Spazio HASITA gallery, incubator, nest in Milano dedicated to art, design, innovation, ideas, Milan, Italy, photo by İdil Burkutoğlu

A conversation with Haluk Terzioğlu

Exploring the fusion of tradition and innovation in Milan's cultural landscape and beyond

13 OCTOBER 2024, 

IDIL BURKUTOGLU

I had the opportunity to meet with Haluk Terzioğlu, one of the founders of Spazio Hasita alongside Simone Innocenti, which is situated in Milan's NOLO district. The gallery, which combines modernism and tradition, is an example of the city's cultural development, which has been established since June 2023. Since then, Spazio Hasita has hosted artists such as Chiara Colombo, Sefa Çatuk, Francesco Damiani, Angelo Marcuccio, Alan Maglio, and Alessandro Pongan. Set in a meticulously renovated location, its direction mixes contemporary innovative thinking with Milan's artistic, creative, industrial, and cultural legacy. After discussing his unique approach to gallery administration and vision, Haluk Terzioğlu was open to sharing his story and what lies ahead for Spazio Hasita.

Müze Gazhane / Hasanpaşa Gashouse transformation

Gazhane Meydan, Müze Gazhane, Istanbul, Turkey

Müze Gazhane: Hasanpaşa Gashouse transformation

Transforming Istanbul’s Ottoman industrial heritage into a contemporary cultural hub for all ages

13 NOVEMBER 2024, 

IDIL BURKUTOGLU

In the 1850s, gas consumption started to become a part of Istanbul’s daily life. Kadıköy Hasanpaşa Gashouse was the second plant built on the Anatolian side in 1891 and the last in Istanbul. The gas obtained from this plant was used for street and indoor lighting for the Anatolian part of Istanbul. It started operation in 1892 and operated regularly until World War 1. In the 1920s, with the arrival of electricity, coal gas began to lose importance. Between 1938 and 1944, Kadıköy Hasanpaşa Gashouse operated autonomously and later handed to IETT (Istanbul Electric Tramway and Tunnel Establishments) in 1945. 

The monumental cemetery of Milan / A graveyard museum

The Monumental Cemetery of Milan, situated in the Garibaldi district of Italy, is a renowned cultural heritage site in Europe

The monumental cemetery of Milan: a graveyard museum

An open-air museum standing in between life and death, art and architecture

13 SEPTEMBER 2024, 

IDIL BURKUTOGLU

The Monumental Cemetery of Milan (Cimitero Monumentale di Milano), located in the Garibaldi district of Milan, Italy, is one of the most important cultural heritage sites in Europe. Filled with rich architectural monuments and sculptures, the cemetery is the resting and remembering place of many famous people in Italian history, such as; Bruno Munari, Salvatore Quasimodo, Alessandro Manzoni, Carlo Cattaneo, Luca Beltrami, etc. The cemetery was designed by Carlo Maciachini (1818–1899), who won the design competition held by the municipality of Milan in 1863. Even though it was not completed until 1887, the burials began in 1866, and the cemetery continued extending to 250,000 m2.

Refik Anadol: internationally acclaimed media artist and pioneer in machine intelligence aesthetics (born 1985, Istanbul, Turkey)

Refik Anadol’s AI: contemporary art & architecture

“Living Paintings: Nature” at Kunsthal Rotterdam: art engagement with presentation of information

13 JUNE 2024, 

IDIL BURKUTOGLU

Refik Anadol was among the first artists to reach a large audience through artistic expression using artificial intelligence. He is a Turkish-American media artist and researcher focused on humans living in the digital age. His LA-based studio has been active for almost a decade and explores machine intelligence and the communication of data. His approach is to analyze surroundings as raw data and process them through custom-designed algorithms to create mesmerizing visuals and AI data sculptures of already-present elements that exist.

