de octubre, a horas 11:30, en el Museo Tambo Quirquincho se llevark a Cabo la inarrguraciorr de la mrcestra pictorica del artista estadounide~tse Xavier Cortada. "Compartiendo con Bolivia" es el titulo de la erposicion que se presenta en nuestra Ciudad gracias a los auspicios de7a Oficialia :tlayor de Culhua y el Servicio Cultural a Informativo de la Embajada de los Estados linidos (L'SIS). i Coria~a regresa por tercerca ve<, a Bolivia, segrin el "para co-npartir to que l:e aprertdido y vivido en j este pals que siempre me ha irapirado. Lo hago en esta ocasion a Craves del arse, porque a pesar de mi labor social (es abogado), soy pintor. Con esta exposicion les traigo de nuevo mi nrensaje de esperan~a y de luclra por la vida". Err el grbfico, el artista junto a unas de sus obras ~~..ti, r, , < ~ t 1 ~ ` ~~ ~~-~~.~3 Desde hoy - Nlurales de Xavier Cortada, en muestr~:: Con eI objetivo de llamas Ia atencibn sobre problemas sociales, el arnsta estadounidense'Xavier Cortada pre- senta desde ester noche en eI Museo Tambo guirquincho, una muestra de sus morales: El artista se detiene en temas coma Ia pobreza la .. mortalidad,'la injusticia Y la drpgadiccibn, propuestos a' travel de trabajos eompartidos eon `gente 'de centros especiales a-Ios que ha logrado invoIucrar en Ia creaeibn de sus morales. "A travel de su ante. Cortada trata de expresar la condicibn humanay nos der fuerza pars enfrentarnos a un preocupante espejo que reileja eI lado oscuro de Ia socie-' dad, sus debilidades y misedas. Su propbsita es is reileadbn colectiva, eI auto-analisis y la toma de accibn parer eI cambio°, dice un comentario. "Si bier mil Iienzos son creaciones,persona)es:,Ios ; morales que pinto.en forma eooperativa mn otras perso- nas, son actos sumamente publicos. ;-Aqui. en estos encuentros, se iogra la sfntesis entre el ante y la acdbn social en una forma tangible", aSrma Cortada De acnerdo a este artista, sus:"murales comunitarios" le: permitiemn utilizers la formaMbn pedag6~ica con is que cuenta. .'~~~ Canada Ilene obras en ~ La Cruz y tambien en` Ia plaza. de de Ios I-€Eraes en lla Paz: Llegb a nuestra eiudad para_presentar la muestra anunciada y Ia creaciba de dos morales, el prlmero en eI Centre Bd~sviano Aiucri- cano, y ei do en is-Plaza cle Sao Francisco. y ; ; ,, Antes dar a Bolivia, Cortatla expuso en Texas:. Florida, San FYancisco. California, Nueva York y en el Capitolio de Washington. .~ e7 ~ - , ~~~i<~ XAVIER CORTADA.- Arista norteamertcano. l4tostrctrc$ y ptntard morales ert Bolivia. ! r eta Contratapa Pintor que trabaja con drogadictos en Miami inaugura muestra en La Paz Despues de exponer en Santa Cruz, el artista Xavier Cortada mostrara Ias mac crudas realidades humanas de Miami a [raves de una obra :orprendente EI prime: pais que cono- nd iuera dt su Cuenca carihe- f13 dC Miami (tie Bolivia. En ;99_', Xavier Cortada visito Tanta Cruz para dar conferem as sobre la prevenci6n de la drneadiccion. Inclusive dicha 'oboe cn contra de Ias drogas •. por Ia vida le ha Ilevado a ,~.,atro u+ntincntes desde ~~. :qua al pais. a:\h~ ., Cortada re2resa. 'v,: term: a vez. a Bolivia para ..+mparu no cdlo una titan ins- -.raJor vno una vrsuin plAsti~ ;~ <ohre ese munJo al que ha r ;ado de emm~der y vislum~ ~rar wlurunes. "Lo hago en cc~a «asion a travcs dti tine. ~~rquc a pcsar de mi labor so- ::ai.cos ^ ~u+r. Con rsta expo- ~~~~n 6:. tra,c~~ Je nueru mi coa ; cr ]a vtJa". argumema c :: ^st.~ r-~adounideme en rela- ..on a ~.+ muestra pietorica -Ybmn,:r iendu con Bolivia.. u~ ina;:;~.~rar,i este viernc•s 10. horns !;:iJU. en r; ~luu•o T.:mho Qwrquineha. de la ea- Jc Evanuo Valle rsy. Plaza !4;nmo do \lendoza. EI rvrnto Coen[[ cor, rl a[`nco del Gohierno hfunin:- rpal da La Paz. la Oficiaiia \Savur du Culmra, rl Servicio Cuhural c• Intormellvo Je :a EThajada do Jos Estados inidos iCSISI v del Banco Santa Cruz. Su trabajo Cortada pinta para mani- .->tarcus preocupacionts por Ls problemas soeiales que entrenia a diario en Miami, :iudad to donde reside. Sus cuadros y morales son mani~ festaciones muy pcrsonales yue reflelan sus intereses, pre- ocupaciones y pasiones del momento. Entre Jos temaz que inspiran y sobresalen en su obra, estz la pobreza. la dro- gadiccion, la injusticia, asi como Ias cocas positivas o hu- manas. Si bien sus lienzos son tra- bajos personalisimos, Jos mu• rates yue pinta Cortada en for- ma cooperativa con oleos per- sonas son actos sumamente puhlicos. "Aqui en estos encuentros x logs to sfntesrs entre el titre r la acci<in srtiial en una (oo- ¢iieica, asi Como mi rxperirn- Ei pintor estadounidense ma taneible. Estos trahajo~, cis en la turbo contra Ias dro- ha dirieido la crear,dn Je que hr drnominado'murairs eas }' otras lacras s«ialts", morales eomur,itaros con eomunitario_ me perm-icn sosiuvu en rl aitalneo yur n^i es ciegu<. eon grupos yur nih;ar mi preparac~in peda~ aenmpanara a la cxposicidn. luc}n+n en cumra Jr la violem La vision de Xavier Cortada 1L:\~ C,\REnS ESPI~OS.\ 11IA\II- FF'.-I'l'. L~ ohre del pintw cuhano-americano Xa- cier Conada es una sin~rrs de su; taltntos. intereses a ingmrtudes. EI jrven artista mia- mense u[iliu el ante no solo como vehiculo de ezpreston personal stno tambien para edu- car }• near concienra sobre problemas s«ia- les. Con est proposito Cortada ha viajado a cuatro mntinemc. Adtmas de pintor, Cor- tada es abngado v acti1ista comumtario. E! artista nacio en .Alhanc, estado de New fork en 192+M Jc palres cxiliados cubanos. Sr uio to el harno Jc "La Pequena Haba- na" to Miami. Primero;omo hrocha en mono a be siete anos bajo is tuteia de su padre Carlos Conada, tin rezpetado pintor. Estos primtros pasos tambier. tueron nutridos por la rica hercncia artisnea de Cuba trazladada al exiliu. Ia sensibilidad vanguardista tuba- na y la pasion de Jos jovenes pintores de Ia ddcada de Jos sesenta se hizo present[ en su edueaeidn anisGca. La influencia de Victor Stanuel se puede apreciar to Jos Ojos almen- Jrados y labios carnosos de Jos sujetos en el cuadro "Los Primeros Cristianos" de 1979. La paleta artistiw de Amelia Pe13ez con su use de colores puros y elementales tambien es evidtnte como influencia. En 1991, recibido de abogado Pero con cuestiones artisticaz y personates por resol- ver, CortaJa se propuso integrar su cartes legal con su v«acion artisnca. Su obra comen- z5 una nueva etapa. Retom6 Iemas sonales en sus wadzos y empezo a near una serie de morales en difer_ntes partes del mundo. Tra- hajd en barios mareinales al igual que en ce- des dipbm5ticas. Fue el primer artista extran- jero enexponer en Sowcto despues del fin del revamen de apartheid en Africa del Sur. Cortada ha promovido sus ideas ltaba- Tondo al niscl attnunitaru cn su Ciudad d 1Lami s otros lueares f {a crrudo muraies cn munitarius con pack^tcs Jt SIDA, ninus Cie gos. radios norteamencanos y jovtnts pan dilleros- Ctilizo su arte como ageme de cam hio social vando viajo a Sierra Ltona. Tan zania, Kenya, etc. Para estt jovtn pintor el art[ es tin idiom universal que se puede usar como vehiculo d ezpresidn y comunicacion individual y colec tiva. En tos ultimos meses ha presentado s obra en San Am [onto -Texas, Palm Beach- Flo- rich. San Francis- co - California, cn la prestigiwa Longwood Arts Gallerv en New York asi como en _ el Capitolio de Washington. A travzs de su obra comuni- - _ [aria v la del taller de pintura, el tra- bajo de Xavier Cortadaexpande el vocabulario vi- sual de sus reali- zaciones artisti- cas v a lavez con• tribuye al naci- , z miento de una - nuevageneraci6n de aeadores cu- .. Banos, cuba- noamericanos y miamtnsts que - estan eambiando us juvenil, del pandilleris- mo, en conva dei alcoholis- mo v la Jrogadiccion v con jave nea inmigrantes en Jos Estados Unidus. Lav intiuencias Sus experiencias mmu h:jc de padres cubanos exriiados. nacido e^ Estados Umdos. de su ninez en Miami v de su via jes por eI mundv, tambien son imprestSndible/cuando sc [ra- ta de entendre(( su trabajo pic- tdrico- En EI, la influencia del arte religioso es eviJente. "En pane, no sorprenJc en vista de la educacitin cairi- lica que retibi en Miami. He pintado tees cruci(ixiones, va- rias'madonaz' y tengo dihuja- do bosquejos pars Jas cstaciu- nes de la Cruz", revels. Adelanta que en esta muestra que Ilega de Santa Cruz, donde expuso del 3 al 7 de ottubre en el Museo do Historic de la Universidad Gabriel RenE Moreno, la mor~ talidad, to efimero, to trSgico se mezcla con rl scntidn del humor "Las nhras yur in~r ¢ran esta muc;:r rcprc.antan la rvolucirin de mi cst ilo, m~ flucnciaz en mi trahajo y rats intereses artisticos". agrees. "En mi palcta preJominar, Jos colores primarioc, aunque recientememe influcncias m.vs contemporanca; (usmo Jcl in¢Ics Ranr.s Bauu: i tstan f dilatandol sa ..aric,criaica basca Jc mi traheµ!", aana Una largo exhibicion c •Imrrcambios.axilocxhiMtattheMucrumnlComtcm- porarc Art. Cusco, Peru. 199',. - • The Condition of Pandemic: TowarJS the >1illanium, LonewouJ Arts Gallery (Bronx Council of the Artsl. Burns, - New York,1997. - • Aspects oI the Human Condition-solo show at the Ga- lena Sol y Luna, San Antonio, Texas, 1996. a • Home... a nice place to be, Palm Beach Counv} LISC. e The Breakers Hotel, Palm Beach. Florida, 1996. • ART ACT. QueeRoots'QueerSpate. Miami, FL 1996. u • Cuban Artist Exhibit at the Unites States Capitol Buil- ding. House O(fice BuilJing Rotunda, W'ashineton D.C. 1996. • Women Throuehi the Eyes of Latin American Ar- tists- Carib Art Gallery, ~' SOHO. New York. 14'ib. - Berkele}• Art Center Ass«iation l lht Annual Na- - ~ , tionalJuried Ezhibitiun, Btr- . •,.+- keley, California. 1995. • "Hand in Hand" -Hand in Hand Cultural Alliance, Miami, Fl 1945. ~' ~ s- • "Mwcnge" and "Heart ~ - - of the Matter" - U.S.I.S. ~j ~ - Community Center, Dar Es - Salam, Tanzania, 1994. `/ ~~_ • "Heart of the Matter" - r Drawings Depicting Substan- z ~Y' ¢ Abux and other Proble- - ms in or Society" -United States Embauy, Port Louis, - Ma ~ritus. 1994. _ "Mwcnge" (Hope} - United States Cultural Ctn- ter, Nairobi, Kenya, 1994. "Delivery: To the People of Snweio" ~ Ipelc- gcng Community Center, dpaisajearti tiro ~ Mi estilo mezda el expresionismo con el cubismo, con Soweto, Johannesburgn, de esta audad. alqunos rasgos surrealtstas. dice el gntor. South Africa, [944. V - ~ ~ L~ ~ xav:er Corraoa m.lrne;-zado er su obra. "Hand in Hand". 1995 _-~'~ ~ ~ 4 V W w •f T V ~~ Vy •r, V ~~--~ V1 ,--~ C1 '~ v Y U C 'd v r~ V C~ C1j .Jy~ ~..: _S~ _.~ ~~ ~ .`% ii ~~ C.;,' .\ x 1 ' ~..-,~ :~ U Vi _- F. > O ~ y ~ '~ c; c; .~.' .d ~ ~. c ;" y v ~ ~ ~ G ~ ~ ~ .. ~ C, U ~.+ O ^~ " cd C w ^ ~ F. ~ ~ 7 ~ U ~ C5 _ `~ ~ ~ cc > ~ ~ U: ~ ~ cd m ~ b ~ .'~ ~ ~_ b b G 6~i ~ ~ ~ o J y) ~ ~ ~ :~ i~ 'd ~ C Gi, b ~ . :a b ~ ~ o t~ ~ ~ a °o ~" w ~ ~a ~-°b C Q; o M J ~ M c3 ~ y 0. ~_ p O J "" W = ~~-~~_~3 el mundo , _ . _ _,~.., .... . 4 ~ - r ura~es comunitarios - t ~~ -. Xavier Cortada ra es un amsta comun y cornente Tai vez por su br- macicn academia como atwgado, o por su permanerte preaupauon por !os proaemas sotiares y poi;laos del mundo actual, se ha convertido en un activists comunitano que ha trat>ajado durance anon ccn fdvenes aaictos. ~Imcuentes a inadaptados, Su sensibilidad anistica arts mevita- tNert~nte caWirwnada a un fuerte mensaje soc~ai: W comumdad dabs to- mar concrencta de su responsabilidad en el protNema del aDuso de tlro- gas, W corcupcion y W videray que esto engerara. 'Si Dien mil lienzos son tteaciones personates, !os murales que pinto en !orrra cooperativa con otres personas son actor sumamente ptiDlitos. Aqui en estos encuentros se logs la sintesis antra el ane y la accan so- vial en una forma tang;Dle- Estos Iratxijos, que he denwrxnado murales comurotarxs, me pennnen uti6zar mi preparacan pedagogics. asi como mi experiencia en la lochs contra tar drogas, y otras lacras sociales. Los murales comunitarios los pmtan personas que peneriecen a W comun;dad o enadad que asses utilizar arts via pars comunaar a troves del ante. La oDra treads Dene coma proposifo concientaar a bs creadores al igual que a Ws personas que la observan'. EI amsta estadourutlense, de 33 ahos, vita a Santa Cnu pars presen- ter una exposition de su obra en el Museo de Histoda de W Umversaad 'Gabriel Rene Morena' del 3 al 7 y dingir y tteacion de un mural con p ' vanes cnaenas de centros de rehabiitaci0n, sabre el terra de Ws drogas ' y las nefastas consecuentias que tram ransi9o pars la sociedad. ' 'Debertas estructurar nuestres intereaiones. Duscando demon pare eswr con los demos y apovamos onus a nuns', climb Gonads. 'Debe• mss fortalecer nuestra fe, nue5tfb5 vabres, pronaver las tradicidne5 cut- turares ynear un sentirb de comunidad en arts moron exasperante. De- Demos adaptamos a los cameos o albs ras cambiaran de maneras tries- i peradaz y nos forzaran a buscar escapes'. t Canada uene una preocupante testis sabre las puertas cemadas y ias consecuencias que el recnazo de la tamilia y to sopedad causan en bs niias y adaescentes.'Imaginense dice a un nua parado delante ae un cuarta osaro. EI arts mirando a un set iningante pero horcibte demo del cuarto. Es un hombre con convutsiones produddas pa w cuerpo que '. le pitle mar drugs. Estamos tan obsesbnados pot cercar la puerta rapids pars ignorer Ia siniesua imagen, que nos oMdamos pregunWr pot que ere nino quercia entrer ant en primer iugar'. 'A manudo, prosigue. el nino antra porque es is dnica puerta que le quads aDierta. EI ya ha golpeado a la puerta Oe sus patlres, pero altos es- tan muy ocupados con sus traDajos y bs prat~mas de la villa crotid;ana Para aterxterb. La puma del cdegio tampoco b abre; ya se ha aplazado. Mientras conwertza a manifesiar abiertamenle ws frustraciones, empieza Wmbian a ganarse tow trials reputacbn en W comunidatl. Otra puerta ce- nada. Pronto, W imica interarx70n que EI Dane es con chtcos en el mtsmo trarae -alguras mss avanzados que otros en su progres~on andsotial'. Prosigue 'Con el uempo, los vendedores de drugs se aprovecnaran de su vulneraDilidad y Ie abnran 135 puertas del mundo de las drogas. Le baron verMerlas tfarwde la mitad de W ganancia, y buscando un escape a toga era misena y soledad. EI dtico garcons w ganaraw consumiendo drogas. EI drama eswla en vblencia. y el Chico se va deslizardo cuesW abajo pot el torhwso carruno de la drogadiccibn y del vino. Ese nino para- do en la purxta represents una generation de futuros adictos. ~Carw po- demos detenerb?'. Para Gonads, la respuesta la Dene que encattrar la soc~edad en un esfuerzo individual y rxxyunto. Padres, profewres, empresas, igtesia y W jtuWda ashen ayudar a prevenir a los jdvenes pars que ra se desvien ha- cia Ws drogas y la vakncia. 