- ; funda ga, en contacto | Ref entonces eo medio y itea. Entre ira var igun0 yamo superior 29 P la/lige MBsor del hueso coxal, entr ubre, y el ansa. Se di at mediano,’que lo sobre el cual di estos dos misculc El ramo inferior mente de dentro a fu gltiteo mediano y el gliteo me nos filetes a estos dos m terminar en el tensor de la J dirig am, Nervio del piram unda sacra y se diri piramidal, perdiéndose en Id musculo, inmediatamente lida de la pelvis in ciertos para el misculo piranjg sralmente de la prin rara vez de la Wj 3.0 Nervio dpiygjémino super ie nervio se degiyad del plexo, cerc ticalmente entr¢ superio muy ste nervio pus48 #1 100 54 58 108 62 sel 104 66 59) 105 USTIN, (OUR) SCULPTOR HAVANA PUBLIC SCULPTURE IN THE PAINSTAKING PATH OF MOL ART AND PUBLIC Nelson Herrer JBLIC EYE NUMENTS TO INTERVENTIONS of cf Cuban background in 12 United States TING IN FAMILY Tradition and Modernity in Bronze teaMemorial Garden: Revisiting Alexis Esquivel’s History Painting SUSET SANCHEZ Assuming the curatorship of an individual exhibition without it having an anthotogical nature, and when having closely followed. the path of an artist, isan enormous risk, Such a challenge has been the curatorial project ofthe fist individual exhibition by Alexis Esquivel ina Spanish museum, the Centro Atlantico de Arte ‘Modemo (Las Palmas, Canary Islands, February-March, 2014). In this case, all negotiation with the artist and the space where the proposal is set maintains a fragile balance where the passion for the object of study must conciliate with a critical distance moving the result in the hall away from any paternalistic overtone. knew about Fsquivel’s oeuvre in the mid nineties, when researching on an aesthetic orientation fashionable inthe Island atthe close of the20" century which was called Neohistoricism, This practice, internationally codified as a postmodern appropriation, deepened into the discourses of History, recovered canonic genres, styles and images from western Art History, to ‘make acritique ofthe representation in which subordinate voices: excluded from traditional repertoires of painting had room. ‘On these interventions in histricist imaginares, painter Pedro Alvarez used to say: “It would not upset me that people ‘saw my pictures as illustrating a given moment in Cuban history, particularly this one. What function would they have in the future? ‘That of being in abook on history or cultural criticism supporting, the texts?” Asin Alvarez’s case, in Esquivel’ recent pleces that perspective becomes a sort of theory of history exercising in the creative gesture, while the workarticulates asa space where the ‘various representations of the present proliferating in the media ‘and in other systems of information transmission closer to popular ‘culture may be dissected and commented,