In spite of the distances separating the artistic works of Reynier Leyva Novo (Havana, Cuba, 1983) and Diana Fonseca (Havana, Cuba, 1978), we can identify a shared interest for the rewriting of reality, the aesthetic camouflage and the simulation within their work processes. This set of resources emerges in different ways in both artists, however, it ends up incorporating them into a kind of imaginary of the real in which each thing, person or event is always an improbable version of itself. Starting from such a principle, the works of Novo and Fonseca inaugurate their own logic, forcing the spectator to participate in uninterrupted exercises of reinvention and equivocation.
In the case of Diana, is outstanding her taste for restructuring the everyday events. Hence its production, extremely lyrical, can also be understood as generator of possible fictions. Fonseca transmutes the simulation in truth, for that reason his work does not lie, manipulate or hide anything. On the contrary, it reveals the emptiness and nonsense of a unique story as physical alibi of the real. The acts of rewriting and symbolic redimensioning appear in the work of this artist as minimal gestures, gestures that point to the existence of new routs she is determined to explore. Diana paints the green grass of her fields on sky blue, erases the stars from the sky, and sometimes, if she dreams, plants a field of sunflowers with traces of colored pencils.
Novo, on the other hand, assumes the processes of erasure and simulation from a much more incisive and ludic position. In his activities there is a deliberation that Diana's work ignores. In the first place Novo is interested in politics and history; also in the strategic point where the first one modifies the second. From that position of relativism and camouflage, are set up its games with historical events, world leaders and power. When Reynier intervenes the past, he does it with a scalpel and the cold blood of surgeons. Knowing the internal dynamics of political discourse, he knows where to touch to activate new senses in History. Hidden meanings only perceived by him. Altering the narrative is his way of resisting the other simulation: the lie inherent to all political power.
Committed to the notions of rewriting and reinventing (personal, intimate, political, media) both artists return to the reality-fiction binomial in art. With this, in addition, they transcend the space of the aesthetic to enter one of the main conflicts of human thought of all times: the truth of the real in its deepest sense.