Rafael Montilla or "The obsession of the kube" By Rolando PeĂąa
Without any doubt, Miami is a very particular city full of surprises, good and bad, but it always maintaining that feeling of its distances, its beaches and a very curious fauna. Being a person who has never driven cars, I walk and that in Miami is an odyssey. People see you as a weirdo, which in my case is normal. Walking through the city as usual, I observe its streets, its buildings, its people. In Wynwood, I go to the galleries, to the museums, to the cafes, etc. and realize the amount of Graffiti that covers the walls of this area. I must confess, in general they seem very bad to me. New York was my city from the 60's until the mid 80's, where I made a very interesting career as a multifaceted artist. Among them, I worked with Andy Warhol in the Factory and gave art workshops in different areas of the city, one of them at the East Village with Jean Michel Basquiat, Keith Haring and other graffiti artists of the moment. I lived the good graffiti period of the 80's in New York. I say this because among so many graffitis and such visual chaos happening in certain parts of this city, I was particularly struck by certain urban interventions, some white cubes, to be more specific. In a silent but forceful way, these white cubes hung from the walls, from the fences of some unexpected place such as at the exit of a motorway, next to a traffic light or usually in some place of convergence, always subject to the bipolarity of the sun and the rains of Miami. One day, a group of artist friends and I we had to intervene a truck with slogans about the very sad situation in Venezuela today. In the middle of the action, someone with eyes of