'Pienw que es abusivo a Inanonal el caner que esperar hosts que un Chico le dispare a alguien antes de qua mter- vengatnos", dice. Xavier Gonads erauenua su respuesta personal a travel del ane, en el que traw de expresar W condition humans y ras luerza a entrentamos a un preocupante espejo que refleja el loan oscuro de to soaetlaa, sus debilidades y sus misenas. Su proposito es .a rellexion colectrva, el auto- analisis y u toms da acnon Para el cambio. Segdn el, el ane es un medio ~ comurticaci8n tutiversal que permits a Ws personas sin voz. enwar un mensaje de una manes tat vez mss provdcatrva qua las paiabra5. EI arts como procew time W haDllidad de juntar a las personas y las oblige a ud- laar la fuerza de bs otros Para ezpresar un senumiento.'EI arts aerie qua set real y no soWmente hemaso', asegura. En 1992 Gonads vish6 Santa Cruz pars der conlerennas soDre la prevention de la dragadiccion. "La labor en contra de las drogas y pot la wda me ha Ilevado a cuatro conunentes tiaras era primers visits. Ahura regrew, pot tercet vez, pars compartir Id que he aprendido y vivido en arts hello Dais que siempre me na inspirado. Lo hago en es- td OCasiOd 8 IreveS del arts, pdigUB a pesar de mi Idbbr social, Sdy gntor. Con arts exposition les trargo tie nuevo mi mensale de espe- ranza y de lochs pot is villa'. Terapia por el arte en el Museo de Historia n e! Museo de Histora de !a U.A.G.R.M. quedd Einac7urada ayer a horas 20.00, la muestra del artisa pastico estadounidense Xavier Cortada de- nomirada "Compartiendo con Bolivia". Auspiciada Nor el Banco de Santa Cruz y el Servi- cio Infer^•ativo y Cultural de la Embajada de los Es- tados Unldos, esta exposition, ademas de contar con obras de dicho pintor. tuvo la peculiaridad de sumac un trabajo colec5vo, "arte comunitario'", eje- cutado ten el asesoramiento y direction de Xavier Cortada. Ce accerdo con !as propias palabras del pintor, 'se trata de un mural que estamos realizado en forma conjunta con los muchachos de la "comunidad del Nino Jesss'. Anoche tuvimos una reunion en dF al- bergue de su comunidad. donde ellos narraban el dolor y el sufrimiento qoe habian padecido bajo los puentes. por los malos tratos que han soportado de pane de muchas persenas. algunas veces de sus prepics tamiliares. circunstancias Codas estas que los Ilevar a sentirse al margen de la sociedad. Sur- gid entonces. por nuestra parte la propuesta de participar en la confection de este mural con el fin de que se sintieran parte integrante de la sociedad. Dado el hecho de abrirse esta noche la exposition con t9 cuadros mios. la sugerencia tienen el fin de que ellos se integren a la exposition, de esta for- ma, la obra N° 20, hecna por estos Winos, formara parte de esta.' En otro pasaje de la conversation que mantuvo EL DEBER con Xavier Cortada, manifesto que "estos Winos dicer en una paiabra esto: 'Dios tree perso- nas tan Buenas porque hay quienes todavia se fijan en nosotros los drogadictos, y quiero que la gente piense que no solo ser~imos Para drogarnos o Para fiacer cosas malas. Ouiero que la gente piense que todavia puedo hater algo en la vida'". A traves de este mural, ellos estan comunicando con Santa Cruz, se trata de personas que importan, que son parte de la sociedad. y que por medio del arte. se expresan, ya que el arte es comunicacidn. En este mural pueden observarse las nueve figuras de ellos, con el fondc de la bandera boliviana, de esta forma m~zstran su realidad, sus dolores, sus an- sias de salvacidn. Esta es una forma de integration social. Tambien sine Como una forma de destacar a los hermanos franciscanos que tanto hater y han hecho por es- tos jdvenes. En mis obras traidas para esta exposi- tion estan representados los hermanos francisca- nos, y coincidentemente ellos estan aqui realizando esta obra de rehabilitation. En otro order de cosas, Xavier Cortada expresd que considers un honor trabajar aqui, dado que es- te es su museo, por sec ellos, los ciudadanos de acs, por ello se los invitd a trabajar, para que for- maran parte de esta exposition. Esta es una forma de integration social -segun el artista-que sirve para el desarrollo economico y co- munitario porque mientras mss belleza y cosas bo- nitas puedan sec presentadas a los sentidos, me- nos vive el desorden y el caos, (adviertase el subs- trate platdnico de esta reflexibnj. Segun el sostie- ne. tambien es una forma de autoafirmacion para ellos y para la comunidad; que al mismo tiempo les permite el divertimento de su espiritu. Xavier Cortada mientras dirige la ejecucion del "mural comunitario" (foto Agapito Paco) S'.~,Ta ~F~~ S~BA~~, a ~= ~~Tug~~ ~~ , ~q~ - c u l t u r a l . Artista estadounidense: "EI arte debe ser un martillo ara cambiar nuestra sociedad" p "Los morales comunitarios, obras reaiizadas con otras personas, me permiten utilizar mi preparation pedag~giza, asii como mi experiencia en la lusha contra las drogas, y otras facras sociales", anoto Xavier Cortada. "EI arte tiene que ser un reflejo de nuestra sociedad o un martillo para cambiarla. Debe ser mas que una ex- presion estztica, un mensaje que ~sirva para educar y crear cc~1,:~ancia sobre problemas sociales", senalo Xavier Cor- tada. artista estadounidense que inauguro anoche una exposition pictorica com- puesta de lienzos y morales comunitarios tlenominada "Compartiendo con Bolivia". EI arte debe tener un sig- nificado que permanezca. Las piramides de Egipto y los templos Incas, son un claro ejemplo de la utiliza- tion del arte como la mejor manera de expresar las in- quietudes de las civilizacio- nes de esos tiempos, senalo. Xavier Cortada. abogado. activista social y lider comu- nitario, es en esencia un ar- tista que combina su talento con su preocupaci6n por te- mas sociales y politicos que afectan al hombre moderno. como la pobreza, la violen- cia, el SIDA, la injusticia y las drogas. "Creo que mi responsabilitlatl es ayudar al mundo y prefiero utilizar los colores del arco iris para ha- cerlo", expreso el joven ar- tista. Anoto que su inquietud por el mural comenzb cuan- do en un viaje a Africa del Sur, estuvo en contacto con drogadictos que no sabian hablar ingles ni espanol. "Todos mil estudios no me sirvieron para comunicarme con ellos_Fue a travel del arte, cuando se me ocurrio pintar para eL~s, que empe- zamos a conocerno~ com- partir nuestras vivencias", dijo. Xavier Cortada nacio en Albany, estado New York, de padres exiliados cubanos. Tomo su primera brocha a los 7 anon bajo la tutela de su padre y se formo artisti- camente. Ha presentado sus obras en cuatro continentes, y ha realizado morales con grupos variados como pa- cienfes de SIDA, Winos cie- gr~;. intlios n.orteamericanos y j6venes pandilleros, en~u- ga~e~ diversos. Su prooosito es el de la reflexi6n colecti- va, el auto - analisis y la to- ma de action para el cam- bio. Ayer trabajo su mural no. 20, junto a chicos con expe- riencia de villa en la calle. La obra estara expuesta en el Museo Historico, hasta el proximo 7. el mundo = A"1 ~ - ~~-"~. SANTA CRUZ DE LA SIERRA, BOLIVIA, SABADO 4 DE OCTUBRE DE 1997 AfVO 19 N° 6.519 72 PAGIPJA Xavier Cortada realizo aver un mural sobre el terra de las drogas, junto- a 9 cbicvs del albergue "Comunidad de Jesus'; en e! Museo Nistorico. Xavier Cortada en L __~zta Cruz *.~ V P P m m Q _~ U O m a v 0 0 N a m a m N ~_ U a `c a .~ a_ W El reemplazo del arte por las drogas "La comunidad debe tomar conciencia de su responsabilidad en la lucha contra las drogas y la violencia entre la juventud ", dijo Xavier Cortada. Cortada presents el arte pictorico como alternativa Para la conducts anti-social. Ayer viernes fue inaugurada la exposition "compaz- tiendo con Bolivia" en el Museo de Historia de la Univer- sidad Rene Moreno (calle Junin 151). El artists norteamericano Xavier Cortada. de profe- sibn abogado, se ha preocupado por los problemas socia- les ypoliticos del mundo actual. Este espiritu solidario to han convertido en un activists comunitario que ha traba- jado durance anos con jbvenes adictos, delincuentes a ina- daptados. ACTOS PUBLICOS "Si bien mis lienzos son creaciones personales, los murales que pinto en forma cooperativa con otras perso- nas son actos sumamente ptiblicos. Aqui en estos encuen- tros se logs la sintesis entre el arte y la accibn social en una forma tangible. Estos trabajos, que he denominado "murales comunitarios", me permiten utilizar mi prepaza- cibn pedagbgica, asi como mi experiencia en la lucha contra las drogas y otras lacras sociales. EN BUSCA DEL ARTS REAL Su propbsito es el de la reflexibn colectiva, el auto- analisis y la coma de accibn pars el cambio. Segtin el, el arte es un medio de comunicacibn universal que permite a las personas sin voz, enviaz un mensaje de una manes cal vez mss provocativa que las palabras. El arte como proceso tiene la habilidad de juntaz a las personas y las obliga a utilizar la fuerza de los otros pars expresaz un sentimiento: "El arte tiene que ser real y no solamente hermoso" asegura. Con relacibn a su visits a Bolivia, manifiesta: "el pri- mer psis que conoci fuera de mi Cuenca caribeiia fue Bo- livia. En 1992 visite Santa Cruz paza daz conferencias sobre la prevencidn de la drogadiccibn. La labor en con- tra de las drogas y por la vida me ha llevado a cuatro con- tinentes desde esa primers visits. Ahora regreso, por ter- cera vez, pars compartir to que he aprendido y vivido en este Bello psis que siempre me ha inspirado" agregb el az- tista. Esta exposition goza del auspicio de la Universidad Autcinoma Gabriel Rene iVioreno y del Servicio Informa- tivo de la Embajada de los Estados Unidos. Yavier Cortada logs la sintesis entre el arte y la action so- cial. 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Z CW i f ~~ ~r F~ ~i~' Z '' ^^w Y/ N L a t~ i. d3 a V) "~~! ai a~ _~ a.~ -~. _~ 47j e~ ad _._. fl C~ _~ s... a~ _~ CLr c~ :~ a..., 0 w 0 ~n Fine gRrs International Artist Exhibits in Miami rtist Xavier Cortada will be on display at the Area Stage Theater on South Beach from Sept 20 through the end of October. The exhibit, .titled simply "Works on Display," opens on Saturday, Sept 20, with a wine and cheese reception at 10 p.m., imme- diately following the evening's theatrical performance. The Area Stage is located at 645 Lincoln Road on IVliami Beach. The show consists of a selection of Cortada's most recent work. It includes pieces from the Torso series, from a mixed media series that incorporates "found" photographs and por- traits, and an homage to Francis Bacon. "As a lifelong Miamian, I'm happy to exhibit here at home," says Cortada, "especially in a venue like the Area Stage Theater which has done so much to support the arts locally." The artist recently returned from Peru, where he had a one-man show at the Museum of Contemporary Art in Cuzco. Cortada will be going to Bolivia in October where he has two solo museum shows, one in the capital La Paz, and another in Santa Cruz. Cortada is aCuban-American artist who combines talent with concern for social and political issues such as racism, human rights, se~cuality, AIDS, and Cuba. Cortada's paintings have been seen on four continents, with exhibits in museums and galleries in Washington, D.C., New York (SoHo), San Antonio, Berkeley, Madrid, Johannesburg, Mauritius, Nairobi, Dar es Salaam, Peru, and other places. He was the first foreign artist to exhibit in Soweto after the end of Apartheid. Cortada has also created a series of participant- driven murals commissioned by groups such as HBO, the Indiana Governor's Office, MADD, and the Metro-Dade Cultural Affairs Council. Look for this article and many others on the World Wide tiVeb at: httpi//www entnews.com ~~-~~~~ Xavier Cortada, in front of his Torso 3" SECTfGN , b~fE~NESCAY, AUGUST 13, X997 , ~e ~~er~l~ F• CARL JU237E /Herald Staft A CREATIVE TDUCN Children attending a summer program at Miami Lighthouse for the Blind had help painting a construction fence Tuesday as part of a community project suggested by artist Xavier Cortada. Above, 11-year-old Nathaniel Hobbs of the Lighthouse dips his brush in blue and red paint. Cortada, right, helps visually impaired Lester Gonzalez, 14, paint the letter 'L.' Children from Regis House and Abriendo Puertas also gave a helping hand. -b.Constanza ~:: 3» 11 anchaq =lf.: 233352 tx:223231 = + .w DIAS PARKA EL SIGLO XXI SUB DE~~ANC~ _~E LA PRENSA NACIONAL DIARIO JUDICIAL NO CI N- 24,547 Cusco, Lunes 14 de Juiio de 1997 - 12 paginas - S/. 0.80 tG. WEBB: Attalwww.cosapidata com.pdempresakomercukomercu.htm CORREO EtECTA0fAC0: cornercus®cosapidab Ofreceran artistas de EE.UU. y Suiza: Hoy co nferencia s sobre Arte Social y Pedagogico Los organizadores cubano-estadounidense egresado de la Escuela de la magistral conferen- Xavier Cortada con el de Bellas Artes de Cusco cia sobre Arte Social y terra: "EI Arte Como y residence por muchos Pedagogico, estan invitan- agente de cambio social"., anos en Suiza. do a los artistas, profe- basandose en la muestra En ambos casos, los sores de educaci6n artisti- pictdrica que realiza en la artistas expositores com- ca y publico en general, a Pinacoteca de Arte plementaran sus confer- parhdpar del importance Contemporaneo hasta el encias con la proyeccion evento que se realizara 19 de Julio. de transparencias y la hoy 14 de Julio. a partir de Por su pane, la presentation de un las seis de la tarde, en Ia Escuela Superior valioso material pictorico, Sala National de Arte de Autonoma de Bellas Artes por to que se destaca la la Escuela de Bellas "Diego Quispe Ttito", pre- trascendencia del evento Artes. sentara la Conlerencia del coda vez que se analizara Por una pane, la Artista Walter Chuquitapa la importancia social del Municipalidad Provincial con el terra: "La Arte como obra de comu- de Cusco, a Craves de la Ensenanza del Arte y las nicacidn humans y la ped- Comision de Education y Manualidades en Suiza", agogia artistica en paises Cultura presidida por la basado en su larga expe- desarrollados como Suiza Regidora Thelma Chacon, riertcia y conocimientos y Estados Unidos de presentara a la arusta como Artista Plashco Norteamerica. P~~i~ b.Constanza »11 - 3nchaq .,,;~,... x: 223231 FALTAN 903 DIAS PARA EL SIGL4 XXI SUB DECANO DE LA PRENSA NACIONAL DIARIO JUDICIAL -w.- ~ -._. 7-- _ - ._ . VO CI N- 24,546 "Cusco, Sabado 12 de Julio de 1997 - 12 paginas - S/. 0.80 G. WEBB ntt9lwww.cosapWata.tom.pdempresa/comercu/comercu.Atm CORREO ELECTRON/Ca: comercusecrsapidata PINTUHADE~AVJER COATADA UN EXITO Xavier Cortada, daste• Cado irttita d® Mtaml, vle- ne exhiblendo su plntura contemporinea INtEFi• CAM810& por eegunda semana con buen exito. en nuestra Ciudad del Cus- co en homenaje a fas fies- tas jubilares de eats Ca- pital Imperial, obrei quE3 se exponen en la primers gala del Museo tle Arte Contemparineo da la Mu- nicipalided. Este artiste de tenom- bre internacionsl, en mirl- to de sus obrae importan- ces qua reflejan la lochs contra la corrupclfin, la inmoralidad, el hambre, la miserie, la pobrata, 91DA y el recismo, recibia un diploma de honor , de la Municipalidad cusquena. Cortada con experien- cies recogldas en Amirlce del Norte, Europa, AtrlCa, consolida su eetllo por un Cubists y Expresionieta in- fluenciedas de Pabla pica- sao, Frenclaca Bacon ee- peclalmente de su padre Carlos Cortada; aelmiemo de Ios pintores Cubanos y el arts religioso. Entre- vistamos a Xavier quien nos explica to siguiente. Para mi es dificil des- criber mi trabajo en el idio- ms formal de la critics, sencillamente mia cuadros son expresiones muy per- eonatae qne teM1ejsn mia inter9eei, preocupasiones y pasiorx3s tlet momento. Pero si me to exige expli• carian qua mi estilo mez• cla el expresionismo con el cubismo, con algunos rasgos surrealistas. Treba- jo principalmente con acri- Ilco sabre Ilen3o, aunque tembiin trebaja Con otros medios de collage al morel en geso. Del expresionis- mo vlene mi estilo y el aentido de narrative mien= tree que la Ilnea negre de- Ilnesnte y to forma en qua se quiebran Ins especios son del cubismo, t_o surre- al una estetice que habia eliminado, reaparece en mi mia reciente trebajo En mi palate predomina~ los colores primarlos aun- que recientemente iniluen- cias mia contcmporinear (cams la del InglAs, Fran- cisca gacan y los colores nauseabundos) estin esti- rando esa carecteristica bielCa da ml trabajo; pinto pare exprr.tarme y tam- blin pare hater saber mle preocupaciones por los problemas sociales qua enirentamos en Miami y en el mundo. Mi obra se compro- mete al intercambio inter- national, al desarrollo hu- mano ysocial asi Como al cambio. ~ <~ ~~ 0 o st .