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This work is an attempt to create a constellation. In a constellation, some stars are greatly apart from each other. However, they appear on the same plane to our eyes. This method is derived from Walter Benjamin. Here I have, as my objet petit a, the pictorial, sculptural, cinematic and literary production of Brazil and Cuba from 1959 and beyond. As a barrier for creating meaning of such a vast content, I chose the theme of ruins, expanding when possible to its relatives: decay, catastrophe, debris, death, war, the lost paradise, the garden, intellectual thinking, utopia, dystopia, dreamworlds, rot, hope, human destruction, homelessness, and more. I work with figures of those two geographic regions, in which I think ruins—being inorganic, organic or abstract ones—have a major role in the work of: Tomás Gutiérrez Alea, Glauber Rocha, Orlando Jiménez Leal, Sabá Cabrera, Nicolás Guillén Landrián, Rogério Sganzerla, Néstor Almendros, Antonio José Ponte, Ramón Alejandro, and Francisco Brennand. This effort led me to reevaluate the classical concept of ruins in Western thought, which I think was relatively in force until World War I and which underwent a radical transformation after the advent of twentieth-century concentration camps, the domination by humans of atomic power, and the establishment of extremely high speeds for travels. I also propose that modern ruins acquire their full significance especially in the Third World. For, to the contrary of the central nations of capitalism, the Third World cannot be turned into ruins. It has already been born as such a thing. The aforementioned events just made this state of existence clearer.

This work is an attempt to create a constellation. In a constellation, some stars are greatly apart from each other. However, they appear on the same plane to our eyes. This method is derived from Walter Benjamin. Here I have, as my objet petit a, the pictorial, sculptural, cinematic and literary production of Brazil and Cuba from 1959 and beyond. As a barrier for creating meaning of such a vast content, I chose the theme of ruins, expanding when possible to its relatives: decay, catastrophe, debris, death, war, the lost paradise, the garden, intellectual thinking, utopia, dystopia, dreamworlds, rot, hope, human destruction, homelessness, and more. I work with figures of those two geographic regions, in which I think ruins—being inorganic, organic or abstract ones—have a major role in the work of: Tomás Gutiérrez Alea, Glauber Rocha, Orlando Jiménez Leal, Sabá Cabrera, Nicolás Guillén Landrián, Rogério Sganzerla, Néstor Almendros, Antonio José Ponte, Ramón Alejandro, and Francisco Brennand. This effort led me to reevaluate the classical concept of ruins in Western thought, which I think was relatively in force until World War I and which underwent a radical transformation after the advent of twentieth-century concentration camps, the domination by humans of atomic power, and the establishment of extremely high speeds for travels. I also propose that modern ruins acquire their full significance especially in the Third World. For, to the contrary of the central nations of capitalism, the Third World cannot be turned into ruins. It has already been born as such a thing. The aforementioned events just made this state of existence clearer.