As part of our week looking back at past editions of the Istanbul Biennial, we return to 2001, when Tokyo-based curator Motoaki Hori visited Istanbul for the 7th edition. That edition of the Biennial was entitled “Egofugal: Fugue from Ego for the Next Emergence,” and was curated by Yuko Hasegawa. The show opened less than two weeks after the attacks on the United States on September 11, 2001, which, Hori notes, had delayed the installation of several works. Hori’s review was positive, concluding, “ ‘Egofugal’ set effective parameters for a concept that brought together highly diverse work as a new emergency, putting the Istanbul Biennial a step or two ahead of the competition.” Check out the full article in AAP’s digital archive (link in bio).
📷: 7th International Istanbul Biennial, 2001, installation view, Hagia Eirene Museum, Istanbul
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Margarita Cano was born in Havana, Cuba February 27, 1932. Cano arrived in the United States on October, 1962. She worked at the Miami‑Dade Public Library as a Community Relations and Art Services Coordinator. In 1993, she started painting full‑time and creating one‑of‑a‑kind artist books.
Cano indicates that “My Cuban roots are reflected in my art work. It tells and retells my personal vision of Cuba. Installations of my painting visually narrate the Cuban drama: an island frozen in time surrounded by a seawall where Cubans wait for change. I document this quest for democracy and freedom through allegories and metaphors.” Margarita Cano transforms memory into magic. Biblical and art historical allusions monumentalize the daily grievances of contemporary life in Cuba. Cano’s work is reminiscent of the illuminated manuscripts of the High Middle Ages. Distant memory and loss have a way of transforming even the prosaic into a magical recollection. In Cano’s work, the idealized landscapes of her beloved island serve as setting for the interaction of the sacred and the mundane. Throughout her work, the tension between surface ornamentation and three‑dimensionality is enhanced by the rich jewel‑like finish that belies the presence of the brush. This tension strengthens the narrative content of the work. It is in the storytelling that Cano invites the viewer to partake of here memory and her magic. @noorblazekovic @eduardolt #satishouse#oneofakind#curator#artworks#arts#artsy#etsy#modernart#artists#contemporaryart#artsed#artselfie#museumselfie#museumselfieday#artstudentproblems#artwatchers#artgallery#artcollecting#artecontemporanio#artcollectors#curators#worksonpaper#arte#photography#305fulltime#artbasel#miamiart20 ♡ 0 ✍
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