Why do situations beyond our control occupy the most space in our minds? Just like recklessly scratching a scabbed wound, delving deeper into the spiral of this thought is actually as meaningless as setting sail against the harsh winds of cosmic indifference.&nbsp;While we tightly grasp the ropes amidst all these question marks, Han Yang stands before us not with answers but with new perspectives.



Seeing the complex relationship between identity, vulnerability, sincerity, and humanity&#8217;s environment as her own playground, Han invites us to an area of attraction that goes beyond the influence of words—to the dimension of colors.&nbsp;She reminds us that everything we do and experience is an extension of ourselves and adds: &#8220;Each piece is an exploration of themes I am closely connected to… In a way, my work is both a window and a mirror–it’s a way for me to process my own experiences and, at the same time, invite viewers to find something of themselves in it.&#8221; Highlighting the expressive emotional language of colors, Han states, &#8220;The emotional state of a color is its ability to convey feelings, moods, and atmospheres in a way that words often cannot. Colors have a unique emotional language.&#8221; bringing us together in a common medium of expression. Thus, questions do not find answers but merely change form. In fact, what could be the emotional state of a color?



Yankı: Show us a feeling that doesn’t have a definition.



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Yankı: Where does a dream end and reality begin?



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Yankı: Is there a presence in absence itself?



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-1024x1280.jpg" alt="" class="wp-image-65304" srcset="https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-1638x2048.jpg 1638w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-1200x1500.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/3_Dream-and-Reality_Han-Yang-scaled.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



Yankı: Can the silence of stillness echo louder than the sound of chaos?



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-1024x1280.jpg" alt="" class="wp-image-65305" srcset="https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-1638x2048.jpg 1638w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-1200x1500.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/5_YuhuaStone_Han-Yang-scaled.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



Yankı: What does love look like from your perspective?



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-1024x1280.jpg" alt="" class="wp-image-65306" srcset="https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-1638x2048.jpg 1638w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-1200x1500.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2024/12/8_Romantic-Memories_HanYang-scaled.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



From Based Istanbul N°44 – Confessions Issue. “World is basically a “dynamic” mess of jiggling things. You need to confess your messy parts first.”&nbsp;<a href="https://shop.basedistanbul.com/">Buy your copy now!</a>



Han Yang <em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">In conversation with Tunga Yankı Tan

emotional state of a color

Pazar günü Prada, Fondazione merkezini teatral bir oyun alanına dönüştürerek Berlin&#8217;deki bir gece kulübü ile 20. yüzyıldan kalma bir balo salonu arasındaki sınırları bulanıklaştıran Sonbahar/Kış 2025 erkek giyim defilesini tanıttı. Miuccia Prada ve Raf Simons tarafından tasarlanan defilenin mekânı &#8211; devasa plastik perdelerle örtülü üç katlı çelik yapı &#8211; insan içgüdülerini ve kusurluluğun romantizmini kutlayan bir koleksiyona sahne oldu. 



Oyun evi benzeri yapı, muhteşem bir halıyla kaplanmış ve mavi, kırmızı ve sarı ışıklardan oluşan bir kaleydoskopla aydınlatılmış, mahremiyete mimari bir övgü niteliğindeydi. Tasarımcılar koleksiyonu “içgüdünün bir ifadesi” olarak tanımlayarak, yaratıcı güçler olarak insan doğasının ve “ilkel dürtülerin” derinliklerine daldılar. Onların vizyonunda, çelik koridorlar bir diskonun cazibesini yansıtıyordu: ilkel bağlantı kurma ihtiyacımızı karşılayan ortak bir alan.



Prada&#8217;nın modern erkeği çelişkileri benimsedi, gardırobu cesur kombinasyonların ve içgüdüsel seçimlerin öngörülemez bir karışımıydı. Uzun saçlı büyük boy paltolar, romantizme karşı savunmasız bir selam niteliğinde, çıplak göğüsleri ortaya çıkaracak şekilde açıldı. Cottagecore-esque küçük üstler resmi siyah mokasenlerle tezat oluştururken, cesur mor pantolonlar ekose trençkotlarla bir renk cümbüşü içinde buluştu.



