Director: Chikako Yamashiro
2017, 26', color
In Chikako Yamashiro’s Mud Man, a slumbering community is awakened by bird droppings that resemble clumps of mud falling from the sky. Voices speaking of history, nature and other communities emanate from the fallen clumps, evoking an analogy between flesh and earth, engaging the political experiences of Okinawa and Jeju islands, where the film is set, and the half-buried traumas of colonisation.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.
Pera Museum’s Cold Front from the Balkans exhibition curated by Ali Akay and Alenka Gregorič brings together contemporary artists from Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo, Macedonia, Montenegro, Romania, Serbia and Slovenia.
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