Director: Jonathan Perel
Argentine, 2015, 82’, color
Spanish with Turkish and English subtitles
In the 1970s, Tucuman province in the northwest of Argentina was site to an armed rebellion of the rural working class. The uprising was violently dismantled by the country’s military, and to avoid any similar revolt in the future, the government relocated surviving indigenous peoples to four newly built settlements. It is in these four villages–each named after a different soldier who fell in the military response–that the film Toponimia takes place. Perel’s portrait offers only glimpses of the current inhabitants, their primary presence lying in the audio, while the camera records the fragile infrastructure that remains from the rapid planning forty years before.
Based on similar examples by the European painters in various collections, this work is one of the portraits of Mihrimah Sultan, who was depicted rather often in the 16th century.
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.
He had imagined the court room as a big place. It wasn’t. It was about the size of his living room, with an elevation at one end, with a dais on it. The judges and the attorneys sat there. Below it was an old wooden rail, worn out in some places. That was his place. There was another seat for his lawyer. At the back, about 20 or 30 chairs were stowed out for the non-existent crowd.
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