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| Revista de Avance | |
|---|---|
| Title | Revista de Avance |
| Category | Cultural magazine |
| Founded | 1927 |
| Finaldate | 1930 |
| Country | Cuba |
| Language | Spanish |
Revista de Avance was a short-lived yet influential avant-garde periodical published in Havana between 1927 and 1930 that helped shape Cuban modernism and political debate. The magazine served as a nexus connecting literary, visual, and intellectual movements across Latin America and Europe, engaging figures associated with Surrealism, Modernism (literary) and Constructivism. Edited and contributed to by artists and writers linked to institutions such as the Academia de Ciencias de Cuba, the publication intersected with debates surrounding José Martí, Federico García Lorca, Pablo Neruda, André Breton, and contemporaries in Argentina, Mexico, and Spain.
The magazine emerged in the late 1920s amid political tensions involving actors like Gerardo Machado, Fulgencio Batista (later), and intellectual responses comparable to movements in Buenos Aires, Mexico City, and Barcelona. Its lifespan coincided with transatlantic exchanges involving personalities such as Juan Ramón Jiménez, Ramón Gómez de la Serna, Alfredo Zitarrosa (younger generation), and institutions like the International Congress of Progressive Artists and the Comintern debates about culture. Circulation was modest but its networks connected to publishers and periodicals in Lima, Quito, Montevideo, and Paris, situating it within broader debates exemplified by Manifesto “Give Me Three Lines”-style provocations and polemics seen in L'Esprit Nouveau and Meridianes.
Founders included intellectuals and artists associated with the Universidad de La Habana milieu and with ties to clubs and salons frequented by figures reminiscent of Alejo Carpentier, Nicolás Guillén, Lezama Lima, Rafael Alberti, and activists influenced by José Carlos Mariátegui. Editorial leadership emphasized an anti-orthodox stance aligning aesthetically with Futurism, Dada, and Surrealist Manifesto currents while engaging politically with debates on sovereignty involving actors like Franklin D. Roosevelt’s hemisphere policies and Latin American responses to Washington Consensus-era precursors. The editorial line promoted synthesis between visual arts and literature similar to initiatives by Cahiers d'Art, Der Sturm, and publications associated with Die Brücke.
Regular contributors included poets, painters, sculptors, critics, and journalists paralleling the careers of José Lezama Lima, Nicolás Guillén, Alejo Carpentier, Antonio Gattorno, Victor Manuel, Wifredo Lam, Emilio Ballagas, Carilda Oliver Labra, and translators akin to Jorge Luis Borges and Pablo Neruda. International columns echoed voices like André Breton, Max Ernst, Paul Éluard, Diego Rivera, Rufino Tamayo, David Alfaro Siqueiros, and María Izquierdo. Roles ranged from poetic manifestos and critical essays to lithographs and woodcuts, with some collaborators functioning as correspondents linked to newspapers and presses in Madrid, Buenos Aires, Mexico City, and New York City.
Articles and artworks navigated themes comparable to debates around Cuban independence legacies, Afro-Cuban culture as treated by Nicolás Guillén and Fernando Ortiz, urban modernity evoked in works by figures like Alberto Moravia and Federico García Lorca, and international anti-imperialist stances reminiscent of Vladimir Mayakovsky and Antonio Gramsci. The magazine featured manifestos, poems, visual essays, and polemical pieces in conversation with contemporaneous projects in Paris, Berlin, Moscow, Buenos Aires, and Mexico City. It engaged with debates on cultural identity also addressed by José Martí, Miguel de Unamuno, Octavio Paz, and regional thinkers such as José Enrique Rodó.
Design drew on typographic experiments and photomontage techniques associated with El Lissitzky, Alexander Rodchenko, and Kurt Schwitters, while illustrations invoked palettes and forms akin to Cézanne, Pablo Picasso, Georges Braque, and Caribbean colorism seen in the work of Víctor Manuel García Valdés and Cundo Bermúdez. Layouts reflected cross-references to periodicals like De Stijl, Die Aktion, Der Querschnitt, and L'Esprit Nouveau, combining poetry, manifestos, and avant-garde imagery. Cover art and internal plates often showcased linocuts, lithographs, and collages comparable to portfolios produced by Cahiers d'Art and galleries in Paris and Havana.
The periodical influenced subsequent Cuban modernists such as Lezama Lima, Nicolás Guillén, Alejo Carpentier, and younger generations tied to institutions like the Universidad de La Habana and galleries mirrored in Museum of Modern Art dialogues. Its cross-border networks anticipated exchanges between Cuban creators and artists in Mexico, Argentina, Uruguay, Chile, and Spain, and its experimental practices resonated with later curatorial projects at museums like Museo Nacional de Bellas Artes (Cuba), Museo del Palacio de Bellas Artes, and archives in Havana. The magazine's legacy is discussed alongside influential manifestos and journals such as Los Contemporáneos, Antena, and Talleres Gráficos movements.
Reception ranged from praise by avant-garde sympathizers linked to André Breton and Pablo Neruda to criticism from conservative cultural figures akin to José Martí’s traditionalists and political actors paralleling Gerardo Machado supporters. Controversies centered on its radical aesthetics and perceived political stances, provoking debates in newspapers and periodicals in Havana, Madrid, Buenos Aires, and Mexico City and attracting scrutiny reminiscent of clashes involving Diego Rivera and David Alfaro Siqueiros in other forums. The magazine's short run intensified its mythic status among later historians, curators, and scholars engaging with archives in Havana, Madrid, and Paris.
Category:Cuban magazines Category:1927 establishments in Cuba Category:1930 disestablishments in Cuba