"The CINTAS Foundation: An Archival Perspective" Exhibition Guide

Antonio Benítez-Rojo • Mari R

Lisandro Pérez-Rey • Juan Boza Primitivo Suárez • Guiller

Jesus Díaz • Lydia Cabrera • O Ileana Pérez Velázquez • J

A C U B A N H E R I TA G E C O L L E C T I O N E X H I B I T I O N

The

Foundation

Humberto Calzada • Cristina G José Bedia • Ernesto Pujol • Consu

Tony G. Mendoza • Margarita Cano • A Mirta Gómez • Katarina Wong • M Orlando Jacinto García • María E Juan Abreu • Pablo Cano • Rodolfo Ha

an archival perspective

Carlos Victoria • Carlos Victor Miguel Cubiles • Pio Ga

An exhibition celebrating the important contribution to Cuban

Abelardo Viviana Ruiz • Je Lourdes Gil • Aurelio de la Veg Ernest Delamartier Scott • Ern Rafael Domenech • Ernesto de la

and Cuban diasporic cultural production by the CINTAS Foundation, whose records were generously donated to the Cuban Heritage Collection at the University Libraries in 2019

EXHIBITION GUIDE Fall 2023–Spring 2024 Roberto C. Goizueta Pavilion Otto G. Richter Library

Magaly Alabau • Antonio Be Lilian Cuenca • Agustín Fernández

Daniel Iglesias-Kennedy • May María Irene Fornés • Mario Al Roberto de Alba • Eduardo del V Félix González-Torres • Coco Fusc Emilio Sánchez • Andres Serran Alberto Torre de Alba • Mario Cristina García • Jose Chardiet José Gelabert-Navia • Aramis O’Reil

Pablo le Riverend • Henry Carlos A. Díaz • Roberto G. Fernán Jorge Valls Arango • Alejandro Humberto Chávez • Miguel Cubil Félix González-Torres • Doris Vila

Ismael Lorenzo • Manuel Martín • Harvey Ball • Juan Boza • Marí Enrique Flores Galbis • José For Swetcharnik • José Kozer • Rolan Rafael Catala • Miguel Correa • Ri Mario Bencomo • Yvette Cabrera V Alvaro García • Alejandro Hasl Manuel Quijano • Tania León • María Lino • Gay García • Pedro H Jaime Bellechasse • Elio Beltra Manuel Alvarez • Iraida Iturrald Eugenio Rodríguez • Roberto Valero Camilo Franqui • Pio Galbis • Jorge Pardo • Joseph Rodeiro • Eduardo Sánchez • Jorge Varo María Martínez-Cañas • Belkis Cuz Yolanda Martín • Miguel Sales • Jaim María Brito Avellana • Humberto Antonio González Padura • Ileana Susana Sori • Tony Mendoza • Migu Francisco Pérez Rivera • Juan Jo Enrique Flores Galbis • Alvaro Gar Glexis Novoa • César Trasobares

T

he CINTAS Foundation: An Archival Perspective” is an exhibition that celebrates the important contribution to Cuban and Cuban diasporic cultural production by the

CINTAS Foundation, whose records were generously donated to the Cuban Heritage Collection at the University of Miami Libraries in 2019.

Established in 1957 with funds from the estate of the late Oscar B. Cintas (1887–1957), Cuban ambassador to the United States and a prominent industrialist and patron of

the arts, the CINTAS Foundation’s mission has been to support the development and

expression of cultural producers of Cuban descent and make their work accessible to the wider public. Since 1963, through the creation of a fellowship program, the CINTAS Foundation has awarded yearly grants to Cuban artists working in the fields of the visual arts, creative writing, music, and architecture and design.

Materials representing the work of these CINTAS Fellows, including artists’ books, original manuscripts, administrative records, video, photography, drawings, and ephemera, are

on display, culled mainly from the CINTAS Foundation Inc. records and the vast holdings of other archival and printed materials housed at the Cuban Heritage Collection. This curated grouping of materials represents the Cuban diaspora’s rich and diverse cultural

production from the mid-20th century to the present. “The CINTAS Foundation: An Archival

Perspective” also provides the unique opportunity to present documentation by or about

CINTAS Fellows from within the specific context of the archive, offering insights into the inner workings of the creative process.

