¡Viva la Revolution!
Curating the Cure
The Glasgow School of Art’s exhibition of Cuban Revolution Posters was poignant, beautiful and raised issues of contemporary political communication
This month, a radical new initiative comes to fruition as Suttie Arts Space opens its doors in Aberdeen Royal Infirmary
Interview: Franchesca Hashemi
Photo: Alan Dimmick
Words: Franchesca Hashemi
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hen Fidel Castro announced to citizens of the Revolution, “our enemies are capitalists and imperialists, not abstract art,” he unleashed one of the most effective propaganda beasts known to man. The bold and provoking Posters of the Cuban Revolution at Glasgow School of Art has unfortunately come to an end, however the creative and political techniques used to create the 70-plus works offer post-Referendum Scotland an empowering if bitterly nostalgic message. Placing an internationalist perspective at the heart of every poster shows the magnitude of Cuba’s agenda. It is a direct reference to Lenin’s theory, where socialism prevails only if performed on a global scale. With this in mind, the Organisation in Solidarity with the People of Africa, Asia and Latin America (OSPAAL) – the political body founded in 1968 who commissioned the decades-old posters involving graphic designers, printers and artists alike – waged a visual war against their capitalist aggressors. It is one of few fights that can be described as beautiful, and starts with a multilingual significance. From captions written in Spanish, English, French and Arabic to illustrations of citizens of every colour, age and gender, Posters of the Cuban Revolution signpost their universal goal. This intentionally dangerous side-effect suspends the audience’s morals from midair. Just like René Mederos’ 1971 print of President Dick Nixon ripping the heart out of Cambodia, it serves as a global representation of political plight, the one which entices the underdog to break from his master’s chains. The background uses a thin, parchment-esque map to pinpoint Cuba’s confrontation in the country. Nixon, depicted as a vulture soaring over the anaemic Asian land, grips the bloody red organ with crawling talons as his nutty head peeps from the predator’s body. It’s militant; it’s guerilla-like yet it shows little more than what’s acceptable today. Does this prove Cuba was ahead of its time? Not necessarily, but the image highlights the frightening and uncompromising nature of OSPAAL in delivering their anti-Capitalist
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message. It should be recognised that these Posters are not a stand alone feature, rather they are part of the wider propaganda project which used traditional print media, like the internationally circulated magazine Tricontinental. Could today’s equivalent for the accompanying role be Twitter and Facebook? Undoubtedly so. The combined efforts relied on a pro-art government. And as the popularity of graphic-based and scorchingly bright images grew, Castro and leaders involved in OSPAAL began to fund the silk screening print methods, which created the perfect finesse for their scathingly apt show. Adorning the walls of the Reid Gallery were the palpable faces of Nelson Mandela, Che Guevara, pharaohs, tribesmen, spiritual gods and most importantly ordinary people nursing the wounded. The photographic quality is almost surreal, and proves a vital component throughout the exhibition. Of course, there are depictions of American soldiers looking less than glorified: military uniform cut to represent a shooting range’s target while the man’s face snarls expectantly. Even the posters without severely explicit intention – the simple graphics, happy colours and DIY undertone – are equally and sometimes more disturbing. Standing before a pure black backdrop is the curved stick figure of a solider bearing arms. The orange-peel velocity of his stance, narrow lime green eyes and bandy, unsymmetrical legs exude a menacing and realistic message. Like the Medero’s work, the wealth of Posters of the Cuban Revolution combine astounding graphics, explicit text, harrowing images and a conflictingly creative abutment of postmodern positioning. Pop Art vibrancy seeps from the sheets while sharp lines separating fore and backgrounds would be better placed in the doorways of Glasgow’s music shops. This undeniable resemblance to the Avant Garde is emblematic yet ideologically difficult to comprehend. If art transcends morals, where does that leave Posters of the Cuban Revolution?
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rim colour schemes; the jaundice terrine of a waiting room wall, cheap leather chairs and oddly strewn health posters are the most likely connotations when you think of art displayed within a hospital. Challenging this stereotypically bleak medical atmosphere is Suttie Arts Space, opening on 29 November. The Suttie proposes an artistic alternative with pioneering site specific sculptures and film screenings. Situated in Aberdeen Royal Infirmary, this newly built and contemporary venue is, as far as the literature goes, the only one of its kind in the UK. Boasting 24/7 access, an open door policy and ergonomically surpassing itself so porters pushing patients in beds can easily pass through, this new gallery should not be bypassed.
“A driving ambition in the context of Aberdeen and shire is to help realise this region as attractive and interesting to artists and audiences” The venture is a collaboration between NHS Grampian and Grampian Hospitals Art Trust (GHAT) – an organisation which has brought artwork to healthcare since 1985. On a weekly basis, the Art Office at GHAT take works from their 4,500 strong collection and peddle the hospital corridors, generating interest and discussion about art more generally. Feedback from the public, patients and staff has amazed project coordinators who commission, collect and display the predominantly wall-based works across NHS Grampian but also look to collaborate on numerous large-scale one-off pieces for the hospital grounds. Between GHAT and NHS Grampian, Suttie Arts is formed in the view of contextualising art within healthcare, rather than healthcare
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becoming the basis for the development of art. The grand opening on 29 November sees a multimedia group show from artists Oliver Laric, Stephanie Mann and Lotte Glob, all of whom will fill the dynamic venue with film, print and sculptural pieces. Laric is known for quirky 3D productions which remix ancient and modern images before turning them into moving pictures, while renowned ceramic artist Lotte Glob plays on her affinity for the Scottish Highlands to create mesmerising sculptural works. Already the unorthodox relationship between creative process and hospital surroundings is apparent, however the artist who could prove the pinnacle in the environment is Stephanie Mann. Mann recently received acclaim with Inherit This Mango at Summerhall, an exhibition that wanted to make the audience’s “eyes tickle.” Her brightly coloured and domestically fastidious compositions are wholesomely stimulating and will offer a positive interlude for any person frequenting Suttie Arts Space. Another poignant feature of the opening night is the accompanying exhibition library which aims to inspire visitors with other artists and ideas associated with the initial display. It all ties in with the Suttie’s pioneering principles. Fraser MacDonald, Programme Coordinator with GHAT, says, “We are aware that art is not here to save people’s lives, but it can ease the patient, staff and visitor experience within the hospital, which has a positive impact on healthcare… Hospitals are emotionally charged places in which many patients, and staff, are placed under significant stress. Experience of arts within this context can not only improve their wellbeing, but can also be the start of an interest and longer term engagement with art beyond the hospital.” Presently the universities around Aberdeen have the chance to involve their students with the venture in creative events or group projects. Encompassing the massive student population of the region is another fundamental and organic aim of the new arts space. As Fraser MacDondald says, “A locally focused, long-term ambition of the Suttie Arts Space is to immediately support and contribute to the retention of creative talent within Aberdeen. A driving ambition in the context of Aberdeen and shire is to help realise this region as attractive and interesting to artists and audiences, and to signpost audiences to further cultural activity in the North-East.”
THE SKINNY