The African American Museum in Philadelphia hosted the exhibition “Drapetomania” in February and March of 2016, on two floors, in its Galleries No. 3 and 4. The museum’s vertical space and multiple floors, lends itself to smaller and less traditional exhibitions.
Grupo Antillano’s mission was to highlight Afro-Cuban influences in the participating artists’ work. There are works by more or less twenty Cuban artists featured in the exhibition, although not all of them were active members of Grupo Antillano. However, their works are in the spirit of the group since they focus on Afro-Cuban culture and images. The most well known artist included is Manuel Mendive, whose work is internationally famous.
There are different types of media represented, such as sculpture, video, oil/acrylic on canvas, and mixed media. The most striking piece, in my opinion, is Resurrección , by Rafael Quenedit Morales, the founder of Grupo Antillano. It is a sculpture, and one of the first pieces one sees on entering Gallery 3. At first it appears to be a very typical sculpture of the Latin American colonial period: an angel in front of a wood cross. However, on further examination one notices that this angel has a bi-colored face–white and red, and that its wings are red, white and blue. In addition, it carries a scepter that appears to be topped with a symbol from an Afro-Cuban religion.
Adelaida Herrera Valdés uses old shutters in her piece, Vecinos. Discolored receipts and letters are stuck in the slats. http://www.queloides-exhibit.com/grupo-antillano/grupo-antillano_artistas_adelaida.html There is a connection with the neighbor, but at the same time these worn down shutters may remind the viewer of the weariness and difficulty of life in Cuba.
Some of the artists, such as Leandro Soto and Juan Roberto Diago, reference Afro-Cuban religion in their titles: Los juguetes de Elegguá and Yo soy monte. In Los juguetes de Elegguá (2012), Leandro Soto (b. 1956 Cienfuegos), uses 2 large canvasses in red and black. There are many items recognizable in this compendium of toys for Elegguá, one of the orishas, or divinities in regla de ocha, an Afro-Cuban religion. These toys in the painting include: elephants, bells, clovers, keys, cups, boats, machetes, candles, cars, hearts, chalice, shells, spades, buildings, clubs, paths and roads. Elegguá is considered a messenger and has many roads. One reason he is important is because he connects the other orishas with humans.
In Yo soy monte, Juan Roberto Diago evokes the idea of el monte. Although the English translation in the museum is “I am mountain”, el monte in Afro-Cuban culture has referred to wilderness or the clearing in the forest, specifically the place where religious rites can occur, or historically, a refuge. For more about Mr. Diago, visit http://havana-cultura.com/en/visual-arts/juan-roberto-diago
Perhaps the most politically charged piece in the exhibition is La suerte del mayoral (The Overseer’s Luck) by Santiago Rodriguez Olazabal (2012). This painting has only three colors, white, black and red. A man is tied to a tree, rendered in black charcoal, and red paint splurts from his chest. View the painting on this site: http://www.afrocubaweb.com/grupo-antillano/pages/N.%20Olazabal-%20La%20suerte%20del%20mayoral.html
The African American Museum in Philadelphia is to be commended for bringing this exhibition to Philadelphia. There are very few opportunities to see so much Cuban art at once in the United States. In light of the recent attempts to reestablish trade and travel with Cuba, hopefully this will not be the last exhibition of Cuban art in the area, and is a sign of more interaction between the U.S. and Cuban artistic communities.
The African Museum in Philadelphia is located in Old City, and open from Thursday through Sunday. http://www.aampmuseum.org/