Page 39 - Turkinsurance Digital Magazine

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Exhibition
Bruno Barbey - My Morocco

Leica Galeri İstanbul, which was brought to bomontiada by the
cooperative efforts of Leica Camera AG and Doğuş Group, a
Turkish holding that makes significant contribution to the devel-
opment of culture and arts; will be hosting “My Morocco”, an
exhibition by the Magnum photographer Bruno Barbey, between
14 March and 25 May 2019.

Being one of the biggest supporters of culture and arts via sev-
eral projects and platforms for long years, Doğuş Group estab-
lished Leica Galeri İstanbul inside bomontiada. The gallery will
host the Magnum photographer Bruno Barbey for the first exhi-
bition of 2019.
The artist took photos in five continents for over 50 years. His
Bruno Barbey, a member of the Magnum Photos Agency for photos of wars and conflicts in Nigeria, Vietnam, Middle East,
over half a century since 1964 who also served as its chairman Bangladesh, Cambodia, Northern Ireland, Iraq and Kuwait has
between 1992 and 1995, will meet with art lovers with the ex- resonated with the people all around the world.
hibition titled “My Morocco” on March 14, in cooperation with
Fotografevi. Barbey’s photographs were published in the world’s most pres-
tigious magazines, and international publishers have published
The exhibition is an anthology of “My Morocco”, one of the four more than 30 photography books by him. Leica Gallery Frank-
books prepared by the photographer during his 12 years in Mo- furt had also hosted an exhibition by Bruno Barbey.
rocco. The exhibition makes it possible to travel in time through
photos taken by Barbey in Morocco, his birthplace, during his Barbey’s exhibition “My Morocco” can be viewed at Leica
visits between 1970 and 2000. Galeri İstanbul free of charge in between 14 March and 25 May.

Exhibition
PRISONERS OF CORRECT HISTORY

Artist and historian Naeem Mohaiemen’s films, installations,
and essays analyze the formation and collapse of the Third World
internationalism through Bangladesh’s complicated postcolonial
journey, focusing on three ruptures: the 1905 partition of Ben-
gal within British India, the 1947 partition of British India into
India and Pakistan, and the 1971 war that split East and West
Pakistan into today’s Bangladesh and Pakistan. At the margins
of these turbulent events were interlinked leftist uprisings in oth-
er parts of the world during the 1970s. Using newsreel footage
and found photographs as well as contemporary restagings, Mo-
haiemen examines why the idea of a socialist “utopia” in post-
colonial nations has faded, replaced by hypercapital desires and gali term shothik itihash, translated as “correct history.” He
pious politics. Drawn from family narratives, popular culture, assembles a narrative by piecing together a number of shared
and national mythology, the works reveal anonymous and recog- myths—a missing can of film, a wrong man, and a censored doc-
nizable protagonists moving from the early 1950s to the 1970s, ument—to tell stories of loss and failure, with a glimmer of hope,
always reflecting the role of unreliable memory in both official and also caution about future politics. The audience is left to
and informal histories.
question whether the protagonists are the commanders or pris-
oners of state-controlled historiography.
Prisoners of Correct History is influenced by Mohaiemen’s ide-
as about the possibility of the cultural institution as pages of a The exhibition can be viewed at SALT Beyoğlu until May 28.
transnational history book; as the artist problematizes the Ben-