GEORGE FEBRES: TRANSLATION, IRONY, AND LIBERATION. AN ECUADORIAN ARTIST IN THE DIASPORA

The article examines the life and work of George Febres (1943–1996), an Ecuadorian artist who spent most of his career in the United States, primarily in New Orleans. Febres’s practice blends Pop Art, Neo-Surrealism, and Southern US culture with his experiences as a migrant and queer subject, using bilingualism and ironic tropical imagery to create a hybrid, irreverent body of work. Despite his significance, no works by Febres exist in Ecuadorian public collections, and no major retrospective has been held in his home country, reflecting a broader erasure of queer narratives from national art history.

The Biennale and the Weight of Flags. What Is the Point of National Pavilions?

La Biennale e il peso delle bandiere. Che senso hanno i padiglioni nazionali?

The article examines the inherent contradiction within the Venice Biennale: its historical structure of national pavilions, a legacy of 19th-century world fairs and state-sponsored art, clashes with the transnational, post-identity vision of the international exhibition curated by Koyo Kouoh. The return of the Russia Pavilion amid geopolitical conflict and the international show titled "In Minor Keys," which rejects national belonging as an interpretive criterion, highlight this tension. The piece also addresses the controversy over the lack of Italian artists in the main exhibition, questioning whether a Biennale hosted in Italy should guarantee national representation.

Where Art Meets Memory: The Gallery Kalo Journey

Gallery Kalo founder Përparim Kalo discusses the origins and philosophy of his Tirana-based gallery in a Q&A. Founded in 2014, the gallery began as a personal collection shared with the public and has since grown into a cultural meeting point that promotes artistic authenticity, inclusivity, and community engagement. Its vision has expanded beyond Tirana to villages along the Vjosa and Drino rivers, connecting art with landscape and local heritage.