Soluk çiçekli ve parlak tonlardaki kovboy çizmeleri, özel dikim pantolonları ve oversize dış giysileri tamamlıyordu. Kürklü süslemeler parkalara yapışırken, örgüler beklenmedik dokularla şekillendirildi. Aksesuarlar da aynı şekilde içgüdüseldi: basketbol topu şeklindeki inci küpeler, ilkelliğin ortasında oyunculuğu ima ediyordu. -Uyumsuz desenler ve siluetler deneyselliğin heyecanını ima ediyordu.



Tasarımcılar giyinme sanatındaki insan unsurunu vurguladılar. Koleksiyon, hayatın öngörülemezliğini kutladı: acele kararlar, kusurlu eşleşmeler, risk almanın keyfi. Yapay zekadan giderek daha fazla etkilenen bir dünyada Prada&#8217;nın koleksiyonu modanın insani yönünü, yani içgüdü ve duygularla ateşlenen ham yaratıcılığı hatırlattı.



Prada FW25 insan olmanın ne anlama geldiğini kutladı: içgüdüsel, kusurlu ve sonsuz yaratıcı. Miuccia Prada ve Raf Simons, yapay olanı reddederek ve öngörülemez olana eğilerek, modanın neden kendini ifade etmenin en saf biçimlerinden biri olmaya devam ettiğini hatırlatan bir koleksiyon sundu.







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Prada Fall/Winter 2025: A Chaotic Symphony of Instincts and Romance

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<pre class="wp-block-verse">There are 8 billion of us living together. Our soul mate is out there somewhere. I believe love is a triggering force that connects you to life, brings out all those emotions that you hide inside you, transforms you into a better version of yourself,&nbsp; just need to be brave for self-realisation. Love is a cure, success is the greatest aphrodisiac. I am confident in myself. I choose to be brave, to live life to the fullest without moulding myself in certain patterns.</pre>



Talent <span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Funda Eryiğit



Creative Direction &amp; Words by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashion Direction by Burak Sanuk



Directed by Melike Müge Şahin



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashiıon Editors Birce Naz Köş, Ant Süzer



Set Design Yeşim Yeşilçimen



Hair by Mustafa Akgül



Make Up by Doğukan Tuncer



Creative Production BI Creative



Production Team Barış Kartal, Belgin Demirhan



Photography by Yağız Yeşilkaya



Photography Assistant Aktuğ Yılmaz



Gaffer Ömer Rauf Aksoy



VideoAssitants Emre Tahir Özder&nbsp;



Video Editor İlayda Aşık



Set Design Assistants Yavuz Selim Kalaycı, &nbsp;Dilay Şimşek



Hair Assistants Enes Sakızcı



Bestboy Eren Can Evcil



Lighting Assistants Ufukcan Maviş, Doğancan Güneş



Colorist Mesut Kesici

Based Istanbul TV: Doğruluk mu? Cesaret mi? with Funda Eryiğit

Paris is synonymous with art, culture, and high fashion, and now it’s playing host to a celebration of Italian creativity. Dolce &amp; Gabbana, the iconic design duo, has brought their critically acclaimed retrospective from Milan to the Grand Palais — an iconic Parisian venue that perfectly complements their opulent vision.



After its debut at the Palazzo Reale in Milan, the exhibition “Dal Cuore alle Mani: Dolce &amp; Gabbana” has been reimagined for Paris as “Du Cœur à La Main: Dolce &amp; Gabbana” This updated showcase is not merely a gallery of garments but a cultural journey that underscores the designers’ enduring love for Italian heritage. It’s an immersive experience with over 200 jaw-dropping creations on display.



Visitors will encounter pieces that exemplify Domenico Dolce and Stefano Gabbana’s unparalleled craftsmanship, including couture gowns, intricate embroidery, and designs that meld history with modernity. Each item is a testament to the brand’s commitment to celebrating art and tradition while continually pushing the boundaries of fashion.&nbsp;



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The Grand Palais provides a majestic setting that heightens the emotional impact of the pieces on display. As visitors walk through the exhibition, they are transported into a world where Italian culture meets haute couture. This retrospective isn’t just for fashion enthusiasts; it’s an experience for anyone who appreciates beauty, creativity, and storytelling.



