Director: Pere Portabella
1970, 75', b&w
English with Turkish subtitles
Shot opportunistically in 16mm with sound negative on the set of Jesús Franco’s Count Dracula, Pere Portabella’s parasite film is, in his own words, ‘a film within a film, a discourse within a discourse, in other words, a “bloodsucking film” of another.’ A filmic landmark of the Spanish anti-establishment cinema of the 1960s and 70s, Portabella’s Vampir-Cuadecuc exemplifies the clandestine strategies employed by avant-garde filmmakers under the dictatorship of Francisco Franco.
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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