Unveiling Goya's rebellion

Francisco José de Goya y Lucientes, known as Goya (1746–1828), is one of the most important Spanish artists

Unveiling Goya's rebellion

Examining the impact of sociopolitical events on Goya's development through exhibition design

13 JULY 2024, 

IDIL BURKUTOGLu

Francisco José de Goya y Lucientes, known as Goya (1746–1828), is one of the most important Spanish artists who influenced many others that came after him in the 18th and 19th centuries. He lived in a period of great change, such as the Enlightenment, the French Revolution, and Napoleon’s invasions of Spain. Being greatly influenced by the Enlightenment, he developed an expressive language on his own by rejecting the acceptable aesthetics of his time and limitations such as being under patronage. His “free” and extensive artistic production captured aspects of everyday life, the effects of war, and Spain’s political, social, and economic issues. Throughout his artistic development, Goya’s early inclination was in-between rococo and classicism while being influenced by Italian masters. After maturing, his works transformed in such a way that Goya is considered the predecessor of the Romantic movement.

 

Giovanni Bellini, Pesaro Altarpiece

Bellini's lamentation: a multi-layered art experience

Exploring the impact and relevance of Bellini's masterpiece through innovative exhibition design

13 AUGUST 2024, 

IDIL BURKUTOGLU

Giovanni Bellini (1438–1516) was a renowned 15th-century Venetian painter and was recognized for his harmonious use of color. His paintings featured diverse Renaissance and late Gothic styles. The masterpiece Lamentation over the Dead Christ(1475) is one of the finest works of Italian art, and it demonstrated Bellini's maturity. The work portrays the anointing of Christ’s body before his entombment. The four figures—Christ, Joseph of Arimathea, Nicodemus, and the Magdalene—are depicted.

One Mississippi, Two Mississippi, Three Mississippi by Jonas Hassen Khemir

Tatsuo Miyajima, installation view of Art in You, 2022. Courtesy the artist and Lisson Gallery, London

One Mississippi, Two Mississippi, Three Mississippi

By Jonas Hassen Khemiri

THERE HE STANDS NOW, and it’s either him or his brother. It’s him. It has to be him. You can tell by the clothes, the posture, the glances he casts at the station clock. His brother would never try to disguise his height by shifting his weight onto one leg and pushing the other slightly out in front. His brother would never feel this anxious just because someone was a little late. That’s something only he would do, he who is not his brother, he who stands there on the platform and has just calculated that fifteen minutes is nine hundred seconds and nine hundred seconds is nothing.

New Year’s Story by Sigrid Nunez

Photo by Frank and Helena 

New Year’s Story

by Sigrid Nunez

ON THE MORNING of the first day of the year, Nell is looking over her bookshelves while listening to a podcast. She’d made a single New Year’s resolution: to declutter her small apartment, starting with getting rid of some of her books. On the podcast, a journalist is explaining why January first is such a common birthday in Afghanistan and Pakistan. Nell’s eye lands on the spine of a thin paperback by a French writer, Édouard Levé. She pulls it from the shelf and reads the back cover: “Édouard Levé was born on January 1, 1965.”

The Rabbit’s Foot by Sigrid Nunez

 

Illustration by Damien Cuypers

The Rabbit’s Foot

by Sigrid Nunez

HE WAS A DUKE, or an earl—he was some sort of nobility—and not the first of his kind to visit the hotel. Royalty, rock stars, movie stars, rich and famous people from all over the world came to stay there. Some had become familiar faces, returning each time they happened to be in New York. Couples who’d spent their wedding nights at the hotel booked the same room for their anniversaries, and there was a family that got together every Christmas and requested that a tree and decorations for hanging be waiting in their suite when they arrived. As for the English lord, he’d been there once already, a year ago, then as now by himself. It was not uncommon for a guest to sign the register using a false name. Last time, he’d been the Count of Monty Python. This time, he was Lord Sauron.

What Are We Doing, What Have We Done by Nathan Englander

Alfred Stieglitz, Window: Wood, Glass, Snow, 1923. Alfred Stieglitz Collection, Chicago Art Institute, CC0 Public Domain

What Are We Doing, What Have We Done

by Nathan Englander

THERE WAS A LIST of things Alex swore he’d tend to before the baby arrived. The poplar shingles, the nursery door, the staircase to the cellar that was missing a step. Desperate as he was to get it all done, Alex was stuck in a funk from which he couldn’t pry himself free. He knew his wife had every right to be frustrated with him and wished he could tell her so. But communicating with Shannon was yet another thing Alex lately couldn’t do.

