Nueva Ola o Desencert (Short Version), 2004, 9 min 10 s, colour, sound
Courtesy of the artist
According to Joan Morey, the pillars on which this work is raised are the adoption of New Wave aesthetics and sound —specifically the sinister side of the movement and more exactly the band Bauhaus— and appropriation of the soundtrack and certain narrative styles from Jean-Luc Godard’s film Nouvelle Vague. The video is presented as a reflection on the hypertext mechanisms used in the two movements. Morey works as though he were a cultural engineer, a cryptic revisionist who takes some of the heritage of the two movements and makes it a complex scenario filled with meanings which are not always decipherable at first sight. The references to the recent past that both movements represent are not made from the asepsis of cultural history, as all the visual echoes, sounds, fragments of meaning or imagery the artist recovers are subjected to the strict code of ethics so characteristic of his work. Fetishistic clothing, acts of submission, emotions suppressed by asepsis, contained violence... all help establish connecting points between cultural manifestations which would otherwise seem irreconcilable.
A firm believer in the idea that a collection needs to be upheld at least by four generations and comparing this continuity to a relay race, Nahit Kabakcı began creating the Huma Kabakcı Collection from the 1980s onwards. Today, the collection can be considered one of the most important and outstanding examples among the rare, consciously created, and long-lasting ones of its kind in Turkey.
Pera Museum presents an exhibition of French artist Félix Ziem, one of the most original landscape painters of the 19th century. The exhibition Wanderer on the Sea of Light presents Ziem as an artist who left his mark on 19th century painting and who is mostly known for his paintings of Istanbul and Venice, where the city and the sea are intertwined. Through the exhibition, we will be sharing detailed information about the artist and the artworks.
When the Royal Academy of Arts offered Stephen Chambers the opportunity to produce new work for a focused exhibition in the Weston Rooms of the Main Galleries, Chambers turned to print and the possibilities it offered.
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