Mehretu’s canvasses try to incorporate many kinds of spaces, many kinds of dynamics, many kinds of existences, many kinds of imagination, holding each of these spaces in tension and never trying to resolve them: collisions, concordances, cataclysms, they are all here, along with
‘speed, dynamism, struggle and potential’ (Mehretu in Fogle and Ilesanmi, 2004: 14). Instead of resolution, she sees her task as trying to produce a sense of trajectory which is probably the nearest thing to what used to be called history that social theory can now offer.
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