Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?

The Cuban landscape is a singular visual universe born with the Revolution. Though adversiting does not exist on the island, there are manifold images of different kinds—mural paintings (in the pure Latin-American tradition of muralism) and billboards enhancing the glory of the regime—that create a...

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Main Author: Anne-Sophie Bernard
Format: Article
Language:fra
Published: Université Paris 3 2017-05-01
Series:Cahiers des Amériques Latines
Subjects:
Online Access:https://journals.openedition.org/cal/4522
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author Anne-Sophie Bernard
author_facet Anne-Sophie Bernard
author_sort Anne-Sophie Bernard
collection DOAJ
description The Cuban landscape is a singular visual universe born with the Revolution. Though adversiting does not exist on the island, there are manifold images of different kinds—mural paintings (in the pure Latin-American tradition of muralism) and billboards enhancing the glory of the regime—that create a dense mesh covering the territory. Most of these works are emblems of the revolutionary ideology and reveal the dictatorial context in which they were created. They have gradually become part of the Cuban popular imagery that has provided a horizon of expectations for tourists and foreigners. However, in recent years, some have observed the apparition and the development of unauthorised graphic designs, from graffiti to mural paintings, which carry a message of emancipation—or even rejection of- the Castro regime.
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spelling doaj-art-22f36a90aa3d4c1badd7a5e29cdb4e092025-08-20T02:02:37ZfraUniversité Paris 3Cahiers des Amériques Latines1141-71612268-42472017-05-0184294810.4000/cal.4522Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?Anne-Sophie BernardThe Cuban landscape is a singular visual universe born with the Revolution. Though adversiting does not exist on the island, there are manifold images of different kinds—mural paintings (in the pure Latin-American tradition of muralism) and billboards enhancing the glory of the regime—that create a dense mesh covering the territory. Most of these works are emblems of the revolutionary ideology and reveal the dictatorial context in which they were created. They have gradually become part of the Cuban popular imagery that has provided a horizon of expectations for tourists and foreigners. However, in recent years, some have observed the apparition and the development of unauthorised graphic designs, from graffiti to mural paintings, which carry a message of emancipation—or even rejection of- the Castro regime.https://journals.openedition.org/cal/4522cityurbanismpublic spaceartsprotest
spellingShingle Anne-Sophie Bernard
Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?
Cahiers des Amériques Latines
city
urbanism
public space
arts
protest
title Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?
title_full Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?
title_fullStr Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?
title_full_unstemmed Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?
title_short Les images dans le paysage iconographique cubain : quelles redéfinitions à l’heure de l’ouverture ?
title_sort les images dans le paysage iconographique cubain quelles redefinitions a l heure de l ouverture
topic city
urbanism
public space
arts
protest
url https://journals.openedition.org/cal/4522
work_keys_str_mv AT annesophiebernard lesimagesdanslepaysageiconographiquecubainquellesredefinitionsalheuredelouverture