The wide scope these works cover—across various disciplines and media,

representative of different generations, and distinct historical moments—is a testament to the important legacy of the mission of the CINTAS Foundation in supporting and

helping preserve Cuban cultural patrimony around the world, a mission it shares with the Cuban Heritage Collection.

This exhibition is made possible thanks to the generous support of the

CINTAS Foundation, ArtesMiami and Aida Levitan, and Rafael and Marijean Miyar.

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READING ROOM

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WALLS

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CASES 2

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48

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VIDEOS

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PAV I L I O N E N T R A N C E

EXHIBITION BEGINS

VIDEOS WALLS CASES

VIDEOS Pérez-Rey, Lisandro (b. 1975, Baton Rouge, LA)

1.

“Untitled” 2000 Short video filmed outside the family home of Elián González on April 15, 2000.

Gift of the artist Pérez-Rey’s short documentary was filmed outside Elián González’s family home in Miami on April 15, 2000, less than a week before Elián was taken by federal agents in a pre-dawn raid on the house. Elián is the boy that was at the center of a custody battle in 2000 that set off a crisis in Cuba-U.S. relations. The issue of whether Elián should remain in Miami with his relatives (after enduring a harrowing journey at sea with his mother and other family members who perished in the crossing), or be returned to Cuba where his father lived, further polarized Cubans on the island and in Miami’s Cuban exile community. The case became a rallying cry that served the political agendas of these opposing groups. The street outside his home and the neighborhood at large became an impromptu site for public protest and local support of Elián and his family. The subsequent decision by the Clinton administration to return the boy to his father in Cuba prompted massive protests in Miami and served to destabilize the established perception of a monolithic Cuban community.

Both videos on view by Cuban Americans, Lisandro Pérez-Rey and Coco Fusco, respectively, were made in response to or inspired by political events; each, in interwoven and parallel ways, are thought-provoking commentaries on the intersection of public sites, protest, and civil engagement (sanctioned and not) for Cubans in exile and on the island.

Fusco, Coco (b. 1960, New York City, NY)

2.

“La plaza vacía” 2012 Video, 11 minutes, artist’s proof Courtesy of the CINTAS Foundation “La plaza vacía” [The Empty Plaza] is a commentary about the uses of public sites that was inspired by the events that took place across the Arab world in 2011. Fusco turned her camera to Havana’s Plaza de la Revolución, a public square that the artist describes in the work as “a stark, inhospitable arena where all the major political events of the past half-century have been marked by mass choreography, militarized displays, and rhetorical flourish ... an empty stage filled with memories.” In the context of Cuba’s communist government, in which individual or mass protest is quashed by the state, the “empty plaza” stands as a poignant metaphor for the failures of revolutionary promise.

The film includes archival footage of various events that have taken place at the plaza since 1959, adding to the video’s historical dimension, with voice over narration by Yoani Sánchez, an internationally recognized journalist and dissident based in Havana, Cuba.

Both videos on view by Cuban Americans, Lisandro Pérez-Rey and Coco Fusco, respectively, were made in response to or inspired by political events; each, in interwoven and parallel ways, are thought-provoking commentaries on the intersection of public sites, protest, and civil engagement (sanctioned and not) for Cubans in exile and on the island.

WPBT

4 8.

Video of first exhibit of CINTAS Fellows held at Miami-Dade Public Library, Main Branch January 29–February 13, 1977 Courtesy of the Lynn and Louis Wolfson II Florida Moving Image Archives at Miami Dade College Guided tour led by curator Margarita Cano, interviewed by Olga Palmer for WPBT.

WALL 1 Lino, María (b. 1951, Havana, Cuba)

3.

“Mother of Exiles” 2017 Monotype from the series “I am an Immigrant” Courtesy of the artist

WALL 2 Martínez-Cañas, María (b. 1960, Havana, Cuba)

4.

Original Cuban stamps from the series “Quince sellos cubanos, 1991–1992” Gift of Alan Gordich, 2015

5.

“El mantel blanco: Amelia Peláez, 1991–1992” Gelatin silver print Mendoza, Tony (b. 1941, Havana, Cuba)

6.

“Ernie Whitemarking” 1989 Vintage gelatin silver print Tony Mendoza photograph collection

7.

“Leela & Ant” 1979 (Printed 2003) Gelatin silver print Tony Mendoza photograph collection

WALL 3 Novoa, Glexis (b. 1964, Holguín, Cuba)

8.

