Rec, 2006, 
2 min 55 s, colour, sound
Courtesy of the artist

Hugo Alonso is an artist working in Salamanca (Spain). His training as a painter lurks behind his audiovisual creative work, which stands out for its devilish editing influenced by film-makers like Chris Cunningham and musicians on the electronic scene like Aphex Twin.

In recent years his work has leaned towards multidisciplinary dialogues with the history of film. This music video is conceived as a remake of the film Peeping Tom (Michael Powell, 1960) condensed into less than three minutes. What at first looks like a striptease in a sordid domestic setting gives way to a menacing relationship of submission, which thanks to the magic of the editing and the stop-motion technique turns into a psychedelic nightmare in which the spectator takes the final decision over the fate of the characters. The soundtrack is also by the artist.

Joseph Beuys

Joseph Beuys

Dara Birnbaum

Dara Birnbaum

John Sanborn, Kit Fitzgerald (Antarctica)

John Sanborn, Kit Fitzgerald (Antarctica)

Pipilotti Rist

Pipilotti Rist

Bjørn Melhus

Bjørn Melhus

Charley Case

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Olaf Breuning

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Cheryl Donegan

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Ana Laura Aláez

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Marc Bijl

Marc Bijl

Carles Congost

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Joan Morey

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 Adel Abidin

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Hugo Alonso

Hugo Alonso

Charles Atlas

Charles Atlas

Jesús Hernández

Jesús Hernández

César Pesquera

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Jorge Galindo and Santiago Sierra

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Istanbul’s Historical Peninsula in 18th and 19th Century Paintings

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With the Topkapı Palace, the center of political authority until the 19th century, and many other examples of classical Ottoman and Byzantine architecture included in its premise the Historical Peninsula is the heart of the Empire. 

Horror Vacui <br> Alejandro Almanza Pereda

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Alejandro Almanza Pereda

Pera Museum, in collaboration with Istanbul Foundation for Culture and Arts (İKSV), is one of the main venues for this year’s 15th Istanbul Biennial from 16 September to 12 November 2017.

The Search for Form

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A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.