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Picasso - PALAU I FABRE, JosepMareMagnum

PICASSO VIVENT. 1881 - 1907. Infantesa i primera joventut d'un demiürg - Barcelona 1980 - Molt il·lustrat

Forworded by Agnieszka Morawinska.MareMagnum

Orientalism in Polish art.= Polonya sanatinda Oryantalizm. [Exhibition catalogue]. 24 October 2014 - 18 January 2015, Pera Museum.

New English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 360 p., color and b/w ills. The exhibition highlights the orientalist trend in Polish painting, as well as drawings and graphic arts. The works in the exhibition cover a wide period from the 17th to the early 19th centuries. Among others, the exhibition includes drawings by Christian Kamsetzer of his Turkish travels, as well as oriental scenes by artists like Zmurko and Brandt. The artworks exemplify topics related to the Ottoman world, and to a lesser extent, the Near East and North African regions. One section of the exhibition is dedicated to Stanislaw Chlebowski, the court artist of Sultan Abdülaziz. Works by other artists who had visited Turkey, among them Jan Matejko, Waclaw Pawliszak, Jan Ciaglinski, and Jacek Malczewski, are also included. Selected from the collections of Polish institutions ranging from the National Museums in Warsaw, Kraków, Poznan, and Wroclaw, the University Library in Warsaw, to Lazienki Palace Museum, the exhibition brings together approximately 190 works. The apogee of Orientalism, which refers to a cultural current in Europe centred on an interest in the cultures of the East manifesting itself in art, architecture, music, literature, and the theatre, arrived in the 19th century, when a distinct Orientalist current sprang forth from academic painting, inspired first and foremost by the cultures of the Islamic countries of the Middle East and North Africa, as well as of Moorish Spain. In the specific case of Poland, interest in the Orient goes back to medieval times; a natural result of her geographic location, which rendered Poland particularly susceptible to influences from the East. To a large extent, this period in Polish history was defined by successive wars with the Ottomans, and it left an indelible trace in culture. A variety of equestrian types, generic skirmishes and great historic battles were depicted many times by various skilled artists, as well as Oriental characters, landscapes, and genre scenes -first and foremost of the harem. The latter subject matter, popular among audiences, was often taken up by painters who had never been to the East themselves. Exhibition catalogue presents works by the artists among them Jan Matejko, Waclaw Pawliszak, Jan Ciaglinski, Jacek Malczewski, and especially Stanislaw Chlebowski, the court artist of Sultan Abdülaziz, are included, and also sheds light on the artistic influences of Poland's cultural interaction with the East, different from the Western Orientalist approach, through history, diplomacy, battles and travellers.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR48,22 €

SAHIN KAYGUN.MareMagnum

Sahin Kaygun. [Exhibition catalogue]. 20 Kasim 2014 - 15 Subat 2015. Curated by Sena Çakirkaya. Edited by N. Can Kantarci.

New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 112, [4] p., color ills. Istanbul Modern presents the most comprehensive exhibition of work by Sahin Kaygun. Seeking new forms of expression, Kaygun played a pioneering role in photography in Turkey. In the 1980s, when the term "interdisciplinary" was nonexistent in Turkey's photographic culture, Kaygun combined photography with disciplines as diverse as painting, graphics, and cinema, and explored new and surprising applications of photographic techniques. Seeking a contemporary interpretation of the link between photography and other art forms, he continued to push the boundaries between various art disciplines in Turkey. Supported by detailed archival work, the exhibition spans the whole of Kaygun's career from his early experimental intervention in photography in the 1980s, when he produced Turkey's first Polaroid work, through to his final years. Parallel to the artist's technical exploration, in which he added layers onto photographs, the exhibition traces Kaygun's narrative on the boundaries of consciousness between dream and reality through themes of life and death. The political atmosphere of the 1980s led to a period of individual crisis and introversion that can be sensed in his art. Kaygun's work from this period, which is included in the exhibition, manifests the spiritual state of the time from a personal standpoint. Sahin Kaygun started earning a living by painting when he was in high school. In 1969, he began studying graphic arts at the State University of Applied Fine Arts in Istanbul. For Kaygun, who developed an artistic interest in photography during his university years, graphics and photography were two fields that nourished and completed one another. Kaygun's Polaroid series represented his first attempt at manipulating photographs. Works from this series have been included in the International Polaroid Collection and exhibited in major museums and art institutions.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR48,22 €

HASAN DENIZ.MareMagnum

Hasan Deniz. Alte liebe. [Exhibition catalogue]. 18 March - 26 April 2014, Millî Reasürans Sanat Galerisi. Curator: Amelie Edgü. Translation: Robert Bragner. Text by Murat Gülsoy.

As New English Paperback. Pbo. Mint. 4to. (32 xx 24 cm). In English and Turkish. 54, [1] p. Color and b/w photos. 1000 copies were printed. ALTE LIEBE, an exhibition of photographs by Hasan Deniz, will be open to viewers at Milli Reasürans Art Gallery from 18 March to 26 April this year. The show takes its name from the German phrase Alte Liebe, which means 'Old Love' and is a notion that appears in many branches of the arts from literature to painting and cinema. Defining the Alte Liebe idea in terms of the relationship that he establishes between images of different cities on the one hand and his personal history on the other, Hasan Deniz explores the memories of spaces that are as stark and devoid of human beings as possible. The photographs in ALTE LIEBE focus on images that explore the concepts of time/timelessness and space / spacelessness in such a way as to complement one another. The photographs avoid, as much as possible, any information that might give a clue as to where they were actually taken. Instead they inspire feelings of abandonment, dereliction, and incompleteness while provoking viewers to read them in their own way. In his work as a photographer, Hasan Deniz takes great pains to create images that refrain from denoting time and from documenting anything. We are made to sense this effort through constructs that are undefined and unidentified by any contextual information such as writing or people. In his own words, the artist concentrates instead on 'content rather than on light and composition'. In the works in this show, we observe him turning his attentions to otherwise obscure details that only a careful eye might notice rather than focusing on the familiar, 'iconic' objects and spaces of countries and cities. Hasan Deniz pursues the stories, as related in their own interior voices, of things to which we have become inured and of buildings and spaces that we pass by every day, sometimes without even noticing them. Viewed individually and as a whole, Hasan Deniz's images encourage us to read them on the basis of the concepts of timelessness and spacelessness.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR47,29 €

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