Ali Kazma and Mari Spirito

Festival Talks

April 9, 2016 / 16:00

Pera Film hosts a series of events in the context of the 35th Istanbul Film Festival, organized by the Istanbul Foundation for Culture and Arts (IKSV). As part of Festival Talks, Ali Kazma and Mari Spirito come together on Saturday, April 9th at 16:00.

Video artist Ali Kazma and independent curator Mari Spirito will be discussing the organic and sometimes invisible bonds between video and cinema, as well as the interaction between video art and the world. Representing Turkey at the Venice Biennale with Resistance, and later examining art production with his works Atelier Sarkis, Play and Film, Ali Kazma in his videos, poses questions that assess the importance and meaning of labour, as well as today’s organizational structure of economy, production and society. Ali Kazma’s primary concern in his works is how the human production transforms its environment and the world, and how the world, in turn, shapes the human.

Free of admissions. The talk will be in English with simultaneous translation to Turkish.
Limited space, drop in.

Paris Without End (1959-1965)

Paris Without End (1959-1965)

In the 60s, Alberto Giacometti paid homage to Paris, the city where he lived, by drawing its streets, cafés, and more private places like his studio and the apartment of his wife, Annette. These drawings would make up his last book, Paris sans fin (Paris Without End). 

Cindy Sherman Look At Me!

Cindy Sherman Look At Me!

The exhibition Look at Me! Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection examines portraiture, one of the oldest artistic genres, through a significant number of works of our times. Through the exhibition we will be sharing about the artists and sections in Look At Me!.

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’.