Music of excitement and colors of Burgas
I have been following the exhibitions in Arter for a long time and, as far as possible, I write about these exhibitions in various publications. Moreover, in my Arter library I even have a book called Viola Schools Evolved in the Historical Process. Despite such a close association with art, Arter, Arter, I have never witnessed a musical performance that starts at half past seven in the evening and continues until midnight. Actually, I’m a musician all these years, I’m used to plays and films that last three hours, but I haven’t listened to three and a half hours of concerts, including the long concertos of the Wagner Symphony, which are definitely in between.
The good thing is that what distinguishes this concert from other concerts is not its duration, but the fact that it is not perceived as a concert. First, there was the overture part of the event, and in this part we gathered in the foyer, like all the participants. Gerhard Stabler and Kunsu Shim explained parts of the concert to us and also stated that they are looking forward to our participation. Considering the musicians who started playing everything in the finale, including water cans, this event was more of a playground than a concert, and we, the audience, actually felt like they were on their playground.
Okay, it’s over, I’m starting over. I will explain in the words of the composers who own the project, quoting the book Worldizations by Giorgio Agamben:
“Children, playing with all sorts of old things that fall into their hands, turn everything into toys, including family ones, in the household, war, law and other activities that we are used to taking seriously. A car, a firearm, a legal license can all of a sudden become a toy. This does not mean neglect, it means a new dimension of use that children and philosophers offer to humanity.”
Classical music has been tested against contemporary music in music based on this perception. I don’t know if there are readers who don’t like Pessoa. I asked someone because the musicians playing happened to be my friends. he told them that they could read any paragraph about economics, existential or crisis, and that seemed to be the part that musicians were most comfortable with.
“To live is to be someone else, and it is impossible to feel if you feel today what you felt yesterday. To feel today what was felt yesterday means not to feel, but simply to remember what was felt yesterday. To be a living corpse of yesterday’s life, which no longer exists…
Just as time, society and the processes in which we live now weigh on everyone, musicians could read aloud and theatrically, as if they had been trained in the theater arts for years.
“…to understand, I destroyed myself. To understand is to forget to love. Leonardo da Vinci said that you can hate or love something only by understanding it. I don’t know a more wrong, but more meaningful word than that.”
Among these words, of course, the music turned into the music of excitement. Modern music, it seems to me, has fulfilled its task of catching up with the era. Now, if I mention the ending again, I think we applauded our playmates with this silent consciousness, with their clothes torn on stage and the tension of the ropes they hung all over the place.
These were my humble observations. Although I do not know where to catch this event, which is a kind of world premiere, the musicians playing in the Hezarfen ensemble are as follows:
Flute, Cem Enerturk
Clarinet, Kyvanc Findikly
Piano, Muge Hendekli
Drums, Amy Sulsgiver
First violin, Ozcan Ulukan
Second violin, Imge Tilif Yalchinkaya
Viola, Ulrich Mertin
Cello, Mehmet Gokhan Bagci
Double bass, Deniz Yurdakul
I believe that the memory of these names will somehow unite you on another playing field, just as it has united us.
Let’s go to the exhibition… Miz Gallery, founded by Ayşegul Arayci, located on the slope descending from Teshvikiye to Besiktaş, opens its doors to Emel Basarik, the wife of Can Aytemiz, who is also an artist. The exhibition, which normally runs until February, has been extended until February 14th.
Personally, I liked the exhibition very much. I arrived at the exhibition space on a cold day, still staggering and freezing at the same time, and the most amazing thing for me was that I officially went to the resort from the photos. When I looked at the exhibition, I realized that I was looking for acquaintances in Burgazade, looking at the paintings, yes, at the paintings …
For example, who loved this cat?
Or what happened at that time? While we are thinking, Emel Basaryk invites us to take a short tour of Burgazade. It makes you have different dreams with flowers. Maybe it’s the artist’s own dreams, who knows? After all, he could have been watching someone we know for days while he was watching there. We don’t know, but we feel it.
Therefore, the exhibition turns from a family into a playground, into a familiar place, when you look with curiosity at photographs of your favorite place and familiar faces, you see other witnesses or cats…
Maybe that’s why we love artists who paint the places we love, right? It’s nice to know what we’ll see, even if we don’t go!
For example, an artist who was touched by the places destroyed during the fire captured this moment, recorded the events that took place in our lives as they were, and perhaps even wanted it to be an archive, because he knew that this would change. In short, he is an artist associated with color, light and observation. I will now be a subscriber.
Be sure to go see and catch this artist’s creative exhibit, which is a #6 little thank you for sheltering from the pandemic.
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The post Music of the riots and the colors of Burgas first appeared on Uplifers.
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