critical texts


Eugenio Blanco (Ludovico)
Abelardo Mena
Eugenio Blanco Rodríguez (Ludovico)
...a restless draftsman since the middle sixties, Ludovico was included ―a decade later― within the so called “generación de la esperanza cierta [generation of the true hope]”. He was focus on two subject matters at that time: “documenting” the Cuban domestic environment through paintings, and appropriating the works of the high art masters. Regarding the first subject, Ludovico bravely bore witness to a sociological evidence: the Cuban home space as a cultural hybrid where different ages and cultural signs are mixed up without opposing: the illuminated lithograph of Jesus and the picture of Che Guevara; the certificate awarded for being an outstanding worker and Saint Barbara’s altar. A second line of work complemented this personal testimony: the appropriations or “versions”, as they were called. The artist-draftsman recreates milestones in the history of European art (works by Bosch, Rubens, Van Gogh,...) according to the pop visual language codes, with the “pretension” of simplifying the images, of making them more legible (and reproducible) in order to disseminating them among the popular strata.
The dissolving of the frontiers between painting and graphic can be seen in Ludovico in a more radical way than in Raúl Martínez, pop symbol of the Cuban art of the sixties, because he bridled his personal imagery to the requirements of massive reproduction: a flat drawing, lineal, just right to be printed on varied formats, from stained-glass window to clothes and dishes.
And, more than a style of his own, crystallized maybe much to his regret, this creator of quixotic determination and figure, has become in a man-project, in an designer of social and cultural ideas, events and projects, devoted to revert ―with a prolific imagination― the structural and technological gaps resulting from Cuban underdevelopment.

Lic. Abelardo Mena.
Havana, Cuba.
October, 1993.
Published in Banco de Ideas Z.