~. ~~.~ f hy,l to A >. occY .t. G(~P~ bPi _, D~ ~~L~~~Wi~ ~- ~G~ ti~ y j • ,: ~.~ ..~ ~ ' JANUARY FE 3RU,~RY r.~:.'?!: =~ •' 't f; , S M T W T F 5 S M T W T F S S M T W T F S S M T W T F S 1 2 3 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 4 5 6 7 8 910 8 91011121314 8 91011121314 5 6 7 8 9 1011 11 12 13 14 15 16 17 15 16 17 18 19 20 21 15 16 17 18 19 20 21 12 13 14 15 16 17 18 18 19 20 21 22 23 24 22 23 24 25 26 27 28 22 23 24 25 26 27 28 19 20 21 22 23 24 25 25 26 27 28 29 30 31 29 30 31 26 27 28 29 30 MAY JUNE JULY AUGUST S M T W T F S S M T W T F S S M T W T F S S M T W T F S 1 2 1 2 3 4 5 6 1 2 3 4 1 3 4 5 6 7 8 9 7 8 9 10 11 1213 5 6 7 8 9 1011 2 3 4 5 6 7 8 •' y • 10 11 12 13 14 15 16 14 15 16 17 18 19 20 12 13 14 15 16 17 18 9 10 11 12 13 14 15 ~ ~ ` - 17 18 19 20 21 22 23 21 22 23 24 25 26 27 19 20 21 22 23 24 25 16 17 18 19 20 21 22 .:. :~ ~•c- 24 25 26 27 28 29 30 28 29 30 26 27 28 29 30 31 23 24 25 26 27 28 29 31 30 31 '` ~~?'~ z.. ~ .. ~... _ _ .~~--~ . SEPTEMBER OCTOBER NOVEMBER DECEMBER S M T W T F 5 S M T W T F S S M T W T F S S M T W T F S ~. 1 2 3 4 5 1 2 3 1 2 3 4 5 6 7 1 2 3 4 5 6 7 8 9 101112 4 5 6 7 8 910 8 91011121314 6 7 8 9 101112 13 14 15 16 17 18 19 11 12 13 14 15 16 17 15 16 17 18 19 20 21 13 14 15 16 17 18 19 20 21 22 23 24 25 26 18 19 20 21 22 23 24 22 23 24 25 26 27 28 20 21 22 23 24 25 26 - 27 28 29 30 25 26 27 28 29 30 31 29 30 27 28 29 30 31 . ~ :.t ~~ rq 1;~ K^.: ; ~ r.~, s, ~ tee- .. - ~; •~ ~ ~ .fir. -.., ry .]firrvt ~.. _ . • PUBLIC HODS lG RESIDENTS CREATE IBLIC ART TO CELEBRATE COMMUNITY T~vo Miami-Dade departments joined forces recently to give public housing residents a greater sense of ownership over their community by having them paint a brighter future. Over 50 youth from four public housing de~•elopments spent several days this summer conceptualizing and painting the mural on a 30-toot exterior evall within the Naranja Sunset Point site. Naranja, along with nearby properties, Pine Island, Moody Village, are owned by Miami-Dade Housing Agency and managed by Pinnacle Realty Management Company. The pilot project was designed to explore the use of art as a community building and economic tool in public housing. By creating the mural, youth are changing the physical environment of public housing and encouraging others to channel their talents in apro-social manner. According to Miami-Dade Housing Agency Director Rene Rodriguez, "The mural will also serve to recognize that these public housing units belong to the community. Having residents help in their creation will reinforce the concept of ownership and further bond them in community." "The mural was conceived by the youth in collaboration with community artist Xavier Cortada, aMiami-based artist who uses his art as an agent of social change. "Art thereby serves as a coalescing agent," said Cortada. "From this day forward, when youth walk by the public housing units, their mural will serve as a conspicuous reminder of what can be accomplished when they work as a team." At the mural's dedication on September 8, 1997, Vivian Donnel Rodriguez, director of Miami- Dade Arts in Public Places praised the youth for their hard work. "Although in the end, the mural will aesthetically enhance the housing community, the Naranja Mural Project is really about working together to build personal and neighborhood pride." Naranja Mural Proj¢tt Co-sponsors Miami-Dade Housing Agency Miami-Dade Arts in Public Places Pinnacle Realty Management Company Greater Miami office of the Local Initiatives Support Corporation Alex Penelas Mayor MIAM BOARD OF COUNTI' COMMISSION[RS Gwen Margolis Cha1rC+~CCan &~ttc T. Ferguson Katy Sorenson Dic(nct 1 [Actncl fl James Burke Dennis C. Mrxs [>ntrKt 2 tA<rrlct c Ur. Barbara Carey Javier U. 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Cif, f (~ g MARCH 97 •9 FLORIDA'S NIGHT LIFE ~~March 1997 No.9 Page io ARTIST OR American Sti America's Cinderella;art~.~g9; ~- ith a recorder in hand and legal ~- pad tucked under my arm, I made my way up the ":°' ~ steps of a modest ' Miami home to interview Xavier Cortada. Xavier and 1 had spoken on the phone and I had already sampled a little bit about his work from the information packet he had sent me in the mail a couple of weeks before, so I felt very prepared for the meeting. When I read the information he sent me, one of the things [hat struck me was that although he is an artist, he happens to have a law degree from the University of Miami Law School. As you can imagine, possessed by my preconceived notions, I automatically thought "he's a lawyer." So, as I walked through the door of his home I carried heavily over my shoulder all the expectations that go along with the stereotype. Boy was I in fora sur- prise! As the door was slowly swung open, I was greeted by Xavier and his lovable canine companion. As soon as I stepped into this comfortably- fur- nished, spacious abode, I noticed the sleek wooden floors and the walls lined with fascinating paintings, and I was intrigued by several African, wooden statues placed selectively around the perimeter of the living room and den. This was not the typical, conservative habitation environment of the lawyer I had pictured in my head on the way over. After brief introductions, Xavier asked me if I would like a tour of his home studio. I was so overwhelmed that with Pavlovian certainty, I nodded a yes. He showed me his cozy studio and an underground work and storage area where he keeps frames and supplies. He then displayed several paintings and March r997 No.9 Page rr LAWYER? t t paae~e,.:~..r„6 ,~ic~ and antiwered all my questions as he patiently explained the theme of :rah r,nc. Although 1 had made up my mind, long before I arranged this in- _ n rew, that the article would focus on Xavier the artist, I still had Xavier the Weyer lurking in the back of my mind. After seeing his work and hearing the nthusiasm in his voice as he spoke about it, I was truly impressed and I be- anie aware at that point that Xavier the lawyer was an alter ego that was radically nonexistent. The degree is just a piece of paper hung on a wall and i s essence does not come from the prestige or status that it offers, but from is innate ability to tap into the heart of human existence through art. Shortly after the tour, we sat down in the living room and I began the Q nd A. He began relating a fascinating tale about an impressionable young guy who watched attentively as his father painted. "I was an art critic be- ore Iwas an artist," he said, inhaling, his voice dropping as he recalled with ondness, "I used to tell my father `You need more yellow here, more red here..."' After his interest sparked, his passion grew and he began to paint. iowever, the advent of his high school years forced his talent to lie patient- y dormant. During college, he took a couple of art courses, but ironically, he :hose to keep one foot in academia and the other in art by deciding to pur- .uc claw degree. Oddly enough, it was the period during which he put aside its artistic ability, namely his high school years, that influenced his decision o pursue law in the first place. "There were a lot of kids that I went to Miami High with in the early 80s that were in a very negative predicament and I somehow rose above it... I' m like this kid that wasn't born with a silver spoon -n his mouth, and I felt like I had an obligation to give back. So, the way I ~•as gonna do it, the vehicle I was gonna use was law." He wasn't immune :o the pressures of society, and he was "forced to be, at least in my mind, this ::ivic leader type that needed to fit into a sort of social peg." Even though he went that route, two years ago he struggled with the seem- ingly universal existential issues that many of us have or will confront. In try- ing to find out who we are and what our purpose in life is. we might dis- cover that we are in better karmic shape than we thought. And perhaps. that in and of itself, will bring us closer to answering those existential ques- tions. Such is the case with this local artist, who found out that art can some- times wield as much influence as a law. " I look at my role in this world as trying to make a difference, trying to change the world. Initially, i used law as a mechanism to do that..." Consequently, he left a profession of tender egos and polemical relationships on the back burner, and decided to con- centrate on developing his innate talent, which he uses to slap the quiet rage of urban streets in society's face. "Every painting I showed you had a dif- ferentsocial message... like a speech a lawyer would make in front of a jury." Xavier starts his paintings with primary colors, and draws from sev- eral different styles or artistic movements to create his paintings. In one par- ticular painting, you might find elements of cubism, surrealism, and impressionism, all harmoniously blended together so that only the most skilled art reviewer can pick up on it. Also, he has been experimenting with a unusual but titillating technique. He takes black and white photographs, sticks them on sections of the canvas, and then creates a painting around the photograph, taking advantage of the scenes and perspective it offers so that it becomes part of the painting. Amazing! This break from tradition is what makes his work so unique. In fact, breaking with tradition is Xavier's hall- mark. "I don't see myself as a traditional anything," he laughs, "I'm not a traditional artist and I'm not a traditional lawyer. I'm a traditional Xavier Cortada..." Although Xavier's work can be admired for its artistic value, it can Continues on nr:xt page-s M~YEMEMTMarch iqq~ No.q Page iz also be admired for its content or theme. Most of the paintings deal with so- cial problems including drugs, racism, violence, politics, etc. This approach has afforded him much visibility in the community and consequently, the power to change people's point of view. But it doesn't stop there. Aside from his paintings on canvas, he has teamed up with different organizations to create numerous murals depicting powerful social messages. He has com- pleted these murals with kids, in an effort to engage them in something pos- itive where they can channel their energy creating a visible reminder of society's struggles. These reminders Dave a truly lasting impression and serve to motivate people to take action. This is admirable, but just like me, you might be wondering what the flipside to all this goodwill is. Could someone really make a living through art? Having had a painting that re- cently sold for 54,000.00, Xavier's motto is "Be true to yourself, and the people will come." "One thing I am very proud of is that I'm not concerned about commercial success as much as I am about using art as a way of con- veying my message. I would be more honored to have one of my paintings hang in a museum than to have it hang in a gallery for sale," he stated with conviction. One thing is for sure. Regardless of the monetary compensation that his art may yield, there is definitely an in- trinsic benefit involved. His recent participation in creating the mural for the Health Crisis Network ~ during the AIDSWALK of Miami was one such re- warding experience. He recalled seeing an individ- start of rAs Union;e[4s.iq{ ual literally writing good- ~ I bye letters to his family and friends and placing them on the mural. This was a very moving experience for him. Also, he recalled going to ; Colombia to produce a mural with some children, who wanted the mural to j carry an anti-drug message of peace. He never got to complete this project, because as soon as word got out about its content, he was advised to leave because his life was in danger. He believes that the fact that the mural was never painted speaks louder than anything they could have created. The children wanted peace, and they didn't even get the chance to voice their request! These brief brushes with greatness could never have prepared him for the project with the Lighthouse for the Blind. He was summoned by this organization to teach blind children about art and to paint a mural with them. Of course, he was surprised by such a request. How could he teach blind children about painting? Well he managed singlehandedly to do so by using simple analogies that they could understand. Although this was a verv chal- lenging experience, its rewards far surpassed those of any of his other pro- jects. If you haven't figured it out by now, Xavier Cortada is an artist, and he uses his skills to convey a message, to communicate. "After going through law school, after going through the masters, I found that art is a more profound way of leaving a more lasting impression... Words evaporate, but art is lasting... Art is what makes us human. The ability for us to interact through art transcends whatever barriers we create... Art is about expression, it is a tool. Oscar Wilde said, ' In the end, art is the only thing that is serious, and artists are the ones who take themselves the least seri- ously. "'~ Visit Xavier's web site at http://N'M'M'.cortada.com el~...1~ `£~ ". -f1 Longwood ~Arts~ ~a11er~y ~: ~~ - ~' ~:r r ~~`~ .fit - '~,~r d' a a z ,. -.~ ~ r~: 9 i' ~v.y~~o `' ~ ~ ° L .~ ~ V w L% C, t, .L C <' ~ o ~ o c ~ ~ ''^S L C V L+ V C V a, ~. _~ c~ c ~ ~. ~ 6 ~ ~ C ~°~`" p ~ F o ~ ~ ~ ~ Q `' v o o a e aj' L C R v i H Lt~ =r' s 1 Y ~ -_ _ - - g _" _= i i _ =~" _ - 3 7. _ t ~ _r ~ a v ' C 3 r ~ - ~ _ _ a _ ~ t ~ L c 3 0 _ ~ 3 ~b-y~..~.4~ ~• FgNII~ .)AY The University of ht:a~ni football team-wants ~rou to meet ?te Hurricanes at the dnllUar I-tdlTllly Dd,: drd scrun.-nage. There are sever ~c;:'^ Dade products or•. she team and the prayers w•^o ;:ave staves off the Ao~~e Blotter Gourd certainty use a roost from the fans. TURN TO PACE 12 jll'-SIDE IDITORIIL........PAGE 6 BRIEF'S ...........PACE B SPOTI.IGI[T........ PACE 10 CALENDAR........PACE 13 ~'IF3CAPES..........PACE 14 CLESSIFTEDS....... PACE 18 YOU . .:K The Village of Pinecrest will be getting a bit more official-looking soon. Residents have designed Village Seals and govern- ment leaders want the citi- zens of Pinecrest to get out and vote for L'~eir favorites. Take a peek inside at the choices and find out hcw to make your selections. TIIRN TO PAGE 3 ~n ~ ~ • • Vol. 2, No. 48 ^ "Your News, Your Newspaper" August 9, 1996 ~~~ ~o~a ~e~~r~ ~~K~ ~lping=Hands (' ab;~.Hold Of ~C mmunity • ALEXIS COLLIN3 WORKS on the background of the mural (top). Artist Xavier Cortada (above) direct- ed the project, which brought together young artists and people of all ages from the Naranja commu- nity. -= he Local Initiatives Support -Corporation and the Metro-Dade Parks Department have partnered with -'children of the community in the creation of the Naranja Park Mural Project, 14150 SW 264th St. Artist Xavier Cortada, director for the LISC South Dade Development Program, and young artists from the area, have put together a 24- feet by 3-feet mural, which will focus on the bonding of the community and will depict a con- glomeration of hands reaching up together to symbolize the "Celebration of the Community." Naranja area residents came out July 31 to have their hand traced as a part of the mural so it would be completed the folbwing day. The mural was then unveiled and permanent- ly affixed to the wall of the Naranja Park Community Building. Founded in 1984, the Greater Miami LISC is a nationally-based organization that supports and organizes Community Development Centers. The mission of the CDC is to assist local com- munities in the development of affordable hous- ing, establish economic development and initi- ate social services. For more information, call 254-8181. • THE MURAL DEPICTS hands: hands that help, hands that reach out to others. The photo above shows an overview of one section of the mural. • AN ARTIST'S TOUCH. The fin- ished work is hanging at Naranja Park. 6) -;° ' s ) COURIER '' STAFF PHOTOS RV Sometimes, Art Speaks Louder than Words [n a ++~orld +vhere +vords otrcn tall ~h~u-. -.