Shadows will be praised at the Istanbul Modern

ISTANBUL - ’In Praise of Shadows’ is the latest exhibition of the Istanbul Museum of Modern Art. Opening this week, the contemporary art pieces depict various different influences from the shadow theater tradition.

Shadows will be praised at the Istanbul Modern

A new exhibition looking at the influences of traditional shadow theatre on 20th century cinema and contemporary art at the Istanbul Museum of Modern Art, titled " In Praise of Shadows."

The exhibition, sponsored by UBS and curated by Paolo Colombo, brings together the works of eight contemporary artists from seven countries and two master filmmakers from the first half of the 20th century.

"In Praise of Shadows" is an exhibition influenced by the long history of shadow theater in Greece and Turkey, based on folk tales and simple narratives performed through dance, opera, music and silhouettes. The exhibition is a collaboration with the Irish Museum of Modern Art and the Benaki Museum and explores the parallels between the traditions of shadow theater and the new narrative spirit in contemporary art.

Oya Eczacibaşi, the chair of board of Istanbul Modern, announced that activities and workshops will be organized as part of the exhibition to teach people about these traditions. She said there would be a very rich program at the exhibition that would give young people the opportunity to make puppets and films about the subject. "Activities and shows organized in parallel to the exhibition will make Karagöz, an important part of our cultural heritage, to be on the agenda once again," said Eczacibaşi speaking at a press conference at the Istanbul Modern yesterday.

Books to be available
In addition to the activities and the information panels that give a detailed insight into the history of the puppet tradition, books on the subject will also be available at the Istanbul Modern library and DVD’s of the shows will be on sale at the museum shop.

Paolo Colombo, curator of "In Praise of Shadows" said shadow theater has a privileged place in pre-cinema history due to its long-established tradition, richness and essence. Colombo said the exhibition would not be so much about the tradition as honoring the tradition. "At the heart of this exhibition and its central metaphor are the shadow theater traditions from Turkey and Greece, and in particular, the character of Karagöz," said Colombo also speaking at the press conference.

Colombo said the exhibition was a collection of powerful works by individuals who worked with precision and therefore it was important to spend time absorbing the details of each individual artist as each of the works differ from one another. Speaking about the films that will be exhibited Colombo said they were films that weer humble, direct and unpretentious and these attributes made them all the more effective.

Special relationship

"In Praise of Shadows" brings together works and films of Haluk Akaçe (Turkey), Nathalie Djurberg (Sweden), William Kentridge (South Africa), Katariina Lillqvist (Finland), Jockum Nordström (Sweden), Lotte Reiniger (Germany), Christiana Soulou (Greece), Ladislas Starewitch (Poland), Andrew Vickery (Great Britain) and Kara Walker (United States). Colombo said the works in the exhibition were chosen because of their special relationship to the world and to categories of Turkish and Greek shadow theater.

The exhibition "In Praise of Shadows," opened yesterday, will be on display at the Istanbul Museum of Modern Art through May. 6.

THE INT’L ARTISTS ’PRAISING’ SHADOWS
Haluk Akakçe, 1970, is renowned for his creative videos that explore mans’ relationship with technology. In this exhibition through the use of a "Shadow Machine," Akakçe will exhibit objects and revolving wheels, to the accompaniment of music by Offenbach.

Nathalie Djurberg, 1978, participates in the exhibition with two works in which she has employed the technique of clay-mation to construct short and intense narratives: "Madelaine the Brave" and "Viola."

William Kentridge, 1955, has early drawings, a miniature theater model "Preparing the Flute" and a short interpretation of Mozart’s "Magic Flute" in the exhibition. The artist has worked with silhouettes techniques since "Shadow Procession," a video presented at the sixth Istanbul Biennial, that comprises direct references to Turkish and Greek shadow plays.

Katariina Lillqvist, 1963, is a filmmaker who uses handmade puppets as actors in her movies. Her stories are frequently adapted from existing tales or from literary classics, history and old beliefs. Her films have a unique dark quality, a clear awareness of human despair.

Through drawings and collages, Jockum Nordstrom, 1963, constructs complex narratives in which popular culture, traditional tales, sexuality and desire mingle to give life to scenes that have both depth and width. With his works that in form resemble Greek and Balkan folk art in many ways, he presents us with sweeping views of life and social dynamics, and interpersonal plays about Sweden.

Lotte Reiniger, 1899, who developed silhouette film techniques in the 1920s and is one of the first filmmakers to employ the significant animation and film tricks in the first half of the 20th century, will be exhibiting "The Adventures of Prince Ahmed."

Christiana Soulou, 1961, will be taking part in the exhibition with "Water," a series of 70 drawings, that explore statements on the human condition, an inner world that is ever changing, mobile and transforming at the whim of an emotion.

In the films of Polish filmmaker Ladislas Starewitch, 1882, many puppets move at the same time. In the exhibition these films of Ladislas Starewitch will be screened: his only feature length film "The Tale of the Fox;" "The Mascot" narrating the attempts of a puppy cloth doll named F�tiche; "Love in Black and White" where Hollywood is satirized with Charlie Chaplin; "Town Rat, Country Rat," showing the sharp contrast between country and urban life, and "Roaring Twenties."

Andrew Vickery, 1963, exhibits his miniature theater stage from the collection of the Irish Museum of Modern Art and is a type of contemporary puppet presentation. The artist photographs his drawings and projects them as slides in tiny theaters he builds himself. His work, "Do You Know What You Saw?" refers to an imaginary diary account of a trip to Bayreuth to attend a performance of Richard Wagner’s opera "Parsifal."

In the exhibition, videos and silhouette installations by Kara Walker, 1969, that share a number of characteristics with Karagöz and Karaghiozis plays, and her drawings and pictures are on display. Walker who has embraced shadow play techniques in recent years, employs them both in video animation and in real shadow plays. Hurriyet