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EVERYTHING SHOULD BE UNDER
THE SUN
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Portraits
THREE
FAMOUS ARTISTS ALL IN ONE FAMILY
ALIYE BERGER
- THE FIRST TURKISH WOMAN ENGRAVING ARTIST
FÜREYA - THE FIRST TURKISH WOMAN CERAMICS ARTIST FAHRÜNUSSA EL NISSA ZEID - THE FAMOUS TURKISH WOMAN PAINTER Assoc.
Prof. Nazan ERKMEN The first engraving woman artist in
Turkey, Aliye Berger belongs to a
very noble family. She is the daughter of Sakir Pasha and Sare
Ismet, born in 1910 in Istanbul. She is raised
up in a very intellectual
surrounding where all the members of the sakir Pasha family appear either
as writers or artists. Her
father, Sakir Pasha is an Oxford graduate and her uncle is the GrandVizier
of Cevat Pasha. who had graduated from the Academy of War with an honour
degree. He had joined the Ottoman- Russian war, and had been awarded
with extraordinary authorities due to his success in the Berlin Treaty
and his intellectual capacity both in history and linguistics. He had been appointed to Crete as a Mayor
and a Commander lately. Cevat Pasha tried very hard to prevent the Ottoman Empire to
join the war and he had been accused to be responsible to dishonour
the empire's authority when he mentioned the necessity of reducing the
palace administrators' rights and demands on the government and the
national policy and exiled to Demascus and he died of tuberculosis in
this city. Aliye Berger's father and uncle were
politicians who devoted themselves to history and politics. They were
real intellectuals of the Ottoman Empire and they spared their time
to read and write all the time. Cevat Pasha is the author of History
of Janissaries, and her father Sakir Pasha
wrote the book titled the History of Ottoman Empire.
Cevat Pasha gave great emphasis and care on education and art.
Therefore, he was very keen with his daughters' education. He tried very hard to give them a perfect
education and paid for the private language teachers to teach her daughters
English and French and he also encouraged them to take painting
lessons and urged them to work on art.
He also established a primary school in Büyükada. in
which his daughter. Aliye Berger also continued her studies in this
school later on. She then went to
Notre Dame de Sion and later continued her studies in Madame
Bragiotti's private school when the war started. We learn very much about Aliye Berger
and her family in Füreyya, the famous and popular novel of the Turkish contemporary woman writer
Ayse Kulin. According
to Kulin, Aliye is an unforgettable character with her pure '-blue wide
eyes, carefully coloured lips with dark red lipstick, mad coloured wearings,
unending excitement and never ending love. (1) She used to go around
with pink ribbons in her hair. Dressed in vivid colours, she reminded
an angel. She managed to bewitch people with her long and elegant fingers
when she started playing the piano. I was lucky enough to be introduced
to her during my university years in Fine Arts Faculty and I was really
stuck with her charm and dazzling personality.
She had vivid colours on her as usual and she had a very dark
lipstick and wonderful blond hair, very neat and very chique. She was
very thin and I think she was about 70 years old at that time. She came to the engraving atelier earlier than all of us and
never stopped working and never asked for help from any of us. Sakir Pasha held the Palace administrators
responsible for the death of his brother and resigned from the Palace
administration. He spent his time in the georgeous kiosk in Büyükada,
reading and writing. Their father's passion of reading had influenced
each member of the family. It was forbidden for children to enter his enchanted library
without having his permission. Every
were full of books even up to the ceiling. Aliye Berger, spent most of her time infront
of the library door, keeping her eyes on the door opening to watch her
father. Rasied in this atmosphere, Aliye's
brother became to be a famous writer who is called as the "Fisherman of Halicarnassus"
his real name was Musa Cevat Sakir Kabaagaçli.
He was a graduate of Robert College, one of the most important
education institutions in Turkey and worked for the Daily Ikdam in 1904. He graduated from Oxford University, The
Department of New Age History.
He had been condemned to 14 years for shooting his own father,
Sekir Pasha. He was prisoned
for 7 years and released due to his illness. He was accused for his write up which was published in Resimli
Hafta magazine and had been exiled to Bodrum in 1925.
Bodrum became a starting point in his life. He wrote his books
using the nick name "The Fisherman of Halicarnasus" and became
a very famous writer. (2)
Her sister Fahrünissa Zeid became a very famous painter. And Füreya,
her aunt became a very popular ceramics artist who had first introduced
ceramics art to Turkey.
