Director: Fredrik Gertten
Sweden 87’, 2011, color
Swedish with Turkish subtitles
What is a big corporation capable of in order to protect its brand? Swedish filmmaker Fredrik Gertten's experienced this recently. His previous film BANANAS!* (2009) recounts the lawsuit that 12 Nicaraguan plantation workers brought against the fruit giant Dole Food Company. The film was selected for competition by the Los Angeles Film Festival. Nothing wrong so far, right? But then Gertten gets a strange message: the festival removes BANANAS!* from competition. Then a scathing article appears in the Los Angeles Business Journal about the film, and Gertten subsequently receives a letter from Dole's attorney threatening him with legal action. What follows is an unparalleled thriller that has Gertten capturing the entire process - from DOLE attacking the producers with a defamation lawsuit, bullying scaretactics, to media-control and PR-spin. This personal film reveals precisely how a multinational will stop at nothing to get its way - freedom of speech is at stake. As Dole's PR company puts it, "It is easier to cope with a bad conscience than a bad reputation."
Trailer
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.
John Frederick Lewis is considered one of the most important British Orientalist artists of the Victorian era. Pera Museum exhibited several of Lewis’ paintings as part of the Lure of the East exhibition in 2008 organized in collaboration with Tate Britain.
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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