Ricardo Elías
November 7 - December 15, 2002
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The works that I present here form part of a series of work that I have been developing over time. They form the continuation of reflections related to the mechanisms that systematize our glance and that bias a specific reading of a determined historic event. I have also been interested in the role that texts and images play to refer to historical events and to perceive and construct History.
-Ricardo Elías

In general, the photographic work of Elías does not involve us emotionally but it distances us from the theme. This Brecht-like resort makes us coldly face a dilemma as if it were taking place on stage in front of us.
-Meira Marrero

Epoca (Epoch)

This photographic series by Elías presents in diptychs the same points of reference - the stairs of the University of Havana, San Lazaro Street, the Havana "Malecon," Revolution Square -- taken from a televised documentary scene, together with a current photo of the same place taken at that actual location.

Thus the difference between a glance and reality through a photographic lens is evident. As the picture includes the perforations of the photographic negative, we can observe that the same images had been taken consecutively, the result of a decision prior to closing the camera's shutter rather than a chance result or by later juxtaposition of the two.
-Meira Marrero

Hagan juego, señores (Place Your Bets, Gentlemen)

This deals with triptychs whose axis (central image) is a photo of a roulette wheel from one of the many casinos that used to be in Havana, a still shot of a documentary image from television.

Because 36 is the number of slots on a roulette wheel, the complete series is composed of 36 different photos from documentaries and films, placed on both sides of the central image. (Here 6 triptychs will be exhibited.) These are photographs of people, events and places that do not have a clearly defined relationship among themselves but that Elías now presents before our eyes once more thanks to and by the grace of chance.
-Meira Marrero

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