by Isdanny Morales, Monday June 13th, 2016
Crítica especializadaWARNING!!!!! A doctor named Caligari i son the loose at ISA.
One of the most overwhelming currents of all film history was, without doubt, the German Expressionist movement. It is impossible for me not to be overwhelmed with the sets of Fritz Lang’s Metropolis. I am immeasurably afraid of the oblique fireplaces, huge cardboard chairs and phantasmagoric prints of the protagonists of The Cabinet of Dr. Caligari. In addition, this stunning visual fabric these are films that denounce loudly the consequences of a “perverse modernity” that has a hidden face the deep existential angst and automation of the subject based on the hysterical race for progress.
I cannot see the works of Miriannys Montes de Oca without thinking of the German movement. Her pieces, her best pieces so far, related to theater scenes are also overwhelming to me. I would never sleep with beings that inhabit Scene II. I’m sure they leave the canvas at night and make the most devious tricks in the domes of the ISA. Now I see them. They are alive and look at me. They come to me with their ragged bodies, their ghostly prints and their dying gait, like the characters of another German great Ernst Kirchner. Walk. They keep walking. Almost they will break the fabric to crash me. I try not to see them again. I close my eyes. Change the view, I do the brave and keep talking with Mia. This is not science fiction. I swear that is not a metaphor. Please carefully notice the character to the left. Synthesizes the most bizarre iconography of Tim Burton:
Eduardo, Vincent, Benjamin Barker…
Although apparently many works of this young creator have a touch of that which has been called “beautiful” or “cute” and that much has been convicted in favor of an art with social involvement, be careful. In her aesthetic proposal what might seem “cute” is just a drill. Behind her abstract works filled with flowers and arabesques also I feel disappointment, rot and decay emanating from all parts. The problem of “human” existential anguish and weight on the man of the frantic race for progress prints all Miriannys works. Hence, they remind me so much of the German Expressionist cinema.
Miriannys’s work, as I have pointed out on another Cuban creator, has nothing to do with the discourse on insularity, poverty or identity, issues that have become tear-jerking and opportunistic among many creators; but her aesthetic idiolect becomes universalized to address universal problems of the same human condition beyond any border. Her pieces either at the level of visuality have no relationship with the “new painting”, a term used by the critic Piter Ortega to designate the mainstream among young Cuban painters. Miriannys is simple and greatly Miriannys.
WARNING with this Caligari. She walks alone at ISA, but son enough her deeds will give much to talk about everywhere.