“Tres retratos” 1987 Selections from a portfolio of 10 collage and mixed media drawings Glexis Novoa papers

9.

“Tres retratos” 1987 Selections from a portfolio of 10 collage and mixed media drawings Glexis Novoa papers Cabrera, Lydia (b. 1899, Havana, Cuba; d. 1991, Miami, FL)

1 0.

“Untitled” n.d.

Ink and pencil on paper Lydia Cabrera papers Lydia Cabrera was an author and artist renown for her pioneering ethnographic work on AfroCuban religious practices. Her life spans historical moments—from the inception of the republic to revolution to exile—and her work resides at the intersection of various disciplines including religious studies, the visual arts, and literature, with more recent scholarship privileging gender and sexuality as central to an understanding of her oeuvre. Like many artists and intellectuals engaged with the ideas that defined the modernist milieu of the early 20th century, Cabrera traveled to Paris in the 1920s to study painting along with Cuban artist Amelia Peláez.

The discovery of the untitled, undated drawing on view among the treasure trove of papers, drawings, letters, notebooks, objects, and other ephemera in Cabrera’s archive, invites us to shift our attention to Lydia’s visual arts production and reconsider its centrality in her work. The fantastical nature of the work is characteristic of other drawings she created throughout her lifetime, often peppered in the margins of her notes and correspondence. The proposition to consider the importance of the visual arts in her body of work is, of course, complicated by the well-documented fact that Cabrera destroyed all her paintings before returning to Cuba in the late 1930s, renouncing her identity as a visual artist. However, despite this radical and definitive act, Cabrera continued to doodle, draw, and paint on paper and on stones throughout her lifetime, inviting us to question the role her visual artistic practice had in her work, arguably not as separate from her ethnographic endeavors, but as integral to their articulation and expression.

WALL 4 Alfonzo, Carlos (b. 1950, Havana, Cuba; d. 1991, Miami, FL)

11.

Selection of handwritten, illustrated letters by the late Cuban American artist, written to Luis Manuel del Pilar 1980 Luis Manuel del Pilar collection on Carlos Alfonzo This acquisition was made possible through a gift from the Kadre Family in honor of art collector and Cuban Heritage Collection patron Peter P. Menéndez.

Luis Manuel Del Pilar left Cuba in March of 1980 and a month later, Carlos Alfonzo left the island via the Mariel boatlift. Upon his arrival in the U.S., Alfonzo was sent to a detention center in Fort Chaffee, Arkansas. These letters document the daily correspondence by Carlos Alfonzo to Luis Manuel—written first from Cuba and then from the detention center in Fort Chaffee—until Alfonzo’s arrival in South Florida. Beautifully illustrated and written in meticulous penmanship, this series of correspondence offers an invaluable insight into Alfonzo’s early artistic formation, as well as his sexual identity. Materially, their fragility and detail offer a rich physical experience for the viewer germane to doing research at an archive. Finally, the circumstances that defined their romance and personal relationship intersect with broader historical moments in Cuban exile history, namely Mariel.

WALL 5 Cano, Pablo (b. 1961, Havana, Cuba)

12.

“10,865” 1980 Sparkling paste, acrylic, and spray paint on paper.

Original drawing for group exhibition poster.

1 3.

Poster designed by Pablo Cano for a group exhibition titled “10,865,” held at the Miami-Dade Public Library, Biscayne Boulevard, June 10–16, 1980.

Poster designed by Pablo Cano for a group exhibition titled 10,865, held at the Miami Dade Public Library, Biscayne Boulevard, June 10 - 16, 1980. The title references the number of Cubans who sought refuge at the Peruvian Embassy in April 1980 - the event that detonated what would become the Mariel Boatlift, the largest exodus via sea by Cuban migrants. The exhibition was organized by Re-Encuentro Cubano, an early cultural initiative by Cuban exiles to promote Cuban art and culture in Miami. It was an itinerant group that hosted events throughout various venues in the city. It was also a precursor to the group that eventually founded the Cuban Museum of Arts & Culture in 1983.

Riverón, Enrique (b. 1902, Cienfuegos, Cuba; d. 1998, Melbourne, FL)

14.

