Recalling the regal charm of Cuba’s capital city during the 1940s and 1950s, Donata Wenders evokes as much of its energy in her atmospheric image, Maleceon I (1998), as she does in the select narrative that accompanies the photograph. The main stretch of road, she recalls is “called Malecon at the shore of Havana” and is “hardly what it once was”; its cantankerous beauty resides in the relentless natural rhythm of a swell of water caressing the shore and spilling onto the concrete road. The water washes over everything in its wake as altering flows of pedestrians and cars criss-cross the thoroughfare adjacent to the ocean’s edge. In Wenders’ image, you see a landscape as much shaped by the industriousness of man as it is tempered by the vast sky and seascape that challenges the cityscape measure for measure.
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