YUNIA LORES and EDUARDO VERDECIA
THE NOBLE FOG OF EMPTINESS
May 2 - May 27, 2000
Contemporary Art Centre.
Holguín, Cuba / Romerias de Mayo
Press Release
Just three years ago, Eduardo Verdecia and Yunia Lores began the course of their investigations with an extravagant script, whose visually amazed at the dislocation derived from violence, self-referentiality, and the goal of structuring a baroque dialog, based on a carnival cultural perspective and plurality of intentions.
Yunia identified how to achieve the leading role of the artist woman, she accustomed us to her excessive behavior without putting boundaries on her dreams, memories or personal experiences, dramatized in such a way that the aggressiveness of her actions caused rejection.
The emotional cruelty and tragedy impact, placed her on the edge of balance. Everything seemed to indicate that her anxious spirit would have no end. We were in front of an intimate and extravagant speech where every object was connected to an act of complacency, in a bloody and morbid world. It was an act of liberation and rebellion, she played with the rotten, the hurtful and incisive or anything that left a mark and unbalanced the mind. Lores impressed with the dark and unexpected sadomasochistic scenes, more powerful than her male colleagues.
Eduardo became known as a paranoid self-portrayed in isolation, contradictory, rebellious, and tormented within his regional culture, amplifying personal micro-stories and daily frustrations, becoming the target of all dangerous censoring. His eclectic and sarcastic projection led him to continually maneuver around the symbol preponderance, to camouflage the severity of his valuations.
Now, in accordance with the historical evolution, beneficial for the development of a simulation ethics, as a socially accepted phenomenon, much more consistent with the changes in the strategy adopted in the new circumstances, Eduardo and Yunia prefer not to exceed the limits, to recreate the images of reality, and focus on perfecting pictorial techniques, to develop a universal dialogue that looks to the future without touching discontent and scandal in front of the cynical upcoming of civilization.
Diana Rosa Pupo Latour.
Art Critic and Curator
The Art Bulletin "La Luz"
May 6, 2000. Holguín, Cuba
THE NOBLE FOG OF EMPTINESS
May 2 - May 27, 2000
Contemporary Art Centre.
Holguín, Cuba / Romerias de Mayo
Press Release
Just three years ago, Eduardo Verdecia and Yunia Lores began the course of their investigations with an extravagant script, whose visually amazed at the dislocation derived from violence, self-referentiality, and the goal of structuring a baroque dialog, based on a carnival cultural perspective and plurality of intentions.
Yunia identified how to achieve the leading role of the artist woman, she accustomed us to her excessive behavior without putting boundaries on her dreams, memories or personal experiences, dramatized in such a way that the aggressiveness of her actions caused rejection.
The emotional cruelty and tragedy impact, placed her on the edge of balance. Everything seemed to indicate that her anxious spirit would have no end. We were in front of an intimate and extravagant speech where every object was connected to an act of complacency, in a bloody and morbid world. It was an act of liberation and rebellion, she played with the rotten, the hurtful and incisive or anything that left a mark and unbalanced the mind. Lores impressed with the dark and unexpected sadomasochistic scenes, more powerful than her male colleagues.
Eduardo became known as a paranoid self-portrayed in isolation, contradictory, rebellious, and tormented within his regional culture, amplifying personal micro-stories and daily frustrations, becoming the target of all dangerous censoring. His eclectic and sarcastic projection led him to continually maneuver around the symbol preponderance, to camouflage the severity of his valuations.
Now, in accordance with the historical evolution, beneficial for the development of a simulation ethics, as a socially accepted phenomenon, much more consistent with the changes in the strategy adopted in the new circumstances, Eduardo and Yunia prefer not to exceed the limits, to recreate the images of reality, and focus on perfecting pictorial techniques, to develop a universal dialogue that looks to the future without touching discontent and scandal in front of the cynical upcoming of civilization.
Diana Rosa Pupo Latour.
Art Critic and Curator
The Art Bulletin "La Luz"
May 6, 2000. Holguín, Cuba