The Paris edition of the exhibition includes exclusive additions that weren’t part of the Milan showcase, making it a must-see even for those who attended the original.The exhibition’s title, “Du Cœur à La Main” (“From the Heart to the Hand”), encapsulates its essence: a heartfelt ode to the artistry and cultural roots that define Dolce &amp; Gabbana’s work. The retrospective dives deep into the elements that inspire their designs — from the grandeur of Baroque architecture and the vibrancy of Italian opera to the charm of la dolce vita.



Each section of the exhibit weaves together various art forms. Whether it’s music, film, or traditional Sicilian craftsmanship, the designers’ love for their homeland is palpable. The exhibition also highlights their ability to translate these influences into contemporary, wearable art.



Adding to the exhibition’s allure, visitors can witness live demonstrations of unparalleled craftsmanship. Five talented seamstresses from Dolce &amp; Gabbana’s Milan atelier are stationed within the exhibit, meticulously working on bodices, bustiers, and corsets right before attendees’ eyes. One seamstress carefully sews intricate lace to create a dress, while another skillfully drapes fabric by hand.



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Du Cœur à La Main-DOLCE & GABBANA’S STUNNING PARIS RETROSPECTIVE

You might want to wear your bulletproof vests for this one because Kanye West, aka Ye, is stepping into the director’s chair to adapt the Vultures universe for the big screen. Dark, chaotic, and as unexpected as ever, Ye brings out the final piece of the puzzle in the Vultures series. Fingers crossed for this one!



With the unannounced release of ‘Bomb’ music video, we got a glimpse of the overarching universe Ye has set out to craft. Of course the videos are as polarizing as himself especially with the use of AI which has been facing public backlash eversince the first release. Like it or not you have to give credit to its layered abstract narrative and fully immersive world-building aspects. In true Ye fashion, he brings a darker, more introspective vibe to the screen, blending themes from&nbsp;Vultures&nbsp;into an all-encompassing and rather wonky cinematic experience.



Name another artist that can post a one-minute trailer which is fully AI and still take over Instagram? On second thought, maybe it’s for the better for the world to have just one… Anyways, there isn’t a public release date yet Ye seems to be gearing up for a busy year. Soundtracked by ‘5:30’ the teaser showcases a couple of Vultures collaborators such as Kodak Black, Rich The Kid and Playboi Carti. The teaser doesn’t seem to follow any particular plot line rather it’s a montage of AI curated which dazzles us off ever further.



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Ye is a man of reference from his earliest works to the most recents. This goes beyond from chopping up the soul and mixing it to visual references as well, Akira for instance greatly influenced his work on ’Stronger’. Same goes here as well, with the mix of visualy eerie Lynchian abstractions that clashes with the harsh dystopian approach that Ye explores in his music. Add AI to the mix and we have something terrifyingly special.&nbsp;



For those in the market for nightmare material, look no further:&nbsp;Vultures The Movie&nbsp;delivers a full-length exploration curated just for you. Still, don’t get your hopes up considering the Vultures series track record, this teaser could turn into anything or even nothing at all. Especially with his upcoming solo project ‘Bully’ which has set out to release in 2025.

Kanye West Shock Drops A Teaser For The Vultures Movie

Do you remember what it felt like to be a teenager? The angst of change, the way life speeds up while slamming into the harsh walls of adulthood&#8230; Andrea Arnold&#8217;s Bird transforms these collisions into an experience that is felt rather than merely seen, capturing the hyperspeed of growing up and the unavoidable shadows of reality with remarkable finesse. Bird is more than a screenplay; it is a collection of stories that connect with the truths buried within the audience.



Arnold’s mastery behind the camera breathes life into this tale. The line between reality and dream blurs through the eyes of Lark (Nykiya Adams), rendering the story both poignant and mesmerizing. The film collides the explosive energy of youth with the stillness of adulthood, giving us a glimpse of Lark&#8217;s anarchic escapes into her imagination.



