Anna Boghiguian is an inveterate traveler, both in time and space. The Egyptian-born artist creates installations that delve into layered histories of imperialism, slavery, and war. Known for her artist’s books, figurative paper cutouts, and large-scale paintings made on ship’s sailcloth, much of Boghiguian’s work fits her roving lifestyle, with sojourns to India and Europe. It’s essentially portable—if necessary, you could roll it up or tuck it into a suitcase.
“When I first saw Boghiguian’s work, I was struck by the cinematic rawness of her drawings,” says Carolyn Christov-Bakargiev, director of Italy’s Castello di Rivoli Museum of Contemporary Art and artistic director of Documenta 13, who has worked closely with the artist in recent years. “She offers a re-entry point into expressionistic drawing and painting without losing the political critique present in so much of the art of the 1990s and early 2000s.”
The artist’s recent solo exhibition at the Castello di Rivoli presented an overdue retrospective encompassing four decades of her work, which has since traveled to the Sharjah Art Foundation. Boghiguian was also included in the Golden Lion-winning Armenian Pavilion at the 2015 Venice Biennale, which memorialized the 100th anniversary of the Armenian genocide. U.S. institutions have also begun to recognize Boghiguian’s significance: The Museum of Modern Art
recently acquired 12 of the artist’s drawings and watercolors for its permanent collection, and her first U.S. solo museum exhibition is slated to open at the New Museum