Kalatozov's debut film places him alongside the great Soviet directors, in particular Dovzhenko for the poetic treatment of man in nature. But Kalatozov is harsh where Dovzhenko is lyrical, and Salt for Svanetia has more frequently been compared with Buñuel's Land without Bread of 1932. As in Buñuel, the subject matter itself is surreal: people, faced with medieval conditions in modern times, themselves remain ‘medieval.’ The film is a haunting portrait of the difficult life in a village in the Caucasus cut off by snows from the outside world for most of the year. Defensive architecture left over from the Crusades, and patriarchal rituals that favor men and death over women and birth, seem to be an extension of a barrenness (in particular, the lack of salt) that weakens the life drive. Kalatozov uses the poetry of repetition and juxtaposition, distance and extreme close-up, and mad rhythms.
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This life-size portrait of a girl is a fine example of the British art of portrait painting in the early 18th century. The child is shown posing on a terrace, which is enclosed at the right foreground by the plinth of a pillar; the background is mainly filled with trees and shrubs.
Inspired by its Anatolian Weights and Measures Collection, Pera Museum presents a contemporary video installation titled For All the Time, for All the Sad Stones at the gallery that hosts the Collection. The installation by the artist Nicola Lorini takes its starting point from recent events, in particular the calculation of the hypothetical mass of the Internet and the weight lost by the model of the kilogram and its consequent redefinition, and traces a non-linear voyage through the Collection.
The various states of viewing nudity entered the Ottoman world on postcards before paintings. These postcards appeared in the 1890s, and became widespread in the 1910s, following the proclamation of the Second Constitutional Monarchy, traveling from hand to hand, city to city.
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