The mirror motive has been used since classical times. Goddesses, for example, are embellished with this attribute as a sign of beauty and vanity. In depictions of the five senses, sight or visual perception – which is often equated with painting itself – is assigned a mirror. As for prudence, the virtue of wisdom, the mirror is regarded as the instrument of self-knowledge.

In Mircea Cantor’s video work, a group of people march through the Albanian capital in the manner of the 2003 demonstration. Instead of banners explaining the demonstrators’ agenda, they hold large-format, unframed mirrors. Accompanied only by everyday street noise, the city is mirrored in its diversity and colourfulness. Its new face in the post-communist era is reflected with the help of a basic democratic right. In association with the classical idea, the procession of participants thus shows a way of knowing urbanity, social conditions and structures.

Heike Maier, 2005 (translation: Tim Sharp)