~.. ~.ut hr the ~~~tnething +~aluablc nc~+ ha+•e geared. Thr+• s:n, "See, that's ans+cer. That~s the position ~>t South U.~.~ LISC D1rr~b~C the hand 1 painted, or the timer, or the skc.° ta+-irr Corr,tda, who's hrin~in~~ Grc continued on page 2 hark to beleaguered neighborhu~~+{~ thruu~.;h rummunit+~ ;trt. ,~~ an accomplished artist, Cortada has logged thousands of hours thinking about and practirin~ communin~ rene+v:tl. ".-art and the rreati+•e process,° hr sa+•s, "bring people together in a deep and ~ signitir:tnt +va+." Li \aranja, for example, Cortada organized amoral-painting project this past august. He rolled up his slee~•es and worked with a group of children and adolescents to paint a ?-1-toot-long mural called H~1n:L<: C~lebnrtion ~f Conznuntitl~. The mural, which now hang: in \:tranja Park, depicts hand: reaching up to the sk+~ and reaching out to others. ~~'hen children see it, the+ see More tl~~ ~r~~ks and ~r~ar .-ask South Dade LISC Director ~a+r- ~ ~~rrada ++h:tt communin~ revitalization is aI1 about ,u~:.: +~ni•rr 1ikrl+~ t:+ rt an unorthodox response. "~~'hen ++e :.:::~ ~~nnnnulin de+-elupment, +ve're nut just c,tlkin~ hri~>< :nd mnrrar.•~ Cortada points out. "We're talking, ah~ ~.a hrin~im~ ditterrnt people and a~end:u together in a +ca+ ti~. - ~.+orks t~,r the interests of even~one." Cortada is articul:uin~ a persperti+r ti:.:: i.I~C .ut~i its member CDCs ha+•e suppurred .*~~, "~n~ time. Ir ~ :t persperti+~c that places economic and social development side-bv-side +vith ettorts to build housing, shopping centers and other ~ommerrial and industrial assets. "CDCs don't just build structures," sa+-s Cortada. "The+• build relationships." In South Dade and elsewhere, such relationships undergird :utd strengthen real estate development etti~rts. CDCs work hand-in-hand with police, optimist clubs, schools, social ser+•ice a~~cncies and public otticials to ti»trr an em•ironment cont(i~nued on page 2 t7~".~J~.~Jt~ Art as an Agent for Social Change (continued from page 1, "Sometimes, Art Speaks ...") a~~~~rnt~ii~h sun i i. th~~ ~,~ ,.. ,.,_ `~ ,. ~~ .cr, trtche~ ~hildre~: ,ut~i ;iu~f~ .~~ rr~t~~,~- ~.tcl1 ~~r ., ..~~r~it~,. i[cr.tte> G~rta~{a. "It al,c, Ce:lche< [hCRI tlT,lt C.l~l1 [fie r~~~il i1:U :1 talnah(e Rile t~ ~ pLt\~ l.. a lar~cr prc>ss~ .. The ide.t i< that it people learn n. inrcr.c~r and ~t~c~rk tu~~ethcr tr,rou~1.~ art, thel" ~ai1 vyork Cu~rCCllCr tt~ improve their cunununity in other way ;too. Such cohesion and team~~urk isrit the onh• benefit of conununity art. .-\ccurdin;; *.o Corttda, art also builds a sense ot-history and content often lacking in disul~:uita`,ed communities. "Community art gives people a chance to create a histon~, establish some tangible landmarks by which to define themselves and express the way they feel about each other." The power of art reaches still further into the fabric of community life when blended with an economic agenda. In ~~,crh O,c,lc, ti,r in>t,u~~e, LISC i~ partnering with the Lcnra, Lantpr~in~~ CUC ;tn~l du ~Ictro-Uade Cultural \ttair~ C~nuicil tee ~;t.thlish an "art trailer" where ~~art~„ memher~ soul others can ~~o to create and then yell their art; and crafts. The idea is to provide accessible and Constncctive outlets for the creative energy crf cummunin~ residents. With dle proper opportunity and ~~uidanue, residents can he~~in to form a habit of exerting a positive influence over themselves and their comcnunin•. In Cortadas mind, the prospects are exciting. Hitt vision is similar to the reality experienced in other cities, where resident-created public art has been used to beautify the physical envi- ronment. "When people get together to paint bus benches, buildings and other landmarks, a stronger sense of community emerges," he points out. This sense of communin~, concludes Cortada, serves to generate and build pride from within the core of the neighborhood. In addition, it captures the attention of outsiders who might think, "Hey, this is the kind of community where I'd like to locate my business or raise my children." DI\[udiu ' .............................................................................................................................. Building Equity in People (continued from page i, "More than Bricks..." ) for social cohesion and economic growth. Real estate development is just one of the ,duals for South Dade, says Cortada, who was hired based nn his innuyatiye community-buildin; track record. "The reason ~t~e're in South Dade,° he remind:, "is to help resin{ents pLtn for and make a difference in the neighborhoods where they live and work." It that's the objective, then LISC's involvement in Naranja, Florida City and other underdeveloped South Dade communities is the realin•. In Naranja, for example, LISC has brought two different resident groups together to form a CDC that will serve the interests of both. In Florida City, seyertl community initiatives are well underway, including a housing initiative and afor-profit business venture. (See °C:o t 2u~ntt tc ChanJe... "' artidr on appcsitz pagt) With this agenda, the LISC South Dade office is worl:inr closely with local CDCs to position their comnntnities file real development now and in the future. "The uh~ectiyc i~ to do everything we can to ensure that ioh trainim~, huusin~, shopping center and other im•estcnent~ pay oft and ftcilitsue community integration," Cortada says. Cortada calls it "building equin~ in people," which he and his staff at the South Dade LISC program have been doing since late-199, Under athree-year contract, Cortada's tram is forging forward to create a yore and venue for ch:u~gc in at least five South Dade neighborhoods. ~, 2 ~~-:~.~. ~3 XAVIER CORTADA ~ a obra del pintor ~ ~ cubanoamericano '~~`~` Xavier Cortada es una sintesis de sus talentos, intereses e ~-' ,; inquietudes. EI joven artista mia- `'a mense utiliza el arse no solo como ~ ~ vehiculo de expresion personal sino ~ tambien para educar y crear con- ~`~ ~ ciencia sobre problemas sociales. _ -- Cortada ha Con ese proposito - , viajado a cuatro continentes. Ade- _ E_ " mas de pintor, Cortada es abogado y ~ r ~" activista comunitario. ~`°t,~- f El artista nacio en Albany, ~" estado de New York en 1964 de pa- ~, dres exiliados cubanos. Se trio en el ~~ _; barrio de "La Peyuena Habana" en #x. Miami. Primero tomo brocha en ~u~,. „~'-„ ~• mano a los niece anos bajo la tutela ,;:.~~ , de su padre Carlos Cortada, un `~ respetado pintor. Estos primeros >" ~'~~' ;~~ ~ pasos tambien fueron nutridos por la 1~ '`t. rica herencia artistica de Cuba ' '~; trasladada al exilio. La sensibilidad ~' ^ vanguardista cubana y la pasion de r~ .r .' los jovenes pintores de la decada de los sesenta, se hizo presence en su ~`~~..~- '~= = education artistica. La influencia de :~ ;'` Victor Manuel se puede apreciar en `'' ~ -~ los ojos almendrados y labios car- a_=~'S; nosos de los sujetos en el cuadro ~ , "Los Primeros Cristianos" de 1979. '~ ~ ~~" La paleta artistica de Amelia Pelaez, sr ~~Faj,~~. ~ k~ brc ' con su use de colores puros y ' '~-~ ~- elementales tambien es evidente s como influencia. ;~,., En 1991, recibido de abogado -~r~, ^~' ~ 4 . pero con cuestiones artisticas y ~ _ . , personales por resolver, Curtada se _ 1 ~ ~_' propuso integrar su camera legal con -~ ' su vocation artistica. Su obra co- menzo una nueva etapa. Retomo „~~ temas sociales en sus cuadros y '.~; Por Juan Carlos Espinosa empezo a crear una serie de murales en diferentes panes del mundo. Tra- bajo en barrios marginales al igual que en seder diplomatical. Fue el primer artista extranjero en exponer en Soweto despues del fin del regimen de apartheid en Africa del Sur. Cortada ha promovido sus ideas trabajando al nivel comunitario en su ciudad de Miami y otros lugares: Ha creado murales comunitarios con pacientes de SIDA, ninon ciegos, indios norteamericanos yjovenes pandilleros. Utilizo su arte como agente de cambio social cuaddo „ ~" viajo a Sierra Leona, Tanzania, '`` Kenia, etc. Para este joven pintor el arte ' es un idioma universal que se puede usar como vehiculo de expresion y _ comunicacion individual o colec- tiva. _ ~= En los tiltimos meses ha pre- sentado su obra en San Antonio, TX; ._ Palm Beach, FL; San Francisco, CA ~' -' en la prestigiosa Longwood Arts ~, ` Gallery en New York asi como en el ~ •, ~ ;° Capitolio de Washington. En Julio de 1997, tendra una ;~~~ exposition en el Museo de Arte a~. _. -~_- Contemporaneo en la Municipal[- dad de Cuzco, Perti. 3M. Cortada no solo ha expuesto ~~~- ~~ en galerias y salas de los Estados '~' Unidos y en cuatro continentes. Su ~~ obra tambien puede verse a craves del Internet(*). Ahi se puede conocer 5 „:-}Y3 mas sobre el pintor y su obra. Man ~~`~~~.' " de 50 cuadros y dibujos se pueden ~ ,;,~.,b- examinar en este sino asi como `1 " decenas de fotos de murales y otros proyectos artisticos. `A A [raves de su obra comum §~ } ,-- [aria y la del taller de pintura, el `' trabajo de Xavier Cortada expande ~`~ `- el vocabulario visual de sus realiza- `.?-•-~ ciones artisticas y a la vez contra 4r buye al nacimiento de una nueva generation de creadores cubano~ F ~~ ~ cubano-americanos y miamenses . _ _ ~'" ~~ que estan cambiando el paisa~e ~ ` _ artistico de esta ciudad. ~~~,` '.~ r (*)http://www.cortada.com _ _ _ ___ f - ~~ ~~~3 Sur •mento de Arte Cubist Christ 40" x 30" 1995 Acrylic on Canvas "Guantanameros" 22"x28" 1996 Acrylic on Canvas i I _ i f~ .~.~~.•~•;•j.f~.• ~~-~.~43 EL NUEVO HERALD 8A LUNES t5 DE JULIO OE 1996 Un mundo mas amplio Hace unos -~~~' i~ dias nos reuni- mos con un grupo de artis- tas a intelec- tuales que viven aqut en Miami. Los anfitriones de YNDAMIRO la tertulia fue- RESTANO ron Xavier Cortada v Juan Carlos Espinosa. Ellos forman un binomto esperanzador. Son ambos jovenes y humanistas en ei sentido de que estan familiari- zados con las iiltimas Corrientes artisticas y del pensamiento, observan los hechos con mode- rada insatisfaccion a intentan acortar la distancia entre teoria y acto. Tambien Xavier realiza obras muy nobles, como la de pintar murales con ciegos o Ile- var un poco de amor a pandille- ros juveniles. Ellos fueron muy amables y me permitieron lanzar mi tesis: El arte y el poder. Tema abierto ya al debate. Propuestas de la tertulia En la tertulia se dijeron cosas interesantes. Comenzamos abriendo el terra del poder como categoric universal y quedamos, Begun propuesta de Alfredo Triff, en que pars la proxima reunion llevariamos en la agenda, el arte, ei poder y nues- tra identidad. do intentare enu- merar todas las ingeniosas expli- caciones que alli se suscitaron, desde el equilibrio entre el arte y ppoder, de Aldito Menendez, hasta la importancia de mantener el arte Bien separado del poder como ha ventdo ocurrtendo desde la ilustracion, segtin un joven pintor recien Ilegado. Fabio, que vino v welve a nues- tra smalls isla, alerto sobre un Stalin-Picasso y Alejandro Lorenzo opino que las ppersonas de la cultura pueden llegar al ppoder en contraposition al caudi- Ilismo militar populists. A veces, Basta presentar un terra pars que la mente critics del ser humano intente traspasar los muros de ese terreno y trate de penetrar en to mas esoterico como frio que nos Gala en una noche de invierno. En la platica sobre el arte v el poder tambien se encontraba~el eminente socio- logo Ricardo Puerta. El nos recordo la famosa frase de que la politics es el arte de to posible. Esta baza de mi amigo Puerta, me llevo a las siguientes pregun- tas: ~Que sucede, entonces, cuando el poder existe en un tiempo lineal de causa-efecto y el arte to hate en un tiempo gra- vitational de posibilidad-acto? Como puede ser la politics el arte de posibilitar, en ultima ins- tancia, el mejoramiento humano, si no existen ciudadanos fibres que puedan relacionarse en una atmosfera de pposibilidades? ~Seran tambien-los gobiernos y los estados reflejos del ggrado de humanization de las relaciones sociales? cultura de la violencia Tiendo a pensar que el poder no es solo un cargo ni un lunar en la jerarquia administrativa o militar de una nation. Las redes del poder son omnipresentes, en mayor o menor grado, en nues- tras nactones surgidas desde la cultura de la violencia. Existe, sin Lugar a dudas, un acuerdo tacito entre el oprimido v el opresor. Yo fui en Cuba un seu- doperiodista (p roppagandista) hasta que en 198 decidi ser un autenttco periodista. Tuve el valor de romper el pacto con el opresor. En primer lugar, porque habia superado uno de los mas intrigantes dilemas de la villa humans: la prioridad alma- cuerpo. lvo vale la pens por sal- var to de afuera, perder lo. de adentro. Puntos de contacto Hace unos dias nos reuriimos un grupo de artistas a intelectua- les en una Casa de Miami pars discernir sobre el arte y el poder. Dentro de algunas semanas vol- veremos a la carga, pero yendo de to general a to particular; hablaremos del arte y el poder cubanos. Herodoto, el padre de la historia occidental, escribio la historia como una cronica qque abarcaba la pluridimensionalidad de los acontecimientos. La histo- ria qque ensenan en las escuelas muchas veces esta "apergaini- nada". Los aspectos politico, militar y economico de la histo- ria parecen prevalecer ~deSde Tucidides hasta la actualidad.'La tertulia con los artistas a intelec- tuales de Miami es una- invi`ta- cion a incluir el aspecto cultural de la historia en nuestra prolile- matica Cubans. En definittva, 'las cosas no son tan simples y siem- pre podemos encontrar' una nueva dimension de la realidad. Las ballenas no son solo ariima- les que viven en el mar. En'un mundo mas amplio, las ballenas y los ratones tienen puntos ~de contacto. Y'ndamiro Restano es periodista cubano. ~~+~1~~~ } ~ Q ~ S ~ ~ } S J F- ~ . .~ ~i f i f, 1 t ~j E~ ,i~{{ 11 ~1 ~~, E' F, t A f f .~ J Q Q F- E _~ `~ v o~ 0 .~ N ~NN t'~ '~i ~ N `~~i v W ~i ~t~~J 'Ci .ti "`y m s a~ m o: 0 H 01 C O as C m U C c m ~.yv~~N ..+NR~,OO~, ~C>+b.L A ~..caN~~v sc~°~...3•y c.v~t°Q v v d _ •~ v Y L ~ V A ?. V CA3. CO U A U C~ >> yZ ~ Avc~~n-- ~ 3 ~pyN'bea f- u._ _ J A N ~ ~•, C cS N ~ ~ L H c7 U RS 4. _ T9 ~ ~ a a-3~;,,~~co~o•`-'~Nk es~'~o cr. ;~'; ~ .... ~ ~ cs _ O s oD ;~ ~. ~ O Ca ~ C R ~' ea 4 ~'._ Via i~ _, .~ C l C"^ ~ - .. -, ^•~~~ ,,,; G^ ~.. y ~ J ~' ~- C r to S = :n !