Carlos Estevez

Paula Cucurella, David E. Johnson

Description

This book presents the complex art installation of Cuban American artist Carlos Estévez, which deals with elaborate explorations on the metaphor of launching bottles to the sea. The artist launches one hundred drawings enclosed in bottles at different parts of the world at different times and occasions. After a short preface, acclaimed art critic and philosopher Jorge J. E. Gracia provides an introductory essay in order to suggest possible interpretive avenues that may be used to delve into the symbolism of the installation. The rest of the book consists of color reproductions of Estévez's drawings, which are accompanied by English translations of the text found in the drawings, as well as transcriptions of the original Spanish text.
Preface

Introduction: Significance and Interpretation
Jorge J. E. Gracia

Bottles to the Sea: Artist Statement

Botellas Al Mar: Presentación del Artista

Messages

Bibliography

Biography of Carlos Estévez

Biographies: Editor and Translator

Index of Messages

Sujets

• Latin American
• USA
• United States of America
• Película fotográfica
• History of art
• Visual culture
• Ethnic studies
• Latin America
• États-Unis
• Caribbean
• Film

Informations

• Publié par: State University of New York Press
• Date de parution: 01 octobre 2015
• Nombre de lectures: 0
• EAN13: 9781438458007
• Langue: English
• Poids de l'ouvrage: 119 Mo

Extrait

CARLOS ESTÉVEZ

SUNY series in Latin American and Iberian Thought and Culture Jorge J. E. Gracia and Rosemary Geisdorfer Feal, editors

CARLOS ESTÉVEZ

bottles to the sea

edited by Jorge J. E. Gracia

translations by David E. Johnson and Paula Cucurella

state university of new york press

Photographs by Carlos Estévez and Gary Mercer. Gary Mercer photographs are used by permission.

Published by S TAT E U N I V E R S I T Y O F N EW YO R K P R E S S , A L B A N Y

© 2015 State University of New York Artworks and texts by Carlos Estévez are © Carlos Estévez Text by Jorge J. E. Gracia is © Jorge J. E. Gracia

All rights reserved Printed in the United States of America

No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.

For information, contact State University of New York Press, Albany, NY www.sunypress.edu

Production, Laurie Searl Marketing, Michael Campochiaro

Library of Congress CataloginginPublication Data

Carlos Estévez : Bottles to the sea / Edited by Jorge J. E. Gracia ; Translated by David E. Johnson and Paula Cucurella.  pages cm. — (SUNY series in Latin American and Iberian thought and culture)  Artist’s statement in Spanish and English.  Includes bibliographical references.  ISBN 9781438457987 (pbk. : alk. paper) — ISBN 9781438458007 (ebook) 1. Estévez, Carlos, 1969– Bottles to the sea. 2. Estévez, Carlos, 1969— Criticism and interpretation. 3. Installations (Art)— Cuba. 4. Ocean bottles in art. I. Gracia, Jorge J. E., editor. II. Johnson, David E., 1959– translator.  N6605.E86A62 2015  709.2—dc23 2015021928 10 9 8 7 6 5 4 3 2 1

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CONTENTS

Preface

Introduction: Significance and Interpretation Jorge J. E. Gracia

Bottles to the Sea: Artist Statement

Botellas al mar: Presentación del artista

Messages

Bibliography

Biography of Carlos Estévez

Biographies: Editor and Translators

Index of Messages

PREFACE

A few years ago, while I was discussing with Car los Estévez the art pieces to include in a retrospec tive of his work we were planning to hold at the gallery of the University at Buffalo, he mentioned the possibility of including his installationBote llas al mar(Bottles to the Sea). This prompted me to carefully look at the work and, from the mo ment I saw it, I became convinced that this was the kind of art that not only merited inclusion in the retrospective, but also should be the subject of an entire publication. I then formed the idea of publishing a book with the images so that others could also share my enthusiasm. I was impressed by the general notion of a bottle thrown into the sea with a work of art in it, and I was particularly taken by the number, originality, and complexity of the drawings that constituted the core of the installation. This was the kind of art that could serve not only to pose many aesthetic questions, but also to raise issues pertaining to the human condition in general. At the time I was occupied with other mat ters that prevented me from devoting to the project the time it merited, so I shelved it for a while without saying anything to Estévez. But the idea kept gnawing at me until I had to take it down from the shelf where I had put it and begin working on it. This is how the present book took

shape. My hope is that its readers will be as inter ested and challenged by the work as I have been since I first encountered it. The theme of launching bottles to the sea has been used as a metaphor by many writers and artists, but Estévez’s installation is one of the most elaborate uses of this metaphor ever created. The work uses a variety of media, in cluding onehundred drawings enclosed in bottles that are launched to the sea from differ ent parts of the world, at different times and on different occasions. The image opposite speaks for itself. It is a powerful image of the artist in the act of throwing one of the bottles from the promenade known as El Malecón, in Havana. In the distance one sees the image of El Morro, the fortress that guards the port and that is an icon for Cubans. The book begins with a general essay that introduces readers to some of the many pos sible interpretive avenues that may be used to delve into the symbolism of the installation. In addition, it provides a characterization of Es tévez’s work by comparing it to the art of some wellknown artists, and explores some examples of the philosophical themes on which the draw ings focus. One of the main characteristics of Estévez’s work is its philosophical dimension, vii

