Comillas.
(...) The bronze and terracotta seem ripe fruits thick armor of thorns and varnished, ready to fall from the tree. How heavy, subtle and pure, the way China! Despite its severity, has less the appearance of a crystalline material that sound! People really unique, positive, not ideal, and perceived however, in the depths of his dark soul, this music clearly! Cylindrical shape, ovoid, spherical, circular pace of China! Will China, will always rotate in the same patient effort, slow, relentless, through which he can maintain the life saving movement and stagnant, or break this circle to go to look at the very top of the rising tide of an ideal life ever renewed, and trying, with this relentless pursuit to conquer the illusion of freedom? The latter is more likely. China stirs. His five hundred million men will be overwhelmed by the Western movement, will break our secular equilibrium painful, destroy economic rhythms of the planet, and perhaps in turn impose an immobility which will cost them recapture them thousand or two thousand years. We know nothing. The complexity of present and future world is stronger than us. Life roars and grows. Trust their ways for children to be born, to console them after birth.
Elie Faure, Art History: Medieval Art. Editorial Poseidon, 1944. (...)
You have been an eyewitness to what happened in Tiananmen in 1989, what is your reading of this event?
-In 1986 work began on the Chinese W. ou l'oeil d'un long nez . He had a mysterious guide, called W., a Chinese-Cambodian-born French made me penetrate the Chinese circles and introduced me to their codes. However, had begun to saturate the atmosphere as grim, half gangster, with connections to drug prostitucióny. I was looking for another image of China. I heard the initial news of a revolt before Tiananmen, and I wanted to see what happened to these young people who demanded democracy. The day I arrived in Beijing I passed the place and saw some movement. I asked the taxi to stop. I dropped my stuff in the hotel and returned to stay there for twelve hours. What I saw does not match a lot with what he told the Western press, which focused the event at the request of a political paradigm shift. Of course, calling for freedom and democracy, but what happened was very complex. They were tired of bearing the weight of tradition. W., my guide warned me: 'You're going to see to what extent is hard to be Chinese. "Indeed, when you are Chinese you are obliged to respect uns very specific codes, you have respect your ancestors. You can not sit at the table without knowing what your site. Since I teach small to contain your emotions and this is suffocating.
Students were eager to rebel against their parents. Tianamen express that. For them the old leaders symbolized the tradition. They knew also that the Western media were covering the visit of Gorbachev. The whole world saw the challenge, how did they lose their composure at the leaders. W. then said "do not ever losing his composure at a Chinese." That's why I paid so dearly and the repression was so terrible. I was interested and I included in my book. I understood that these young people offered another image of the Chinese. The students expressed their emotions openly. Hugged me, happy that I was there as a representative of the international press.
Miguel Angel Felipe, Patrick Zachman journalist, photographer. Excerpted from the magazine
The Metropolitan Weekly, Issue No 24, July 29, 2000.
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