Endless Possibilities with Colored Blocks

Pera Kids
Ages 7-12

  • July 25, 2024 / 13:30
  • August 1, 2024 / 16:30

Using the building toy made of colorful wooden blocks with unlimited design possibilities, children design creative characters with the pieces they assemble on top of each other, side by side, and in various ways. In the workshop inspired by the exhibition PƎRⱯ Reverse, working in groups with different toy sets, the children give names and stories to the characters they design collectively. Then, on paper, they depict these characters in a fantastical space that they create by deforming the usual forms we encounter in daily life.

Capacity: 12 people
Duration: 90 minutes
Fee per workshop: 250 TL

The event will take place in the Pera Museum (face-to-face).
For more information: ogrenme@peramuzesi.org.tr

in collaboration with

About TAHTOY
Tahtoy was founded in 2022 by artists Candan İşcan and Kerem Ardahan, who share the same studio and the same attitude towards life. With the motto "extraordinary toys for creative people", Tahtoy produces toys that liberate the play experience, nurture creativity, have no rules, and are timeless, genderless, open-ended and collectible.

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History of a Khanjar

History of a Khanjar

Henryk Weyssenhoff, author of landscapes, prints, and illustrations, devoted much of his creative energies to realistic vistas of Belorussia, Lithuania, and Samogitia. A descendant of an ancient noble family which moved east to the newly Polonised Inflanty in the 17th century, the young Henryk was raised to cherish Polish national traditions.

The Search for Form

The Search for Form

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.

The First Nudes

The First Nudes

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’.