Artist: Jonathan Caouette
USA, 88’, 2003
English with Turkish subtitles
"This self-portrait of an artist offers concrete support for the idea... that art can heal some of the wounds that life inflicts." —A.O. Scott, The New York Times
Still unlike anything before or since, Jonathan Caouette’s mesmerizing, twenty-years-in-the-making documentary-essay is an ultra-personal mélange of 8mm home movies, phone messages, reenactments, and head-spinning surreal freakouts documenting his tumultuous coming of age with a mentally ill mother. Frequently devastating, yet shot through with love for the troubled woman at its center, Tarnation remains “a remarkable film, immediate, urgent, angry, poetic, and stubbornly hopeful” (Roger Ebert).
It was a quiet night in the dessert. Even the mice weren’t around. A few LEDs blinked in the dark, and the sound of a fan filled the infinite void. The conversation cutting the silence seemed to go nowhere.
A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.
When Karl XII of Sweden was defeated by Tsar Peter the Great of Russia in 1709, he fled to the Ottoman Empire and settled in Bender with his entourage for five years.
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