Working overlapping historical photographic archives (the Women’s Section of Franco’s Spain and his counterpart in Communist Romania) that calls into question the construction of the female body and the role of women by power devices.
Nicoleta Moise build a dynamic file by superposing two heterogeneous but comparable visual realities, reaching from photocomposition very close to the cinema. His work traces the differential space-time relationship and puts in evidence his affinities, correspondences and dissonances. Thus it reformulates these historical constructions reading, moving them from their specific context in “totalitarian” regimes to an enlarged semantics of “disciplinary dispositive” (Foucault). Far from disappearing in the new digital control societies, we can trace the survivals of these devices and their transformations, as well as contemporary possibilities of subversion.