Kcho

By Schwabsky, Barry | Artforum International, Summer 1996 | Go to article overview

Kcho


Schwabsky, Barry, Artforum International


In the three sculptures on view in his first New York solo show, the young Cuban artist Kcho used, or cited, the boat as both a basic structure and an overarching metaphor. The two larger and more recent pieces, La Columna Infinita I (Endless column) and La Columna Infinita II, both 1996, were formed of slender slats of blond wood, held together with numerous C-clamps, and creating skeletal images of piled-up boats. Monuments to their own antimonumentality, these works certainly reminded at least those viewers who knew that Kcho resides in Cuba less of their ostensible Brancusian model than of other, more topical images of flight and failure. As Mel Bochner pointed out to me, their mode of making (and, I would add, their fluid approach to metaphor) owes a good deal to some of the igloos of Mario Merz, who has also used the C-clamp to great sculptural effect. But for all their evident ambition, in breadth of art-historical reference as well as in scale, there was something sweetly tenuous and open about these ghostly heaps of vessels. Yet something - a hint of deeper artistic guile within Kcho's apparent ingenuousness - made one want to question their seeming candor. Some of the curves here could hardly have been formed by the clamps alone, and one wondered whether they were even sufficient to maintain the structure. Yet I looked in vain for any telltale traces of glue.

An earlier work, Obras Escogidas (Selected works), 1994, also played on the boat form, but in a sculpturally simpler way. In this piece there was a more definite breach between appearance and structure, since at first the boat, here a single form, seemed to be made of open books tied together. (Two wall drawings suggested the same thing could have been accomplished with baseballs or hotdogs.) Non-Cubans can wonder to what extent Kcho's titles form a typical cross-section of the available reading matter in Castro's Cuba: certainly there were works that represented nationalistic interests (volumes on Cuban history and geography) as well as Marxist philosophy (anyone for the works of Kim Il Sung?

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Kcho
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.