Meriem Bennani, 2018
26’
Party on the CAPS follows the inhabitants of CAPS, an island in the middle of the Atlantic Ocean where refugees and immigrants ‘illegally’ traversing oceans and borders are interned. When international travel has been streamlined into teleportation, Party on the CAPS imagines the structures of displacement (physical and psychological) imposed upon immigrants intercepted by the United States. For Bennani, liminality of identification is often what defines diaspora. CAPS is a physical manifestation of that liminality, with its residents existing between geographic endpoints, states of citizenship, ages and genders.
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.
Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.
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.
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