_ - ~ :~ :7 7 -... :~ ~'~ c THURSDAY, JULY 4, i 996, THE HERALp T - ' blind children en'o lY learnin to aint mural ~ P LIGHTHOUSE, FROM 3 ented world. The summer pro- gram also teaches kids Braille, how to use computers and how to walk with a cane. They learn how to "see" with their other senses. The mural project was directed by Miami artist Xavier Cortada. "Out of all the murals I've done in four continents, this has been the most challenging," said Cortada, 31. "It's an empower- ment process for the kids. As visual artists, we rely on our eyes to create and we always fear what would happen to our ability to create if we became visually impaired." When Cortada walked into the room full of kids and suggested painting, some did not want to go outside. To make the kids more comfortable and as a learning experience, Cortada walked around blindfolded. That broke down some barriers and the class was more open to the idea of mixing water-based paint and splashing it on the shed's wall to create a mural. "I thought it wasn't interest- ing," said Danny, 12, who has been blind since birth. "But then I said I better try it. It's wonder- ful, terrific and nice." Streaks of green, white, blue, yellow adorned the facade. Shells, stones and rings were cemented on to add texture. The kids even left handprints on the wall. It took about eight hours to complete the work ot_ art. Laquanyia Davis, 7, splashed mustard-colored paint on the wall and got some on her neck and shirt, just barely missing her eyeglasses. She dust laughed. Although Lighthouse plans to start construction on an expan- lion in January, the shed - or at least the mural -probably will stay, said Richard DeCair, devel- opment director at Lighthouse, 601 SW Eighth Ave. When it was time to stop paint- ing, Anmyr Cruz, 9, did not want to quit. She completely sub- merged her hands in the yellow paint bucket and splashed the walls. Then she took black, blue and lavender and did the same. "How do you feel about that?" Cortada asked the young artist. "Good," said Anmyr as a big smile spread over her face. B~,KRIS1 ~R 1~ ~~~~'l)C~~C~' ~117~~ ~`~'~~l'~~ ~ ~~ , J ~• ~ The stark, black lines and bold cacophony of colors that leap from Xavier Cortada's (J.D. '91) canvases articulate the Cuban-,American's passion as a community activist. In America's Cindere[{a, children emerge from a woman's womb while a fairy godmother hovers overhead. Subtitled ~~'elfare h1om, that painting challenges the fairy tale that women will stop having children if you withdraw their wel- fare payments. Urban Slave is the portrait of a 16-year-old gang member with a shackle around his neck. In this dark work, the teen is succumbing to social ills that make him a slave to drugs and violence. Even Cuba's political disaster is portrayed-in Drownings, a 1995 painting of destitute is- landers, doomed rafters, and tortured virgins. "Art has a way of conveyingamessage that lets people confront and react on a host of levels," says Cortada, who learned to paint from his father and uncle, both accom- plished artists. "It gives you the opportunity to digest information, which rapidly spoken words don't give you the time to do." Cortada is currently program director of the Local Ini- tiatives Support Corporation's South Dade Development Program, which is setting up Community Development Cor- porations to build affordable housing, create jobs, and coordinate social services in impoverished communities hard hit by Hurricane Andrew. As with most of the jobs he has held, it involves grass-roots organizing, administrative skills, and an ability to communicate with a broad range of indi- viduals and ethnicities. Those skills, Cortada says, were learned largely during his years at the University of itiliami. As an undergraduate majoring in psychology, he was speaker of the Student Sen- ate, president of Omicron Delta Kappa, and a member of Iron Arrow, Lambda Chi Alpha, and Mortar Board. Cortada, who earned concurrent graduate degrees in law and public administration, recalls that while other students were at the Law Literary, he was working full time as execu- tive director of a Little Havana ad°lescent substance abuse center, sen~ing on City of iv4iami youth gang and juvenile justicr ~~munitt~•es, ar 7ecting with <*an~, tnemhrrs to -~- ~l'nr ftirth~'r 'tt,C~ II` ~i~G `~'~~m~ ,~i,~ n. nr~~~~nr~~~„,, also was vice chairman of the "Art has a way o ~ ABA's Law Stu- dent Division conveyingamessage ~_ and clerked f f for Tobin and hat lets people c0 - ' Thompson, ~' and for ~ ront and react on a~ f Adorno ~ & Zeder. ~ ! LOSt Of levels " c ~ . - L At first 1 lance ~ ' xavier~Gorrada ~- j ~ Cortada s work as ~ a ,-~- !~ ..~- :r•'` ~ v U 3 s an artist ta~G;~:::_ =°-' ~~ would seem at odds with his work as an attorney/advocate. But, he ex- plains, he brings all his talents to bear on a commitment to social change. The murals he creates with community mem- bers, in particular, have proven an important means of reaching difficult populations. On a recent trip to Leadville, Colorado, he worked with undocumented immigrants, established Hispanic families, school children, and church groups to design the mural "Hand in Hand," which encouraged a divided community to come together. Similarly conceived community murals hang in Miami, Philadelphia, Arizona, and Medellin, Colombia. During a U.S. Information Agency tour to discuss juve- nile justice issues in Third World nations, Cortada became one of the first post-Apartheid artists to have a show in Soweto. He also used his art to discuss techniques for bat- tling substance abuse in Spain, Portugal, and five African countries. Cortada describes his artworks-especiall}~ his murals -as tools for encouraging a community to bond. As they plan and paint the mural, diverse groups have an opportu- nity to voice their concern; and vision for the community. Later, he say;, "the mural itself serves as a conspicuous re- minder rh~it by «~orkin~, tu;ether we can accomplish somcrhin; .. ~~ t ~~r "~ ;'„I C7°~ =olorado __ ___ ___ aural roj ect p by Patricia Dedio aural that celebrates ille's peat present and is the goal of renowned Xavier Cortada. tads has been hired by . Central Rockies noon Project as a con- it, and after speaking Lake County High 1 prindpal Bob Keat, the for a community mural about. y dream was and is to e a mural depicting this iunity,' .Kent said. ething we can celebrate :e nett 40 years.' clads has already met various faculty, students nembers of the communi- scussing ideas. He said ;val of this mural is to everyone together with ideas. want to work with the nunity to present a mes- of hope,' he said. "Kids been telling me what -dreams for Leadville are I will build a framework in that' ~rtada will Dome up with central theme or main ;e for the mural, and the Thursday, January 19,1495 __Vol_117 ~~ No. 3 • SO cents • to Involve entire community rest will be made up with smaller images from every- one: students, faculty, mer- chants, residents, local artists, and anyone else who is interested. "Each individual or group _wi21 present images of all aspects of Leadville,' Cortada said. `We are using art as a way of communicating and the mural will be a way People and the community can inter- change with each other.' The mural will be 32 feet by 24 feet, hung on the east side of the high school, facing Leadville. 'This will serve an educa- tional purpose, and what bet- ter way than having the mural hung on the high school," Cortada said. Alison Manthey, LCHS art teacher,, said everybody will have voice through this mural. "The challenge will be getting the ideas and finish- ing them.- The Central Rockies Prevention Project well fund the mural and the community will work together. School Board members like the idea, but suggested an interactive mural, in which pieces can change as years go by and the times change. Coctada agreed with. the idea and said he can make.it so the pieces of the mural can be removed and used as the frame surrounding the mural. "rm very excited about this project,' Cortada said. Everyone interested is invited to Dome to a meeting with their ideas and sugges- tions Jaa. 19_at 6.30.p.m. in the high echoolfoyer. Cortada and 11~nthey have net a goal' for the mural to be completed by the end of the this school year with the can- vas and central theme net tp be worked on by Jan. 27. ~Chis is something where our entire community will be involved; Kent said. ~~-~~~~ Colores Crus F..NDREDI demier,) @ novembro, une belle exposftlon, ax6e autour d la drogw et de ses rdpercussions sur ses victlmes et sur lee strodt6, sociales, 6tait priwe ~ la Matron du Pone, else i' la rw du View; Conseil, placde sous I'~glde tonjointe ds :'USlS (United States Infomtatlot Service) et la Maine de Is capitals. H61as t, un mswals contours de dr constances a fart qw lee tableaux du dodeur Xavier Cortada, NerwYot'kai>I habitant Miami,l'exposant invit6, n'aient pu parvenu @ temps ~ destlnadon R~sultat : t'artists a tapidement p116 bagages (dommags t) st 1'expo est tenvoyee (pas annulbe), Nousavons toutefois pu coincsrle docteurCortada, le temps de qus[ques qussdons, pour mteux Is connat~re... . O Dr Xav/er Cortada "Mauritian taxpayers should start saving up for more prisons, more judges, more police olrcers and the other costs associated with having multitudes of dysfunctional, marginalized citizens who have no role in art industrialized society. Or, they could save millions by investing'in programs. like Teen Hope which provides youth who (ail the CPE with in/onrtal education, job training and placement, community service, ethnics and recreations/ components. That is opening new doors. ' (in 'Le Mauritian Plunel, 5/t 1/94.) II est peat-Alta Atranger, male Xavier Cortada a su saisir suet une singuiiAre lucidite I'Bctat dune sociAtA en quete de modemitA fella quest la societe mauricienne. Originaire de la Grande Pomme (New- York), Xavier Cortada, tits d'immigrants cubains, a tdujours viler sous Is aoletl de Miami (Florida): G qui ne Pa point aveugi~ face aux RIaQp dune aodbtb bvolutive. Specialists de loi jwbrtde (7wenile justica~, Xavier Cottada pone une tongue et riche expariertcs dhomms de bi, ayaM c8toyb, connu, btudib et v6cu suet des gangs, des dealers. des totdcos... Pour mieux les connaitre. Pour mieux apprendre ie mal de ces marginaux et les causes de lour diftAronce. Loin de fear porter pt8judlce - ce soot des gees dune race 8 part qu'!I taut absolument tenir ~ PBcart; mail dor>t on veal oleo, hypocritemerrt, ' a'oceuper pour avoir une consdence oleo ttanquille -Xavier Cortada, les pieds solidemertt viss~s sur tame, prone la sent{ibifisation. Une mani~ro de s'exprimer et de tallier la masse: see peintures. Moyer original. en eitet, mail qui recble dune psychologia laterite ' dens la mesuro oir to message, spon- tana, est diffusA. Car, en fait. lee tableaux de Xavier Cortada ne ressemblent en aucun Geu ~ ceux des peintres dont I'oeuvro fait rough de timiditA par incompr8hensior~. L'homma ds loi peintre-passionnb privilAgie, lui, un aft axprimA par la torte des pinceaux et des couleurs. Ses tableaux. ~ Pirutat do'Voyeur, 'Prison', 'Lover. 'Devour, pout ne titer qus ceux- Ig, soot des tAmoins dune soeibtb universellement rnodeme qui suocombe aux piAges dune Avofution rapids, une dAdale culturells qui peril trop souvent ses grappins. 'Things arenY the same for Mauritius : Soe/ety has changed me ... I have to go where the wind blows. Le mal mauricien ressenti par Xavier Cortada, ii resemble it la dAgAnAration sable 8 travers le globe. PretAe la parole, ('artiste pourrait bier s'8tendre massivement sur la chose. II a, en fait, tors d'un precedent sejour a Maurice. 'traine3 see guetres ", comma it le dit, dens les meandres de notre pays pour mieux ie peindre. Ce qui a donne cmq t tableaux ~lustrant une soddtb mauri• ~ darns plurielle coMront~e l de: t tentations noweUes de noire sodAtb I progressive. Ceux-ci, ds pair aver dautrea peirtturea Inspires de rAtdque du Sud et dautres pays visit8s, ont tail ~ partta de Ia toum8e de Partbte daps Sept Pays (Fspagne. Portugal. Tanzartie, Kenya. Sierra Leone, Atrique du Sud et Maurice). Le but de Xavier . Cortada est simple : •olfrir aux Bens une vision rt4elle de cb qu'lls ont crt36 et /a mevraas;qui lea guetta. Mail contrsire• mart; fs ne treux pas m'arrAter ~ Je leer propose atrssi de rdRdehlr t ca qui les attend D'essayer damarorer fear lendevnain apparemment sans espoir. Je /eurmontre, salon moi, ce quhT fact faire... ° Sil a opts pour is condition socials, ('Alta humain comets theme principal pour son oeuvre, Xavier Cortada ne cache pas non plus sa passion d8bordartte pour tart : % vois is peintun3 oomme /e moyen d'expression ~ laquelle je m'ldentrfre automatique- menL C`est la raison pour laquelle, j ai quelqua pea d8/aissd la lot, moo metier de premi8re haute. Globe-trotter inlassable ayant deja parcouru a moitiA le globe, Xavier rortadt rrttar, d'om~a d'atter vair .as pays de I't.st : •PEurope de % Est apres les r6cents changements m'inspire. Au mAme t/tro qua %lnde et le Moyen- Orient. ' Pour ca peintre pas comma tes suites, c'est 99% la passion ~ 1'Atat brut et 1 °/. de technique. 'J'aime ce c6t~ passionnr#, candide et brutal de Pan'iste. Je parse qua c'est comma cats qu'on peat vdritab/ement lairs passer son message. Personnellement, moi, tout ce qui touche A %Atre humain m'~meut. Le plus beau, je trouve, c'est cette force innee de l'Atre qui %amene toujours, quelles qua soient /es cirt:onstances, A re/airs surface. A swvivre. • Oe retour deja (~ 1'heure oir nous krnrons) dens son pays ensoleill8, Caviar Cortada nous a confiA qu'il altait ~e confiner A son studio et travailler ~nguement.'Jei des projets de ableaux d'acrylique sur canevas pour immediat Et j ai plusieurs themes a ~xpliciter en tAte : toujours is societd. tspiree par Maurice; la corruption omme je %ai vue en Alrique ou encore. interaction culturelle. 'Xavier Cortaoa e vend pas ses tableaux. 'Je !es zpose. lls soot ma raison de vivre. " stole d'artrste. HUSNA RAMJANAtLY w~lCfAdSG~QPE 25 r~rrtxe -ter tla7Br~r8 t934 ~o(t~ t_fl~.S~ ~~~T~i ~S Tribune .~ _ ... . : ~.Cotnmuni aw~~eness=needed It addrening the drag itme, rr keep en arkitg rhr wrong . . . ... . 1 ~ 4i t r . 7. With a!1 the ckaaga Mtttritim it rudageiag, eR lids gaunons. Wt/octuowimporingtimplirticaiarindgastrioar wander rhtrt't as oddrrc in tht datic raow. / tpakt +ritk to cart anri•rocial brhasiottr, jailing to reafizt tha! du loon: at the Tarrant therape~e cranes 1 rbitnd is the iatrrsrnuont matt be m compnhrasire m the probkn,. irland ThatdaTr,dragsarttkrrrhideojckaicrjaretaapt Picrun a boT handing iu the dooneaT oje dmk Toone Ht it ABdrrrg= sraruag.irh alcohol atd nargaana, prognaitrg tearing to an intriguing, bat despitablr creature inside. /!'s a with the neon rtddietire heroin cad rNker licit r4agt that . then eja man andrrgoing eoaraisiou m kr eras for non naatjorw kttaraabtings Tars herribkersetaitz'Xorera rr drags. Wtarerocaattrnredrithslawwiagrhrdeorthmthat briagthenrbaekT• t rejorgrttomk.~6pthtr.6t7drouldr+wtwrrAci.ridrinthe Hon prab4nrace it rhr chr71 rtawdug at tJre deity. He ,~p~t• ~ " npretrnaagtnerasono/jtratreadd.YCW/gdoet/aoptjor Too o/un. the child enttrc btearar it'i the only door open w _ , ... tlta peak -awd how em i-t tmp kiwi him. Htknocksonhitpannu'doen;bttthq'ntoobagrich ~ 1lappranthattbtwwitgthedoerrkttridseirkerkelprht rock and li/r's totsty toaasad to hie needs. Tirtckao/door addiU rtrorer er addrra the ntdc ojtht cktTd at eke door. Ton's anrrrr riJur-ht jailed his CPE Ar ke seer em hit.:, ; : Yd, hoe sa: PeIM ehaae ro apeal their woRepT Crat-rd frrrstrndon, hr begins W gain • lets than strQart+epramioa is ..•' intttdir6on ad otkrr~wwu awdm esrrtailwg du styplp ~ t1u community. Another clasd doer. ~.:. tide arc port of rhr tofapot< Horrner, I/ n rm ra aarr Soda,theanlTuuasaioairrirkTettkiarktsa:eprediaawewt M::~ ~ 'ailing a deer ia;fke e6sg tffarR ae wRtt dnrkp wm+e ~•tOmr /lives rtdraaeed tlraa Otktr! Y fker ewasoeial' .