“Untitled” 1932 Charcoal on paper Enrique Riverón collection Gift of Ruth Shack One of the earliest pieces on view is this charcoal drawing from 1932 by Enrique Riverón, an artist from the “vanguardia” generation of Cuban painters who like Peláez and Cabrera traveled to Europe to immerse themselves in the aesthetic language of the avant-garde of the early 20th century. The work exhibits the artist’s interest in figuration, which later gave way to experimentation with collage and abstraction following the stylistic trends that dominated postwar contemporary art. In this work we see the influence of the Mexican mural movement in his early figurative style.

The other item on view, a collage from the 1960s, is in dialogue with the neo-avant-garde trends of postwar American art that sought to break down the hierarchies between low and high art by using commonplace materials. Riverón’s long career also includes working as an illustrator for periodicals, which made him well-known both in Havana and New York.

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“Untitled (Iberia)” 1996 Collage Enrique Riverón collection Gift of Ruth Shack

WALL 6 Fernández, Agustín (b. 1928, Havana, Cuba; d. 2006, New York City, NY)

1 6.

From the portfolio, “20th Year of the Cuban Diaspora” [New York]: Geo C. Miller and Son, 1978 No. 24/500 Like many artists who embarked on their careers in the mid-twentieth century, Agustín Fernández traveled to Europe to study art on a grant issued by the Cuban government. Fernández never returned to Cuba, and by the time he settled in New York in the 1970s, he had arrived at a unique artistic language, characterized by a merging of abstraction, surrealism, and amorphous figuration. These characteristics are present in the six lithographs Fernández created in 1979 for a commemorative volume titled 20 Años de exilio: 1959-1979 (20 Years of Exile: 1959-1979) that included eighteen poems by José Martí commissioned by the Metropolitan Museum and Art Center (Coral Gables, Florida). This portfolio of prints offers viewers a rare instance in Fernández’s artistic production in which the artist is engaging with and from his identity as a Cuban artist, albeit through a suggestive and abstract visual language. Martí was exiled in New York, where he wrote with both wonder and a critical eye about the Industrial Revolution’s transformation of the city into a modern metropolis. Almost a century later, Fernández deploys the language of modernity and modern art to pay homage to a historical figure with whom he shares cultural heritage and the reality of exile.

WALL 7 Algaze, Mario (b. 1947, Havana, Cuba; d. 2022, Miami, FL)

1 7.

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“Mira quien viene, Santiago de Cuba” 2000 From the Cuba portfolio, Gelatin silver print No. 9/15 Mario Algaze photograph collection “Homenaje a Titón, La Habana” 2000 From the Cuba portfolio, Gelatin silver print, No. 9/15 Mario Algaze photograph collection

WALL 8 Calzada, Humberto (b. 1944, Havana, Cuba)

1 9.

“Espejo de paciencia” 2003 Acrylic on canvas Gift of the artist The title of this work is a tribute to the first poem written in Cuba in 1608 by Silvestre de Balboa Troya y Quesada.

CASE 1 Salinas, Baruj (b. 1935, Havana, Cuba)

20.

“Torah Project” [Madrid]: ACC Arte Scritta, 2016 In 2014, Baruj Salinas was commissioned to create a series of drawings interpreting the Torah’s Five Books of Moses: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. Defined as a “Chumash” or printed edition of the Torah in the original Hebrew text, the book includes 27 lithographs printed from Salinas’ original drawings, as well as contributions by religious and cultural studies scholars in English, Spanish, Italian, and German. Printed in Urbino, Italy, the book is entirely handmade, from its paper to the binding to its impressive cover; made from mother-of-pearl and precious wood, it is inspired by a painting by Regina Algazi de Salinas, the artist’s mother, whose portrait as a young woman is on view.

Like the generation of vanguard painters that came before him, Salinas traveled to Europe and became active in the art scene in Barcelona, where he lived from 1974 through 1992. It was there that Salinas developed his own abstract visual language, characterized by an explosive energy and movement. Through his masterful merging of color and form, Salinas’ drawings powerfully convey the force described in these biblical texts about the origins of life. In addition to the book’s remarkable characteristics as an artistic object, “Torah Project” is representative of the rich tapestry of aesthetic, cultural, and religious narratives that make up Cuban national identity.

CASE 2 Cano, Margarita (b. 1932, Havana, Cuba)

21.

