Gender Identity (1985 – 1990)

  • December 20, 2015 / 14:00
  • December 26, 2015 / 16:00
  • January 16, 2016 / 14:00

Peter Gabriel, Sledgehammer, 1985 / Steve R.Johnson
Dire Straits, Money for Nothing, 1985 / Steve Barron
Simple Minds, All the Things She Said, 1985 / Rybzinsky
Kate Bush, Running Up that Hills, 1985 / David Garfath
The Smiths, The Queen is Dead, 1986 / Derek Jarman
Crowded House, Don’t Dream it’s Over, 1986 / Alex Proyas
Michael Jackson, Bad, 1987 / Martin Scorsesse
Madonna, Like a Prayer.1988 / Mary Lambert
The Cure, Lullaby, 1989 / Tim Pope
Chris Isaak, Wicked Game, 1989 / Herb Ritts
Madonna, Justify My Love, 1990. / J. B Mondino
Madonna, Vogue, 1990 / David Fincher
Depeche Mode, Enjoy the Silence, 1990 / Anton Corbijn
Sonic Youth, Kool thing, 1990 / Tamra Davis
Sinead O’Connor, Nothing Compares 2 U, 1990 / John Maybury

Duration: 1 hour 13 minutes

The Artists’ Music Video (1966 – 2012)

The Artists’ Music Video (1966 – 2012)

The Music Video before MTV (1966 – 1980)

The Music Video before MTV (1966 – 1980)

MTV and the Golden Age of Music Videos (1981 – 1984)

MTV and the Golden Age of Music Videos (1981 – 1984)

Gender Identity (1985 – 1990)

Gender Identity (1985 – 1990)

The Director’s Music Video (1991 – 1998)

The Director’s Music Video (1991 – 1998)

Recent Music Videos (2000 – 2012)

Recent Music Videos (2000 – 2012)

Today's Stories: Coal <br>Pelin Buzluk

Today's Stories: Coal
Pelin Buzluk

Inspired by the exhibition Istanbuls Today, Today's Stories series starts with Pelin Buzluk's story "Coal"! TThis series gathers short stories written by authors encouraged by the photographs in the exhibition.

Midnight Stories: The Red Button <br> Funda Özlem Şeran

Midnight Stories: The Red Button
Funda Özlem Şeran

It was a quiet night in the dessert. Even the mice weren’t around. A few LEDs blinked in the dark, and the sound of a fan filled the infinite void. The conversation cutting the silence seemed to go nowhere.

Giacometti in Paris

Giacometti in Paris

The second part of exhibition illustrates Alberto Giacometti’s relations with Post-Cubist artists and the Surrealist movement between 1922 and 1935, one of the important sculptures series he created during his first years in Paris, and the critical role he played in the art scene of the period.