Spain ,USA, 2009–2011, HDV, DV, color, black & white, 99’
Spanish and English with Turkish subtitles
Dear Jonas, dear José Luis – a cinematic letter exchange in the form of nine short film notes, framed in classic style with a salutation and farewell greeting. Jonas Mekas, the Nestor of the American avant-garde, and Catalonian filmmaker José é Luis Guerín take turns in filming snapshots of their lives from all over the world, taking in driving snow, Ken and Flo Jacobs or pigeons on the street in New York here and reflections on a empty cinema screen and a moving conversation with Slovenian film critic Nika Bohinc there. Filmmaking and their two very different working methods also often form the theme. It is a correspondence between two different temperaments – Guerín’s stylized black and white and formalist will, Mekas’s wild video camera – and yet very much the work of two true pen pals.
Berggren acquires the techniques of photography in Berlin and holds different jobs in various European cities before arriving in İstanbul. Initially en route to Marseille, he disembarks from his ship in 1866 and settles in İstanbul, where he is to spend the rest of his life.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
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