~~, RtpORf!<If tlraftgiq teftdtLYdfwttL progrusioa. la tint, dmg drtltrs rill prrT et hie i ' •': 73t r+aponst taQt aaeraaelj epa leer dean - it ensue • rtlnerabiliAq aadopea rktdoa-rotkt rand ~ ., . ? _' pesridt )Dark risk e/taatrtrer m eLrg art tad tadsocial ,,. ,t •Ojd+'rSs. .~.: ~brktnor,andrkraddru.akeppetraawajorr,rrerrTaad In addressing the drug . At a pedlar, the Child it told v tall. Terrain rttugeatioc Prtreaint rretotrnt issue, we keep on ,,•.,..twasaojdnrgt-tsginglnljejBJorkir :•'~'Ijr~MavsarRtktgraapritktkrnmciwwdirtentedjor ' .projrt Srekitgta streape,lksek8d terra kit 'e. • . •prsxatlea trniar: u pb soi tjtlerea TK eYt rkt han asking the wrong ....p~R, and Thee oj(ht.drtrg da.kr. rnt •~ Jat7rdlhsirCPFrraaFartkat,t+itodjepewdaorerou questions" d""" ~~ ~'00l"wt t.wtt fart the ''/..diagtottdtoeielrawfies•"" •' .. pierttn, and the bq prograsa darn the 1latidaRtaapeTearkwldt~tsewngrpjorwveprimru, .'~O1Q ~' ojd^tt tddieoioa •: ~'l~gg veto ~ ofjtee'rt. and the erktr emu Thittrrnarlalsprattirtr/j1AMarIi(lyt~Ydl('lM/hrraG..".~ ttfariaftd risk haling artlftt/dtl Ojd~jflrttiaRal. 1 Asmortmontjandprepttwmrthmgktki:partdirtirland,° ,rrginalvsdtieirtRttkaknrwaro4iaaaim6mialiud mere and more drags rriiB jnd shoe trt~ '. tadety.Or, tltrTtotldttrrwrEiembTimerfiagin progrowr M the nation rapidly ur/rroidiro,>htridrtfJetaefprogrert: ' ,'~ .list Tier Hopr rkiebprsridmToruk eke jatT rhr CPE rich also materialist: JawilT mrariot tpeudlar titre togetlterm ~,_, -:! lajonnd edtcado; jab 0tritwgRd plaernerr; rowwraity . mo~r~lourrartcoartwedekauagsht.t4rti-tBaala/being~~atinir+lawdreirrdad as7lrmir n roarpetre opem g financurl/~ cowjorrabk. ? •..ti'. r • .. Ntaerdeert , Ortrdinnti hotel's ' ,-~''• • . . ts1 depttyRrtegert33gwro/dHitdtM ~~ . T,~larrititr paratonaaarRt and is fa its prison atrd~Itis janilT s:ptrirnet~q.daaibt•th4 araietrtl,:~r`;~stt"kNpopdt;o,~•Iwariskrrrrlarraraw.resrccetritrgdrag ' wrramorykotie At a boT, hit Joarilj Gerd is the ketre ejhrr d~:~ ~'htitaearatthe Nvoa't (atat.C'tmr. Upea drpattart, theT . grondfathrr.arugarcaatjuldrer#rr.ljhrhadaprsbltm,'Y'".'•Fran'tbtrraaaug.Raddiriardreptbtututthtincrntirtra ht couldrradilpacrmhitparrnts-oratra/thrrightadtrlt ~_ : Sttoamitcrimrf dragt,dittpprrrtjisw . janrlr nrmbrrc the than! t/re turd kesr~ Oa nrligioat - • ' • their egaatioR ' ' .. occasions, a bat rant! 6t hired to jet hie jm brerlrm and ~ "t•NattoktckTantheodurJSQ pruotrrt "T}jC groll riurn, rhr eoteiiru, parcrtt; area , tue/a end ~ rho need bat han ne terra to drtt patdpersntr.:: , `.. g At dinner hmr, the hide rend sit ea Jloorursrr read set risk ~• ~ " bmtwrnt =~hardlT mddrrttiag the most Imm their hands Gr.ndtrorhtr rerU covet b~ and girt rock o ~ rchabrlita0re arptct of a crrrndon for proven jarara: the aatrr retW joUor is ptaaaita rritlr errrir;,; ~ tTttrn~ What do w tspea from Chest chumrrr, rrgttabler. AJear and juk rtn hard to cows bp. Aa/eon<olt ras ran: Terre quarter, eighteen ebildna rrttl/ktrtmthws• tingle baale! Tuner Tore hard bm thq eu tt t jrtwil~; ttpporeing rack other, cowmrntwg oa the de~'t rtenrititt Today, hr's trorrafgia After t jotrttea koo rarbdat, rir dart a reek, hr drira hie sea err haws tad tdkr re hu rdrririon set Hu ri fe, jootratht pregatat b tderp in rhr '. madrmhomttheTbriltLrQrttar•BonrttAtytrjadiaar~ rkganr rntrla an betght6T 6or.rie tW rrtifat eke bmd- etrangr the multiplepireao/tilrerrtrs. Adthgbring him a Blau lull ojcororela risk know redga! Bat kr't dining ruhatetalrtrangtrfronrAtrerica.awdht/tr4tloat. Thingr aren Y the Tame jot Maaritits: "Sotie3Y hat ehan6ed me ... l here to eo white the rind bbrs". Un forrunaul-, eke rindr eaa br o-erporrring-bof rr mutt pnserrr. Afaurvionr muudtradr hat m bat protrrd r•uh the ckanga. lndusrrraiitama u brag but hoe can rr dimilrish the sdrtJJrru' R't mau swcture our intrreenons, making tine to br r•ith and support one another, f4i wta molter ro ttrsngthen our jairh. /osrrr rr-rnd ralart, promalgorr caltara! traditions. and cnarr a score of community in this rratprroting earl!. {1'r must malt choices about our life-series, cognirant aj «onomic realities. Wr mart adapt to change. Or. r r•lll br rhangrd in unrrprntd ran andsttk an rrcopr. waandronentpeareltsrrTPrrhapr sea Of eleVC Alatrviaa rat-pgerr s/fur` tld come a who have • dragnrarwrntcorrrt:Dragttercwwtd b< direrted jrow rhr erinriwtl furdcr CPE . rltrrw ad p(acrd is osstarrwe //the .. tear !oat's compip risk tnrarrw; hr jactt prorrrorwa at rhr Ciiwital Cowl m kt Trod! knee origina/lr. Strict .~ wsauoringres/denmrrthmwaRipalatirrdrv`urerrreald • tw tbarr the r~ttrtr, rl~eur. b/twitm sere fend [hie to bt s non eohlJjrctixW kwae approatk. I keep inritOng thatb/atritita estistro gee inrslre/bersnrt proMerntarrbrtstdrrl6)1kor~worts,Q'tctrd Conwraitiet' unpreus to rrsponl it [~ ekes tt1 otktrsttkahdder or toter. No am knaves Chit beta ekes the Caar seighbervs rkohandrdmtnhertojorwGrertp A"deCacsisinl9d6ra addrerr the scoarTr ojdragt is theirrowwtaitr. Today, this •droap o/ rolaat«rc Nat t teighbaarhaol~atr4 jamdr- eettrredneghbearheodteaethwdoamonthttjutt fight drag[. !t brings together panatr and children to rcbatld a sense ojeomnantn in this ropullj indtsaiali:ieg society. E/jorrs tiFr shore oJTira Hopt, lorru Crater, nerd Grorp "A" dr Casru open nor doorc end proride alternatirrr to drag use. Afatuitiate: shoaldinrar in program (iie Char - and other similar area aciutd cad coordinated b! the Tirut Fared Jor rhr Trraunrnt and Rrhabitiraaan ojDrag Addicu - if Thee .•anr era/ ansrrrt to [hr drag prvb/rm. p with the ediate recce lion is the n year olds failed the;: exam" Le htaunaen rtnnr/0 5amedl 5 novembre t 994 ~~ par Xavier Cortada junste et consu~tant en ddveloppement eaommunatnaire d n+ o+ o ~ '~ a 0 ~ U~ N ~ ~ ~ r ~ = N ~' d > a .. ; y d ~ °~ m ~ c ~ ~ _ f0 ~ ~ y ~i i ~ Y C ,~ ~ ~ ~ ~ ^ ~ .. cn ~ ~' •L,L a ~ o h . a~ . :.~.. ~, . w . Q ~ i ,~ 1. -. ~~s o ~`~ E c=~ ~ o~.r c_ o u of eCu~v~`~~~~C~1 i~vu ~3~ v ?~ G v O ~ O e4 ~ ar ~ O~ ,~ v '~ '~ ti C ~ ~~~ ~+ ~ O~~ O ~ ~+ p~ ~ ~ C~ ` u ~ C C ~ o uuce~^ o-o~c~o~oo = 03~ ~~~0 9~>+ ~+~eo~~C-r ~S'O3 ~ C ~ p V ea '~ESJ'$i~u~u~Cmro.~•-~3 oeo;;v"~ii O~~ V V~ V u 7~ p~ V O~ V~ U~ to Ri R ~ v ea ~° ~ m eo.> .a tzi < •o co Z ~ v c ~ ~' " ~ u -> ~_._ s U ~~ ~~ no@ c ,°1, o .. u~ o y~ ~>,~ 3 c m co o u u a rc~ :d a, c '" C 3 ca >. ~ Q a c C ea ea R.- c co ~ o a _ _ c -- as c° ca aw a`o ~ ~ a, °a°s EU~ c~.~ ccc `9 s° ~.. c-~ u v~~, u c ~ ca ~ 3 u~ ~ E s~ wC y~ v... coca ~ uU.~+ ~... C u Y O !0 ~ 3~ '„ 'fls la ~ .r > u to ~ ~ C ~ u u >+U ~ ~ o` ~ '- ca = . -o VO~C>~7u3C CFvC EROO ~~N_~v~ ~ eau os,>>o c~3v;,~c:._•°o~=¢_, -• ~ U a. ao ~ ~n E-~ ca ~ o =, r-.,, _ ~ ~ o u c a o ca a eo o ~ u =. ,~ R p u r. >, u - a = ~ c. ~~Uc s c ot0 '~ ~ tf,N L v u _ y ~ ~~ ~~ y O W f4 1 ~ ~ ~ y ~. L C3 rr 3 z G Z Y O L r. O 4 a V d .O ~pp Gl y k i Q y C y ~~ r _ - ~ u~ ~ _~ N C .r ~ C O qO ~. V ~7 ` ~ C R~L~ °J cCa ° u` V1 ~,,, ~- ~ O V y C yu~p'` u CE...]G'C V ~ L .,~ 0 ~ 3 ea `' a Om~u s s ~3~oL v~a?+a' 3 :. ~ O V v O W W 2 ~--~ ~- "~ ,.~ • : ~'~ .~ - ... '-- - - ~ -- - ~ ' - AGENDA 2 ECDNOMIA 20 A 23 PASATtEMPCS - NACaNAI 3 A 8 BOLSA 2/ Y 25 CULTUR4 - MUNIX) 9 A 72 iAADR1D 26 A 28 ESPECTACtROS 42 Y : _ VIERNES OPINi()N 13Y11 CARTELERA 29A31 TDRO$ 4 23 SEPTIEMBRE 1=;=-` =' ~ `° ` :.-a ~ . .• . -- - +'% __. , ._-s soCiEDAD 1sAt8 PAtaBRAS 32Y33 RAnaYTV 4sYS; DE 1994 ' ' sLr,ESOS 19 t1EPaRres 35 A 39 PiaGRAMACION EDICA, S. A • MADRiD: YALPORTILLO PRIMERA, 11 • 28100 ALCOBENDAS.MADRID TELEFONO 6234100 • FAX fi234171. APARTA(>0 POSTAL 341, ALCOBENOAS • TOLEDO: NUNCIO VIEJO, 3, 2° A • d5002 TOLEDO • TEL~FONO 211150 • FAX 211351 •OEP6SIT0 LEGAL M. 11.1958 • EXCLUSIVA DE PUBLICIDAD: PUBLICITAS S.A., VENTANILLA AL PUBLICO: CAPITAN HAYA 1, 2• PLANTA • TEL 5551100 • FAX 5562929. 28020 MADRID Profesor de Psiquiatria en la Universidad de Miami y asesor pang la mejora y desarrollo de la Ciudad, tiene en su haber la tregua firmada entre la Policia y los pandilleros durante los disturbios de Wynwood de 1990. Descendiente de una familia de artistas cubanos, Xavier Cortada dirige varios programas de desairollo social, y se encuentra en Espana Para explicar sus metodos en la lucha contra la droga, la violencia y la margination. XAVIER CORTADA "Es mas barata una beca en Harvard que cuarenta anos de cancel" CARLOS AGANZO PREGUNTA. Reivindica usted el arte Como medio de integracidn social... RESPUESTA. Hay 1.500 formas de tra- tar de integrar al hombre en la sociedad (in- cluidos los servicios sociales, los psicblogos y la Policia), pero yo prefiero el arte. Sobre todo el arte colectivo, el que hate necesaria la colaboraciSn y el dialogo. P. ~Y por que la pintura? R. En Nueva York hay grupos que luchan conga la droga con la literatura, y otros que to hacen adaptando a la realidad de los ba- rrios obras de Shakespeare... Pero, quizas porque soy pintor, pienso que to visual pro- duce un impacto mas grande. P. Por eso sus cuadros son tan tremendos... R. Mi do y mi papi pintan muy bonito. Yo mismo empece retratando un San Pablo bien lindo, pero ahora creo que de to que se trata es de actuaz Como un espejo. La margi- naci6n, la droga, la violencia, el sida... todo eso to hemos creado nosotros, y no es bueno que to olvidemos ni to ocultemos. Lo mis- mo que en mtisica ha pasado con el rap o con el hip-hop pasa ahora con el arte: han servido pars dar identidad a una cuitura. P. Una cultura de fuerte raiz hispana... R. En Miami hay un 50 por 100 de pobla- cibn hispana; un 30 por 100 de poblacion anglosajona y un 20 por 100 de negros ameri- canos. Hay nicaragiienses, guatemaltecos, hondurenos, cubanos... En las Galles se habla espanol, se baila )a cumbia, se roman arepas y pan con lech6n... Es una cultura muy viva. P. ~La delincuencia de las pandillas va tambien por nacionalidades de origen? R Antes los barrios estaban muy deli- mitados por territorios, donde cads pandi- lla tenia su Campo de acci6n. Ahora el te- rritorio comlin es la miseria. Venga de Haiti o de Cuba o de Santo Domingo el problema del Wino es el mismo: En la es- cuela no me quieren, en Casa no saben re- solver mis problemas, la Policia me per- sigue... Y el tinico que se ocupa de mi es el narcotraficante. P. ~Y los sistemas de rehabilitacibn? R EI sistetna que se aplica en los Esta- dos Unidos esta completamente roto. Con 14 anos el Wino pasa al regimen penal del adulto y carece por completo de posibilida- des ~ rehabilitarse. Nadie se da cuenta de que es mas batato pagan una beca en Haz- vard que mantener a una persona en la can- cel cuarenta ados. A veces digo medio en broma medio en serio que odio mas a los bur6cratas que a los narcottaficantes. Estos tiltimos por to menos hacen su trabajo. P. Y la situation va en aumento... R. Hay digs que to sientes mas caido que el caballo del Guernica. Miami es la cuarta Ciudad en pobreza del pais, sin contaz a los cientos de miles de ilegales. P. ~Cual es su postura ante la situation de Haiti? R. Ver a los balseros' me deprime mas que nada. Pero es a los politicos a quienes correponde buscaz soluciones. Como artista mi obligacibn es formulaz preguntas, y a Clinton le pregunto: ~Que estas haciendo tti? Porque e! problema no se ha soluciona- do. Grdcias a Jimmy Carter Hain se ha sal- vado de una invasion, pero a los cubanos un Carter no creo que les sirva de nada !J~ ~1.1.'S~ EI profesor Xavier CoRada propose el arte comp Instrumento contra la marginaci6n. Ha puesto a un lado su cancers de abogacia pars dedicarse a la comunidad que tanto to necesita. v descie entnnces ha decarrollado su seta attLstica. Se acuerda de less muchachas vohu>- tarias que iban a tocar guitars mientrac epos cantahan a Coro, y de I~ muchachos que Ins ayudtrbart con los depottes y jubaban harajas con epos. Se acuerda de less caress, Pero no de los nombres. "Eran los role models. Ni en Ia escuela ni en less cacas erdstia eso", dice Xavier. "Son personas que he tratado de emular. que me dieron Cora perspectives posit iva. 1'o no terries ni primps N tips jovenes. Yo creo que for primems adoleccerttes que conoci fueron epos. Lo pienso shores y es una Cosa bien Bonita, bien culwral nuestra: [ener a nuestros propios muchachor cvidandonos a nasohos". No le quiere restar merito a la krrmacion academics y moral que recibio de less morUac del Gesu, pero los momentus que recuerda con m2~s Canino fueron los que vivid en el Centro Mater. La otra option hubiera lido llegar a su Casa derpues de lay claws mientra_s sus padres estahan en el trahajo, y ver television o etnpatar a con nwctcac'hcrs del Ikvrio que no andaran pnr buen Camino. Si hubiesen mess eomo el Por Magaly Rubies T. xlavia se:uverda de la seixrm que martejaba el autobus que Ins recogia en el colegio Gesu y Ins dejaha en el ('entnr `i<~ter. acionde entzahan tockxs k cs niitas mrtiendo. Tarnhien se acuer• d<1 de la Madre Margvita Miranda que tondo el Centro Mater. del conch Ausch que les ensenaha education ("iuca clef tenem vacin doncie.juy~trart. de lac letnnas, de la rnerienda con alimentns del gobcernn que comian halo tmos toldos de aluminio... L~~s niims son may inocentes' due Xavier ron una expresion platentera en la cars al rerordar su j ninez. "Eta una coca Bien humilde, K pem nrncwns nos sentiamos febces, n dos daban ere apoyo que necesitahamos mientrac nuestros padres estaban en el tsbajo" '-' Tcxt'tvi.'t visits el Centro 1later, situa- ~ do en la avenida a del Srndh W i~.e! y N la rape 4. donde IoS nuror to rodean tvr pronto corns en el patio harien- c dole n xis dace de preRtmtas. AI igual v' que elms. a pnncipios de los . (1 `-° Xavier v sus hernranos. Carlos y ~ Pahlo, iban al Centro Mater. r,rACiacalactesthmesdelaMadre Siiranda, una mogja esiLada del cnlegiu Sagrado Corazon de La Hahana. el Centro abrio sus puertas en 196`;. La religiosa vio la necesi- dadque habia de ayudaz a la< famil- iar de refitpados cubanos, mientras amtxrs pacUes salian a trabajar pares airtvse Camino en tm nueco paic. Hoy dies el ('corm acoge a ttiitos de mss de 17 nacionalidades. "Ln m:i_s importance que nn-c din el Centro btater foe direction cforma- rion nxiril", dice Xavier. "Nc, eramas sunplemenle tm niunero. Ue cerdad se prerx upaban {xtt nosotmc _ Xavier se acuerda de alguien que foe a hablazles sobre nutnci8n. Le parecio extrano que les dijera que cvarxk~ no habia dinem pars mmprar carne podian hater sandwiches de mantequilla de mani. Se acuerda de su amigo Mazeelino y eomo anilxrs le hacian tramps al rnrrch caminan- do detrac c1e los azbustos Cuando se suponia que ertuvieran comendo, En lac claws de antes manuales Ie pegci tmac cuantas conchitac a tma Inca Blanc a y lueRo la pinto de rrvc•+tlo. Fue su regalo del Dia de lac ~tadres Un estudiante ejemplar Los padres de Xavier hahian Ueya- do aMiami solos a principios de los resents, romu miles do jcicrne. cubatlos que cseapahan del Kobicr- no casirLsta. N porn tiempo de estar aqui, se cacazon y se fueron pars Albany, New York, donde nacio Xavier en 1964. Luego su padre consiguio un puesto de maestro en Niagara Falls y traslado a Ia (amities. A los dos ands y medio regresazon a Miami, donde los ninos Cortada asistieron al Gesu y al Centro Mater. "Cuando yo tenia 12 anon, nos mudamos pars afro barrio hacia el oeste de la Pequena Habana, Grapeland Heights", cuenta Xavier. "Yes en ere tiempo rni ahuela pater- na vivia con nosotros y dejamos de it al Centro Mater". Mess tarde asistio a }Cinloch Junior High, a Citrus Grove Junior Hi{;h. y en 1982 se graduo de Miami Senior High School, donde recibio el Sil t ~~' Knight Atnarrl, un prestigioso galardon que prongs The Minmi Herold a estudiantes que se desta- can en la rnmunidad. Mientrac tetTrtirtaba sus estudios, Xavier trahgjo en la unidad de quemaduras del hospital Jackson y al mismo tiempo recibia creditor aplicables a ar diploma Todo parrcia indicar que el joven perseguirfa una carrel en el Campo de la medicines. Y asi mismo foe. En la Ur»versidad de Miami estudio premedica y en GALA DEL CENTRO MATER ' a+de less rriiios der Centro drindo: S4bado, 26 die zttarao D6ada: Hotel Inter"-Corttinertta! Prasantando s: Cachao pan arh ittfonrracl6rt: Uame a1546-0760 o al 647-1793 1986 obtu+m un diploma de inchiller en antes con especializacion en biologies y quimica. Mientras estuvo en la tmiversidarl acapazo tndos bs honorer habidos y por haber, incluyendo el Iron Anrnc~, la distincion de mac presli- gio que pueda recihir un egresado de era institution. Una ojeada a su rrsrnnP revels presidenciac a orpani- raciones de liderazgo y de honor. Para suftagar sus gastos uatrgj6 en el dePartamento de cardiologia de la Escvela de Medicines y lleito a prrbGcar ocho tuticulos y cinco abstractor en revistas especializadac. A pesar de que estaira enfocando su firntm hacia el aspecto medico, algo le decia que no estaba en la carrilera corrector. "Tenia una entrevista con John Hopkins Medical School, que en ere tiempo era una de lac mejores". recuerda Xavier, "y a tiltinta hors djje que no gtreria eaudiar medicines que queries sec abogado'". En et trancurso de cinco ands estudio abogacia y una maertria en administration publics, hacta con- seguir ambos diplomat en diciem- Pase a !a pzigina 17 Xavier va al Centro Mater y recuerda su ninez feliz y el apoyo que ahi Ie dieron. Ahora quiere que estos niitos tengan less mismas oportunraaaes que et rectoro. Viene de la paging 16 „~ !