José Ney: small stories in the lower half of the world
In March 1994, as a result of the exhibition The New Generation: Two Decades of Contemporary Cuban Photography from the Island, held at the Richmond Hall in Houston, the critic Susan Kalil published a suggestive review entitled Socialist Surrealism, in which she warned of a substantial transformation in the creative strategies of the latest promotions of Cuban photographers. Burrowed within the hints of an unusually expressive and dreamlike ambiguity, the images clearly evaded the themes and documentary tradition of Cuban photography. Legitimized in the years after the triumph of the rebels...