“Cuba: Memories and Metaphors” 2007, unique edition

CASE 3 González-Torres, Félix (b. 1957, Guáimaro, Cuba; d. 1996, Miami, FL)

22.

“I always wonder if men in uniform sleep better after performing their duties” INTAR Theatre records Exhibition catalog for one-person show at INTAR Latin American Art Gallery, New York City, 1988.

2 3.

Poster for one-person show titled “Félix González-Torres: New Works” Presented at INTAR Latin American Art Gallery, New York City, 1988.

Cubiles, Miguel (b. 1937, Caibarién, Cuba)

24.

Illustrated envelope used to mail his application to the CINTAS Foundation for a Fellowship in the Visual Arts category CINTAS Foundation Inc. records Pantoja, Jorge (b. 1963, Havana, Cuba)

2 5.

“Untitled (01-28-2008, M.B., 58)” 2008 Mixed media Courtesy of the artist Boza, Juan (b. 1941, Camagüey, Cuba; d. 1991, New York City, NY) Photographs by Rafael Llerena Juan Boza papers

26.

Black and white photograph of La gran ceremonia. Mixed media installation on view at Ollantay Center for the Arts, Jackson Heights, New York, 1990.

27.

Black and white photograph of artwork from the artist’s solo show titled Juan Boza’s World on view at Ollantay Center for the Arts, Jackson Heights, New York, 1990.

2 8.

From left to right, black and white photograph of Luis Cruz Azaceta, Juan Boza, and Pedro Monge Rafuls at Ollantay Center for the Arts, Jackson Heights, New York, 1990.

Boza is among several pioneering Latinx artists who introduced Afro-Caribbean visual elements and references to Afro-Cuban religious iconography into the framework of contemporary art.

Trasobares, César (b. 1949, Holguín, Cuba)

2 9.

“Social Fabric: Old Pillows & Recent Money Works” 2003 Signed, No. 82/100 Gift of Elizabeth Cerejido Limited edition catalogue for exhibition at the Gallery at Green Library, Florida International University, November 13, 2002–January 31, 2003.

Rubio, Lydia (b. 1946, Havana, Cuba)

3 0.

“Extranjera” 2009 Ink and watercolor on Fabriano paper, poems by Marjorie Agosín

CASE 4 de la Vega, Aurelio (b. 1925, Havana, Cuba; d. 2022, Los Angeles, CA)

31.

“Corde” 1974–1977

32.

“The Magic Labyrinth” 1974–1977

33.

“Andamar-Ramadna” 1974–1977

34.

“The Infinite Square” 1974–1977 Hand colored graphic scores Aurelio de la Vega collection Aurelio de la Vega was a highly respected composer and beloved educator who taught composition at California State University for 34 years. His second artistic love was painting and in the 1970s de la Vega began to experiment with the intersection of music and visual art, creating a series of hand-colored graphic scores that were “totally conceived from a pictorial point of view.” de la Vega described the idea behind these musical sheets as consisting of “musical fragments—some totally delineated as to pitches, rhythmic configuration phrasing, and dynamics, others merely suggested as areas of improvisation, with multiple directional possibilities—creat[ing] a satisfactory pictorial image, playable, but at the same time capable of projecting its own visual architecture.” Known for his symphonic pieces; chamber music works; solo instrumental pieces; vocal works; piano, guitar, and ballet music; and electronic compositions, de la Vega was influenced by the avant-garde movements of the 20th century in which geometric abstraction dominated the visual language of the moment.

Orbón, Julián (b. 1926, Asturias, Spain; d. 1991, Miami Beach, FL)

35.

Letter written to Jorge Camacho New York, October 7, 1976 Jorge Camacho collection

3 6.

“Fantasia-Tiento (sobre el tema de la ‘Danza de la Muerte’ del ‘Llibre Vermell S. XIV’) dedicado a Jorge Camacho” Music score, [c. late 1970s] Spanish-born Cuban composer Julián Orbón—from the same generation as Aurelio de la Vega— also left Cuba in 1960, soon after the advent of the Cuban Revolution, settling in New York where he lived the rest of his life. There he studied under Aaron Copeland who once described Orbón as “Cuba’s most gifted composer of the new generation.” Orbón was a member of Orígenes, Havana’s circle of modernist artists and intellectuals; his works range from orchestral pieces to chamber and keyboard music, highly influenced by both the classical and folk music of Spain, Cuba, and Latin America.

