Director: Chantal Akerman, Ulrike Ottinger, Helke Sander, Bette Gordon, Maxi Cohen, Valie Export, Laurence Gavron
Cast: Rosemary Hochschild, Delphine Seyrig, Michael Dick, Evelyne Didi, Luis Guzmán, Irm Hermann, Gabi Herz
France, Austria, Belgium, USA, Germany, 1987, 101', color
English, French, German with Turkish subtitles
Seven Women Seven Sins represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. Their modern conceptions range from the absurd, to the hilarious, to the outrageous. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary.
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Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.
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.
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