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and so the essay explores the thorny question of the relation between philosophy and art. Among the prominent themes that the drawings take up are the following: love, freewill, spirituality, time, destiny, words, the human soul, communication, malefemale relationships, masculinity, feminin ity, the world of the individual, life’s journey, self knowledge and knowledge in general, truth, the self, the one and the many, predestination, des tiny, knowledge of woman, the creator, the battle of life, appearance and reality, God, and God’s relation to humans. A statement by the artist explaining the cir cumstances under which the idea of the instal lation was hatched follows the introductory es say. Then color reproductions of the images are provided, accompanied by English translations of the Spanish texts that many of them include as well as transcriptions of the original texts. Each page is devoted to one drawing. The book closes with a biographical note about the artist, a list of the messages, and a pertinent bibliography. At the very center of Estévez’s art is the hu man being, and particularly the human male. He is depicted realistically in outline or stylized as a puppet (see PinosSantos 1995). Women appear less often in the works, and when they do, they often are combined with members of some other categories of beings, such as a man, animal, plant, or inanimate object. Indeed, Estévez frequently combines different kinds of entities, creating an imaginary world of fantasy whose significance is derived from these categories, their immediacy and combination. Particularly frequent and ef fective is the blending of humans with other en tities as machines, buildings, mammals, building blueprints, insects, birds, mollusks, maps, horses, crabs, and plants. Estévez often uses certain human roles, such as that of the juggler or the king, to explore hu manity. Frequently depicted are generic human parts, such as heads, hands, brains, feet, hearts,

eyes, digestive tracks, and lungs. Animals, such as horses, centipedes, shells, fish, butterflies, bugs, insects, scorpions, and birds, also are fre quently depicted. Plants and their parts, such as leafs, trunks, trees, and flowers, also have a place. Buildings are favorites: windmills, amphitheaters, Gothic churches, lighthouses, bridges, and build ing blueprints, as well as conglomerates of build ings such as cities. Machines seem to be every where: flying contraptions, planes, balloons, and sewing machines, among many others. Monsters of various kinds, usually strange composites of other naturally or humanly created beings, also populate the imaginary world Estévez creates. Apart from all these, Estévez sometimes includes boats and ships. The images of humans, animals, plants, machines, objects, or their parts are meant to raise and convey ideas. These are ultimately what Estévez is interested in, given his work’s strong conceptual leanings. Estévez’sBottles to the Sea is a unique and original work of art that serves as a source for the exploration of many dimensions of human experience. Its uniqueness and interpretive value are rich and argue for a permanent place in the history not only of the theme of throwing bottles with messages to the sea, but also of art. Naturally, a project such as this must depend on the cooperation of others. First and foremost is that of the artist himself, who apart from giving his permission for the publication of the images, helped with many of the technical and artistic aspects of getting the book in print. I am also in debted to David E. Johnson and Paula Cucurella for having translated into English the Spanish texts that are part of the drawings. And I am par ticularly grateful to Francis Acea, an artist in his own right, who designed the book. Finally, I am grateful to Beth Bouloukos from SUNY Press for her interest and support of the project, and to Laurie Searl for her attention to detail and help ful suggestions in the production process. The Editor

INTRODUCTION significance and interpretation

Jorge J. E. Gracia

The theme of launching bottles to the sea is not new. Like most good ideas, this is an old one, with a long and distinguished history and many different facets. It has been explored in works of literature, such as the poem by the Uruguayan poet Mario Benedetti, entitled “Botella al mar,” the anthology of poemsBotella al marby the Cu ban poet Nancy Morejón, and the novelMessage in a Bottleby Nicholas Sparks. Many visual art ists also have created works in which they depict bottles with messages. Indeed, there is an entire genre in China that involves writing messages inside bottles. But the idea has also been used with utilitarian purposes in mind. Scientists have thrown bottles to the sea as a way of tracking ocean currents; explorers have used it as a means of communicating results of their travels; and sailors have employed them when seeking help, particularly in times of war, when other means of communication have been unavailable to them. There are even those who throw bottles to the sea just for the sake of communication, without any literary, artistic, or scientific aim in mind. What we have in Carlos Estévez’s installation, however, is something quite different. Many works of art that depict bottles do so in the context of a still life whose purpose has nothing to do with the function of bottles as a

medium of a message sent by the sea. Bottles have interesting shapes and the fact that they are usu ally made of glass makes them intriguing motifs for paintings. Major artists throughout history have used them. Bottles have been commonly in cluded in drinking or homely scenes. A welllaid table and appetizing meal asks for a nice bottle of wine to accompany it. We frequently see these used by baroque and impressionist artists. Cub ists also seem to have found the depiction of bottles enticing, and perhaps even challenging insofar as their work aims to decompose objects into geometrical shapes and bottles do not easily lend themselves to this purpose. But the drawings that constitute the core of Estévez’s installation do not include depictions of bottles. The bottles are part of the installation not because the art ist has drawn them, but because he uses them to transport the drawings. Artists and literary authors who have been interested in the topic of bottles at sea generally consider a particular bottle and the message it carries, as well as its affective significance at both its origin and its destination. They are usually concerned with particular experiences or pre dicaments that affect those who throw the bot tles or those who receive them. On the contrary, Estévez does not focus on any one of the bottles 1