Aposto Magazine

Ramize Erer’s exhibition “Séparation” has opened in room 44 of Hôtel Langlois, a hotel that carries the historic atmosphere of Paris into the present. We spoke to Ramize Erer and the curator Nazlı Pektaş about the sadness and transience in the paintings and what the space brings to the exhibition.

Ramize Erer’s Séparation in Paris: parting in room 44

In his book “Deniz Canavarları”, Roger Crowley describes how Portugal built a lasting empire in the Indian Ocean with a small navy, how maritime trade transformed global relations of power, and where this process stands in the history of colonialism. We spoke to the author about the relationship between trade, military power and violence at the dawn of globalisation.

Roger Crowley: ‘The empire Portugal built was a product of its own poverty’

Grouper, the solo project of American artist Liz Harris, comes to the Fiba Salon İKSV stage on 4 November. We met her on Zoom before the concert to talk about music today and how she draws on darkness.

Grouper’s Liz Harris: is mystery in music still possible?

First held in 2006, Sinopale has, over twenty years, become one of Türkiye’s longest-running independent art initiatives. On the occasion of its 10th edition, we sat down with the biennial’s founders, curators and artists to talk about the relationship Sinopale has built with its city and the ways local knowledge meets contemporary art.

Sinopale’s founders, curators and artists on what the biennial has changed in Sinop

Putting cultural heritage at the service of tourism is one thing; designing tourism so that it helps people experience cultural heritage more deeply and more sustainably is another. When we confuse the two, a work can easily turn into a logo, a souvenir or an image consumed on social media.

From the Riace Bronzes to Türkiye: a museum ecosystem. Where does a museum end?

Why is the distance between rejecting an order and building another in its place so great? Romain Gavras’s 2022 film “Athena” does less to answer this question than to set it before us in all its violence. Through a sense of movement that grows each time the crowds enter the frame and a dizzying editing pace, the film shows how anger can turn into collective energy.

From Romain Gavras’s ‘Athena’ to ‘La Commune’: the anger is there, so why no revolution?

Nermin Ülker’s exhibition “Dört Köşeli Üçgen: Yerini Bulamamış Cümlelerin Anıtları”, curated by Filiz Ağdemir, is on view at Black Light Gallery from 16 October to 5 December. We spoke with Nermin Ülker and Filiz Ağdemir about the show.

Nermin Ülker: ‘Sometimes the way to express something is to leave it incomplete’

Contemporary Art

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