The hand-written letter from Orbón on display is part of a collection of correspondence written in

the 1970s to Jorge Camacho, a Cuban artist living in Paris. In it, Orbón shares his ideas about a musical composition that Camacho commissioned from him in 1978. On view is a sheet from the original score he composed that was inspired by the 14th-century classic “Llibre Vermell.”

León, Tania (b. 1943, Havana, Cuba)

37.

3 8.

“Elegía a Paul Robeson” 2022 Score for violin, cello, and piano Courtesy of the University of Miami Marta and Austin Weeks Music Library and Technology Center “Portrait of Tania León” by Alexis Rodríguez-Duarte in collaboration with Tico Torres from the series “Cuba Out of Cuba 1993–2006” 1998 Gelatin silver print Alexis Rodríguez-Duarte in collaboration with Tico Torres collection

CASE 5 Domenech, Rafael (b. 1989, Havana, Cuba)

39.

From the series, “the elliptical hour” 2022 Unique edition Book painting constructed using surplus materials including paper, plywood, archival adhesive, laser print photographs, Plexiglas, and hanging hardware.

CASE 6 Fornés, María Irene (b. 1930, Havana, Cuba; d. 2018, New York City, NY)

4 0.

41.

Application and review of María Irene Fornés’s “La vida es sueño” by Carmen Salazar Parr for the National Repertory Theatre Foundation National Play Award 1981 María Irene Fornes papers Pages from original playscript for “La vida es sueño” 1981 The papers of María Irene Fornés, renown iconoclastic playwright and experimental theater director, are comprised of correspondence, notes, and a rich plethora of ephemera that provide a privileged insight into her unorthodox methodologies. The examples on view include pages from a working play script from 1981 of an adaptation of the classic Spanish work by Pedro Calderón de la Barca titled “La vida es sueño” [Life is a Dream], which Fornés translated from Spanish to English.

Alongside it is a review of that translation by Carmen Salazar Parr, a respected theater critic who wrote a highly negative response enumerating all the ways in which Fornés’ translation fails to do proper justice to Calderón de la Barca’s Spanish, stating the language’s “bad style.” Parr misses the point here: It is precisely Fornés’ irreverent approach to the enterprise of translating a canonical text that lies at the heart of her brilliant methodology. The audacity to manipulate and intervene a classical text into a postmodern production itself becomes cunning commentary about bilingualism and identity, in Fornés’ case as both a Cuban and American artist. For researchers interested in questions of language and translation in Fornés’ extraordinary productions, these materials provide an invaluable resource.

García, Cristina (b. 1958, Havana, Cuba)

42.

“La caída del cielo” Illustrations by Ivet Báez Andux [Matanzas]: Ediciones Vigía, 2003 Arenas, Reinaldo (b. 1943, Holguín, Cuba; d. 1990, New York City, NY)

43.

“Antes que anochezca (Autobiografía)” Photocopy of typescript, 1991 Cuban Historical & Literary Manuscript collection.

The typescript copy of Reinaldo Arenas’ critically acclaimed autobiography, “Antes que anochezca” [Before Night Falls], is one of several manuscripts of this title that the author worked on before it was posthumously published in 1992. Arenas is the most internationally recognized author from the Mariel generation, a group of artists and intellectuals that arrived to the U.S. via sea in 1980 as part of a massive exodus of Cuban refugees. The version on view belonged to Cuban poet Roberto Valero, also a CINTAS Fellow and member of the Mariel generation, who along with his wife, artist María Badias, helped to transcribe Arenas’ memoirs in 1990, not long before the author passed away from AIDS-related health complications. The manuscript’s annotations, notes, and marginalia—made by Arenas and Valero—are useful for researchers interested in comparing the various editions that have been published.

Alejandro, Ramón (b. 1943, Havana, Cuba)

44.

“Corona de las frutas” lithograph from a book by Sarduy Severo Original lithographs by Ramón Alejandro [Paris]: Les Cahiers des Brisants, 1990 Signed, No. 82/90 Kozer, José (b. 1940, Havana, Cuba)

45.

