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Carole Naggar, World Views
"...to Cabado photography is a fiction, and that the vision of Cuba emerging from his pictures may well have nothing to do with the "real" world: "You don't have to believe them (the pictures). They are about me in Cuba. I don't believe in photography as a witness of reality". It's true, his pictures make us well aware that the photographer's personality and style stand between us and Cuba. But the do not, as a result, alienate us from "reality."...Distortions, such as huge foregrounds and tiny, stick-like backgrounds figures, and bold oppositions of light and shadows, are among his favorites effects. Rectangles do not obey simple laws of perspective; through Cabado's looking glass, several planes of reality, several space-times glide over one another and collide. In the streets of Cuba, togheter with the children to whom his heart goes out, Cabado is a flaneur, like Doisneau is with Parisians, Koudelka with gypsies, Levitt with New York kids. He knows the and they know him at first sight as one of them; this is why they let him into their secrets."
Eva Grinstein, El Cronista 04-06-99
"Pablo Cabado represents one of the most ineterested lines of actual argentinian photography.
He is a flaneur in the streets of 1990s Cuba, just as Doisneau was in Paris, just as Koudelka was with the Gypsies. From Vedado to Centro Habana and from there to Habana Vieja, Argentinian photographer Pablo Cabado has used his camera to capture the people, the buildings, the incredibly contradictory life of Cuba, as he saw it, at the end of a tumultuous century.
Essay by Rolando Sanchez-Mejias.
Publisher: La Marca Editora