I think the very fact which led every member of the family to
be artists is that music and literature were apart of their life. Aliye opened her eyes to a life full
of literature and music and she, too, devoted much of her time to reading. She read Voltaire when she was only 17, she, then, started
reading Strindgberg, Ibsen and Dostoyievsky. She used to take notes while she was reading. She was an enthusiastic reader and wished
to be a writer very much. She took note of her own feelings, thoughts
and joy and had a great passion for writing. She desperately wanted to be an artist.
She tried to write and kept an eye on her sister's struggle with the
canvas, who will later appear as a famous Turkish woman painter Fahrünissa
Zeid. She saw a world of colours and forms in her sisters' dream
world, but Aliye was afraid to put her feelings into shape through colours
and lines. But the paints
used by a painter meant to be a way of expression
and that irritated her in a way when she thought to be a painter.
Berger strived to create passionately. The definition given to beauty by the aestheticians were not her area of interest. She believed that the man who had the capacity to create was somehow challenging the God or providing an equality between the God and the man. And what was beautiful for Aliye Berger were to create. She even thought the problems, impasses of the soul or the illbred of human beings of Dostoyievsky were beautiful. Or it was "beautiful" and humanly for Strindberg to create a novel a or to rehearse music with Carl Berger or to listen to Brahms or Bach was another face of beauty. In short, art was equal to beauty. "Love" held a very important
place in her life. She
believed in love with all her soul. Love was equal to beauty.
Everything was beautiful which was created through love and care. When she fell in love, the world grew larger and
she saw the whole universe in a flower, in a child's face or in
the sunrise or in the dawnfall of a day and mostly in the look of a
man. Her love was Carl Berger. Berger, an Hungarian originated musician had joined a
public revolt in Hungaria and took refuge to Turkey when the revolt
was over. He became the
music teacher of the family and she fell in love with him
at first glance. Love had a positive change in her personality. Her intravert personality had opened her
doors to the world. She
rediscovered everything she saw, she read and listened to. Carl Berger was not only a music teacher
for her, but a man who opened the doors to literature, painting and
to the whole world. And he appeared in all her engravings. Aliye Berger cared for words. She took
notes of Carl Bergers' conversations, philosophy and the words he used. She tried to take notes on art and whatever
is included in the name of art. On the other hand, the colours attracted
her attention very much. Even through she was not good enough in oil
painting, something called her to be included in art. Carl asked her to draw his portrait some day. He told her to
draw it from her memory , not looking at him. He told him she could
do it even if she did not ever see him again.
Somehow he had spoken as if he had perceived the inauspicious
future. Aliye drew hundreds of Carls' portraits. She carved them on
engraving plates, on canvases, her eyes closed. After his death, she
did nothing, but carved the plates. She lived a great love for 32 years. Death did not end their love. As long as they loved each other, signature or formality did not mean much for them. They got married 23 years after they met. They never thought of putting this love into a procedure. And in fact, marriage did not bring them good luck. On the sixth month of their marriage, Carl had a heart attack. Aliye wished to die with Carl when she lost her. To live without him would only be a vegetal life. She tried to suicide but they saved her. Her love lived within her hearth, in her soul, everywhere in her body and mind. Love, even after death, added a meanning to her life and art , changed her philosophy of life. The Painter “Alyoşa”
gave birth to life after her husbands' sudden death. She had lost 20
pounds after losing him. Her sister, the famous painter, Fahrünnisa
Zeid took her to London. Aliye did not have to power to carry on with
her life. To make her busy, her sister gave her some metal plates and
metal knives. She began to carve these metals full of love and anger.
She incised her reminesences, love and hatred into plates, making her
memories to be come alive. She worked only on engraving while she was
in London. She wanted to
make the statue of her beloved husband but she
couldn't handle mud. Her
professors, who had been dissatisfied with her sculptures were amazed
to see her engravings. They
told her to work only on engraving endlessly. She thought there was
a special area for everybody in art.
