What’s Your Cup Like

Pera Kids
Ages 7-9

How would you like to get together with our family to play “what’s it like” using cups? First, we will select cups of different shapes and sizes, which we will place in the middle where everyone can see. Each turn, someone gets to be “it”. For the first turn, one player has to volunteer to become “it”, and then select one cup from the group, without showing or telling the others. The other players will then ask “what’s it like”, trying to identify the cup using the hints about its color, shape, size and utility. The player who correctly guesses the cup becomes “it” next, and the game continues. If you wish, you can select from one of the cups on display at the Coffee Break exhibit.

Related Exhibition: Coffee Break 

Illustrator: İpek Kay
Game Writer: 
Neray Çeşme

This program is presented especially for the 100th anniversary of the April 23 National Sovereignty and Children’s Day, inspired by Pera Museum's digital exhibitions.

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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’.