Category Archives: English

The Museum of History, Anthropology and Art: A Resource for Research and Education

Detalle de la exposición 'Pintura y dibujos de Arana', 6 de agosto de 1963.

For nearly 70 years, the Museum of History, Anthropology and Art has served as one of the institutions that has contributed the most to the cultural heritage of the island. Its collection of Puerto Rican art—one of the most complete—is an invaluable resource for the study of our arts. It is also the custodian of important collections of international graphic works and Puerto Rican archaeology.

The Archaeological Research Center

In its 72 years, the Archaeological Research Center (Centro de Investigaciones Arqueólogicas) has consistently carried out its mission of studying and defending Puerto Rico’s Indigenous and historical cultural heritage. It is because of the efforts devoted to this significant project, initially led by Dr. Ricardo Alegría and later by Dr. Chanlatte Baik, that we have been able to assemble the largest and most important archaeological collection in the Caribbean.

Art Collections of the University of Puerto Rico

The history of art in Puerto Rico would be incomplete without mentioning the enormous contributions made over the last century by the leading institution of higher learning in our country, the University of Puerto Rico. The university’s commitment and unflagging efforts in fostering artistic sensibilities have characterized the education offered, to this day, in the lecture halls of our alma mater. Faced with rapidly changing realities, the Humanities and the Visual Arts position themselves as essential disciplines for a more comprehensive and inclusive education of present and future generations. In the hopes of contributing to this purpose, we present this edition of Visión Doble.

A Sensorial Education: Personal History of the Female Nude in Painting, by Rafael Argullol

Resumen: Una educación sensorial es un ejemplo de cómo el arte nos revela claves imprescindibles para vivir y no solo es una reflexión sobre el erotismo, sino una historia del desnudo en la pintura occidental, realizada desde la subjetividad del autor. Esta subjetividad es seguramente uno de los puntos más atractivos y al mismo tiempo más frágiles de esta obra de Rafael Argullol. [En versión bilingüe].

Abstract: Una educación sensorial (A Sensorial Education) is an example of how art can reveal essential keys for living. The text is not only a reflection on eroticism but a history of the nude in Western painting from the author’s own subjectivity. This is the most attractive and the weakest point of view in Rafael Argullol’s text. [Bilingual version].

Willie Bester: An Artist Resisting the Injustices of Post-Apartheid in South Africa

Resumen: Willie Bester es considerado uno de los artistas más importantes de la resistencia contra las injusticias del “apartheid” y el “post-apartheid” en Sudáfrica. Sus obras exponen el estado de extrema pobreza en el que aún viven los habitantes de los municipios del Cabo de Buena Esperanza, definiendo una estrategia de oposición, así como un medio para generar una conciencia rebelde entre su pueblo. Presentan la opresión, la violencia y la discriminación racial, que son reportados erróneamente con gran freciencia, o que son ignorados por los periódicos, las fuerzas del orden y el gobierno sudafricano.

Abstract: Willie Bester is regarded as one of the most important resistant artists against the injustices of “apartheid” and “post-apartheid” in South Africa. His artworks expose the state of extreme poverty in which the inhabitants of the townships of the Cape of Good Hope still live today, defining a strategy of opposition, as well as a means to generate a rebellious consciousness among his people. They present the oppression, violence and racial discrimination often misreported or ignored by the newspapers, law enforcement, and the South African government.

Ivelisse Jiménez: Transparency, Transience and Emergency

Resumen: Ivelisse Jiménez, una artista puertorriqueña muy aclamada que ha estado a la vanguardia en las escenas artísticas de San Juan y Nueva York, regresa con nuevas obras y exposiciones tras la devastación del huracán María. Continúa la expansión de su compleja y sincopada visión de la estructura y la composición basándose en los temas de transparencia, adaptabilidad y transitoriedad. [En versión bilingüe].

Abstaract: Ivelisse Jiménez, a widely acclaimed Puerto Rican artist who has been at the forefront of the art scenes in San Juan and New York, emerges from the devastation of Hurricane Maria with new works and exhibitions. Building on themes of transparency, resilience and transience, she continues to further expand her complex, syncopated approach to structure and composition. [Bilingual version].