Terms and Conditions by Daniel Lefferts

Illustration by John Brooks

Terms and Conditions

by Daniel Lefferts

LAST SUMMER MY FRIEND Andrew and I spent a few days in Fort Lauderdale. We did not enjoy our time there very much. I’d been reluctant to go for a number of reasons. Out of our six-person friend group Andrew and I were the least close, Florida in August sounded miserable, and I was low on PTO and low on cash. But Andrew insisted. He was bored and everyone else was busy. He even offered to cover my plane ticket.

Gaseosa by María José Bilbao

 

Odilon Redon, Beatrice, 1897. Courtesy the Cleveland Museum of Art, Gift of The Print Club of Cleveland

Gaseosa

By María José Bilbao

Translate by

 Abby Melick

NOW THE WHOLE WORLD knows her as the woman who gave up her body. According to official statistics, she’s the third person to become a gas in all of South America.

Novelist Patrick McGrath on Writing, Setting, and Psychology

Patrick McGrath

Novelist Patrick McGrath on Writing, Setting, and Psychology

Patrick McGrath is a convivial sort. Pushing hair from his eyes with a smile, he'll have you seated, snug, and sipping tea on the couch before you've had a chance to say hello.

By Ryan D. Matthews, Contributor

Ryan D. Matthews is a writer and editor in New York. 

Jun 10, 2013, 02:15 PM EDTUpdated Aug 10, 2013, 05:12 AM 

Patrick McGrath is a convivial sort. Pushing hair from his eyes with a smile, he'll have you seated, snug, and sipping tea on the couch before you've had a chance to say hello. He's a man who loves a joke and laughs easily; it's difficult to imagine him underdressed. One does, however, imagine sightseeing with Patrick to be a chore. Point out a placid canoe-filled expanse of lakefront brimming with delightful lily pads, and he is as likely to point out an excellent place to dump a pallid and bloated body. 

Patrick McGrath

 

Patrick McGrath
by Richard V. Hirst

I wrote the below for the Curious Tales blog.

You may well have noticed we've a new book in the works. As mentioned earlier, Congregation of Innocents takes its inspiration from the late great Shirley Jackson who passed away fifty years ago this year.

My mother by Patrick McGrath

 

My Mother

By Patrick McGrath

April 13, 2008

My mother's first depressive illness occurred when I was seven years old, and I felt it was my fault. I felt I should have prevented it. This was about a year before my father left us. His name was Fred Weir. In those days he could be generous, amusing, an expansive man — my brother, Walt, plays the role at times — but there were signs, perceptible to me if not to others, when an explosion was imminent. Then the sudden loss of temper, the storming from the room, the slamming door at the end of the hall and the appalled silence afterward. But I could deflect all this. I would play the fool, or be the baby, distract him from the mounting wave of boredom and frustration he must have felt at being trapped within the suffocating domestic atmosphere my mother liked to foster. Later, when she began writing books, she fostered no atmosphere at all other than genteel squalor and heavy drinking and gloom. But by then my father was long gone. 

Interviews / László Krasznahorkai

 

INTERVIEWS

László Krasznahorkai

The Nobel laureate insists on the reality of the present

by Hari Kunzru

THE LAST TIME I saw László Krasznahorkai, he declared his love for me. Admittedly, he was making a rhetorical point about his singular prose style, and we were speaking in front of an audience at an art gallery, but it still felt good. Krasznahorkai is the author of an extraordinary body of fiction, which has made him one of Hungary’s most prominent writers and a perennial candidate for the Nobel Prize. His collaborations with the filmmaker Béla Tarr have brought the bleak, existentially freighted atmosphere of his early work to cinema audiences around the world. His narratives consist of single unbroken sentences that seem to have an almost infinite flexibility, swerving from labyrinthine philosophical musings to earthy humor. In his opinion, experiences such as love—particularly love that has taken time and courage to express—cannot be contained in short phrases. The full stop, he has said in the past, “belongs to God,” and the flow of his writing has a profound humanism. It isn’t the fragmented interiority of the old modernist “stream of consciousness,” but a kind of all-encompassing curiosity about the world, which carries the reader along in its current.

An Angel Passed Above Us by László Krasznahorkai

 

An Angel Passed Above Us

by László Krasznahorkai  

Translate by

 John Batki

“. . . stets das Böse will, und stets das Gute schafft.”

“. . . forever strives for Evil, and forever does Good.”

—Goethe, Faust