In spite of the distances separating the artistic works of Reynier Leyva Novo and Diana Fonseca, 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 person or event is always an improbable version of itself. In the case of Diana, it is outstanding her taste for restructuring the everyday events. Hence her production, extremely lyrical, can also be understood as generator of possible fictions. Fonseca transmutes the simulation in truth, for that reason her work does not lie 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 routes she is determined to explore. Novo, on the other hand, assumes the processes of erasure and simulation from a much more incisive and ludic position. In the first place, he is interested in politics and history; also the strategic point where the first one modifies the second. From that position of relativism and camouflage, are set up his games with historical events, world leaders and power. When Reynier intervenes the past, he does it with the cold blood of surgeons. Knowing the internal dynamics of political discourse, he knows where to touch to activate new senses in History. 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, 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.