Photographic exhibition by The dark room Eduardo Rawdríguez. FOTOTECA DE CUBA / Calle Mercaderes No. 307, Plaza Vieja, Habana Vieja / Julio-I Wither of 2019
The dark room
October 16, 2019
From the title of the exhibition Eduardo Rawdríguez plays with ambiguity. The first sense of the term, from a historical point of view, was coined in 1604 by Johannes Kepler; while the second has its origin in the 1960s, during the intense highs of the American sexual revolution. In both cases, the raison d'être of this architectural space is associated with the sensibility of the object that becomes present, takes shape.
The white background, besides generating the mentioned contrast with the protagonist figures, concentrates the attention on the bodies. It accentuates the idea of nudity and at the same time sculpts the space of this new photographic proposal. But I am not talking about limits, but rather about diffuse terrains where the edges more to separate generate polysemy. The subject portrayed multiplies to infinity in a game of readings where they relate inside and outside, inside and outside, individuality and multiplicity, subjectivity and materiality, and so on.
As the viewer can easily see, we are faced with a display of contrasts. Its structure is based on the confrontation of preconceived ideas to explore new meanings. We talk about sex and sexuality, but also from these conceptions we explore notions of identity and gender. A dark room is exhibited, stripping it of its supposed intimacy, to strip its protagonists of themselves. Confrontation takes shape in the exercise of the gaze. We are dealing with a traditional theme in the history of art, the male nude, and in a habitual space for the circulation and consumption of the visual arts, the gallery; but at the same time we are in a terrain of corporal and conceptual dissent. Art photography vs fashion photography. Robert Mapplethorpe vs Mario Testino, the edge vs the canon, the pearls of René Peña on his naked back vs the light of the police flashlight with Alzheimer of Rocío García. The contra here is not exclusive, it can (rather should) also be read as one and; taking both a single body, a single space, a white background, a dark room.
Samuel H. Dominicls