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Bird&nbsp;is brimming with moments that showcase the magic of friendship in its purest form. Through quirky, chaotic, and even slightly rebellious lenses, the film portrays human relationships in ways that linger long after the credits roll. Case in point: Barry Keoghan serenading a toad with Coldplay’s&nbsp;Yellow. Yes, you read that right. It’s bizarre, yet beautiful, and a reminder of how fragile yet profoundly deep human connections can be.



Arnold opts for a fragmented and jagged narrative instead of traditional storytelling, pulling the viewer into Lark&#8217;s world. The interstitials of video footage captured by the characters reveal intimate glimpses of their inner lives, adding yet another layer of connection. These moments are woven with instances of broken spirits finding solace in each other, offering compassion and hope. At one point, a touch of magical realism might alienate some viewers, but the metaphorical power of this scene is undeniably striking.



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Even the film’s silences speak volumes. The unspoken words between Lark and her mother or the emptiness in Rogowski’s gaze communicate emotions that dialogue alone could never convey. Arnold doesn’t treat these silences as empty spaces; rather, they are brimming with meaning and tension.



With her long-awaited return to fiction filmmaking, Andrea Arnold once again restores our faith in cinema. Nykiya Adams delivers a stunning breakout performance, bolstered by the spirited and electric turns of Barry Keoghan and Franz Rogowski.&nbsp;Bird&nbsp;takes the overlooked fringes of life and soars toward sky-high dreams. In many ways,&nbsp;Bird&nbsp;is like being part of the new generation—reshaping the rules while unapologetically staying true to yourself.



As we approach the final scenes of Bird with mixed but warm feelings, we invite you to a playlist inspired by the film:



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Bird (2024)

If Brutalism is architecture being punk, then Neviges Mariendom is Ramones. A jagged, raw hymn in concrete that defies the sugar-coated tradition of sacred spaces. Designed by Gottfried Böhm and consecrated in 1968, this pilgrimage church in Germany’s Neviges is a masterclass in brutal honesty.&nbsp;



Neviges Mariendom doesn’t really look built, at first glance you might even think it’s carved out of a mountain. Its angular, tent-like form slices into the skyline, standing like a fortress of solitude among the hills of North Rhine-Westphalia. Böhm envisioned it as a &#8220;tent of God among the people,”—a really romantic idea for a rather intimidating building. The bare, textured concrete exterior rejects ornamentation, opting instead for a sculptural intensity that feels more alive than static.&nbsp;



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Step inside, and the starkness continues, but not without purpose. The interior, with its soaring ceilings and rough walls, feels cavernous yet intimate. It’s a space stripped of distraction, forcing visitors to confront the enormity of their thoughts—or their faith. The vastness of the space interacts with the light in such a unique way that it creates a dazzling atmosphere of introspection.&nbsp;



The story behind Neviges Mariendom is just as striking as its design. In the late 1960s, the Catholic Church needed a space that could house the thousands of pilgrims flocking to Neviges to honor an image of the Virgin Mary. Enter Böhm with his avant-garde vision, a bold departure from the ornate traditions of Baroque or Gothic churches.



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The monolith might look out of place at first, or you might find yourself wondering “how does a city live this?”. Yes, it can be rather stubborn at times but overtime it carved a sharp dialogue with Neviges itself. It has become an undeniable part of the urban fabric—a bold participant in the city’s rhythm. In a way it became a resident, capturing decades of whispered prayers, skeptical glances and the untold stories of the city.



So, the next time you’re mapping out your brutalist bucket list, drop a pin on Neviges Marlendom. You might not leave a believer, but you’ll definitely leave with lingering memories.



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Neviges Mariendom Church is Where Brutalism Goes on Sundays

<h2 class="wp-block-heading">Social hypocrisies, twisted norms of the modern age, and silent confessions that hide behind all of it…While we hassle through İstanbul’s chaos, we tag along after a stray cat down one of Kadıköy’s old streets and find ourselves as guests in Ali Elmacı’s studio.</h2>



<h2 class="wp-block-heading">The objects inside seem to tell us that life is filled with what we don’t expect, rather than what we hoped for; some embracing the form of a painting to tell its story while others seek to manifest themselves as sculptures. Collectively, it is a space where topics that even society hesitates to address with itself are openly displayeda familiar yet strangely foreign depiction of the world. Ali states, “My characters are usually cheerful, colorful, and even glamorous on the surface… But deep down, they symbolize hypocritical individuals defeated by societal norms.” Accompanied by the melodies of 90s rock emanating from inside, we too become part of this masquerade. Only one question remains: Which face of ours will we come across under this surface?</h2>



YANKI How would you describe the creative persona and art of Ali Elmacı to someone who is yet to be introduced?