~• I "" I I~:n pmin Ilr•1 ~I~ux`ntl• ~,,.~ h~[^ lur;unrna, para urr, rat-.r .,I n~~.d w,>!;u 1, ~ jN~r„{,mlin,,,b•.,•nt- „ i L~, • In ; .II n.I , Inn, I~ ;,n ~,.. J,, ~:Irn Su gran orgullo I nn:Inie• r.I, in ny„~.,• Ins •,Irnn, Llnjn~,c.•,+,,,pl,.~l~•iirtSv~a.lllrtiv~ .all•la., i~al 1{,~t!I~ Il+~n.«•, un ,~nll~,.b• n;lranw~ntn }' {vrt~rn, Inn ~i,- Ile„s::r.. {,:Ira a,lnb~.,l.•ntr.. IGnti:i- I~ ~ ;1.,I „I I'ar hl• Yrr rt-le•n•na l :r.x Irnt ral In rn rl I m(rtr , Ir I lank 1,I++nrn, del uli, , drlar cn pneWn dl` ',rrr . 1. •1 /, c d. v li.:•uv` , M • Vern ~ a Kr4~tc I In1I~+•. :I .u y;r:ur nry;ulln, . ~rtnn cu ~aun,`rdnrrtnrr,lrrntirn tnndn> Illnln. Iu1 ratlcns rnly;Udns en cu i,arrrl. ~ nhi,"+ ha. is at ris a rmular a :ujurlLl= prr•nna., r;Iritanca< r{ur I a ni, ~ .I>;nifil :u ~ n I path rl rn a t ninrz. '~1 t~n un hnl nrra Irnidn rl apncn ~ bt.,,{w+ttnrulLulr.fplrhn'rrtuvuln nnn~. ,pm:ic nn hnhil•sr tnmadn rote anrinn", arlara Ie, Iplr nct~ adnurt 1Ir (•I. rhl'r rl 1 , rttu,annark, ~lillc l ~rv1. r . la m;un`rn Ile d:n y;ra, i;~c }' dr , I,•~ nh,`rIr a la rnnnmidad In nucnm ~pu` rl rrvilnl-~ ruatuh, Itiiu+ F, ten hi,,, hrill:mtr ' 1'rn I nna Irrrinn +px` rer dm.1 dr un :11H IL:IIIn I•ctalllrl II I,11tllr 1'1+rll w'In f`rl 1 -hira~n - la m:~ .ahia rn lnc tree a i N w 1 b` ~u .:lnrla -~ f ~nnn n i(~ rn ~u filncnfia. F;I lehadn le dijn. "tin Ilr>!nrc a In. 4t1 :vine rnn hl nirur a nt ladn c prr};unt;indnte que hac I x v hr , rn h I tie la. { wa t erre`r qt to ckrir- Ir Ilue sdln trah;{jacte para ennque- rt a 1 Brn. Evt r>~ urc+ rxivPnr is tarL't. «~s;I ir:rtr dr 1lrjar ht mat'/ .1 en este uvuNln ~• h;>7 alkn rnn hr rider". (~ada trz r{ue Vanrr para par rl+•lanlr` dr Kr};ic 14vtcr. un rdilicin 11. dnspi~~sya(NN)pirsrlnrlndrn .•n la acrnida .al v la rally ~, una .nnrivl npamrr Pn.wt srniltlante. F.1 Inncrs;vui rl dinrrn de rnndadec j,nbhr,t. c rnnstntg(, el edifilin. _I ivtndn frn~a ~R(/;tiutc c pace par ahi, pndrr~ rlrrir rptr• ci nn huhirra side pnr mi rslitrrzn rce rrnlro no hI Ibirm cider una rc:ililiad". r{ice c~tic (rr~hn rl jrnen rptr al,.orbin la ler•tirin rn un ctnliemrn. I rr.u trclln miyncil:ddr para IIP{;ar a la nI«`ta. balder la rnnt;r'Iwiaa fleana lies-Lrhtinrn. qnr rnlahnrd eon Barger rn qtr pm}'tv t n "frc hr rnP~in, r:ycuilarkl}'Ilnlif .uk,, c nutNaarrpta Ixla rrcTxlr to nrg:vn.t.. \anrrtiene nn);rln (uhtro pnr drlantr '- ~i a rry~nrrr nnr<rr: ilanl l r~ impr+P- .Innanie. clrv la},~,,a en rl crrtnr dP ~ •nvn ~ 1, nnunit;uin rk~pr a l vstlquiem h, w;ulal nrrtn. t'Uandn cr ~radun de la I"nnrrsidad dr \ltami In nnmhr:n-nn ratellritiru del drpana- ntrnt„,Ir ciI{niatria de la F;w'uela rle \U`I liana. dnnllr cinir~ rn rapar•irlar! dr dlnv tar rIr k r pn q,R;urctc de rklitt- , urn, Ia jrnrnil ~•rchulinsrle la Ivni- lia tiu rclurrZn (ur rlacr en nbtenrr lulu .ubcrnrilin para acudar a Ins m n u ~r vtt rc c puce sir pandillac en LI I'rlplrila 1labana I'~ n' Luc ruaGdarlec c cnndirinnes hnm:m;tc rst:i rn una dr Lis mejntrs ; w mil ro vrrc pan I, +}~ err un runbio en nnestra rrnnnnirlalf . dire Miriam Knnuin Kircko. administradnra rlel t'rntrn 11atrr prrn<n l„>;n, nci•.hndn mic,,.,ii, ~- rL hN•m;cuhrgcx-o `o,•ri C11'urNlu 1„n :1nnn•I: (av•ti-. una !r., ;am :I lir ain,i mrnt:dp:u:nmi,~uraeul,r I.Ilnur,•r .vi:nl lil,•, „ntl:n:ua ;~•r ,•I raarl~„i,, I:I f'b ~nrCl jr,ua Ib`•:ar :'. ~ nYw, la nu• _~ lira ,h• Im. nllii~,n,~. ~Ir ~1,11:,n~..i Iw-nrli• I~r J.' I:1 ,,,u,.ui;, I:ul 11, nub-.-: Ilahclpawlnwrui~,•t laq,,«•I;nnl,.. .nt a,l„ Icln .L.un~~~ Lr Iw,arinn ,I~~ .gnll-. ,la~ prrj,ar.tt la pngnn`•la. \nrirr u`nIa ,;ur ~~I _>:anvv nn,,. }!ngw,.dr,•nGwpn` e;ulnrnh.~ primer„ arudi,, Cur aI t'.-nIr`~ dater. ,Vn rrnnu'~ a padrrc de miNrs, pIr x~rcrrn al 1 ~1`I IIrn irai'a PSIlxilar 1'l1aiP5 PGlll I,tic nr+ rcidadrw ingx`mutac del ama ' :tiI t I i { ractc { w .r la 1'«v p x`i ur I Ial c u la. II`I{f.pnnn`c" r6rr,nnlnKlr7a °l.•~ a Irr~ murhal hu. que ,•a;in prnhr•n- A r/na temprana Pcfari ya ha tlejado su nlar~a Pn e! mundo. rln cue tidac rnntplrtantente.. Vacrrr ha nntadn quP Ia pnldarilin ha ranlhiadn ;Ahnn cnn rlr nua~ nal it rnal it iar Irs. {x`n 1 t'~7:i rnnSl ~irnl r rlr r{ur, al i{;ual ,lur Inc sagas, cc el mlcmn padre t• la nucma madrr rpn han cr•nidn a e~te pair p;ua vu :v :l cue hjjnc rir la miceria. Ik,y Ilia. la Yrv lvri ct I I:tl ~~a rN+ Irs cL~ r:c;t nl>t nt I r- nuiad c Xatier quierr rambiar rcn- [Que futuro le depara? Vatirr sr ha rrintepnrln al bamr~ que In hizo tmt feliz ~~a c•on frreuPn- ria a amonar a F.l F'ub, rlnnde UN Ins to cnnoren Ixtr nr primer Hombre Pirnsa nntchn Pn su (uturn. en lay pmk•sinnrs yur ha rlr~j;ulo a un lar{, r. Ix'nl nn rk mnir4tc. "i"n h~•tto alx>);aria para Ilue el Kahirrno catnhir la ntanera rn la rual prln'Pe Irrc crni- cilre a la rnnuutidad... [.a ahnt;aria sil:nifira trarrlr.juctiria al mundn En los tribunalec ce hare dP Una (nnna rrrinrida. a un vtln rlir`ntr. [rP t'vta nevrrra, le eaati' Il~~b L~ juai- cia a 4,iX)(1 nitias°- A una trmprana edad, rctr.jrn'en srnndor e realista }.1 ha dejadn cn marca. }•a ha puratn en tnarrha Ir«c t•oncrjns del cabin ahnvadu Iptr rnnr x'ir i mirntrxc t ratalra do brrcrar- Ir srntidn a su rider. ~.C~uP m:is Ir qurda IN>r barer^. >tlrt pnr la ventana g cPras". nnc dire 1lt~+le «`I sr}~nnujn piss rkl ('rntn r M1latrr "11e hrrhn ha-Mater pan nu. irrm la lvnnunitiad ttxiat'Ia me nrre.i- ta' I lac!).(N>n nines en rl :'era rlrl ear ck la Yrqurna Ffat>.-tna c la mital l rice rn pnhmrt, en menus de una miller. } criln hahlanuls de la Ixlhlacilin rptr llrml el f errmo. Ilag I(1 pandillac. nutrhas mac rlue equipns jucenilr. de I x~iclx d. t iay ncic I;rnte Ixrhrr yur rn (h'r9tnttgl 1~ rr(lesiana: ' Sn esUn• en r~tr muurln pnr un periods rnhn dr tirnrpn. ;1 mi mr riirrnn mnrha~ npnnunuiadrs g, pIU supUrcln. me I,nrcta citir rrinuxiamente... Yen. nn mP puedn nl~irlar rle donde ~inr }' nn purdo rCi,lnrar a la crN'irriad rerlbi- entkl o xH w rV l>t hirnPS p rNr rnml cv- I irlos rnn Ins dernas". 1'nr la nnchrs. dice Varier, puedl` dnnnir nnn-ho ntejnr. ~~-~~~~ te, m 3 m c m rrrmer nano: Los momentos que Xavier Cortada paso en el Centro Mater fueron de Ios mas felices de su eider. Ahora le toca a el cumplir con su cometido .................................... Pbgina 20 Por Magaly Rubies / Fofo Benn y Millares MIAMI. FLORIDA 19 DE ENERO DE 1998 TUNES http://www.el herald.com :T `~' ~~ ,~ }i _ = y~;r.. r`~ ^F +N r' J" .-'" may. ~~,,, _ f, ~,' ~ +.,~ `+4r } . ~ ~ /'~ ~ ~ ~ ~ xr ,: ' ~ ~' ~ ~~% ~' ,Vi`i': Y~ ~,,,*.~,,~ ,. k ~' ,~ d~ '~ rF~ ~J% ~s~e'ssss , ~ ~ ~'~ ~ ~ t '. ~ ~i L Ci , , . ~ ~ , +a~5 ~ Y "y'pJ`^ ~ ,.,fir ~ ..`t, 'ay~,~'~ •f'+~C y~ ~ kCs .-Y4s-"~E~ 1 ;~, y ...5~~~ 1` ~t. 4 ~. ,~ ~~~~ ! ~~ •„~ ; Mme-, r ~ - 0 ` ~`k.l.S' l ~ ~. 'fit U ~ ~ E74 ~ i ~i I i~Q ~rdr it~~ ~ .. ~t r tjj.... ~~ w }..+~' ~7+~~` t}f ~ i~ 1~ !t ...ts~ l t~ ~ai. +. ' `T r .~- )`^ ~ ?„ ,~, *, ~s 1 1 ~~~tt~ a z~ _ -- ~ ~ ti£ - L i~J{jj -~ - 'e; ~ -s 111 ~ _ ate __~_ a ~,~ a ~ ~a ~ a s a_~ ~ ~` ~,, sZ_s ~ .: a xa '+"s a a33 ~';.`" ~~ ~s. _ _ a-sc ags...5aa £ =Ez~3~naaa'a~~$a z 3 g _- s s c s .. ,...nsa 3~ ~" ~~ __ -3 _ C,. ^ L .v . .. «~ ,„ ,. -a s a C t $. 7l ~~...~ . ~~~~ a_ rs~g =as a~x_s~ze r~a~?~.a~~n~=a=mp..'"` L'USAGE DE LA MOSAIQUE PAT.'VERRE POUR REVETEMENTS D'INTERIEUR ET EXTERIEURS REMONTE AUX On~dINES DE L'HISTOIRE DE LA DECORATION, - LA MOSAIOUE PATE DE VERRE BISAZZA RECUEILLE AUJOURD'HUI L'HERITAGE D UNE CULTURE ANCIENNE, ELLE EN GARDE LES ANCIENNES TECHNIQUES DE DECORATION ET ELLE EN PROPOSE DE NOUVELLES, COMME PAR EXEMPLE L'ORDINATEUR GRAPHIOUE EMPLOYE POUR L'ELABORATION DES DESSINS ET LEUR REPRODUCTION EN MOSAIQUE. LE PROGRES TECHNOLOGIQUE, PENDANT CE TEMPS, A ASSURE L'AMELIORATION QUALITATIVE DU PRODUIL• LES CARREAUX SONY AUJOURD'HUI PARFAITEMENT CARRES ET LISSES AVEC LES BORDS ADOUCIS, LES COULEURS HOMOGENES; CE MATERIAU S'ADAPTE A TOUTES APPLICATIONS: ESPACE COMMERCIAUX ET RESIDENTIEL, SURFACES URBAINES, PISCINES, FA(;ADES. TRANSPARENCE ET REFLETS CUIVRE, SONY LES CARACTERISTIOUES DUI DONNENT A LA MOSAIQUE PATE DE VERRE LE GEMME SON ASPECT UNIQUE. CES CARACTERISTIQUES SOfJT OBTENUES PAR UN PROCEDE MANUEL LIE A LA TRADITION DU VERRE VENITIEN, EN MELANGEANT LE VERRE EN FUSION AVEC UNE PIERRE DURE SEMI PRECIEUSE APPELEE «AVVENTURINA». LA MOSAIQUE D'OR EST FORME PAR UNE FEUILLE D'OR DE 24 K. POSEE ENTRE DEUX COUCHES DE VERRE SPECIAL. LE PROCEDE DE FABRICATION EST COMPLETEMENT ARTISANAL SELON LA TRADITION SECULAIRE VENITIENNE. LA MOSAIOUE ORO PEUT ETRE EMPLOYEE POUR REVETIR SOIT LES SURFACES D'INTERIEURS OUE LES SURFACES D'EXTERIEURS, SOLS ET MURS. POUR LES SOLS D'ESPACES RESIDENTIELS ET COMMERCIAUX, MEME TRES FREQUENTES, BISAZZA PROPOSE OPUS ROMANO, UNE MOSAIQUE EN EMAIL VENITIEN DE PETITES DIMENSIONS, DISPONIBLE DANS UNE VASTE GAMME DE COULEURS. LA SURFACE DE VETRICOLOR GRIP 20 A ETE CONOUE POUR DES MILIEUS DEMANDANT DES MATERIAUX AVEC UN FORT POUVOIR ANTIDERAPANT. DIE VERWFNDUNG VON GLASMOSAIK FUR WAND UND BODENBELAGE, INNEN UND AUf3EN, GEHT AUF DIE ANFANGE DER DEKORKUNST ZURUCK. DAS BISAZZA GLASMOSP,IK UBERNIMMT DAS ERBE FINES REICHEN FORMGUTES, INDEM ES NICHT NUR DiE KLASSISCHEfJ TECHNIKEN DFR MOSAIKDEKORATION FORTSETZT, SONDERN AUCH NEUE TECHNIKEN EINFUHRT, WIE Z.B. DiE COMPUTERTECHNIK, BEI WELCHER DIE BILDER DURCH DEN COMPUTER GFLESEN UND FUR DIE REPRODUKTION MIT MOSAIK UBERSETZT WERDEN. AUCH DIE TECHNOLOGIE ZUR STEIGERUNG DER QUAI_TTAT DES PRODUk:TES WURDE VERUOLLSTANDIGT. DIE EINZELNEN STEINCHEN WEISEN FINE GLATTE, GLEICHMABIGE OBERFLACHE, ABGESCHRAGTE KANTEN UND HOMOGENE FARBEN AUF. AUS ALL DIESEN GRUNDEN STEELY DIESES MATERIAL DAHER HEUTE EIN PRODUKT DAR, DAS FUR DIE VERWFNDUNG IN DEN VERSCHIEDENSTEN BEREICHEN (PRIVATE- UND GESCHAFTSRAUME, STADTVERSCHONERUNG, SCHWIMMBECKEN, FASSADEN) BESONDERS GUT GEEIGNET IST. AUBERGEWOHNLICHE TRANSPARENZ UND EFFFKTUOLLE KUPFERREFLEXE GEBEN DEM GLASMOSAIK LE GEMME DAS EINMALIGE, CHARAKTERISTISCHE AUSSEHEN. DIESES MOSAIK WIRD NACH VENEZIANISCHER TRADITION VON HAND HERGESTELLT, INDEM DAS GLAS MIT DEM KIJNSTLICHEN HALBEDEI_STEIN «AVVENTURINA» GFMISCHT BZW. VERSCHM01_ZFN WIRD. ORO HEIf3T AUF ITALIENISCH GOLD. DAS ORO MOSAIK BESTEHT AUS FINER VIERUNDZWANZIOKARATIGEN GOLDFOLIE, DIE ZWISCHEN ZWEI SCHICHTEN GLAS GELEGT WIRD. DAS ORO MOSAIK WIRD NACH VENEZIANISCHER TRADITION VON HAND HERGESTFLLT UfJD EIGNET SiCH FUR VERWFNDUNG INNEN UND AUBEN, ALS WAND- UND BODENRELAG. FUR STARK BEI.ASTETE FUBBODENBELAGL IN GESCHAFTSRAUMEN UND WOHNBEREICHEN STEELY BISAZZA MOSAIC DIF SERIF OPUS ROMANO VON EIN MOSAIK AUS VENFZIANISCHEN EMAILLFN IN KLEINEM FORMAT. BREITE FARBTVPENPALETTE IST LIEFERBAR. ZUR RUTSCHHEMMENDEN GESTALTUNG VON BODENBELAGEN IN NAf3BELASTETEN BARFUf3BEREICHFfJ IST UNSERE PRODUKTLIME VETRICOLOR GRIP 20 BESONDERS GEEIGNET. EL USO DEL MOSAICO VITREO PARA REVESTIMIENTOS INTERIORES Y EXTERIORES SE REMONTA A LOS ORIGINES DE LA HISTORIA DE LA DECORACION. EL MOSAICO VITREO BISAZZA ES ACTUALMENTE EL CONTINUADOR DE UNA HERENCIA CULTURAL DISTINGUIDA, CONSERVANDO LAS ANTIGUA TECNICAS DE DECORACION E INTRODUCIENDO DE NUEVAS, COMO POR EJEMPLO EL DISENO POR ORDENADOR A TRAVES DE UN SCANNER PARA REPRODUCIR DISENOS E INTERPRETARLOS. PARA LELAMENTE, A TRAVES DEL DESARROLLO TECNOLOGICO SE HA CONSEGUIDO UN ACABADO CON UNA GRAN CALIDAD DEL PRODUCTO: LAS PIEZAS SON PERFECTAMENTE RECTAS Y PLANAS, CANTOS BISELADOS, COLORES HOMOGENEOS. EL MATERIAL SE ADAPTA A CUALOUIER TIPO DE APLICACIO"N: RESIDENCIALES, COMERCIALES, DECORACIONES URBANAS, PISCINAS, FACHADAS. LA PARTICULAR TRANSPARENCIA Y LOS REFLEJOS DE COBRE SON CARACTERISTICAS OUE CONFIEREN UN ASPECTO UNICO AL MOSAICO VITREO LE GEMME. ESTAS CARACTERISTICAS SE CONSIGUEN A TRAVES DE UN PROCESO MANUAL HEREDADO DE LA TRADICIO"N DEL VIDRIO VENECIANO, CHE SE REALIZA MEZCLANDO EL VIDRIO TODAVIA LIOUIDO CON UNA PIEDRA ARTIFICIAL LLAMADA «AVVENTURINA». EL MOSAICO DE ORO ESTA COMPUESTO POR UNA LAMINA DE ORO DE 24 KT. COLOCADA ENTRE DOS HOJAS DE VIDRIO ESPECIAL. EL PROCESO ES TOTALMENTE ARTESANAL, SIGUIENDO LA MAS ANTIGUA TRADICIO"N VENECIANA. EL MOSAICO ORO SE PUEDE COLOCAR TANTO EN INTERIORES COMO EN EXTERIORES, EN SUELO Y PAREDES. PARA LOS PAVIMENTOS PARTICULARES Y COMERCIALES DE TRAFICO ELEVADO, BISAZZA PROPONE EL OPUS ROMANO, UN MOSAICO DE ESMALTE VENECIANO EN UN TAMANO MUY PEOUENO, DISPONIBLE EN UNA AMPLIA GAMA DE COLORES. LA SUPERFICIE ANTIDESLIZANTE DEL VETRICOLOR GRIP 20 HA SIDO ESTUDIADA PARA AMBIENTES QUE NECESITAN UN ALTO GRADO DE RESISTENCIA AL DESLIZAMIENTO. ___.___ „"` $ ~' ~I ~N' *.s ~" ~~ ~~~ ~; ~ ;. ~ F .~' ~__ .; ,, ~. ~,Y Le trasparenzF i col ori, 1 e decorG ~~i ~ oni Trasparence, colours, decorations - La transparence, l es couleurs, les decorations Transparenz, farben, dekore and motive - La transparencia, los col ores, la decoracion 1 ~~ ' `` ~ c \_J ^ . , ~ _x 'N {{~s M. 4. r` .X, ! ...~ x ~} r ~ .4~ r~ ~. ~ 4 '. 1r f ~ , tt, ~~ 4 qM ~ Y+Y` k ~ x ~ ~f ~~ ~ X ~ ~° ~ ~ + cwt ~~{+f :, ~ ,~ ~ ~~ Y ~ ~ ~ ~ r P ~ 'T2~* ~ ~ 'w /~ ~~ ~ ~ d ~a~ ~ `y tt ~~ aq. ~ ~ '~y. ^^ ~ ~i~l ^ i ^ Ifl ^ ~~^ r~ ^ r tai r ~~1 ^ ~ _. ~ ` i x' ~t +.' ._ L .~ ~,. ~R~ ~~~ ^~~~~~^^ ^~i^^ (~i ~~~ ^~e ^~ ~.:.d~ Est lir ~'a ^~~ r~~, ~~~i ^^ ®~ ^ i ^~ ~: 1~i~ 4°~r°i i ,; ^ ^ ^*~ 119Ra~~ :~~® ~ ^^ /~~,, ^~~^ "1 ~. ~ i~ ^#I ^ ~~'~~~ ~ ~"~~~' is " ~`'" ~ ~`, Le superfici Curved surfaces - Gerundete flachen cave Les surfaces courbes - Las superficies curvas (~ SMALTI OPUS ROMANO ~V®~~~ O Spazi commerci ~i ~~~~~ Commercial spaces - Androits commerciaux Geschaftsraume - Espacios comerciales VETRICOLOR 20 10 ~ ~ ~a 7 `ai C+ ~ ~ ~~ ~. ~ ~. ~. ~ J..:.. ~+ ~" ~`x ~ i i' ~ T.,u~;,,'.. 4 rnm ~:. h €, *= a X ~ t ~~ ~# ~ ~ ~ , ~ *. . ~ ~ s t ~~~~~`~'~~_ ~~,~ . a ~x ~, s ~ ~ ~ = „~~ ~ ~ , • -;-~ k~ w +x p- ~. ` `~' ~~ ~~ ~~ w. OPUS ROMANO C fl t 1 '~ Y. "Yr~ L~ a LLB.. ~ _~ ,L ~ r~~yx fps' ~ x j s •+. ~: lil~ Ley ~ 'L ~ } ~ ~Y i IY~~ ~ L Ili L.n~ ~x n e L ~ a""ai r I¢ I ~ gg si ~y~ :. 