She worked for years never being intimated. Aliye thought "to be sincere in art would lead to success". There were no schools to teach sincerity, neither in life or in art. One should be sincere in heart. She tried to accomplish herself studying the art of masters. What she found in them accompanied her creations. She used to say "You are what you are. You cannot change yourself, but you may progress yourself. " She wanted to reflect her life with all the beauties, griefs and deep feelings which surrounded her. What she created was not her children but herself.. She drew the surroundings, buildings in which she lived, people sleeping in the ships, life in Büyükada, their house, Istanbul, inch by inch. And fishermen in Halicarnassus. What she drew were what she lived. She sometimes worked on oilpaintings but mainly on engravings. She made hundreds of etchings. Her main works of art were black and white engravings. She had a great knowledge on technnique. But technique itself was not enough. There was some different taste in all she drew. Not one engraving were alike the other. For her, white and black were tones which were rich enough like other tones for her. She tried to use materials which were not tried before in engraving art before. And she wanted to take advantage of the texture of these materials. She painted on butchers' paper, muslims and all kinds of paper . She always said that "something different is hidden in the eyes of an engraving artist. It is the hapinness of an hard and tiresome work. and a restless soul. What influenced Aliye Berger was her own life rather than other artists. She learned very much from other painters. She loved Gustav Klimt, Munch, Ensor, Goya and especially the engravings of Rembrandt. What influenced her was love and her own living. Even death couldn't kill her love and whatever she created she has created with the flame of a great love. Füreya also belongs to the Sakir Pasha Family and Aliye is the aunt of Füreya. She is born in 1910 in Istanbul and the daughter of Hakkiye and Emin Koral. Graduated from Notre Dame de Sion in 1927 and then attended the Department of Philosophy in İstanbul University. She worked as a music critique in Vatan Daily, and then, went to Switzerland and worked on creamics during 1949-1954. She had worked with famous ceramic artist Serre in Paris during 1950- 54 where she learned very much about ceramic art.(3) Because all the men of the family had joined the war, the house was full of women . And they were great friends with Aliye.(5) She was in good terms with all the members of the family and everybody loved and respected her. She was a close friend to her father, too. At the age of nine, she could entertain the friends of her father, even the very sophisticated people like Atatürk. She used to play violin to the guests, and Atatürk were very much impressed with the child’s talent, loved to listen to Bach when she played to him. Füreya had some misfortunate incidents in her family. Her sister Fahrünissa had lost her son at a very young age. This incident influenced Füreya very much. She seeked solitude in music and art and she used to play violin more than ever to forget her sorrow. Füreya had an very interesting character. She was full of laughter and joy in her youth. But after her losing her child on the birth table, she became an intravert. Unfortunately, she was only 20 years
old at that time. As time
past by, she beceame a silent and
pessimistic person. She hardly laughed or spoke. She used to keep her secrets to herself
even in old age. Füreya spent most of her life
in İstanbul. She moved to Vienna after her sons’ death. And she also accompanied her ill father.
It was hard to take care of an ill person, but she was a great
and a devoted friend to her father, and she took very good care of him
till his death. Füreya’s first husband was
a farmer. He was a very handsome and a tall man. Unlike the men in the family, he was not intellectual
or an aristocrat. He was a rich
landowner and a farmer.
She fell madly in love with this blond farmer and married him. A very rich wedding ceremony took place
in the garden of the kiosk in Büyükada. It was hard to share
life with her mother in law in a farm house.
It was also a hard life she had to bare in a very simple farm
house after a luxurious life shared
in the huge kiosk. Her
husband never gave permission to her
to work. It was a hard life to live with an aggresive husband. They had a misfortunate marriage and he even slapped her wife
and caused her to loose her child.
After this incident she lived a very deep depression and she
divorced her husband eventhough she was madly inlove with him. Her second marriage happened to be a military man, a Pasha , a comrade of Atatürk, Kılıç Ali Pasha. He was tall and handsome but nearly the same age as her father and had four sons. Ali Pasha’s sons challenged this marriage and did not accept Füreya as their mother, but only the smalll son, at the age of 12 lived with them and Füreya brought him up as his her own son. She taught him music and brought up an intellectual. Füreya was happy with Kılıç Ali Pasha and she spent her life with Atatürk and famous portraits of that time. Many prominent people and even the first famous Turkish woman History Professor, Afet İnan was among her friends at that time. Atatürk, sometimes asked her to help with the foreign guests. This was a great pleasure with Füreya. Everything changed with Atatürk’s
death. His death was a great burden on Füreya. To change
their life, they moved to İstanbul. Her husband was in a great
distress. He did not want to see anybody or to speak to anybody.
He was like in a winter sleep.
