Director: Michelangelo Antonioni
Cast: Gabriele Ferzetti, Monica Vitti, Lea Massari
Italy, 143', 1960, black & white
Italian with Turkish subtitles
The first of Antonioni’s breakthrough film trilogy, L’avventura proved an “adventure” from its rough, perilous production to its troubled release, including charges of obscenity and immorality. Using a widescreen canvas for the first time, Antonioni’s signature experimental narrative style blossoms fully and radically around absence, initially in the form of a woman’s mysterious disappearance during a trip to an island. The ensuing search is composed of behaviors not fully comprehensible, desires abandoned and central plot points forgotten. Upon this dizzying post-war terrain, truth, love and happiness are unequally exchanged for money, sex and status, and all characters suffer from an emotional seasickness. Antonioni describes with stunning precision his indistinct, inarticulate explorers apprehensively treading toward, in his words, “the moral unknown.”
He didn’t expect this from me. And I hadn’t expected that we would decide to get married that day, at that moment. Everything happened all of a sudden, but exactly like it was supposed to happen in our day. We thought of the idea of marriage simultaneously, we smiled simultaneously, blinking and opening our eyes in unison.
When regarding the paintings of Istanbul by western painters, Golden Horn has a distinctive place and value. This body of water that separates the Topkapı Palace and the Historical Peninsula, in which monumental edifices are located, from Galata, where westerners and foreign embassies dwell, is as though an interpenetrating boundary.
The exhibition Look at Me! Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection examines portraiture, one of the oldest artistic genres, through a significant number of works of our times. Through the exhibition we will be sharing about the artists and sections in Look At Me!. This time we are sharing about Janine Antoni , exhibited under the section “The Conventions of Identitiy”!
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