ALİ I often critique human hypocrisy, consumerism, power dynamics and obsession with status through cultural symbols and popular imagery. In doing so, I draw on various disciplines, primarily painting, sculpture, photography and video.



YANKI How influential is cultural heritage in shaping the visual narratives you create?



ALİ I try to create a language of expression by blending traditional values and cultural symbols with the conflicts of modern life. Thanks to this, cultural heritage becomes not just a relic of the past but turns out to be a dynamic element that sheds light on contemporary issues and sets the audience thinking instead. Thus, cultural heritage in my work remains both a space of belonging and critique, becoming a structure that encourages the audience to question their own belongings.  



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YANKI You are defining your work as “depicting the ugly”. What is the origin of this criticism towards popular culture? How do social and individual situations turn into such a striking story?



ALİ I define ugly as ‘everything that involves human’. Social and individual hypocrisy lies at the heart of my work. I draw inspiration from popular culture’s tendency to mold people into stereotypes and individuals striving to behave as they are ‘supposed to’. While satirizing the value society places on aesthetics, success, and wealth, I also try to reveal the inner conflicts these values create within individuals. My characters are usually cheerful, colorful, and even glamorous on the surface… But deep down, they symbolize hypocritical individuals defeated by societal norms.



YANKI Your artistic expression advances on a range from painting to sculpture and even video. Can you tell us about the creative perspective that drives a painter to explore different media?



ALİ Different mediums allow the artist to communicate their story across a broader range. Essentially, exploration of each medium stems from the desire to experience its unique possibilities and limitations. Every new medium offers the artist a chance to expand their freedom of expression, explore topics from different perspectives, and evoke diverse emotions in the audience, continuously transforming their artistic expression.



YANKI “Alienating the familiar” is in the center of your narrative. Let’s talk about the creation process of this feeling in your works. How does this feeling materialize?



ALİ Basically, this feeling of ‘uncanniness’ can be achieved by surprising the audience and building a new perspective through familiar images. I’m striving to objectify familiar symbols, common objects, and cultural references, interpreting them through their inner contradictions. I try to create my compositions by redesigning popular images or ordinary elements of daily life in grotesque, exaggerated, or humorous forms—merging the traditional with the modern, the sacred with the mundane, even the beautiful with the ugly.



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
“I define ugly as ‘everything that involves human’. Social and individual hypocrisy lies at the heart of my work.”



-Ali Elmacı
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YANKI We often come across human form in your work. Do you see humans as the primary tool for social criticism? 



ALİ Human figure is not a must for me but using it as the primary tool for social criticism allows me to create a direct bond with the audience. Having the audience question their own existence is an effective way to make the thin line between social values and individual identities visible. Thus human form serves both as the messenger of the critique and the bridge that conveys the message to the viewer. In this sense, I don’t shy away from using it. 



YANKI The bold colors and symbols inherent to your work virtually create a confrontational atmosphere. What kind of an emotional and intellectual state do you imagine the observer to be in? Is there also a challenge in there?



ALİ No, there’s no challenge there. Definitely not necessary but I’d like the narrative of color and symbols to cause the observer to engage mentally instead of just viewing and passing by, and I’d like to leave the outcome of this engagement to them completely.



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YANKI How does being understood translate into your production?



ALİ Actually it is related to the answer of the previous question. Being understood doesn’t mean that the viewer deciphered my message completely; it’s rather about creating an opportunity for them to question their own emotions, values, and social perceptions. I consider myself lucky if I can even get a whiff of achieving that!



YANKI What would we be listening to now if your art had a soundtrack?



ALİ That’s a pretty tough question, but it might be: “The Good, The Bad and The Ugly — Ennio Morricone.”