Füreya was too young to sit
in a dark and deep well.
(6). But Füreya was moderate enough
to live with her husband even though it was a hard life . Her husband had prisoned his soul between four walls
and she had to bare her
loneliness. To her
heart felt sensivity, their marriage became a burden. She tried to save her husband. She tried very hard to keep
him away from the pocker
tables. She did not
want to spend her life on card tables. She was sorry to live a wrong
marriage. She had aimed for different things in life. She wanted to
be an art critique and write to daily papers. As time passed, her husband began to heal, but now Füreya had a serious illness. At that time her aunt , Fahrünissa , had an atelier where she spent her life, painting all the time . Through the mischiefs she had faced, her aunt had saved herself by working very hard in her atelier . Under the heading called as D Group Painters she had joined many group exhhibitions. Amidst the marriage problems, her aunt
invited Füreya to work on art and
asked her to draw. Everybody
in the family had some ability towards art Her uncles, Cevat and Şakir Pashas
were good photographers. Why wouldn’t she start working
on art ? In 1945 her aunt Fahrünisa decided to exhibit her paintings in an apartment. Füreya and her aunt spent all of their time preparing this happy incident and Füreya had agreat joy in this event. Unfortunately, Füreya was ill at that time. She suffered a serious tuberculosis after the exhibition. And just at that time they lost all of their property. She decided to move to Paris. She settled in this wonderful city and she was still il in Paris when she heard the death of Carl Berger and went to Istanbul to see Aliye. Aliye gave her clay and told her to play with it. That night, Füreya started to play with clay. And she enjoyed it very much. And started reading about ceramics. She worked very hard, day and night endlessly and that was kind of a healing for her . That was the start of her art life.(7) She led her first exhibition in Turkey
in 1951 in Maya Art Gallery. The
penning of this ceramics exhibition may be named as the start of Turkish contemporary ceramic art. At that time Ceramics Department of Fine Arts Faculty had been
established in 1929 and the famous ceramics factory Eczacıbaşı
had started producing ceramic coffe cups in 1942. There were only one student in
the ceramics Art department
at that time in the Fine
Arts Academy. People in
Turkey were not aware of the importance of ceramics art
in contemporary art world.
But at least Turkish traditional potters’ clay art was
alive. For example, Togay family living in
Göksu had carried this tradition upto our day and
helped our ceramic artists with the forms. Hasan Usta from Göksu had helped Füreya with
clay and mud and encouraged
her to work when she newly started on creamic art. Füreya had met clay for the first
time when she suffered from tuberculosis in the
Leyden Senatorium. While
she painted, she also played with clay and were fascinated with the
capacities of this material. After
her illnes, she went to Laussanne and started working in an ceramics
atelier and in 1949 she
worked in Paris. She worked very hard in her atelier and made progress in the
ceramics technique. The famous French critique Jacques Lassaigne proposed
her to open an exhibition. And
Füreya had her first exhibiton in Paris in M.A.İ in 1959.
Her exhibition in Paris was a great success. The contemporary ceramics knowledge
had been discovered in the 19th
century. The mysteries
of the East ceramics art had been studied by the artists and they
made progresses on the ceramics art technology. The most important advance
in ceramics art was the contribution of French
artists and sculpturors. Paul Gaugin had started to work in Ernest Chaplet’s atelier in 1886. His work of art somewhat
surprised people at that time. Gaugin had emphasized the importance
of ceramics art not only
in his work, but also in
For the famous contemporary Turkish woman ceramic artist Candeğer Furtun, Füreya had a wonderful personality. And she was the first woman leader in Turkish ceramics art. The Turkish ceramic association was built in 1980 and Füreya had been chosen as the founder of that institution. For Füreya the meaning of life was to reproduce art and work endlessly. She stopped working in 1986 because she did not want to reapeat herself. She put new intrepretations and techniques to her art with each exhibition she realized. Her creations , The Women series were exhibited in 1992. She was a very interesting artist. She always tried new things and enriched her life. In 1993 she acted as a movie actress in "Shadow Play". She died in 1997. (9) She loved people and spared great deal time of her friends in her atelier. All the intellectual were her friends , critiques, writers, artists like Mengü Ertel, Candeger Furtun, Mustafa Pilevneli, Melih Cevdet, Yasar Kemal ect. She always added something new to her technique. She created non figurative surfaces, melted glass on the ceramics surfaces, added a third plastic volume on the faces. She realized an exhibition with famous Artigas and it is proved to the society that everyhing could be done with creamics art. She used creamics in three dimensions. She used objects she found in nature and created creamic objects with what she found. She explained her interpretation, the symbolic value, in her approach to each subject. She evaluated the symbolic dimension of the wall, or the walls' purpose in the whole architecture. She had the joy of creating in each procedure she realized, taking the ceramics out of the oven, or putting them together,or putting the paint on them were treatments which gave joy to her. She had the utmost ability to evluate and interprete the architectural space. This was due to her intellectual and artistic capacity and well bred education. (11) She won a Rockefeller scholarship in 1950s and went to USA, Mexico. She worked on foreign ceramics art culture and examined ceramics art in the museums. She tried on high oven techniques and decided to give up colour because glazing techinque did not answer positively to this high voltage ovening system. She used underglazed oxided paints. She used old Egypt cobalt mixed clay. The necessity to keep this work small in quantity forced her to create jewelry made of ceramics. She glazed copper and brass in her small oven. She gave up working on jewelry in 1960. She always looked for new projects.