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“JK, 75 años” [San Juan]: Trabalis, 2016 “Cuadernos” 2015 José Kozer papers Diaries and notebooks are archival materials that, like letters, offer readers insight to the internal worlds of their authors. The “cuaderno,” or notebook, on view by Cuban Jewish poet José Kozer displays the handwritten version of a poem titled “A mis 75 años” [On my 75th Birthday] (2016) alongside the book in which it was later published. A prolific poet who for over 40 years has written one poem a day, Kozer’s poetry is representative of the neobarroco [neo-Baroque] tendency in Latin American poetry that emerged in the 1970s, characterized by its multidimensional and layered approach to language. Considered the preeminent Cuban poet of his generation and a household name among serious readers of poetry in Latin America, Kozer won the Pablo Neruda IberoAmerican Poetry Award in 2013 for his “lifetime contribution to poetry.” Kozer’s journals, notebooks, correspondence, and other archival material, as well as his published works and personal library, are part of the Cuban Heritage Collection’s holdings.

Aguilera, Carlos A. (b. 1970, Havana, Cuba)

47.

“Matadero seis” Illustrations by Liber May [Valencia]: Aduana Vieja, 2016

Antonio Benítez-Rojo • Mari R

Lisandro Pérez-Rey • Juan Boza

Primitivo Suárez • Guiller

Jesus Díaz • Lydia Cabrera • O

Ileana Pérez Velázquez • J

The Cuban Heritage Collection at the University of Miami Libraries

collects, preserves, and provides access to primary and secondary sources of enduring historical, research, and artifactual value that relate to Cuba and the Cuban diaspora from colonial times to the present. The Collection supports the teaching, learning, and research needs of the University of Miami and the broader scholarly community.

The Libraries provide faculty, students, researchers, and staff with the highest quality access to collections, information services,

Humberto Calzada • Cristina G José Bedia • Ernesto Pujol • Consu

Tony G. Mendoza • Margarita Cano • A

Mirta Gómez • Katarina Wong • M

Orlando Jacinto García • María E

Juan Abreu • Pablo Cano • Rodolfo Ha Carlos Victoria • Carlos Victor

Miguel Cubiles • Pio Ga

Abelardo Viviana Ruiz • Je

Lourdes Gil • Aurelio de la Veg

Ernest Delamartier Scott • Ern

Rafael Domenech • Ernesto de la Magaly Alabau • Antonio Be

Lilian Cuenca • Agustín Fernánde Daniel Iglesias-Kennedy • May

María Irene Fornés • Mario A

learning support, and digital expertise

Roberto de Alba • Eduardo del V

in support of the University’s mission to

Félix González-Torres • Coco Fusc

transform lives through education, research, innovation, and service.

Learn more about exhibitions at the University Libraries:

library.miami.edu/exhibitions

Cuban Heritage Collection Roberto C. Goizueta Pavilion Otto G. Richter Library 1300 Memorial Drive Coral Gables, Florida 33146

library.miami.edu/chc

@UMiamiLibraries | @umchc

Emilio Sánchez • Andres Serran Alberto Torre de Alba • Mario Cristina García • Jose Chardiet

José Gelabert-Navia • Aramis O’Reil

Pablo le Riverend • Henry Carlos A. Díaz • Roberto G. Fernán

Jorge Valls Arango • Alejandro Humberto Chávez • Miguel Cubi Félix González-Torres • Doris Vil Ismael Lorenzo • Manuel Martín •

Harvey Ball • Juan Boza • Marí Enrique Flores Galbis • José For Swetcharnik • José Kozer • Rolan Rafael Catala • Miguel Correa • Ri

Mario Bencomo • Yvette Cabrera V Alvaro García • Alejandro Hasl Manuel Quijano • Tania León María Lino • Gay García • Pedro H

Jaime Bellechasse • Elio Beltra Manuel Alvarez • Iraida Iturrald Eugenio Rodríguez • Roberto Valero Camilo Franqui • Pio Galbis •

Jorge Pardo • Joseph Rodeiro • Eduardo Sánchez • Jorge Var María Martínez-Cañas • Belkis Cu

Yolanda Martín • Miguel Sales • Jaim María Brito Avellana • Humberto Antonio González Padura • Ileana Susana Sori • Tony Mendoza • Migu

Francisco Pérez Rivera • Juan Jo Enrique Flores Galbis • Alvaro Gar Glexis Novoa • César Trasobares