Shipwrecked and Drowning: Adál Maldonado’s Puerto Ricans Underwater

Resumen: El libro Puerto Ricans Underwater, de Adál Maldonado, publicado a fines del año pasado con un diseño de Bold Destrou, reúne una serie de fotografías que el artista ha tomado desde 2016 y que han aparecido de manera intermitente en las redes sociales. En este proyecto, Adál ha retratado una colección de personajes, tanto amigos como extraños, inmersos en la bañera de su hogar en Santurce. Aunque Adál inicialmente intentó explorar tanto la condición colonial de Puerto Rico como su difícil situación socioeconómica, es inevitable vincular estas imágenes con las circunstancias actuales de la isla dada la devastación causada por los huracanes Irma y María en septiembre de 2017.

Abstract: The book Puerto Ricans Underwater, by Adál Maldonado, published late last year with a design by Bold Destrou, brings together a series of photographs which the artist has been taking since 2016, and which have appeared intermittently on social media. In this project, Adál has portrayed a collection of characters—friends as well as strangers—immersed in the bathtub of his Santurce home. Although Adál initially sought to explore both the colonial condition of Puerto Rico and its difficult socio-economic situation, it is inevitable to link these images with the island’s current circumstances given the devastation brought by hurricanes Irma and Maria in September 2017.

Julio Lugo Rivas’ Terrains of Disturbance

Abstract: In his exhibition Aproximaciones, Julio Lugo Rivas explores the shared knowledge between art and natural sciences, placing the viewer at the limit of their imagination, in order to provoke a vision that goes from the micro-organic world to the vastness of the cosmos.

Resumen: En su exhibición Aproximaciones, Julio Lugo Rivas explora los campos compartidos entre arte y ciencias naturales, situando al espectador al límite de su imaginación, con el fin de provocar una visión que parte de lo microorgánico y se extiende hasta la inmensidad del cosmos.

On Humans, All Too Human, By Pedro L. San Miguel

Abstract: The Puerto Rican photographer Pedro L. San Miguel exhibits a set of photographs in the Guatíbiri Gallery. These photographs mainly consist of portraits and landscapes of Mexico, which make up a sample of an archive of accumulated experiences. 

Resumen: El fotógrafo puertorriqueño Pedro L. San Miguel exhibe en la Galería Guatíbiri un conjunto de fotografías, principalmente retratos y paisajes de México, las cuales configuran una muestra de un gran archivo acumulado de vivencias. 

A Letter to Mr. Turner from the Arctic Copy

Abstract: The Arctic landscape is the protagonist of the exhibition Drawn Into the Light, created by artists Osvaldo Budet and Shonah Trescott. The contact of these creators with the natural life of the Arctic Circle is presented as an invitation to reflect on climate change and on the relationship between human beings and nature.

Resumen: El paisaje del Ártico es el protagonista de la exhibición Drawn Into the Light / Atraídos por la luz, creada por los artistas Osvaldo Budet y Shonah Trescott. El contacto de estos creadores con la vida natural del Círculo Ártico se presenta como una invitación a reflexionar sobre el cambio climático y sobre la relación entre el ser humano y la naturaleza.

The Tibes Museum: A Close Encounter

Resumen: La exposición permanente del Museo Arqueológico de Tibes tuvo una profunda transformación en 1989. De una muestra de carácter objetual se pasó a otra con un mayor énfasis conceptual, cuyos principales objetivos consistieron en ofrecer tanto un contexto adecuado a las piezas expuestas como una necesaria conexión entre pasado y presente. Con ello, se perseguía la identificación del puertorriqueño actual con sus antepasados indígenas a través de una serie de actividades y acciones cotidianas comunes, empleando diversos recursos museográficos que ayudaran a sus visitantes a comprender el verdadero alcance de esos nexos. Casi tres décadas después, su “metadiscurso” de afirmación nacional mantiene su vigencia.

Abstract: The permanent exhibition at the Tibes Archaeological Museum underwent a profound transformation in 1989. From an artifact-oriented display, it was given a far more conceptual emphasis, the main objectives of which were to provide an in-depth context for the exhibited objects and a necessary connection between past and present, thereby enabling contemporary Puerto Ricans to identify with their indigenous ancestors. This was further reinforced by focusing on the daily tasks of the indigenous peoples, using diverse museographic resources which can help visitors understand the true scope of our shared heritage. After nearly three decades, this “metadiscourse” constructed around national identity affirmation still maintains its validity.