In 1970 she worked on prototype white porcelain objects with
a ceramics firm, Eczacibasi. She
was influenced from folklore during this time. Mainly from objects in
Anteb. And she created
many different designs during this time.
And she designed monochrome
plates using yazma motives. (12) During 1970's, she started working on sculptures with Gürdal Duyar the famous Turkish sculptor. One reason could be given to her interest in sculpture : Maybe she wanted to esbcape from being a slave to surface work.. During 1980s, she started to build houses., Those were the houses of her dreams. Sometimes, tress , sometimes children had taken their places on the walls of these houses. The shadowy faces of the houses and the inner life is barely reflected through those creamic art creations. She proved to the society that everyhing could be done with creamics art. She used creamics in three dimensions. She used objects she found in nature and created creamic objects with what she found. She explained her interpretation, the symbolic value, her approach to each subject. She used to work with Hasan Usta who
made forms for the artist. Füreya, then worked on these forms and
s.rlad.. When the father died, his son Rifat Togay used to work
for the artist. He yohurmak
the mud and put in the oven. Rifat Togay described the artist as beeing
very neat in her work and and very optimist as a character. She never had any negative response to the errors made.
She felt sorry when technical problems raised but she never got
angry or broke a heart. Her house and her atelier were in the same
place. To work on art was way of living for her.
Her saloon was an atelier.
The house was full of her work and it was a vivid house. The
house was important in the artists' life.
It was always full of people. Her relatives who were also famous
people of the art and drama world, such as Sirin Devrim a well known
Turkish actress. Her aunt Aliye Berger, his uncle
Cevat Sakir, and many young artists. She always listened to music while
she worked. And worked really hard. She always accepted him on her table. She was neat with her dressing.
She never used to go out with the dress she worked with. She went to
a hair dresser twice a week. Before she started working, she used to make small skectches. And then she coloured her sketch. And as a last step, she enlargened the sketches and it was easy to show which forms and colours would take place on the ceramic work, she never kept the secrets of ceramic arts to herself. She used to say that an artists should teach whatever she knew to all the others. Whenever an artist asked for her help she wass always welcome and she could work in her atelier through her guidance. And her atelier served as a school for the young artists. She loved to give presents to people around her and cared very much for friendship. She was very good friends with Hasan Usta and Rifat Usta. She cared very much for their family and accepted them as members of her real family. (14) As Herbert Read says "Ceramic
art is the easiest of all because it is primitive. But is the hardest
because it is the most abstract among all the plastic art classifications. And Read described Füreya's art as
otantic and beautiful examples of the 20 th century.
The wall panels Füreya completed she completed during 1950
- 1970, also carried the traces of our famous Tile art into life.
The artist a achieved
to add Turkish tile art a new personality.
When one sees her piece of art, one wishes to touch and feel
it . All of her creations were full of sincerity and love.
