December 22, 2020 - March 14, 2021
Ranging from almost perfect transparency to complete opacity, crystals have been used in all areas of human activity, from science to magic, from technology to healing. Scientists typically describe crystals as “growing”, even though in their eyes they are not alive. Many living organisms, such as mollusks, are able to produce crystals. In ancestral cultures, crystals and minerals are regarded as sentient. Indeed, they constitute a perfect example of the fluid and porous boundaries between the animate and inanimate, organic and inorganic. Taking crystals and their vibrant matter as a point of departure, the exhibition Crystal Clear went beyond their emblematic use. Rather it aimed to develop a contained ecosystem with diverse entanglements of the production, display, and recycling of the artistic, curatorial, and institutional work, material and immaterial.
In collaboration with all the participating artists, Crystal Clear devised methods and tools for sustainable curating, going beyond just thinking about ecology or sustainability, but rather inventing and enacting principles allowing the reduction of the carbon footprint of exhibition making: radical limits on the shipping of objects, local collaborative production of exhibited work, creative recycling strategies, and extremely reduced travel for all the participants.
Conceived long before the advent of Covid-19 pandemic, the project was already developing models of programmatic changes for exhibition production. Interested in the imperfect contaminated transparencies of crystals and opacities of the soil, the project’s pre-Covid stage critically intersected with ideas from two books, “Down to Earth” by Bruno Latour and “The Transparency Society” by Byung-Chul Han. Today anyone can obtain information about anything. Everything—and everyone—has become transparent, unveiled and exposed. Yet transparency has its dark side and can turn into opacity, without us even noticing it.
But the pandemic shifted and bent many of our initial questions, which moved en masse into public discussions, getting new perspectives and points of view. Working through Covid conditions, Crystal Clear offered the artists the possibility of engaging with these and other current mutations of our environment, seen through the crystalline optics.
Curated by Elena Sorokina, the exhibition featured the artists Sammy Baloji, Minia Biabiany, Katinka Bock, Bianca Bondi, Gaelle Choisne, Sinem Dişli, Kıymet Daştan, Elmas Deniz, Gluklya (Natalia Pershina-Yakimanskaya), Deniz Gül, Ilana Halperin in collaboration with Knitstanbul, Gülsün Karamustafa, Yazan Khalili, Paul Maheke, Şener Özmen, İz Öztat, Hale Tenger, Güneş Terkol, Berkay Tuncay and Adrien Vescovi.
I Am Afraid To (Not) Forget, 2019
The Dictionary of Distance, 2020
Confused Examination Under Given Circumstances, 2020
Artisanal mining site #2, 2011
Ranging from almost perfect transparency to complete opacity, crystals have been used in all areas of human activity, from science to magic, from technology to healing. Scientists typically...
Pera Museum Learning Programs organize a series of colorful online workshops for teachers and school groups under the scope of the exhibition Crystal Clear.
Pera Museum Learning Programs organize online artist workshops for young and adults under the scope of the exhibition Crystal Clear.
Pera Learning is organizing various online workshops for children between the ages of 4 to 12 as part of its Half-Term Holiday Learning Programs from January 26 to February 13, 2021.
In a bid to review the International System of Units (SI), the International Bureau of Weights and Measures gathered at the 26th General Conference on Weights and Measures on November 16, 2018. Sixty member states have voted for changing four out of seven basic units of measurement. The kilogram is among the modified. Before describing the key points, let us have a closer look into the kilogram and its history.
Nam June Paik was video art’s pioneer (1932 –2006). It is interesting that while Warhol and Nameth were experimenting with psychedelic happenings that combined rock, film and performance, the video art pioneers Nam June Paik, Stephen Beck, Eric Siegel and Steina Vasulka were researching in a similar direction.
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.
Tuesday - Saturday 10:00 - 19:00
Friday 10:00 - 22:00
Sunday 12:00 - 18:00
The museum is closed on Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 25 TL
Discounted: 10 TL
Groups: 20 TL (10 people or more)
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