December 5, 2019 - March 1, 2020
At the 180th anniversary of invention of photography and the first photography trip that took place in 1839, A Road Story: 180 Years of Photography exhibition brought together interpretations and perspectives of photographers who explored the same route with today’s techniques.
French painter Émile Jean Horace Vernet, painter Charles Marie Bouton who is among the inventors of Diorama technique, and daguerreotypist Frédéric Auguste Antoine Goupil-Fesquet depart from the Port of Marseille in October 1839 to take photographs and return to Marseille six months later, in April 1840 passing from Livorno, Malta, Syros, Paros, Naxos, Santorini, Alexandria, Cairo, Luxor, Suez, Mount Sinai, Gaza, Bethlehem, Jerusalem, Nablus, Sayda, Deir Al Qamar, Damascus, Tripoli, Baalbek, Beirut, Larnaca, Rhodes, Kos, İzmir, Dardanelles, İstanbul and Rome.
Frédéric Auguste Antoine Goupil-Fesquet conveyed his impressions about this journey in his book, Voyage d’Horace Vernet en Orient that would be published in 1843.
At the 180th anniversary of this first known group photography trip, the exhibition curated by Engin Özendes featured the artists Coşkun Aral, Laleper Aytek, Ali Borovalı, Murat Germen, Sinan Koçaslan, Yusuf Sevinçli, Alp Sime, Lale Tara, Serkan Taycan and Cem Turgay. The photographs they took during their trips to the stops of the earlier journey reflected a contemporary take on these cities with rich histories.
Exhibition Catalogue
At the 180th anniversary of invention of photography and the first photography trip that took place in 1839, A Road Story: 180 Years of Photography exhibition brings together...
At the 180th anniversary of invention of photography and the first photography trip that took place in 1839, A Road Story: 180 Years of Photography exhibition brings together interpretations and perspectives of photographers who explore the same route with today’s techniques. As part of exhibition, an exhibition tour with the curator Engin Özendes will be organized on January 19, at 19.00.
At the 180th anniversary of invention of photography and the first photography trip that took place in 1839, A Road Story: 180 Years of Photography exhibition brings together interpretations and perspectives of photographers who explore the same route with today’s techniques. As part of exhibition, an exhibition tour with the curator Engin Özendes will be organized on January 19, at 19.00.
For the first talk of the exhibition, curator Engin Özendes will be in conversation with Ali Borovalı and Cem Turgay.
At the 180th anniversary of the invention of photography and the first photography trip that took place in 1839, A Road Story: 180 Years of Photography exhibition brings together interpretations and perspectives of photographers who explore the same route with today’s techniques. The talk featuring Coşkun Aral and Yekta Kopan, which will be organized as part of the exhibition, focuses on Aral's exhibited photographs of Mount Sinai, Gaza, Bethlehem, Jerusalem, Nablus, Sidon, Deir el-Qamar, Damascus and Tripoli as well as his experiences in those places.
Video
Inspired by its Anatolian Weights and Measures Collection, Pera Museum presents a contemporary video installation titled For All the Time, for All the Sad Stones at the gallery that hosts the Collection. The installation by the artist Nicola Lorini takes its starting point from recent events, in particular the calculation of the hypothetical mass of the Internet and the weight lost by the model of the kilogram and its consequent redefinition, and traces a non-linear voyage through the Collection.
In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.
Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.
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