And in her work titled windows she had done in 1980, the windows
were open to everybody. (15) Her divorce from her husband happened
because she spared more time to art and if a choice would be made between
ceramics art and marriage, her choice were on art because ceramics art
was a way of living for her. She died in 1997 when she was 87. Fahr
El Nissa Zeid lived irn Amman during 1981 in great wealth and
she was very famous at that time. According to the famous Turkish art critique Kaya Özsezgin, we are introduced with the artists' art in the catalogue which is introduced in the openning of the Erol Kerim Aksoy Vakfi Art Gallery in Istanbul on October 19 th, 2000. AN ARTIST IN PURSUIT
OF HER OWN REALITY FAHR EL NISSA ZEID I met Fahr El nissa
Zeid as a result of a happy coincidence, in Amman in 1981,when sbhe
was living in magnificent conditions in that city and enjoying the peak
of her fame. Approximately a decade ago, when she had
held an exhibition at Katia Granoff's in Paris (1972), the reputed gallery
owner had disclosed her impressions of the artist in the printed catalogue,
saying she has to be someone who comes from the lands where princes
live, and that she has the air of belonging to the shores of Asia rather
than to the European coast on the Sea of Marmara
This impression was due to the artistic personality of Zeid,
which had assimilated throughly the values of the Eastern World. This artistic personality reflected in
the portraits as well as in the interiors, manifested itself with a
sharp turn to abstract compositions, in a manner very much unlike any
ordinary turns seen in Western artists in general.
What is more important is that, when compared to similar examples
taken from the Western art, we can discern in Zeid the decisive effort
to transfer into a visual vision the desire of the Eastern people to
open themselves onto a universe of mystical understanding and thinking. That is why we witness a conceptual discernment that inspires
all of those abstract paintings.
Just like the ripples in ever-widening circles created by an
object dropped onto the surface of
water, intertwinning pieces of color spreading towards the peripheries
of the composition in these abstract
Zeid paintings do not disrupt
their unity, as if they constantly wish to keep on the agenda the main
aim of the inner core of the idea.
Transcending the ornamental static-effect which a mosaic-panel
might suggest, these abstract paintings reveal the obsession with the
desire to understand and grasp
things hidden in the grooves of the human brain.These abstract
compositions are the expressions of the artists' world of ideas. We find in her canvases details similar to the dreams of a
reflecting brain experienced by a "thinker" who is contemplating
the informations and transformations in nature surrounding him while he is trying to explain these formations.
However, the fact these details have their roots in ideas does
not push to the background the concern for plasticity.
The imagination that might be provoked by reflection through
seeing and observing, always keeps alive the effect created by these
paintinigs, although the intensity of imagination grows
as it folds upon itself and keeps you away from having such an
impression. It does not proceed in the direction of
the selfishness manifesting
in knowledge, on the contrary similar to the interpretations in life
which are equal in value to the "wisdom" of the East, it tries
to emphasize the belife that everything
is born from "another" shooting, growing and greening by itself. The conclusion to be drawn from such observations
is clear : The abstractness in Fahr el nissa Zeid's art should be evaluated
through a phenomenon that gives from to her paintings, one should always
keep in mind that there are distinctions between her paintings and the
theories of abstraction on which Western painting bases itself, distinction
which can be explained nly by her own paintings. The portraits from
Fahr el nissa Zeid's early period can also be interpreted in a similar
way, as in the examples of the portraits which distinguish themselves
with the innocent child-image of Emir Zeid at the very beginning, in
other canvasses of the same kind, the artist's approach is one of a
painter who takes grneat care to remain outsider the classical tradition
of portraiture a quality which adds an extra dimension to Zeid's series
of portraits and which The exhibition, organised by Erol Kerim
Aksoy Foundation six years after the first one, which happens to be
the second following the artist's death, to display perhaps the most
important of her works, offers us once more the opportunity of seeing
the personailty of the artist very colesly, confined within the borders
of the country she lived in. This exhibition also seems to beg for new
interpretations because of the fact that it coincides with a time when the details of the lives of
the Sakir Pasha family, appear in book form, after being a long forgotten
story for such a longthy time.
Yet, beyond all such considerations, this present exhibition although
not a retrospective, offers us the possibility of arriving at uch clearer
ideas concerning Fahr el nissa Zeid's original personality as a painter
as well as her true identity. (1) Ayse
Kulin, Füreya,novel, Remzi Publishing
House, 16th edition, 1999, p. 27 Note : The exhibition of the three famous artists is now open in the Yapi Kredi Bank Art Gallery in Beyoglu, Istanbul. |
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@The Light
Millennium magazine was created and designed
by Bircan ÜNVER. 6th issue. Summer 2001, New York. URL: http://www.lightmillennium.org |