Pera Reverse Exhibition - Revision history

Admin: Undo: restore previous version

2026-09-07T12:41:06Z

Undo: restore previous version

← Older revision		Revision as of 12:41, 7 September 2026
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	~~#REDIRECT~~ [[Pera Reverse]]		Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.
			PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
			* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

			Mona Mahall, Asli Serbest, Yelta Köm

			[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]

			== See also ==

			* [[Link 1]]
			* [[Link 2]]
			* [[Link 3]]

			== External Links ==
			*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
			*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
			*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]

			[[index.php?title=Category:Exhibition]]

Admin: Merged into Pera Reverse; previous content remains in history

2026-09-07T12:38:32Z

Merged into Pera Reverse; previous content remains in history

← Older revision		Revision as of 12:38, 7 September 2026
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	Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.		#REDIRECT [[Pera Reverse]]
	PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[~~[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the~~ Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
	* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

	~~Mona Mahall, Asli Serbest, Yelta Köm~~

	~~[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]~~

	~~== See also ==~~

	* [[Link 1]]
	* [[Link 2]]
	* [[Link 3]]

	~~== External Links ==~~
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]
	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]

	~~[[index.php?title=Category:Exhibition~~]]

Admin: hover görselleri eklendi

2026-08-26T15:04:35Z

hover görselleri eklendi

← Older revision		Revision as of 15:04, 26 August 2026
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	Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s Orientalist Painting Collection, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.		Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s <span class="hover-word">Orientalist Painting Collection<span class="hover-pop">[[File:Tortoise.jpg\|200px]]</span></span>, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.
	PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a Guzmania plant, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented urban topography of the Pera area, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.		PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a <span class="hover-word">Guzmania plant<span class="hover-pop">[[File:Guzmania.jpg\|160px]]</span></span>, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented <span class="hover-word">urban topography of the Pera area<span class="hover-pop">[[File:Pera-1900.jpg\|250px]]</span></span>, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
	* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.		* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.

Ghazalng at 16:51, 16 July 2025

2025-07-16T16:51:49Z

← Older revision		Revision as of 16:51, 16 July 2025
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	Mona Mahall, Asli Serbest, Yelta Köm		Mona Mahall, Asli Serbest, Yelta Köm

			[[File:TersYuz Salon 0028.jpg\|frameless]] [[File:TersYuz Salon 0043.jpg\|frameless]] [[File:TersYuz Salon 0104.jpg\|frameless]]

	== See also ==		== See also ==
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	*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]		*[https://www.uni-weimar.de/de/universitaet/start/ Bauhaus University Weimar]

	[[Category:Exhibition]]		[[index.php?title=Category:Exhibition]]

Ghazalng at 16:28, 16 July 2025

2025-07-16T16:28:19Z

← Older revision		Revision as of 16:28, 16 July 2025
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	* [[Link 2]]		* [[Link 2]]
	* [[Link 3]]		* [[Link 3]]

	~~== References ==~~

	== External Links ==		== External Links ==

Ghazalng at 16:28, 16 July 2025

2025-07-16T16:28:09Z

@@ Line 1: / Line 1: @@
-{{InfoboxSimple
+Pera Museum presented the exhibition PƎRⱯ Reverse* in collaboration with Bauhaus-Universität Weimar’s “Practices and Politics of Representation” class, led by Prof. Mona Mahall with Yelta Köm, and Hochschule für Künste Bremen’s “Temporary Spaces” class of Prof. Aslı Serbest. The exhibition brought together multiple perspectives on contemporary art spaces and their urban neighbourhoods in Istanbul, moving between high and popular cultures. Departing from two paintings in the Suna and İnan Kıraç Foundation’s Orientalist Painting Collection, the participants explored global capitalist relations and localized cultural practices in art, as well as the role of architecture in both establishing and revealing the ways in which institutions mediated and operated in relation to their urban environments in a specific place and time.
-| title = 1. Kernmodul: Darstellen und Gestalten
+PƎRⱯ Reverse consisted of three parts, entitled “Globals,” “Steps,” and “Speculations.” In “Globals,” adaptations of light signs, pools, a Guzmania plant, and the smell of detergent mimicked and exposed the global city as a ruin, while the low-hanging chandelier borrowed from the Pera Museum’s Art Deco café emphasized the institution’s glamorous fragility. “Steps” addressed the trauma that came with the reality of representation, which failed to enact the world—or, in this case, the complex and fragmented urban topography of the Pera area, full of different stairs and ramps. They highlighted the absurdity of the universalist dream of form and norm promoted by Bauhaus modernism in particular and Westernized modernity in general, with its linear concepts of progress, the nation-state, and the rigid politics of physical and metaphysical borders. “Speculations” commented on the increasingly abstract and transnational processes of global economic, political, and aesthetic speculation and valuation that performed violence differently—through ongoing operations of unequal exchange. The exhibition speculated on alternative values by exploring local non-profit art spaces and engaging cultural workers and visitors in a public program.
-| image = Test.jpeg
+* PƎRⱯ Reverse proposed themselves as an institution—one in the process of self-instituting a set of shared practices—to explore the role of (cultural) institutions in different places in a world that was both increasingly connected and fractured. They brought together a shifting group of artists, architects, and researchers from Istanbul, Ankara, Izmir, Tehran, Hong Kong, Osaka, Berlin, Bremen, Weimar, and other German cities.
-[[File:Leonardo Phoenix 10 create a 2d floor plan for family in Tehra 1.jpg|thumb|AI Floor plan ]]
+Mona Mahall, Asli Serbest, Yelta Köm
 == See also ==

Ghazalng at 11:58, 25 June 2025

2025-06-25T11:58:58Z

← Older revision		Revision as of 11:58, 25 June 2025
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	\| Academic year = [[Summer 2023]]		\| Academic year = [[Summer 2023]]
	}}		}}

	Open Studio invites students to explore diverse architectural and artistic processes in a collaborative environment. Work is discussed across disciplines, with an emphasis on mutual care, situated practice, and openness of result.

	[[File:Leonardo Phoenix 10 create a 2d floor plan for family in Tehra 1.jpg\|thumb\|AI Floor plan ]]		[[File:Leonardo Phoenix 10 create a 2d floor plan for family in Tehra 1.jpg\|thumb\|AI Floor plan ]]

Ghazalng at 11:42, 25 June 2025

2025-06-25T11:42:56Z

@@ Line 1: / Line 1: @@
-[[Academic Year 2023|Summer 2023]]
+{{InfoboxSimple
-Exhibition
+Open Studio invites students to explore diverse architectural and artistic processes in a collaborative environment. Work is discussed across disciplines, with an emphasis on mutual care, situated practice, and openness of result.
-Mona Mahall, Asli Serbest, Yelta Köm
+[[File:Leonardo Phoenix 10 create a 2d floor plan for family in Tehra 1.jpg|thumb|AI Floor plan ]]
 [[Category:Exhibition]]

Ghazalng at 13:05, 19 June 2025

2025-06-19T13:05:00Z

← Older revision		Revision as of 13:05, 19 June 2025
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	Mona Mahall, Asli Serbest, Yelta Köm		Mona Mahall, Asli Serbest, Yelta Köm

			[[Category:Exhibition]]

Ghazalng: Ghazalng moved page Pera reverse exhibition to Pera Reverse Exhibition

2025-06-19T12:33:55Z

Ghazalng moved page Pera reverse exhibition to Pera Reverse Exhibition

← Older revision		Revision as of 12:33, 19 June 2025
(No difference)