Istanbul Art News Kimin – Istanbul Art News will be closed on May 31, 2019. Istanbul Art News was founded by Murat Pilevneli in July 2013 and will say goodbye to its readers with the March 2019 issue. The magazine’s statement reads: “Filling a void in Turkish art publishing and making the contemporary art world visible.”
January 8, 2019 Can culture be made transparent? *This article was written for Istanbul Art News January 2019, Issue: 58 Market Supplement. We are living in an era where communication between culture and the public is limited. We cannot speak of an official cultural policy. Istanbul, the largest city in Turkey
Istanbul Art News Kimin
January 7, 2019 Continuing production and collaboration on the cultural axis in historical sites *This article was written for Istanbul Art News, December 2018, Issue: 57 Market Supplement. For some time now, we have observed that in many cities, especially Istanbul, historical buildings are being transformed into new cultural centers. It’s not really anything new. Nobody
Blue Mosque, Istanbul
November 13, 2018 Culture Sector and Representation *This article was written for Istanbul Art News, November 2018 Issue: 56 Market growth. When we discuss the cultural sector’s ambivalent relationship with civil society, organization and representation, what kind of picture do we see? art, film, music and
October 26, 2018 Is it possible to live together? *This article was written for Istanbul Art News September 2018, Issue: 54 Market Supplement. The Istanbul Culture and Arts Foundation (İKSV) has released a new report it produces every year, titled “Living Together: Developing Cultural Pluralism Through Art”. Publication of the report
June 12, 2018 The new cornerstone of the cultural sector: Design *This article was written for Istanbul Art News June, 2018 Issue: 53 Market growth. The relationship between the cultural sector and design mostly runs along two main axes. Design; It finds its place in the field of culture and art as a product that is either presented/displayed.
Muslim Modernism In Turkish: Assessing The Thought Of Late Ottoman Intellectual Mehmed Akif In: Die Welt Des Islams Volume 62 Issue 2 (2022)
May 9, 2018 Festivals and holidays are everywhere! *This article was written for Istanbul Art News May 2018 Issue: 52 Turuleht. Dozens of festivals springing up across the country challenge Istanbul’s cultural and artistic hegemony. The common format of these festivals, which can survive in small towns and acquire an international identity,
April 4, 2018 Media relations in the cultural sector: more than two letters *This article was written for Istanbul Art News, April 2018, Issue: 51 Growth of Marketing. As in all areas of the Turkish cultural sector, they are stuck in media relations, spinning in a circle and do not want to break their habits and routines.
March 8, 2018 The question of “voluntary activity” in the cultural sector *This article was written for Istanbul Art News, March 2018 Issue: 50 Market Supplement. It is important to look at the ongoing debate about ‘volunteering’ in the cultural sector with examples from the field, expert opinion from academia and industry, views of volunteers and good work from around the world. Since this topic
Pdf) Industry Forces, Competitive And Functional Strategies And Organizational Performance: Evidence From Restaurants In Istanbul, Turkey
February 9, 2018 Media for the Private Sector: “Cultural Art” *This article was written for Istanbul Art News, February 2018 Issue: 49 Marketing. Art and culture; Is it unable to produce sufficient social and economic benefits because it does not receive enough material and moral interest and support from the private sector, or does it not produce enough social and economic benefits?
January 26, 2018 New Approaches to Performance Art *This article was written for Istanbul Art News January, 2018 Issue: 48 Market growth. There has been a movement in the field of performance art in recent years. So much so that almost every museum and gallery in Istanbul strives to show performance art. Biennales and exhibitions
December 11, 2017 Cultural journey between Europe and Anatolia *This article was written for Istanbul Art News November 2017 Issue: 46 Market growth. The Anatolian side has begun to play an important role in Istanbul’s cultural and artistic production since the mid-1990s. Only this time, initiatives, independent initiatives and organizations are at play: “The Scent of Time” at ModaPi Artworks Nancy Atakan’s solo exhibition entitled “The Scent of Time” can be visited at Pi Artworks until January 31st.
Art Unlimited 26
A private exhibition is held there. The exhibition, which includes the artist’s embroideries and the watercolors that inspired them, will be on display until January 31. In the exhibition, which deals with human revision and the imagination of life in the light of the experience of time, the artist uses the visual language of communication, the impact of historical, cultural and social changes taking place in Estonia. the mind and the traces of which can be read on the body; combines images from the past and shapes the future.
Talks about the construction of time in singular consciousness. The works, a combination of perception, memory and imagination, constitute for themselves the unity of the whole experience, while resisting the irreversible passage of time for an unreal number of hours.
The works in the exhibition meet on the covers that are the basis of the craft, where there are fragmentary pictures of the artist’s life in watercolors made years ago, materials collected over the years and some also given as gifts. The collage she made, inspired by a watercolor Atakan produced in 1983 titled “Window of Time”, is made of material bought from an Indian market and Turkish embroidery gifted to the artist.
