![\"santos1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/09\/santos1.jpg\")
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From the series Aproposito los flores.<\/em><\/p>\n In 1993 I made Homo-Ludens<\/em>, which was the first homoerotic exhibition to take place in Cuban photography after the Revolution. This show was committed to a direct, frontal discourse, but very aesthetic. It was not intended to reflect great contradictions, but to propose to society that the male body was also an object to analyze, that it was a source of pleasure, and not only to women.<\/p><\/blockquote>\n Cuban artist Eduardo Hern\u00e1ndez Santos talking in 2016 about his career (here<\/a> and here<\/a>). In addition to straightforward photography, Santos favours collage as a technique, combining his own photographs with fragmented slogans and other imagery. The late date of the Homo-Ludens<\/em> exhibition is a result of the slow evolution of attitudes towards sexuality in Cuban society. Fidel Castro regarded gay men as degenerates, a common sentiment in Communist circles in the 1960s, and one shared by many fascists. A striking thing about homosexuality is the way you can be despised by a wide variety of people who wouldn’t agree with each other about anything else.<\/p>\n From the series Corpus Fragiles.<\/em><\/p>\n It’s tempting to wonder what Jean Genet would have thought about Santos’s photographs of male nudes with flowers. Genet used flowers for their symbolic qualities almost as much as Oscar Wilde, so even though it’s unwise to try and second-guess him I imagine he’d appreciate their use here.<\/p>\n Untitled (2000).<\/em><\/p>\n From the series Palabras.<\/em><\/p>\n Elsewhere on { feuilleton } Previously on { feuilleton } From the series Aproposito los flores. In 1993 I made Homo-Ludens, which was the first homoerotic exhibition to take place in Cuban photography after the Revolution. This show was committed to a direct, frontal discourse, but very aesthetic. It was not intended to reflect great contradictions, but to propose to society that the male body … Continue reading “The art of Eduardo Hern\u00e1ndez Santos”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: The art of Eduardo Hern\u00e1ndez Santos","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,1029,5,12],"tags":[11790,751,116],"class_list":["post-20897","post","type-post","status-publish","format-standard","hentry","category-art","category-collage","category-gay","category-photography","tag-eduardo-hernandez-santos","tag-jean-genet","tag-oscar-wilde"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5r3","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20897","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=20897"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20897\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20897"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20897"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20897"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"santos2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/09\/santos2.jpg\")
<\/p>\n![\"santos3.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2021\/09\/santos3.jpg\")
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\n\u2022 The gay artists archive<\/a><\/p>\n
\n\u2022 The art of Gregorio Prieto, 1897\u20131992<\/a>
\n\u2022 Emil Cadoo<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"