Exhibition by Maydely Pérez Reguera. Factory of Cuban Art, Street 26, corner to 11th, Vedado. March 2017

"Curtain: Because I prefer the performance of your gaze"
by: Martha Luisa Hernández Cadenas

The eroticism with which Maydely Pérez Reguera recreates the Greek tragedy in her photographs contains much anarchy and perversity. These thematic and conceptual lines are the motives that determine the lighting and the heroic gesture of each actress. The photos cease to be museable or static pieces, they become sensual forms, a way of acting.

There is no illustrative, comfortable, evident or mimetic act in them; each photo responds to a state of physical transgression, of canonical subversion, of de-dramatization. Hence they look like artifacts, simulations, documents, anachronisms, iconic advertisements, compromised models and fragile manifestos about pain. This is how we discover Telón's bodily knowledge, a mythical knowledge (literary-theatrical background) and a performative knowledge (photographic-performance-present theatrical). Each photo flirts with the mythology that preserves Greek tragedies from the risk of not recognizing them as static paradigms, but as movements of meaning. They are rewritten with the vitality of a theatrical gaze (the photographer as director of an unfinished staging, the actresses as imbalance and temptation).

I think of the bodies piled up with tragic heroines, bodies slaughtered, wounded, stubborn, sacrificial, virginal, monstrous, agonizing. I think of the tragic condition of the lips, breasts, eyes, shadows, eyebrows, shoulders. I think of the repulsion/representation/repression of sex, tragic crime, filial love. I think of the deconstruction of an unembraceable material, exposed with simple will, exhibited with the candidness of this reinventing itself in each appropriation.

The following sample does not respond to the usual photographic demonstrations that abound in our cultural panorama, I prefer to perceive it as the scenic space that Maydely chooses to act. I warn you that it is not a common action, it acts through the gaze, and this gaze is your revolution.