A small cry in the throat

/ 23 November, 2014

(…) Of Cirenaica I knew, let’s say it quickly and badly, part of her photographic work (…).

Suddenly, what I believed was only contained in one level, that is, in two dimensions, jumped into the 3D universe.

(…) In the pieces of that series I looked for points of contact with Cirenaica’s photographic oeuvre. Then I enumerated them: the presence of the body, the posture or gesture in which “her women” are perpetuated inside (re)created scenes or stages, the feminine universe: that space where party and pain, eroticism and punishment, subjection and the search for a crack implying a path of expansion or escape alternate.

(…) Reviewing Cirenaica’s evolution as a visual artist, I noticed that representation is another area of confluence between those installations and the photos. At the beginning, photography included a sort of performance. Were her acting studies the nutritional source? Cirenaica played a role before the camera and thought about the photo too: lights, stage, direction of the production. Cirenaica was also as a sort narrator-character, a collective enunciation device. I think that, at the beginning, she was not aware of this detail: the photo as a visceral act and not as a platform or a denunciation. Installations make up the other area where theater is the influence: properties, scenography, spirit. Of that stage, I would not want to overlook that anger, inconformity, reaction, even revenge, are present, as a supposed testimony of life or biography. There are no specific details granting temporariness to most of her photos nor are they circumscribed to a geographical area.

In her work, a woman is not “a Cuban born in the sixties.” The lives of not a few women are reflected in that mirror. (…)

In these series a girl appears on stage, a man too: another significant detail. A different type of beauty (glamour?) should not be overlooked either: the blue, the green, the pink accompanied by hard pigments; the youth, freshness and irreverence of a girl and the almost inexpressive face of a man—who will appear travestied and will be used as a sort of mannequin or support for objects that are not sharp now, but apparently innocuous (a pure ludic act or a gesture of revenge?). Variations of naivety; a story flowing unhurriedly, but under the surface of the abyss: repressed desires, the notion of what is not love and happiness, the imposition of limits, the cloister, submission again, the need to escape, a small cry on the throat of a woman bearing the name of a city, the name of a philosophical school: Cirenaica.

Ahmel Echevarria

Narrator. Graduate in Mechanical Engineering at the Higher Polytechnic Institute “José Antonio Echeverría”. He is a member of the Unión Nacional de Escritores y Artistas de Cuba (UNEAC) and of the Latin American Studies Association (LASA). He is author of several books of stories and novels. His reviews have been published in various magazines and websites. Currently, he works as the web editor of Centronelio (www.centronelio.cult.cu).

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