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CANAN, Heaven, 2017, tulle curtains, sequins, rope, cloth, bell, light, motor. Installation view. Photo: Murat Germen.

CANAN

Arter - Space For Art

CANAN, Heaven, 2017, tulle curtains, sequins, rope, cloth, bell, light, motor. Installation view. Photo: Murat Germen.

At the entrance of CANAN’s retrospective exhibition, “Behind Mount Qaf,” we were told that we had reached heaven. Already? Here, in an exhibition divided by floors into sections corresponding to heaven, purgatory, and hell, heaven’s inhabitants turned out to be a menagerie of sequined dragons, glittering snakes, and other stuffed creatures (Animal Kingdom, 2017) and human figures skipping along on a rotating cylinder of rainbow-hued tulle (Heaven, 2017). Amid this abundance, one noticed a small screen showing a video of engorged breasts dripping milk (Fountain, 2000). This was not the river of heaven as described in Islamic cosmology but the body of a woman with its all-too-real flesh and functions. (A little farther away, in the photograph Cybele, 2000, the artist herself appeared naked and pregnant, cast in the role of the Anatolian fertility goddess.)

If CANAN’s exposure of her

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