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Completed in 2022, the work titled “In Search of the Scent of Time” is the backbone of the exhibition. The piece recreates the moment when producer Dilek Aydın and director Letisya Tapan, who are making a documentary about the artist, watch Nancy collect antique table clocks from various fleas. These watches are presented to the exhibition audience as symbolic and tangible objects in various artistic mediums such as handkerchiefs, videos and sculptures.
Nancy Atakan (1946, USA) lives and works in Istanbul. She received her bachelor’s degree from Mary Washington College and her master’s degree in educational psychology from Boğaziçi University. In 1995, he completed his PhD in Art Science at Mimar Sinan University. I was a child. Something much more important than feeling fat and therefore unattractive: photography. I embraced it with all four hands and have not let go to this day.
Together with my old friend Murad Dunbay (we rest in the lights), we tried to do, learn and understand with great appetite. In those days, we looked at the pictures hanging on the walls with more attention and envy. They were chosen, they deserved attention, they were nurtured. I wonder if our photos can hang on the walls one day? What was its formula?
The Dispossession Of Urban Commons: Istanbul
I don’t remember where or what wall they ran into, but I think it had something to do with Murad, a family friend. Flawless log cabin photos in black and white. They were printed on matte paper. They weren’t too big. Just a modest house. These are just a few pictures of quiet houses with no action, climaxes, graphic effects, etc. I guess we were told that there are medium sized images.
I was confident and calm. Star Moran. Pieces that find a personality in front of me, whose hand I know – even if it’s just a name (but what a name) – and that I really, really like, although I don’t understand why, and pieces that I immediately write in my mind ” This is what good photography looks like, I have a long way to go.” I thought I was a little worried.
Mrs. Yildiz reappeared where I had gotten over my anxiety and saw my pictures on the walls from that really long, endless road. I smiled at him and said, “See, I got it!” I said to myself. So I tried to imagine it. Being a woman also fascinated me a lot. For example, I thought about my mother. I deeply felt that he did his job not for the sake of talk, but because he had to have a job, but because he believed, chose, wanted to do it necessarily and with passion and professionalism. Therefore, I remember very well that I looked at these pictures with much more attention, respect and took an example from myself. I also remember well that I was sad, but that sadness did not come from the tired houses I saw in the pictures, but from imagining Mrs. Yıldız as a perfect but unworthy, lonely person. I can make these diagnoses now. At that time, the child’s soul had a very difficult but beautiful feeling that I did not want to go. It’s like that burning smell that comes when I take one of the lavender sachets that my mother occasionally throws in her wardrobe drawers and take a deep breath while sticking my nose in it. Why did I feel that way? Why did I look at two or three modest and mysterious pictures and picture him in my mind as such a lonely and strong person? I have no idea.
Le Meridien Istanbul Etiler Images, Stock Photos & Vectors
I visited the Pera museum exhibition for peace. I discovered Yıldız Moran once again. I was a little ashamed, I was very happy, I greeted him secretly. My little son Eflatun was with me. I didn’t tell him about them. I want you to find yourself. The fact that the hall had turned into a black world attracted my attention, I remembered the first sadness. The end of the life story, as if on a wall cut with scissors, really disturbed me.
I also felt: Yıldız Moran wanted to do much more modern and original photography, but it seemed that he did not dare to do it much. Instead, he had hidden its details in his larger plans. These familiar, calm, virtuous village pictures seem at first glance to be the result of a mission to discover Anatolia, injected into every patriotic photographer of the time, among the mandatory moves. On the other hand, if you look closely, there are many more different geometric games, abstract, neat stacks hidden behind or hidden in a corner, reminiscent of Russian structuralism. Solid black and white. Color is the problem. Color creates confusion and often makes geometry invisible. Black and white is abstraction, purity, reduction.
I thought that if he were alive, he would definitely want to type the show himself. I would like to think that if he were alive, he would definitely want us to meet.
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If he were alive, he would surely take much smaller photographs that show much better the grandeur of my dreams, that describe himself rather than what he is photographing, the solitude that I am very curious about and what he does. not complaining at all.
I write this from time to time looking at the cover of the book completed with the exhibition. I haven’t opened the cover yet to be sure that the words you are reading are about me and what I think is a mysterious woman.
Now I can open the cover and start reading. Or better yet, he never opens the lid, even if I do, I don’t read what’s written, I can continue to dream and live and ignite connections between him and me that he never knew. Although you have shown your works in many international forums before, you will show “Mass and power” What is the starting point of the exhibition? How and how were these things put together?
Ex Cia Director Registers To Lobby For Turkish Government: Report
Festival on Wheels in Ankara, who have been following my work for a long time, wanted to show my photos collectively and support it with an exhibition. When they offered the SALT Ulus program, they accepted it. This kind of cooperation between a film festival and an art institution is very progressive and modest at the same time. Because sometimes it happens, some festival or institution wants “All mine”, “I will show first and only”; some premiere fetish. But unfortunately, this attitude prevents the works from reaching different audiences. In addition, video screenings presented at other film festivals around the world often take place in inappropriate cinema atriums (for example, Expanded at the Berlinale Forum).
