Situated in the capital of Canada, Ottawa, the National Gallery of Canada (NGC) is the apple of Canada's eye, which draws attention with its architecture, approach, and mission.
We spoke with internationally active artist Ahmet Öğüt about his journey from Ankara to London, his political art practice, and his public space projects. “Art Can Save Lives.”
In the new Netflix series The Museum of Innocence, adapted from the novel of the same name by Orhan Pamuk, the camera proposes a distanced gaze that moves closer to the characters’ states of mind rather than constructing a nostalgic period aesthetic.
The series treats space not as a backdrop but as a vessel of memory, obsession, and time; objects are not displayed, they accumulate as fragments of meaning.
We spoke with director Zeynep Günay and Orhan Pamuk about Netflix’s The Museum of Innocence, a timeless adaptation that feels as if it unfolds inside the book.
Under what conditions can an initiative working in a clearly defined field such as performance art sustain its existence and contribute to its discipline? What do art initiatives touch, and what do they transform within the art ecosystem? For the third conversation
What does it mean to be “independent” in art? Does an independent art initiative have a relationship with capital, and if so, how should that relationship be structured? Do initiatives—through the space they open up for solidarity, collaboration, and creativity—stand at the
Hale Tenger’s exhibition Hale Tenger / Borders / Borders, on view at The Art Gallery of Western Australia (AGWA) until February 8, brings together works produced over more than thirty years. We spoke with Tenger about this comprehensive exhibition, curated by Rachel
The devastation in Gaza threatens not only every aspect of daily life, but also art and cultural heritage.
In the exhibition “Pánta Rheî / Works 2021–2025,” Elvan Alpay’s works possess the quality of being an experimental field left to the material’s own flow, beyond being a fixed image.
Drawing from the surreal atmosphere of İkinci Yeni, and in what Onur Ünlü calls a “fantastical yarn,” the film A Son of the Sun is now moving from cinema to the theatre stage.
The exhibition MAYA brings together works produced in Mardin as part of an Artist-in-Residence Program, making visible a creative collaboration rooted in the city’s memory; we spoke with curator Ebru Nalan Sülün and participating artists about this process.
In this section, humans and artificial intelligence jointly design an AI they call “ZERO.” ZERO is conceived as a guide that can maintain its integrity even under pressure, monitor and report on its own consistency, and prioritize truth. In the third section,