The H arte

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Alvisa (Lidzie)
Arrechea (Alexandre)
Bejarano (Agustín)
Bruguera (Tania)
Camejo (Luis Enrique)
Capote (Ivan)
Capote (Yoan)
Cordero (Raúl)
del Dago (Duvier)
Diago (Roberto)
Francisco (René)
Fuentes (José Emilio)
García (Aimée)
García (Rocío)
Garciandia (Flavio)
Goméz (Luis)
Guerra (Javier)
Leal (Ernesto)
León (Glenda)
Miranda (Ibrahim)
Montes de Oca (Carlos)
Moreira (Cirenaica)
Peña (René)
Pérez (Hanoi)
Ponjuan (Eduardo)
Prieto (Wilfredo)
Ruiz (Aziyadé)
Segura (Esterio)
Vincench (José A.)
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  Ibrahim Miranda from The H 03 by Cristina Vives

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Ibrahim Miranda’ internal map   El mapa interior de Ibrahim Miranda
What Ibrahim actually does is to use the morphology of the island where he lives as a pretext for an obsessive reinterpretation of himself with the same authority with which god created the world in his own image and likeness.
In the 1990s, Ibrahim was already known as one of art’s innovators and in 1993 he found a place in this interstice between science and art. He began to appropriate pages from the atlas and cover them with his own personal marks so that ten years later the results can be seen as his own internal cartography. He would have done the same in any corner of the globe where the artist’s contextual condition remains unmapped. We are talking here about the internal world of the creator, not the geographical boundaries that limit him.
His working method is simple: he removes pages of the atlas from their original binding, makes his selection (no matter whether the pages chosen refer to hydraulic resources or the country’s politico-economic boundaries) and reassembles them, usually in threes. In this way, he defines the ‘paper framework’ that will provide the basis of the future piece. He then traces copies which appear like x-rays of the maps themselves, very similar to the bone structures of their human and animal inhabitants. Onto this basic skeleton, he adds silkscreen or woodcut prints and drawings. Out of this collage of techniques comes a turbulent rush of ideas.
Ibrahim may not realise the role of his work in the evolution of contemporary printing in Cuba. By using industrially produced maps and altering them each time in new, unique, unlimited editions, he is violating the classical conventions of an art that is traditionally based on reproduction in series. When the form and structure are constantly being modified and the works have to be seen together to be understood, what we are being confronted with is unfinished works of art. For Ibrahim, printing onto maps is a dynamic, open-ended process similar to the processes unfolding in nature on the island and in those of us who live here.
 

El proceso de trabajo es simple: desprende las páginas del atlas de su encuadernación original, las selecciona y las re-ensambla generalmente en número de tres, delimitando así el “soporte en papel” de la obra futura. Luego hace los calcos, que son como radiografías del mapa mismo, muy parecidos a la estructura ósea de los hombres o animales que sobrevivimos en él. A ese esqueleto primario le superpone impresiones (silkscreen, xilografía) y también dibuja. En este collage de técnicas comienzan a moverse turbulentamente las ideas.
Es posible que Ibrahim no sea consciente del rol que su obra juega en la evolución del grabado contemporáneo en Cuba. Al tomar como soporte los mapas impresos industrialmente y cada vez intervenirlos con nuevas impresiones (diferentes, únicas y en ediciones ilimitadas) viola los cánones clásicos de una manifestación que tradicionalmente se erige sobre la base de la matriz reproducida en serie. Cuando los soportes y las matrices se modifican continuamente y las impresiones resultantes necesitan ser vistas en su conjunto, estamos ante objetos de arte inconclusos. Para Ibrahim grabar sobre mapas es una secuencia gráfica, un proceso dinámico e inacabado, similar al que sufre la naturaleza de la isla y los que vivimos en ella.

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