In Paintings, exhibition by Ibrahim Miranda in Ms17 Art Project Gallery (New London, CT, USA, opened from August 18 to September 18, 2016), and in general in great part of his work, the relationship between his poetic worldview—his particular form of aesthetic attention—and what means for him to live in the present Cuba, is revealed to us. An unpredictable place, in one time the epilogue of History, whose guidelines we still do not know too much: except for the fact that from the emergency the scene is dominated by a different style of “destination”.
“The map is not the territory.” This so hackneyed words, coined by Alfred Korzybsky, illustrates us how limited we are to grasp substantial knowledge of our spatialities, the atmospheres and the situations in which we stay according to our plans and appraisals. Perhaps what is explicit is the trail of a civilization, but not all the immensity, which is vast. The foundational cognitive habits of Modernity are turning the earth around to expand, conquer and mapping the territories, opening at the same time the human body in all parts and graphically representing it from all the possible perspectives.
So too the distortions that suffer the configuration of the island of Cuba on the plot of old school maps by Ibrahim Miranda. These works—cartographies with a displacement towards almost all the possible fates—may be 10 or 13 ft long and 16 inches wide. They are mounted in groups, without frames; they have different formats and combine the installation with the work by itself.
In the works of the map glyphs series, the images split from the first level to the background, from the layout of the animals in the streets, from the fold and the display, from the intention to the accident, from the temporal futility to a time intervened in the ends of the earth, from self-referential faints in an enigmatic and omnipresent habitat.
The exercise of including his aesthetic attention in arbitrary contexts—fragments of maps of cities chosen at random—reaffirms the idea that the logical analysis may be achieved as an explanation procedure, but the search for an identity rests on the fact that what is implicit designs a place in the world thanks to an attitude promoting an uncompromising expansion of our inner world.
What Ibrahim Miranda does not hide can only correspond with a stroke derived from his persistence and obsessions. His work insists on the need of forcing the access to what is concealed because he knows that only after the irruption in what is hidden, the labyrinth of the signs may be retraced. These “syntaxes” would offer metaphorical intensities to confuse historical tensions and lacerating social redefinitions; it translates political dreams to instructions with a poetic use. (…)