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Omar Miranda: between the body and the city

Omar Miranda: between the body and the city

Some contemporary Cuban artists interpret events in a new way, and Omar Miranda is one of those artists. Despite his youth, Omar manages to call on memories of a past that is beyond his own years. He tells us stories through his photos like an environment ravaged by the severity of the weather or the precariousness of Havana facing the sunrise of each day. He makes his preferences obvious: the desire for shining skin to blind us, so that touch can multiply emotions.

From canilla to Veo, Veo-no veo nada (two important Miranda photographs), a playful spirit brings together different concepts and converts them into faces, odors, and emerging silhouettes when the degraded matter is manipulated over one or several surfaces. Behind the titles of each of his pieces, Miranda transmits baroque strength that captivates viewers. Sometimes the image content lags behind the words. It is a provocation, a manner of reinforcing the absurd, but at the same time subjective. Think of his series, such as “the night”, “the beast”, “the sheep”, “the dictionary”, “your pills” or my favourite: odio los documentales de pingüinos (I Hate Penguin Documentaries).

Omar’s is an uncontaminated talent. His city rests somewhere between the tension of the sun and the coming of night. In his series Tallapiedra, Habana Vieja is shown in its depths and should not be missed.
January 2014

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