Category Archives: Art

Edirne

This is about a May Day trip to the second Ottoman capital from the third. In the latter, the government has been suppressing May Day demonstrations in Taksim Square since 2013. That year, the suppression may have helped provoke the Gezi Park protests, as I suggested in “May Day One Month Late.” I reported on the following year’s suppression in “Madness, Stupidity, or Evil?” This year (2017), labor unions held a legal May Day demonstration in Bakırköy, further west in European Istanbul, as reported by the Anadolu Agency (which as far as I know is owned by the Turkish state). My wife and I just got out of town.

Selimiye Mosque, 2017.04.30

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36th Istanbul Film Festival, 2017

This is about seeing six films in the Istanbul Film Festival, which began this year (2017) on Wednesday, April 5.

Kazimer Malevich, Suprematist Composition: White on White, 1918 (MoMA)

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Victor Vasarely

Tophane-i Amire

Tophane-i Amire, 2017.03.25

Last week I wrote about the Turkish Impressionist Feyhaman Duran, born in 1886. Now my subject is the Hungarian-French Op Artist born twenty years later as Győző Vásárhelyi. His “Rétrospective en Turquie” is at the Tophane-i Amire Culture and Art Center in an Ottoman cannon foundry.

Vasarely show

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Feyhaman Duran

Born on the Asian side of Istanbul in Kadıköy in 1886, İbrahim Feyhaman was orphaned nine years later. His father had been a poet and calligrapher. His mother’s dying wish was that Feyhaman attend the Lycée Impérial Ottoman de Galata-Sérai; his maternal grandfather, Duran Çavuş, saw that this happened. Some time after graduation, headmaster Tevfik Fikret had Feyhaman come back to Galatasaray to teach calligraphy.

Garden of Aşiyan, September 10, 2015

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NL X: “Passion”

Index to this series

Passion is literally the correlate of action, as suffering is the correlate of doing. In the ordinary, vulgar sense, passion is our response to what we suffer. This is how we shall understand it.

Sagrada Familia, west front, November, 2008

Sagrada Familia, Passion Façade, November, 2008

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Smarts and Intelligence

I juxtapose interviews with Donald Trump and a schoolchild.

CK boy

Rock star mascarading as Roy Fox

trumpwallace1-960x640

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Thinking & Feeling

This essay is written as a distraction from current events, though I make some reference to them. I am prompted by questions of analogy provoked by

  1. the similes of Homer, and
  2. a recent theater review in Harper’s that mentions the parables of Jesus.

DSC06654 (2)
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Rock & Roll

The May 2016 Harper’s features a review of some books about the rock band called Guns N‘ Roses. I find this a bit odd, though perhaps reassuring, since I think I am too old for Guns N’ Roses, and yet Harper’s seems pitched at people who are at least as old as I. During the former editorship of Lewis Lapham, the magazine ran cigarette ads; now it runs ads for retirement communities, hearing aids, and mobile phones with large buttons.

Guns N’ Roses performing at the Los Angeles Street Scene, September 28, 1985 © Marc Canter

Guns N’ Roses performing at the Los Angeles Street Scene, September 28, 1985 © Marc Canter

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35th Istanbul Film Festival, 2016, part 3

Part 1 | Part 2

Between the composing of parts 1 and 2 of this account came the death of Prince, whose work had inspired Rain the Color of Blue with a Little Red in It. Between the composing of parts 2 and 3 came the release of the four Turkish peace activists, whose imprisonment had given poignancy to The Demons and The Music of Strangers. There is a certain absurdity associated with each event.

Photo of book, Shakyamuni Buddha

Nikkyô Niwano, Shakyamuni Buddha: A Narrative Biography (Tokyo: Kôsei Publishing Co., 1980; fifth printing, 1989)

On the cover, a modern copy by Ryûsen Miyahara, owned by Risshô Kôsei-kai, of The Nirvana of the Buddha, painted in 1086 and owned by temple Kongôbu-ji, Wakayama Prefecture, Japan


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35th Istanbul Film Festival, 2016, part 2

Part 1

Book cover: Deer Hunting With Jesus

The Demons

Philippe Lesage. Canada. French. Fitaş 4, Monday, 16:00

Ayşe was teaching, but I was free to see a movie. The İstiklâl cinemas were twenty minutes by foot from our urban campus, or one subway stop, if you preferred. Our flat was one stop in the other direction. There was a festival cinema in Ortaköy, and another over on the Asian side; but without even considering these (which I have never visited), I had a Canadian, a Mexican, a Polish, and a Turkish film to choose from. I studied them on the festival website, though not too intently. You are not likely to go wrong with any festival film. Moreover, the catalogue synopses do not always provide an accurate sense. I chose the Canadian movie out of interest in this country that is both American and not. It is also where Ayşe and I met. Continue reading