For All the Time, for All the Sad Stones

Artist: Nicola Lorini
2019, 7', color

Inspired by its Anatolian Weights and Measures Collection, Pera Museum hosted a contemporary video installation titled For All the Time, for All the Sad Stones between September 5 - November 24, 2019 by artist Nicola Lorini. The installation was centered around a video with sound, and includes a set of sculptural objects made of different materials including sand, silicone and deer bones. Having taken its starting point from recent events, in particular the calculation of the hypothetical mass of the Internet and the loss of weight of the model of the kilogram and its consequent redefinition, the installation reminded us of the post anthropocentric understanding of time and history in these days when our social practices are fundamentally being changed.

Weights And Measures Issue Title Weight And Sea

Weights And Measures Issue Title Weight And Sea

Weights And Measures

Weights And Measures

Paperweights

Paperweights

Modern Scales

Modern Scales

Precision: The Measure of All Things

Precision: The Measure of All Things

Cloud Profiles: Weightless Measures

Cloud Profiles: Weightless Measures

For All the Time, for All the Sad Stones

For All the Time, for All the Sad Stones

Jean-Léon Gérôme: Cultural Interactions in the Age of Change

Jean-Léon Gérôme: Cultural Interactions in the Age of Change

Jean-Léon Gérôme is among the most renowned artists of the second half of the 19th century. One of the most fervent advocates of academic painting, Gérôme declared a personal war against modern movements such as Impressionism. 

Cameria (Mihrimah Sultan)

Cameria (Mihrimah Sultan)

Based on similar examples by the European painters in various collections, this work is one of the portraits of Mihrimah Sultan, who was depicted rather often in the 16th century.

Midnight Stories: The Soul <br> Aşkın Güngör

Midnight Stories: The Soul
Aşkın Güngör

The wind blows, rubbing against my legs made of layers of metal and wires, swaying the leaves of grass that have shot up from the cracks in the tarmac, and going off to the windows that look like the eyes of dead children in the wrecked buildings that seem to be everywhere as far as the eye can see.