Notes

by

1. British art critic Kevin Power died in 2013, but in addition to his published texts on Rivalta, Rivalta herself describes his commitment to and understanding of her work. Numerous critics and curators have paid attention to her work, including but not limited to Holly Block (2001), Kevin Power (2004, 2006), Suset Sánchez (2004, 2019),  Andres Isaac Santana (2008, 2019), Aurora Alcaide Ramírez (2008, 2016), Odette Casamayor Cisneros (2009, 2019), Jacqueline Loss (2012, 2013, 2019, 2022), Aldeide Delgado (2012-2020), Estela Ferrer (2016), and Shirley Moreira (2020). In addition, Sandra Abd´Allah-Álvarez Ramírez (who has since changed her name to Sandra Heidl) published a fascinating interview with Rivalta in 2019. In 2021-2022, Rivalta was awarded an artist residency at New York University's Hemispheric Institute as part of  “World Making and Social Emergency,” an initiative funded by the Mellon Foundation. During that time, Thomas Nickles Project (New York City) produced her first solo show in the United States.

2. Members of the Organización de Pioneros José Martí, a youth organization that replaced the Cuban association of boy scouts.—Trans. note.

3.  The repetition of the name of the band (Van Van), which syncopates the word van (they go), is lost in the English translation.—Trans. note.

4. “Cimarrón” is often translated as “maroon,” which refers to runaway enslaved people who had formed settlements in remote areas.

5.  This work was part of the exhibition “’98: cien años después,” curated by Kevin Power and produced by the Consorci de Museus de la Comunitat Valenciana. It was presented in the Morro-Cabaña complex in Havana, Cuba, in 1999. Ever since the late nineties, Rivalta lives and works between Havana and Alicante in the Valencian Community, Spain.

6.  For more on this issue, see Castillo, Cold War in the Home Front: the Soft Power of Midcentury Design (2009), and Bartlett, Fashion East: The Spectre that Haunted Europe (2010).

7.  For more on Soviet fashion discourses, see Bartlett, Fashion East: The Spectre that Haunted Europe (2010).

8.  For more on the representational character of Cuban fashion and interior design discourses, as well as on the expression of communist teleology in Cuban materiality, see Cabrera Arús, “The Material Promise of Socialist Modernity: Fashion and Domestic Space in the 1970s” (2019).

9.  For more on the idea of the Cuban Revolution as spectacle, see Díaz Infante, “La revolución es el espectáculo” (2012).

10.  For more on the identity hybridity of Rivalta’s characters, see Loss, “Paper Cut-Outs: Notes on Cuba, Taste and Mobility” (2019), and Alcaide Ramírez, “Identidades en tránsito: Reformulando el Caribe desde España a través de la obra de Gertrudis Rivalta y Brenda Cruz” (2015).

11.  Gertrudis Rivalta discusses trauma in “Fnimaniev! Fnimaniev! The Hare and the Turtle: The Black Mona.”

12.  For more on this topic, see Ineke Phaf, “La nación cimarrona en el imaginario del Caribe no hispánico” (1990).