A merging of personal and cartographical histories was evident throughout Ana Vidigal’s solo show, particularly in two attention-grabbing works, stationed near the gallery entrance, whose elements and titles both offered valuable clues as to the exhibition’s larger concerns. The first, a mixed-media piece titled sem família (say it in modern greek) (Without Family, [Say It in Modern Greek]) (all works 2017), incorporates burlap scraps from Sharjah and a Greek-language phrase book for tourists in a framed collage resting upon twenty-four sandbags. Connecting the composition’s elements are strips cut from both the vintage albums and the translucent envelopes used to store postage stamps; these bands perhaps symbolize the routes taken by displaced populations immigrating en masse from far-flung nations to various European havens.
For many in Portugal’s older generations, stamp
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