Alfredo Guevara: The Counterpointing of Culture*
Alfredo Guevara pointed to that piece of furniture, an avant-garde armchair, too low for him to sit on at the height of his already 80 years, and he said: “one day Leo Brouwer called me to tell me those furniture were being sold in the Ten Cent store and I ran out to buy them.” That day was one in the 1960s, they were Knoll furniture and, after the 2000s they remained in the offices of the International New Latin American Film Festival in Havana. The love for Knoll furniture could seem contradictory to Guevara’s well-known veneration for baroque and colonial furniture. While looking at the armchair, its defense of the Knoll aesthetics dates back to the origin of Russian conventionality and German rationalism, and to the context of Stalinism and fascism. Guevara had studied in depth the Russian avant-garde movement from before Stalinism and considered it the seed, together with the Bauhaus, of almost all the western avant-garde. He always regretted that, in the Russian case, that avant-garde had been lost due to the “Stalinist blindness, a blindness that got to be criminal.” (Or, in the German case, Nazism.) Based on that understanding, he used to say: “I...