critical texts


Cirenaica Moreira
Mabel Llevat
Cirenaica Moreira’s photos start from a narrative idea that contains a story in the form of an image, also with a photographed body language that contributes to connote its dramatic staging. It is an act that seems to freeze and condemn itself to the impossibility of its continuation and conclusion, like the emotional gestures and actions captured in a stroke of sign language painting.

This negation I noticed right from the start in Cirenaica’s works becomes more marked when taken to the conceptual level. Images that could remind us of Virgilio Piñera’s plays, where the dramatic essence, the conflict that moves to action, is precisely that nothing in its everyday evolution, the negation of a life-cycle where the fruitless, the futile and the pathologic are perpetuated. There is a strange ambiguity between the daily and the unusual: the perception of anomalous states in habitual, common environments.

Thus, Cirenaica’s works moves in a territory where categories like the domestic and the sophisticated converge. Also the affectionate and the sensitive —in their senses of protection and home love—, and the violent and the aggressive. Evoking images apparently retained in the memory gives photography the chance to make reference to children’s subjectivity that could explain us that capacity to obtain contradictory mixes like the above-mentioned ones. She evokes that children’s subjectivity in its capacity of Orwellian spy of what is hidden and domestic, a capacity developed only by the pleasure of discovering what is forbidden. This way, a new connotation of the naked body or sex appears, as what is denied and unexpectedly revealed; fashion, costumes in its condition of torture instrument, like a prison–construction of the body; and the attraction and the pleasure caused by pain.

Mabel Llevat