YANKI What’s next? Where does one go after pushing boundaries to this extend?



ALİ According to my schedule, my seventh solo exhibition, We’re All Vampires Except One of Us, will be at Pilevneli Gallery in April.



As for boundaries, the lines that make them up are like the waistband of panties… Very tight at first but since they are flexible for stretching and relaxing with use, they are bound to expand. I don’t know where one can go from here but I’m certain that they will keep on going relentlessly.



From Based Istanbul N°44 – Confessions Issue. “World is basically a “dynamic” mess of jiggling things. You need to confess your messy parts first.”&nbsp;<a href="https://shop.basedistanbul.com/">Buy your copy now!</a>



Creative Direction by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Interview by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Tunga Yankı Tan



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Photography by Umutcan Öncü

A Masked Ball

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<pre class="wp-block-verse">What motivates me - in general, the first source of motivation for me to produce my works is the feeling of discomfort. We live in such a country that every day we are confronted with a brand new event, a brand new disaster that disturbs us. The more uncomfortable I feel, the more I shut myself in my studio and find the solution in working. Of course, all my works have an autobiographical aspect. But rather than presenting it as such, I always convey it through another issue. The part about being understood is primarily based on understanding myself. Firstly, I try to understand myself, I try to find myself, and that's all I care about. I don't force the audience to do anything. Of course, there is a subject or an issue that motivates me. But this is something that concerns me completely, after that it is up to the audience. Whatever they think, whatever they understand. I'm doing my favourite job in the world, I'm doing my favourite thing, and I'm very much in love with my job. And so it goes...</pre>



Creative Direction by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Interview by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Tunga Yankı Tan



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Videography by Umutcan Öncü

Based Istanbul Welcomes: Ali Elmacı

How much does our conception of the world hinge on how we love? Or even who and what we love? In the midsts of black and white hides stories of love, loss and obsession—Masahisa Fukase captures his’ in a frame knowing that the moment is fleeting no matter how hard you try to catch it. While chasing time, Fukase also chases himself in the ultimate form of selfishness that is art. Every gaze around every occasion, is a look into himself. It’s a perverse kind of attention. He solely looks to get a better look at himself. After all isn’t the mirror an essential part of a camera’s casing?&nbsp;



A mirror might show us the truth, but when it cracks, the truth distorts, splinters, fragments. Fukase’s life was one of reflection—on the dangerous nature of love, on the endless itch of obsession, on the unbearable weight of solitude… He was a man who loved and hated photography in equal measure for what it gave him and what it took away.&nbsp;



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Masahisa Fukase’s eccentricity, radicalism, and experimental style can all be linked to one defining characteristic: obsession. For Fukase, photography was not merely a practice but a relentless pursuit—an extension of his emotions, his relationships, and ultimately, himself. This selfless-selfish approach reached incredible heights, celebrated for its raw intensity, but it also plummeted to haunting depths where it’s so painful that you want to avert your eyes from it.



Fukase’s life mirrored this duality. His highs were brought by love, particularly his muse and wife, Yoko Wanibe, and his lows were defined by despair. Photography became his means of communication—a tool to channel what words could not. His images spoke of intimacy, heartbreak, and isolation with an honesty that left no room for pretense. And that’s where great art happened.&nbsp;



<h2 class="wp-block-heading">The White</h2>



Yoko Wanibe, his second wife, was a great mark on Fukase’s life. To some extent, an obsession nearly as profound as photography. 13 years they spent together and during that time Yoko became his subject, his muse and rather his co-creator. Yoko&nbsp;is a willing participant. She performs, dresses up and poses. The resultant photographs are often joyous as well as sombre. She became both an echo and a contrast—a luminous figure against Fukase’s often stormy vision.



It all seems poetic in some way until you stop to think what it could be like to live with a photographer. First, you must think you’re eternally being spied upon, trying to be caught unawares, that an eye waiting to catch the true-true-you is always present, and always watching. It’s a song and dance, yet the music never really stops playing.



It is only later that you realize that it isn’t&nbsp;your&nbsp;essence that the photographer is trying to capture and distill truth from, it’s his. That each image pointed at you is really just a sublimated view of themselves, and that what they project when they point and click in your general direction is really just a reflection back of self, sometimes twisted and sometimes upside-down.



