3 galleries · 3 museums · 0 places
This is the European shore of the Bosphorus, taken as one long ride up the water — from Beşiktaş, where the ferries churn and the fish market runs, north past Ortaköy and Bebek to Emirgan and the mouth of the Black Sea. The art is strung along it. Dolmabahçe Palace opens the stretch, six hundred metres of imperial Baroque on the waterline; further up, the Sakıp Sabancı Museum sits in a Bosphorus mansion at Emirgan; and at Rumelihisarı, the red-brick Perili Köşk holds Borusan Contemporary and its new-media collection. Between them: yalıs, mosques on the water, a fortress, the strait itself. The scale is horizontal. The Bosphorus organises everything.
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The twenty-first edition welcomes seventeen new exhibitors while navigating regional economic headwinds
A look at how the Istanbul fair balances local momentum with international growth against a backdrop of macroeconomic volatility.
Court workshops, Iznik tiles, metalwork, textiles and imperial architecture from Bursa to Topkapı, with named museum works
Ottoman art names the luxury objects, tiles, metalwork, textiles and architectural programmes made under sultans from the fourteenth century to the early twentieth. The Ehl-i Hiref court corps and the nakkashane design office coordinated makers in Istanbul, Iznik and Bursa. This survey stays with workshop organisation and decorative media; miniature painting and manuscripts sit in sibling guides.
Wikidata knows Gladiator was filmed in Morocco. It doesn’t know where.
Ouarzazate is the second most filmed place in the Middle East and North Africa, yet 25 of its 27 productions are recorded only in Wikipedia prose. We compared filming records worldwide and found that in the Arab world, Wikidata usually knows the country but not the place.
Newly uncovered ceramic cargo near Kekova rewrites prehistoric navigation records
Archaeologists operating off the Turkish coast have recovered approximately thirty Early Bronze Age storage jars, offering rare physical proof of ancient maritime trade networks.
A padlocked gate with no walls, two rival graves, and stories told among two dozen peoples: how the wise fool of the Islamic world became a shape every culture fills with itself.
In Akşehir, a tomb said to hold Nasreddin Hodja stands in an open pavilion behind a heavy padlocked gate — with no wall on either side. It is the perfect monument to a man who may not be in it. The stories told under his name belong to more than one tradition and more than one century: Turkish, Persian, Arab, Central Asian, Uyghur. Reformist satirists, Soviet novelists, Chinese animators and UNESCO have each tried to give him a fixed home.
Founder Ali Güreli outlines spatial upgrades, Asian focus, and proposed fiscal incentives for the growing fair
The latest iteration of Contemporary Istanbul returns to Tersane Istanbul with a unified ground-level layout, a strategic pivot towards Asian galleries, and discussions surrounding potential tax reforms to stimulate corporate collecting.