1u: a . i La: ,~. ~ "4,aL ~. .~~FA~Ri~YY~~++. t. ` t~° Sir # ~ ~~ ~~ iJ° LL ~ ~ L = ~ L x '~ • li K iil! ~ f ~::f .L • ~rvpa'~ ~:. 1 ` ` ~~,, t ~ +~ I,' 'y~, lAe~4I~~~ ti~ ~^ i..i~ ,RLL ue L~ ~' i ~ ~~~5: ~. o ~ ~ ~r .._ ~1'q .. ere " Ra ~ L ~ r e ll c ~ F 4~'j ~a ~ - ~ ~ a L~ L n ,i"~., r , N ~ p aC 'F /~ y 4 ¢ ;iQO+I I ~~~g ;eiat ~L W* L rt L ~ I ~ ~, Z +y ^ Le 1 gs ~~ A w y ilcx le ~'•'~~lr.~L~w a~ ~ ~ ~ Lnr LsF _ s ~ :~~1 u~ L ~ ~ La e tiR NFL a6 ° :n $• a L;: rr b , • -... '~ o `` u: e`t~ .r.,~ ~ „ r ,':~~~, ~ .I. ~` ~~ ~K ~ - " '~ ~~ ~ ~ ~ , S ~~ .... ~. , .[ ~ ~ _ s' s ~°"~ ,~ T ~ i' ~y4, ~ ~ ~~ ~~ ~~ 1~ ~ q~ A ~ ~ ~ ~'7 S .d ~~~ . ~~ M~tlAi - ~ ~ ~~ ~~ 1 ~~~ i - - ~ i ~'~ ~~ _- ; ~ ~ ~ -:5 1 •_ `~ ~ i ~ ~~ ..~ _ ~' ~fl ~~~~~Z~` ~~ ,~? X71 >r~~n ~ 3 ^~ ~ mi v l, $ ~ L8 ,~ >!~~ ^ ~ ~ ' i ¢, ~ . ~,., ~ ~ k1 • Rl~1~ A ~~ ~ ~ Y tl~N A L A ~ ~ t 1 ~ , ~ Deli L L~ ' ~ W Y 1S 5p L L l~ y ~' ~ ~~ x g,. L . d,. . LL a ~, a •~;~. ~., ~~ ^ • I~ a~ .. ~ ~' ~ L L ~ ~ ,~~, Lu + nnR~ ~M •6 p ~ N fn lu '' p C 4 L ^L ~L ~ a I i 1~ ~aC~ G ~ :~,1~ l: eyE .. e'. ~. ~~ ' ~ ~ ~ ,~~ ' ~ ~_~: -.al ~~~ ti c -_ <+ _. r ie ~ !0 • i M ~; .< {~,, a. } ~. -~ F. ~ T Z' at. ,. ~~ 171 t ' y 1 ~ ~ E.~ ,.a ~i .91r ~~.: ~ !Y ..»~..~. - 7 ~ ~. __. SMALTI ~... SMALTI i ~ ~ '~ i ~f°~ E ~ ~ C ' ~~~ I ~ ~: pr ! 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"""ell `/ ~'~ ~. `~, La posa ASSISTEN~ SUPERVISIONE, FORMAZIONE "~ INSTALLATION: assistance, supervision, training LA POSE: assistance, supervision, formation VERLEGUNG: beratung, assistenz, schulung LA COLOCACION: asistencia, supervision y formacion ^ q ^,^ ..fir - ^ .4Y _. \ ^ ^^^ ^^ r ^® ^e ^e e^o ^ ^ ^ s ^^ ^e.a r. ^ ^ - ^ ^~ a• u^uu^r l ~~. ~ ^ou ~^u as ^^uu ro Ana ^ c. v^ ar ^^c ^i~ ^=u ^ L7 ~. •a ^ B ^-..^ ^cru^- er ~^ ~... c.- ~ ^ t ~'~. r VETRl~t;OLOR 10 Flo x to mm - 3,~°~x 3/8°> 10.18(1) y 10.26(2) 10.15(1) 10.05(1) 10.37(1) 10.62(2) ~ 10.25(2) ~~,~ 10.14(1) 10.03(2) 5 10.44(2) ~:. 10.09(1)x- 10.53(2) y~- 10.13(1) ~ -~ 10.96(2) P~ ~. 10.10(1) ~~"- 10.89(2) ~~ 10.51(2) ~~ 10.12(1) 10.87(1)~~ 10.40(2) F - ~ 10.29(2) f- 10.97(1) ~ 10.22(1) f- -i 3 10.31(2) ~ 10.27(2) ~l...e 10.88(2) 10.16(1) .~ ~ 10.24(1) 10.55(1) ~ .4 l 10.30(2) ~- -+ 10.60(2) '10.23(1) ~ ~~~~ 10.33(1) ~ ~ 10.98(2) 10.82(3) 10.50(1) ~~ 10.32(1) ~ ~ ~ ~t 10.38(2) 10.75(3) 10.61(2) 10.56(1) j 10.35(2),` ~ 10.39(2) ~ 10.79(3) 10.04(5) ~ ~, 10.66(1) 10.42(2) ~~'- 10.58(2) ~~ ~~ 10.99(3) ~ 10.64(2) 10.86(2) ~ ~ 10.57(2) 10.68(2). 10.81(3) ~~ 10.59(2) 10.65(2) 10.67(2) ~, 10.72(2) 10.80(3) ~~ 10.74(3) 10.46(2)~~ 10.77(3) ~ ~ ~ ~- ~ __ I Le Gemme 10 (lo x to m~, - 3/8° x 3/8°~ I T T T T T ~, 10.20(4) 10.95(4) 10.38(4) 10.42(4) 10.47(4) ~` 10.11(4) 10.10(4) ,~ 10.53(4) ~ 10.39(4)x- - 10.59(4)x- -j 10.51(4) ~ 10.66(4) ~~~ 10.27(4) 10.67(4) ~~ 10.30(4) 10.29(4) 10.74(4)x- -~~ 10.55(4) ' 10.49(4) ~ ~ 10.86(4) .10.97(4) 10.80(4) ~~ 10.57(4) ~ 10.24(4) 10.77(4) ,, ~ ~ ~ ~ ~ ~ ~~ ~~~~. °' ~. 12.201 OF'U5 ROMANO cl2 x 12 mm - 1/2".X lie°) 1 ~ 12.202 I T T 12.11(1) 12.10(1) 12.30(1) 12.84(1), 12.55(1) 12.12(1) 12.36(1), 12.37(1), 12.85(2) "•"£ "~ 12.57(1) ~ ~ 12.32(1) ''`~ 1Z 39(1) 12.87(1). 12.20(2) 12.98(1) 12.34(2) 12.40(2) 12.88(1 ) ~ 12.99(1) 12.51(2) ~ ~ -~ 12.60(1), 12.89(1) 12.53(3) 12.103(1) ' 12.71(1), 12.58(3) -~!rr-~ 12.43(2} ~ ~ 12.104(1) 12.72(1) 12.59(3) 12.44(2) 12.21(1). 12.106(1) 12.73(1) ~ ~ ~- ~ 12.22(1), 12.74(1)'. 12.67(1) 12.45(3)~~ 12.23(1). 12.91(1). 12.75(2), 12.68(2) __ _'" 12.16(2) 12.24(1) 12.92(1) ~ + ~ ~. 12.,25(1) 12.94(1) 12.76(1) 12.01(1) ~, 12.17(1) 12.27(1) 12.95(1). - 12.77(1) 12.02(1) 12.18(2)' 12.35(1) 12.96(4) 12.78(2)'. 12.04(1) 12.19(2) 12.42(1) ~ ~ 12.81(1). 12.05(1) 12.47(3). 12.48(5) ~ ~ ~ 12.29(2), 12.101(1) .. 12.54(4) ~~~ 12.102(1) 12.82(1); 12.07(1) 12.69(2) 12.09(2) ~ ~~~~ VETRICOLOR 20 czo X zo mm - 3~4° X 3~4°) T J I 20.74(3) 20.40(2) 20.96(2) 20.44(2) I T ~ T (7 s ~, ~.~' T~~)Y~~ 20.04(5) ~ ~ ~ T 20.51(2) 20.53(2) 20.25(2) 20.26 (2) ~ ~ -~- 20.46(2) ~_ 20.77(3) 20.65(2) 20.86(2) 20.67(2) 20.57(2) 20.42(2) 20.35(2) . "' ~ ,~_ ~~ No 20.61(2) 20.50(1) 20.23(1) 20.24(1) 20.22(1) 20.87(1) T I 20.37(1) 20.09(1) 20.10(1) � T 20.72(2) 20.68(2) 20.58(2) 20.39(2) 20.38(2) T i 20.98(2) 20.30(2) 20.31(2) ( 20.75(3) 20.82(3) LE uEMME 20 (2o X 20 m~ - 3~4° X 3i4°~ F. ;~ ,~ `n '3 3?~t. ~ ,ra '~ 20.20(4) 20.66(4) 20.38(4) 20.24(4) 1~ ~k 20.10(4) 20.53(4) 20.39(4) 20.67(4) ~~ 20.51(4) 20.95(4) 20.27(4) 20.49(4) :>. ~; ....20.74(4) ......20.42(4) 20.55(4) 20.57(4) ~,~~ ,~ ,.f ;,.. ~ ' _ 20.97(4) 20.47(4) 20.29(4) .........20.59(4) 20.80(4..). 20.86(4) 20.11(4) 20.30(4) 20.77(4) ' -_,,. 0 R(J (10 x 10 mm - 3/8" x 3/8" 20 x 20 mm - 3/4" x 3/4") LU.lOG PAVIMENTO E NO-1001/P io x to mm N - 2002/P ~~ ~~ 10 x 10 mm T RIVESTIMENTO VETRICOLOR GRIP Y;~ ~~ ~~~,~ t ( Y~ GY j~' M, r ~~ 2U. 87G 2U.2ZG NO - 1001/R to x to mm N - 2002/R 10 x 10 mm ~~: (20 x 20 mm - 3/4" x 3/4") ~. ?0.18G r ., ~ y ~ ~: ~.Y.~ ~y ~ t r is .....,,.,,~,h,- ~++~ - .....,.,...., w.a... 20.05G 20.31G 20.24G I FIAMMATI 20 ~~ s ~: ~~~ ~i -_, ~~~~~ FRUA ANGEL "; ,~~.;: ,_ .~. .,,_ , I~GUA~U.M. ~... x:, VICTORIA ~... 20.23G ~ E ~r ~~f ~( ~ . a u ~ f'" ~}' NO 1001/R N - 2002/R 20 x 20 mm 20 x 20 mm 20.35G 20.59G (20 x 20 mm - 3/4" x 3/4") r ~~ ~ ~f e • ; MARMORE ,'~ ~', ,.. x.. ~,,,,,.,;,,..,.,. ..,,... ~.. ~.. ~.. NARDIS ~~ ._ ,~, ~~~r., _~.3.. NIAGARA GAVARNIE s~®~.1 a LE uEMME 50 c5o X 50 ~,m 2° x ~~~) f ,~_. : a t °: i i .y _ %' { .<.~ ;~~ „q ~ ~~jm :~! ~r..~ ~A r'' 5 ~` :~ rl ~' ~ a~ /1 'A^ 42 50.11(4) 50.77(4) 50.10(4) 50.39(4) 50.97(4) 50.24(4) 50.67(4) 50.58(4) 50.47(4) 50.59(4) L'USO DEL MOSAICO DI U r;0 PER RIVESTIMENTI INTERNI ED'4-STERNI RISALE ALLE ~ ORIGINI DELLA STORIA DELLA DECORAZIONE. IL MOSAICO DI VETRO BISAZZA RACCOGLIE OGGI UN'EREDITA CULTURALE ANTICA, NE CONSERVA LE ANTICHE TECNICHE DI DECORAZIONE E NE INTRODUCE DI NUOVE, QUALI AD ESEMPIO L'ADOZIONE DEL COMPUTER GRAFICO PER L'ELABORAZIONE DI DISEGNI E LA LOBO RIPRODUZIONE IN MOSAICO. IL PROGRESSO TECNOLOGICO, NEL FRATTEMPO, HA ASSICURATO IL MIGLIORAMENTO ~ QUALITATIVO DEL PRODOTTO: LE TESSERE SONO ORA PERFETTAMENTE QUADRATE E LISCE, I BORDI BISELLATI, I COLORI OMOGENEI; IL MATERIALE SI ADATTA QUINDI A QUALSIASI TIPO DI APPLICAZIONE, SPAZI COMMERCIALI E RESIDENZIALI, ARREDO URBANO, PISCINE. ~ LA PARTICOLARE TRASPARENZA ED I RIFLESSI RAMATI SONO CARATTERISTICHE CHE DANNO AL MOSAICO DI UETRO BISAZZA DELLA SERIE LE GEMME IL SUO ASPETTO UNICO. TALI CARATTERISTICHE SI OTTENGONO CON UN PROCESSO MANUALE LEGATO ALLA TRADIZIONE DEL VETRO VENEZIANO, MISCELANDO IL VETRO IN FUSIONE CON UNA ~ PIETRA DURA SEMI-PREZIOSA CHIAMATA «AVUENTURINA». IL MOSAICO ORO E COMPOSTO DA UNA FOGLIA D'ORO 24 CARATI RACCHIUSA TRA DUE STRATI DI VETRO SPECIALE. IL PROCESSO DI FABBRICAZIONE E COMPLETAMENTE ARTIGIANALE, SECONDO LA SECOLARE TRADIZIONE UENEZIANA. IL MOSAICO ORO SI PUO APPLICARE IN INTERNI ED ESTERNI, A PAVIMENTO 0 A PARETE. ~ PER I PAVIMENTI RESIDENZIALI E COMMERCIALI ANCHE DI TRAFFICO INTENSO, BISAZZA PROPONE OPUS ROMANO, UN MOSAICO DI SMALTO UENEZIANO DI RIDOTTE DIMENSIONI, DISPONIBILE IN UNA UASTA GAMMA DI COLORI. LA SUPERFICIE ANTISDRUCCIOLEUOLE DEL VETRICOLOR GRIP E STATA STUDIATA PER ~ L'USO IN AMBIENTI CHE RICHIEDANO UN ALTO GRADO DI RESISTENZA ALLO SCIVOLAMENTO. ~k ~ [irk [~!i°[° ~[r :.['.~ • r. a•~i!` ~°ai,_u [ice' [... [ •~i[i u~O C[. •. • m° r i [ • ne ~.; • a n•+. - s a~+~... • [~• [Pia •~m ..[ ° a[ ~ e Pw '~ J~~i ~ ] t •[[ 1 • i• ••t 1 P • • s > t•°iPe~ *• e s ~ s~!m ms a • j1. •ii i • 1~ • P • •;~ m e .. •. e • .e s • '~ m ' m. P [ d• .. R ~: aaaa sa ce ,ym a•saa ~ . m •p - tee. .. _ ° i r••• [ [ a• a as ~.. • ^~•e q•• •i• i~~ iem[i•[ ° n fa_ {. ~~ ~~•~~,is Tip; ~a[- TGP e' e•i ~.~ P e Of• Or im• [ a•a~[,M'G~a•••~•• Li•i.1.~?•Pa•., l,i Rat pP ewer •• r~ ~ •• •: • •••r• •.. •~•~P°~*•~e ax •i s i 'a ades~v~'o ••e•••' •, •y ~ ~•••ii• fiii•i jKf•••1"• p. •r sc 'ye• 9`ee•• i • ••••i i,• i ~ ie •ii.. ••• •ai~i~hi ~~ J • ~~i .• w' ~d'J•~i's~s°> ~ °•e••i• • •r, a• :.e...• • ••••aP~ • ilb''~i a[ a>e.. .•a}sy • ••s's:<.. : ° ° <y ~ 1~:~i:._A9dtiP_~••:r. _•!_+xa~ • f•i+_. •P gem'. •. "~ ~ • THE USE OF GLASS MOSAIC FOR BOTH INTERIOR AND EXTERIOR WALL COVERINGS TRACES ITS ORGIN TO THE VERY OUTSET OF THE HISTORY OF DECORATION. BISAZZA GLASS MOSAIC STANDS TODAY AS THE CONTINUATOR OF A DISTINGUISHED CULTURAL HERITAGE, BOTH BY PRESERVING ANCIENT TECHNIQUES OF MOSAIC DECORATION AND BY INTRODUCING NEW ONES, SUCH AS, FOR INSTANCE, THE ADOPTION OF THE GRAPHIC COMPUTER FOR THE SCANNING OF PATTERNS AND THEIR INTERPRETATION AND REPRODUCTION INTO MOSAIC. TECHNOLOGICAL ADVANCEMENT, IN THE MEANTIME, HAS ENSURED THE QUALITATIVE AMELIORATION OF THE PRODUCT: THE INDIVIDUAL TILES ARE NOW PERFECTLY SQUARE AND SMOOTH-SURFACED, THEIR EDGES NO LONGER SHARP, THEIR COLOR HOMOGENEOUS; THE MATERIAL IS THEREFORE WELL SUITED FOR TODAY'S MOST DIVERSE APPLICATIONS: RESIDENTIAL AND COMMERCIAL INSTALLATIONS, URBAN DECOR, SWIMMING POOLS. THE PARTICULAR TRANSPARENCY AND THE DISTINCTIVE COPPER REFLECTIONS ARE CHARACTERISTICS THAT GIVE A UNIQUE APPEARANCE TO LE GEMME GLASS MOSAIC. THESE CHARACTERISTICS ARE OBTAINED THROUGH A MANUAL PROCESS LINKED TO THE VENETIAN GLASS TRADITION, A HOT MIXING OF GLASS WITH A SEMIPRECIOUS HARD STONE CALLED «AVVENTURINA». ORO, IN ITALIAN, MEANS GOLD. IN FACT THE ORO MOSAIC IS MADE OF PURE 24 CARAT GOLD LEAF SANDWICHED BETWEEN TWO LAYERS OF SPECIAL GLASS. ITS MANUFACTURING IS STILL AN ENTIRELY HAND MADE PROCESS, FOLLOWING A CENTURY OLD VENETIAN TRADITION. ORO MOSAIC IN BOTH INTERIOR AND EXTERIOR APPLICATIONS, FOR WALLS OR FLOORS. FOR DOMESTIC, COMMERCIAL OR PUBLIC FLOR SURFACES, ALSO WHERE HEAVY TRAFFIC IS ENVISAGED, BISAZZA PROPOSES OPUS ROMANO, A MOSAIC IN VENETIAN ENAMEL WITH SMALL-SIZE TESSERAE, AVAILABLE IN A VAST RANGE OF COLOURS. THE VETRICOLOR GRIP 20 NON-SLIP SURFACE IS DESIGNED FOR USE IN ENVIRONMEN TS WHERE IT IS IMPORTANT TO OBTAIN A HIGH DEGREE OF RESISTANCE TO SLIDING. > ~:~ ,~, , ~~~ ~;~h ,r s ~. .., are ~. Mi sure e pesi ~ Carat.~.~ i sti the tecni the packing conditionnement `"'' test data - caracteristiques techniques verpackung - acondicionamiento technische eigenschafte caracteristicas tecnicas Formato mm Size mm Format mm 10 x 10 20 x 20 50 x 50 12 x 12 Format mm Tamano mm Spessore mm Thiokne55 mm 4,5 (le Gemme) Epaisseur mm 4 4 5 (F;ammat;) 8 - 8.5 Starke mm Espesor mm Dimensione fagli mm Sheets size mm Dimension plaques mni 322 x 322 322 x 322 310 x 310 300 x 300 Abmessung der Blatter mm Dimensiones hoias mm Giunto mm Joint mm Joint mm 0.73 1.46 2 3 Abmessun_q der Fuge mm Junta mm Peso kg/mq Weight kglmq Poids kg/mq 5,96 7 9 13 Gewicht kglmq Peso kg/mq mq per scatola sqm per carton mq par carton 1,035 2.07 1.92 1.8 qm pro Karton mq por caja Scatole/paletta Cartons per pallet Cartons/palette 45 45 45 Kartons pro Palette Cajas/pallet Peso paletta/kg Pallet weightlkg Poids palette/kg - 680 750 550 Gewicht Palettelkq Peso pallet/kg Assorbimento d'acqua Hullo Water absorption none Absorption d'eau nul Wasseraufnahme null Absorcion de agua Hula Resistenza agli sbalzi di temperatura resistente Resistance to thermal shocks resistant Resistance aux chocs thermiques resistant Tempera turwechse7bestandigkeft bestandig Resistencia a los cambios de tem eratura resistente Resistenza al gelo resistente Frost resistance resistant Resistance au gel resistant Frostbestandigkeit bestandig Resistencia al hielasistenteresistenteResistencia al Resistenza dei colori alla Luce resistente Colours resistance against fading resistant Resistance des couleurs a la lumiere resistant Farbbestandigkeit bestandig Resistencia de los colores a la luz resistente Resistenza agli agenti chimici resistente Resistance to chemical attack resistant R@sistance aux produits chimiques resistant Saure and Laugenbestandigkeit bestandig Resistencia a los agentes quimicos resistente Classificazione del materiale gruppo B 1 Classification product group 8 1 Classification du materiaux groupe B 1 K7assifizierung des Materials gruppe 8 1 Clasificaci6n del material grupo B 1 Resistenza all'abrasione profonda resistente Resistance to deep abrasion resistant Resistance a 1'abrasion profonde resistant Widerstand gegen tiefen Versch]eil~ bestandig Resistencia a la abrasion en profundidad resistente Dilatazione termica lineare conforme Linear thermal expansion conforms Dilatation thermique lineaire conforme Linea re thermische Ausdehnung Hach Dilatation termica lineal conforme Resistenza agli agenti chimici resistente Resistance to chemical attack resistant Resistance aux produits chimiques resistant Saure and Laugenbestandigkeit bestandig Resistencia a los agentes quimicos resistente Resistenza allo scivolamento gruppo R 9 Slip resistance group R 9 Pouvoir antideparant groupe R 9 Rutschfestigkeit gru e R 9 Resistencia al deslizamiento gr~po R 9 V E T RI C 0 L 0 R tiles evaluated according to the Tile Council of America Inc. specification TCA 137.1-1976 Visual inspection - Paragraph 5.1.1.2.1 ---- 50 tiles without visual defects Conforms Passes Back - Paragraph 5.1.1.2.1 Shall be either plain or raised design Raised design Passes Warpage - Paragraph 5.1.1.2.6 Less than 0.2% along any Should not vary by more than 10% fromthe nominal dimensions edge and either diagonal Passes Wedging - Paragraph 5.1.1.2.7 -- Shall not exceed 2.0% Less than 0.2% Passes Mounting Paragraph 5.1.1.2.9 Shall be uniformly mounted and joints approximately 1/16 wide and Conforms uniform Passes Water absorption Paragraph 5.1.1.3.1 Shall not exceed 0.5% None 0.1% Passes Thermal shocks - Paragraph 6.2.1.3.2 Shall show no failure after testing according to ASTMC-484 No failure Passes Bond strength - Paragraph 5.1.1.3.2 Shall be 50 PSI or greater 125 PSI Passes Result show that VET RICO LOR tiles meet requirements of the Tile Council of Ameri canc. specification ANSI 137.11976 The tiles meet the "Standard Grade" as defined in the specification e 4 ~~ ~ r s t~. * ~ . ... . . t ~ u. ,a.. ~ r w .a. .,. i., ,.,~ .. . ...~ ,; ,• ~~ , . . . f 4. ~ r ; 4 { " + . s' . ~ ~ ,, i = ~ . ~. :,• { ~ i s 0 n-, ,. .. ,,„ . - ' ,~ . .-. . ~~ ~_x ti r . -~ ~ ~ `. t • ~ t ~ , •. ~ y a p ~ d r< .:. t i . , • ,,.b D . , ~w' . • F 9 i• «~. t ~ ~ h. + ~ ~ w ~~ . ~ , . • _~~ , _ ~ ~ • I ~ ., 11 a ~ .,r ta «' te ~ ... ,. ¥ , F s ;r . r ~, v ~ . ~' , ~' .~ -- - ..~ „ ' eca n ~~ x • ~ ~ t . u + e . y. , s .. y -. ,~ , D. ~ • µ , 1• ~. *_ , w: a ~ z • ~ ' y w ~ :. ,~ ' . ~ p ~o - S Cos~d All ~ Cas gci ~ ~. . ~'' ~ ~ l ~d "' ~ • w• ~ 9 r c etto G uid~ i , ana, ;~x'f - ~t ~ ~ ~ '._ • ~ ~ --~is•eg ~~' osait Ra{A`t ~r ~ bnet d-' d ` .~ ~:: ,. • ~ ~ rY~ ~ ~' ~" `~R ~~ foto•,- Frago • Ba~a ¢` lto ~~ • s~ { ' • ~ ~ '° ;~"- o9~to'~. 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'~ . 1',. k,, `' !. t. 1 5~ .' ~± •: ,P~ogett6 ;~ do'n: $t~way ~ r f~ 3 ~ %~ ~, ~~.~ `~ ,~. > ~ . ~~_ ~. . r•. ~ . F F r w~ ..~ ~„ . ~} r' ~ T • at~i on 25 am Cnt Road. t " o t ib, ~. ~ ~• ` ~ ~` ,. "~ ~ ,;±~ '~ . d~s ~ del e no' ' F~•~d~uard aolozlti. m~ "" ~~,gProg Gra N ~~ ~ ` rchi e 26 tt il n a sai , Maui, . ea & S~ kat~•" , ~ . g ' . r ~ ~ •e ,~ ! ~ ~ o~-w 0 1 mds • co , vp ~ e4 . ~. ,wr- _ 'w ' . `~ x : ado ~ ~ I y j M SR~N ~ + ; f -.. /`.~ •,w ., ~ y 1e+. / ~ F r •~ ry• • T ~ ~ rw .T ~ • .:. ~ r :.. ~, /( ~~~ 4 - Pie ~ • a•'4 ! ` ti ` ]]8 , r t• t f ~ y .. t - ~ ~`~~~t3 PROGETTO GRAFICO JOSEPH ROSSI ! ENERGHEIA 67.000 COPIE - SETTEMBRE 1997 PRINTED IN ITALY - EUROPLANNING (VR)