Yoko was in a position where she was in the passenger seat of her own life. So radically, in a move meant to author more control over her own life, she left him in 1976. Yoko then goes on to write an article called “The Incurable Egoist”, which ironically later became a show title for Fukase. She also distills all the time that they spent together into moments of “suffocating dullness interspersed by violent and near suicidal flashes of excitement.&#8221;



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<h2 class="wp-block-heading">The Contrast</h2>



What is it to make a memory out of loss? To distill the precise ache of mourning? Fukashi in a crippling depression find his shadow-clone in ravens, which later becomes his best known work. While reeling from loss of love that comes from ending his thirteen years of marriage, Fukashi takes on a train returning to his hometown of Hokkaido.&nbsp;



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Then as a coping mechanism or maybe even fate, Fukase started getting off at stops to capture photos as ravens. In Japanese culture this is as contradictory as the man himself. Ravens are disruptive creatures, omens of turbulent times. But for Fukase, they transformed into symbols of lost love and almost unendurable heartbreak. He became obsessed with them—their darkness, their loneliness. Through them, Fukase found a way to express what words could not—a fractured reflection of a mirror that is set on himself.



<h2 class="wp-block-heading">The Black</h2>



From 1976 to 1985, Fukase’s obsession with ravens consumed him. He photographed them in every state—alive and dead, in flight and at rest. His images were not polished or refined but raw and brimming with emotion. Every photograph seemed to ache with the weight of loss, every grain a reminder of what he could not regain.



Art does not exist in a vacuum, and neither did Fukase’s. His work is a testament to the idea that love can fade to make room for passion, but passion rarely offers the same solace. The ravens, like Yoko before them, became mirrors—fractured, distorted, yet achingly human.



What remains of Fukase is the art he left behind—and the shadows it casts. His images are not simply photographs; they are fragments of a man chasing himself, a fleeting moment, and the echo of a love that could not last.



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="681" src="https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-1024x681.webp" alt="" class="wp-image-65507" style="aspect-ratio:16/9;object-fit:cover" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-1024x681.webp 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-360x239.webp 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-680x452.webp 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-1536x1021.webp 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-16x11.webp 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg-1200x798.webp 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Ravens4.jpg.webp 1551w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>

Blacks and Whites of Masahisa Fukase Contrasting Life 

Sometimes you need a ‘reality check’ to come to your senses, and David Shirgley is the uninvited guest of those moments. Softly approaching our fragile nature, Shirgley creates a space for himself through the cracks of life with his absurdist art; in his world, there is a universe where just existing is a kind of freedom and we can dance in the layers of the absurd&#8230;



A collision point of absurdity, black humor and tragedy, David Shirgley poetically reinterprets the banality of everyday life. At first glance, his drawings and animations present a simple and naive aesthetic, but their subtext contains a deep criticism and a jarring reality. Shirgley&#8217;s work invites us into the pure world of childhood while presenting the complexity of adulthood &#8211; a playground that the artist creates between our life experiences, gently touching our hearts.&nbsp;&nbsp;



The humorous language of Shirgley&#8217;s work tragicomically reveals the deepest human emotional conflicts. The innocent and uncanny figures that we often find in his drawings are more than mere entertainment; they become an image that embodies all human fragility, passion and sadness.&nbsp;&nbsp;



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Every trace of life, from the deepest wounds to the most unexpected joys, is hidden in this humor &#8211; as if inviting us to rediscover the world with a broken love, laughing and crying at the same time. Shirgley&#8217;s drawings are characterized by both childlike joy and deep existential sadness, and in bringing these two together, he depicts a way of experiencing the subtle beauty and pain that life offers us.



