Acid Rock, 1982
, 4 min 9 s, colour, sound
Courtesy of Electronic Arts Intermix (EAI), New York
Since the end of the 1970s Dara Birnbaum has been making videos and installations in different formats with which she tries to recontextualise and subvert the icons of pop culture and the mass- media archetypes related to the consumer society and television. This is why her works sometimes take the form of telefilms, soap operas, sports programmes, publicity spots or music videos, into which she inserts subtexts that critically deconstruct the underlying ideology of the images. This is the approach taken in Acid Rock, a video made in 1982 for Documenta 7 in Kassel, during the period when the MTV music video channel flourished and had most influence in the American music industry. Dara Birnbaum recomposes the Doors’ song L.A. Woman and appropriates elements from advertising as though they were ready-mades, turning them into a feminist and anti-consumer tirade criticising the sexism of television advertising.
In his book exploring the cultural history of souvenirs, Rolf Potts discusses how such objects assume meaning through personal stories: Objects turn into memories with the stories they hold.
A firm believer in the idea that a collection needs to be upheld at least by four generations and comparing this continuity to a relay race, Nahit Kabakcı began creating the Huma Kabakcı Collection from the 1980s onwards. Today, the collection can be considered one of the most important and outstanding examples among the rare, consciously created, and long-lasting ones of its kind in Turkey.
In the works of western painters, we encounter mosques as the primary architectural elements that reflect the identity of the city of Istanbul. Often we can recognize the depicted landscape as Istanbul simply from the mosques.
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