Meriem Bennani, 2018
26’
Party on the CAPS follows the inhabitants of CAPS, an island in the middle of the Atlantic Ocean where refugees and immigrants ‘illegally’ traversing oceans and borders are interned. When international travel has been streamlined into teleportation, Party on the CAPS imagines the structures of displacement (physical and psychological) imposed upon immigrants intercepted by the United States. For Bennani, liminality of identification is often what defines diaspora. CAPS is a physical manifestation of that liminality, with its residents existing between geographic endpoints, states of citizenship, ages and genders.
This is one of Stanisław Chlebowski’s larger canvasses dealing with themes other than battles; only Ottoman Life at the Sweet Waters now at the Istanbul Military Museum can compare with it in size.
“The portrait tells us that there is an inner and an outer dimension of the human condition; it provides—or should provide—information about both the physical and psychological character of an individual.”
Based on similar examples by the European painters in various collections, this work is one of the portraits of Mihrimah Sultan, who was depicted rather often in the 16th century.
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