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The interpretation by Ant Aksan focuses on the futility of the revolution and the continuity of repression: The actress, Ayşegül Sünetçioğlu – mad, outraged, dangerous –knows that torture has not been abolished and that the same enemies of 1793--war profiteers, religious bigots, and capitalist overlords--also prosper in 1808. The audience is reminded that much holds true over time.

A male figure, totally naked, points a white stick at a murder of crows at his feet, keeping you guessing about whether he is a blind man with a stick groping his way through a complex puzzle or a tyrant trying to force the birds into a pattern. The name “Hierarchy” seems to favor the second interpretation.

Various statues have been removed in Turkey in the last year on claims of being obscene. Two months ago, the AKP municipality in Ordu removed some female statues, while were also winners of an international competition, saying they “conflicted with public morals.”

A trip to Paris a year after Charlie Hebdo shows how Parisians are hit but not sunk.   The weather is freezing but who cares? The women of Paris stride in down-coats or luxurious furs out through the sales; long lines wait before the top two exhibitions, “The Images of Prostitution” at the Musée d’Orsay […]

Artist Ozan Ünal’s latest exhibition ‘The Seesaw and the Spoilsport’ describes stages of courtship through statuettes of a man and a woman on a seesaw Who wields more power in love? Is it the young and innocent, oblivious to their fragility? Or is it the one who is willing to give up first? Or is […]

With short platinum hair, dark eyebrows and a velvet black dress that hugs her figure, Güneş Topalöz more resembles a 21st century version of a Hollywood femme fatale rather than a painter who draws tortured portraits. The 24-year-old artist, who has previously displayed her work in the prestigious Pera Museum in Istanbul, uses crosses in […]

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