Work originally part of the poem by Carlos Franqui, Cuban poet and activist, accompanied by 15 numbered and signed lithographs by Valerio Adami, Alexander Calder, Jorge Camacho, Augustin Càrdenas, César, Corneille, Errò, Asger Jorn, Piotr Kowalski, Wifredo Lam, Joan Mirò, Eduard Pignon, Paul Rebeyrolle, Antoni Tapies, Emilio Vedova. Example 84/125. Edition of 100 copies in Arabic numerals and XXV in Roman numerals. Lithograph signed and numbered in pencil by the artist. Publisher: Giorgio Upiglio Grafica Uno, Milan Bibliography: 1982 Mirò Litograph IV, Maeght Éditeur, Paris, p. 129, rep. 746.
"The adventure Circulo de piedra was born thanks to the friendship with Carlos Franqui, who was introduced to me by Wilfredo Lam. I was in Cuba in 1967, in the middle of the Cold War, I remember there were cannons under my hotel. All of Carlos' friends, including almost all the artists who would later give birth to the Circulo de piedra three years later, were in Havana in 67 for the Salon de Mayo congress. I remember Jorn, Lam, Cesar, Tapies, my wife Rita Gallè, Calder, Adami, the critic Guido Ballo. On that occasion I met Fidel Castro, to whom I gave a copy of my edition made with Lam Apostroph' Apocalypse. Castro later organized a graphic exhibition for me at the Casa de las Américas. On that occasion, they gave me all the prints that went on the boxes of Romeo y Julieta cigars and on those of Montecristo, prints that were still made in lithography on stone, a lithography that remained a tradition of graphic art untouched by the industry of large print runs at low cost. What interests me remains of the circulo de Piedra is the common spirit of familiarity with Carlos Franqui, my and all the artists, in the years of exile from Cuba. The folder was born without a specific commercial purpose and not even there is a union between the artists to a movement... It was also created to support Carlos financially and is the reason why I left him a part of the circulation. The portfolio is a project that - as you can imagine - has cost a lot for the artists involved, but the enthusiasm for our work has led us to bear the costs of the edition and each of the 15 artists was left a sample of the work, as a reminder of the common project. Mirò was printed by Maeght in Saint-Paul-de-vence, Jorn da Bramsen in Paris, Calder I printed it, because he was in Milan for the exhibition at Studio Marconi; Vedova, Tapies, Adami, Lam and all the others were printed in Milan in Via Fara 9. The folder remains a rare example of direct printing on stone, today too complex to remake due to the lack of pigmented and fat inks of the time and the correct graniture of stones or lithographic zinc"
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57 x 45 cm