Zeynep with her mother and daughter, is trying to survive in a rundown apartment located in the streets of Tarlabaşı, a neighbourhood with abandoned buildings waiting to be victimized by urban gentrification. Taking up the space of a tiny particle in the universe, Zeynep is a woman, a worker, and a mother. The camera never ceases to follow her, thereby we watch Zeynep as she strives to find a job after getting fired, as she tries to keep her family together, and as she struggles in dark alleys and workplaces. The film taunts us with the claustrophobic and often ignored aspects of the city we live in, and intensifies with Jale Arıkan’s powerful performance.
Trailer
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.
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.
In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.
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