Matt A. Hanson

This is the art of Robert Capa, a comprehensive dash of whose life’s work is brilliantly exhibited by the Ara Güler Museum, an establishment that might make its namesake proud for its vivid, immersive pictorial invention.

Blinded by sickness as a child, later losing two infant daughters to the pandemic of infant mortality that plagued Turkey’s heartlands, what the Anatolian people starved for in terms of physical substance they made up for by the richness of their cultural heritage. That was the treasure that remains of Âşık Veysel.

The Biennial, for all of its maximalism, concentrated in the overpopulated heart of downtown, European İstanbul, conveys moments of focus that startlingly visualize unseen elements behind inner-workings of power that affect the global majority.

Triarchy is a timely evocation of creative experimentation with the image of control as it descends from a single person, most often a man, to the principle of the triad that is reflected in the foundations of Western government where imbalances in the executive order are checked by the branches of judicial and legislative administration.

The “A Cloud in My Hand” pavilion brings together works by Palestinian artists and their allies, transforming absence into presence and mourning into creative resistance.

In her latest exhibition, Uras explores the dynamic vitality of women’s labor throughout the ages since the prehistoric era, from the Greek, Roman, Byzantine, and Ottoman periods, till today, where women have a longstanding history in the national workforce.

Featured in Arter’s group exhibition Under Pressure Above Water, İrwen draws from personal history, her time in prison, and her hometown Diyarbakır to create deeply symbolic works.

Experts warn that April’s frost exposed the fragility of Turkey's agriculture with fruit prices soaring. They call for preventive tools such as wind machines and crop diversification to strengthen resilience amid climate change.