A comprehensive enough reading about the existence of Thimo Pimentel (Santo Domingo, 1941), would lead to repeated statements of broad and extensive curriculum vitae, which exceeds the half century of his professional and artistic activism. And it is not appropriate to reveal the chronology of his career that, flashing from the 1960s, when you start to forget that Manuel Felipe Pimentel Fernandez, his full name, is reduced to a nickname and his last name. It is the familiar and social identity projection with which he transcends.
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