The First Triennial of the Caribbean
The Caribbean Biennial, held since 1992 in the Museum of Modern Art in Santo Domingo, was discontinued for more than five years, after five (six??) editions and successive modifications fundamental among them the admission of all fine arts categories, including three- dimensional works, installations and videos –; yet nobody had forgotten it...At the national level, and mainly in the Caribbean Region, countless artists participants and non-participants repeatedly inquired into the reasons for this interruption and asked if the Caribbean Biennial, a privileged expression of the convergence of cultures and visual hybridization, would take place once again...
From Biennial to First Triennial
When so much time elapses after the last presentation of an artistic event, its relaunching must be the subject of careful study, and it can certainly not be resumed as if it were a continuation...The labeling of the event as a “biennial” had lost its meaning, and it was decided to designate it instead as “First International Triennial of the Caribbean”. A three-year interval renders respect for the announced periodicity less utopian.
The geographical area covered by the event remained the same, incorporating, besides the Caribbean Islands and Central America, the continental territories and the “big” neighbors Mexico, Venezuela and Colombia and on this occasion, including also Miami. Likewise, the open plurality of the categories and the requisite that the entries be recent works or works created specifically for the biennial were maintained, and so was the international character of the jury and of the parallel activities.
The greatest innovation was the thematic proposal: to conceive and execute an artwork based on the theme of Art and the Environment. It was addressed mainly by artists whose research and production concerned itself with nature and the survival of the different kingdoms flora, fauna, and humankind in a current global situation marked by indifference, aggression and destruction.
The appointment with the art of the Wider Caribbean Region began on 5 September at the Museum of Modern Art, and it concluded on 24 October. This first Triennial generated positive reactions and it confirmed the advancement of creativity in the Region and its technological actualization. The particular characteristics of the show included, among others, the quality of the entries. There were no horrible works! All the works were acceptable, very good or excellent, depending on the authors. We had seldom seen such a well articulated and coherent ensemble of works in an art competition, reflecting the “homogeneous diversity” that is attributed to the culture of the region, both in the insular and the continental lands.
However, the special guests, solid personalities already acclaimed at the internationsl level, did not stand out for contributing works that surpassed those of the majority of the participating “competitors”. Might the explanation be that, given that the Triennial must purchase a work from each of the guest artists, the budget did not suffice to invite older artists or artists with higher quotations in the market? Notwithstanding this, there was a remarkable exception: The Puerto Rican artist Pepón Osorio, who featured three forceful installations. The swing with the two girls, an allegory of reality and myths, dolls and queens, a fair one and a dark one, is a masterpiece, perhaps the best in the Triennial. We had already had the chance to admire it in the “Kreyol factory” exhibition, at the Grande Halle de La Villette in Paris.
Awarding of Prizes and Selection
In contrast with previous biennials Caribbean and national the awarding of prizes was unquestionable, although because of the quality that prevailed at the event, more artists and works deserved prizes officially three, in accordance with the regulations. This explains the number of honorable mentions bestowed, an initiative of the Jury, which deserves to be congratulated.
Alida Martínez (Aruba) produced a formidable piece multiplying expressions, techniques and formats so complex and generous that it was at the same time an installation and almost a solo show. Autobiographic and collective, humorous and implacable, focused on a self portrait, it was a demonstration of the denaturalization of the present day world...and not only of the Caribbean.
Charles Juasz-Alvarado (Puerto Rico) is a specialist ...in “flying machines”, brimming with creativity in his peculiar aeronautics, which he currently applies to the termite! Thanks to his gigantic installation, in which art and entomology coalesce, we no longer perceive termites favorably analyzed by Maurice Maeterlinck in the early 20th century, by the way as a plague, even though we must continue to destroy them, of necessity! The artist even delivered a hand-written lesson and projected from the hanging artifact spread-out wings, a beautiful “termite” art design! Another equally well-deserved prize was awarded to the Dominican artist Miguelina Rivera, for a work that was totally different from the rest and, undoubtedly, the most romantic one in the Triennial apart from its being accompanied by a quotation from Jacques Prévert; here, the woman, who is usually represented as a caged creature, is a cage...and she is pregnant, hosting in her transparent body made of bars ...a couple of small birds, live and singing parakeets! Exquisitely conceived and constructed, this work symbolizes maternity, nature and the future.
We found that same sensibility in other works included in the Dominican selection, perhaps the most outstanding selection, and not only because it was the largest given our condition as hosts. Raúl Morilla distinguished himself with one of his extremely personal installations, merging the concern about nature and the notion of the nest, birth and childhood, in an impeccable execution. In constant renovation, Jorge Pineda built a cardboard igloo, a genuine jewel in terms of form, volume and facture, inviting us to enter his habitat! The house outside the MAM that is still there...but that was almost blown away by the wind, inspired the nomadic Marcos Lora Read, and the shrouded woman, passion and victim, contributed the unstable balance. These honorable mentions were strongly justified.
Central America distinguished itself by a diversified and remarkable participation, with the exception of a painting. Although the “great continental countries” did not stand out as would have been expected...in proportion to their dimensions, we will make reference to the honorable mention awarded to the Mexican artist Tania Candiani and her obsessive watchmaking...captivating and impressive. “Who and which are we? An admirable question!”, posed by poet Aimé Césaire. The French-speaking Caribbean countries responded, from Martinique to Guyana, featuring clever installations, simultaneously poetic and critical. Among these, the honorable mention awarded to Richard Viktor Saint-Silly, from Guadeloupe, who integrated video and painting; his washing machine symbolizing the manipulation and the uncontrollable degradation of nature, convinced everyone, as did the distinction bestowed on the triptych on Saba’s rainforest by Helen Cornet who has made progress in her painting. Mention must be made of the fact that the ensemble of works representing the Dutch speaking Caribbean countries was noteworthy.
The representation of the Anglophone Caribbean should have been much larger Antigua, Belize, Dominica and Trinidad were absent; participating artists and works seriously explored and referred the viewer, in the context of an actualization of aesthetic postulates and languages, to an individual, collective, and almost always critical reflection. Particularly noteworthy were the incisive photographs by the Jamaican artist Albert Chong the only participant representing a country with an extremely rich art and also the videos by Errol Brewster (Guyana), Annalee Davis (Barbados), and Janet Cook-Rutnik (St. Johns), or Monica Marin’s (also Virgin Islands) postcards. They sharply reproved acts against the environment, the alteration of natural resources, overwhelming tourism, and underestimation of the native inhabitants.
...To conclude, allow me to quote the impressions of Rodrigue Glombard, an artist from Martinique, on his return to his island. He wrote: “I was very pleased to participate in this event. I was able to confirm the very high level of quality of the artistic production of the Caribbean region. I am very happy and very proud to be among the artists that comprise this first Triennial, which addresses a theme that is particularly dear to me. This has also allowed me to join a very competent and efficient team. I offer them my congratulations, and I extend them to all the generous and so very talented participating artists. I am extremely grateful, and I wish a long life to this project, which deserves to attain a great, radiating projection.”
*Director of the National Gallery of Beautiful Arts