David Shirgley&#8217;s world has a bold and provocative romanticism, while encouraging us to embrace our own contradictions. In his art, we confront our inner child and simultaneously feel the weight of being an adult.&nbsp;



If you look around you and nothing remarkable happens, if you think that inspiration is something that comes with the storks and finds you, David Shirgley is here to mock your misconceptions until they burn to ashes. He is here as an uninvited guest in our ADHD-filled heads, with the sole purpose of messing up our lives puzzle! However, he does not do this out of malice. In the messiness of complexity he finds peace; and mixes colours, ideas and writings to remind us how much our most fragile parts are actually like us&#8230;



<figure class="wp-block-image size-full"><img loading="lazy" decoding="async" width="734" height="917" src="https://cms.basedistanbul.com/wp-content/uploads/2025/01/Snapinsta.app_469301994_952214640104965_8217510521802205226_n_1080.jpg" alt="" class="wp-image-65484" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/01/Snapinsta.app_469301994_952214640104965_8217510521802205226_n_1080.jpg 734w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Snapinsta.app_469301994_952214640104965_8217510521802205226_n_1080-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Snapinsta.app_469301994_952214640104965_8217510521802205226_n_1080-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/Snapinsta.app_469301994_952214640104965_8217510521802205226_n_1080-16x20.jpg 16w" sizes="auto, (max-width: 734px) 100vw, 734px" /></figure>

Life’s Messy, David Shrigley’s Laughing

The anger echoing on the streets of Paris is shaped by the story of three young people trapped in an outside world surrounded by concrete walls: La Haine. Showing a city from a never-before-seen angle, from the depths of anger and the search for identity, this is a formidable cinematic coup that still retains its dynamics.&nbsp;



Mathieu Kassovitz is a director who feeds on the classics of French cinema while at the same time transforming the harshness of American cinema into his own style. La Haine is a masterful exploration of social inequality, media manipulation, the cycle of violence and suburban youths&#8217; attempts to define their role models through violence and respect. Inspired by 70s neo-noir, the film recreates the cold sharpness of Tarantino, the frenetic pace of Trainspotting and the tense mood of Taxi Driver in its own unique language.&nbsp;



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Set in the suburbs of Paris in 1995, La Haine reveals like a river the ever-growing anger simmering within marginalized communities, how this anger is reflected in the lives of young people and how it is intertwined with violence. The film places a tight tragic mechanism at its center &#8211; not only a political uprising, but also a striking reference to pop culture.&nbsp;



The story finds a place in the eyes of three young outcasts in this city. Vinz wants to follow in the footsteps of the movie heroes, while Hubert confronts the lies of advertising with a political gaze. Saïd, on the other hand, embraces everything in his own unique way: with graffiti. Paris plays a trick on them with closed walls and prohibitions. As Saïd says, they are actually trapped outside.&nbsp;



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="555" src="https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-1024x555.jpg" alt="" class="wp-image-65445" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-1024x555.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-360x195.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-680x369.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-1536x833.jpg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-16x9.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_-1200x650.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/01/MV5BOWI1M2FiYzktNjE1Ni00ZTFkLThmNDktOGMwODhjMzRlYTM5XkEyXkFqcGc@._V1_QL75_UX1640_.jpg 1640w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



The opening scene of the world hit by a Molotov cocktail places the film at the center of a global problem from the very first minutes. By linking the social situation in the Parisian suburbs to the spread of a universal hatred, the film portrays not only a local problem, but also a worldwide anger: the huge disconnect between these concrete walled immigrant neighborhoods and the white French mainstream. It reflected an environment in which both sides say “Jusqu&#8217;ici tout va bien” (“So far, so good”), ignoring the presence of an incendiary fuse, in reference to the first scene. The real “fantasy” at the source of the collapse is not the suburban children, described as “brutalized”, but the worldwide belief that the blows of the batons are more tolerable than social anger.&nbsp;



Another striking scene in the movie is Vinz&#8217;s role in front of the mirror. In that moment, the reflection in Vinz&#8217;s eyes is more powerful than his real identity. In his reference to Travis Bickle, Vinz carries an inner desire to be a hero throughout the movie; a kind of artificial identity construction through imitation. Vinz&#8217;s harsh and threatening attitude in the mirror, “Yo talkin&#8217; to me?” is an expression of his anger and insecurity towards the outside world in his search for identity. He confronts society through this reflection, but he must also confront his own identity. What he sees in the mirror is not an external threat, but an inner emptiness and a search for identity. Vinz&#8217;s reflection is therefore unfortunately an illusion.



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Another point I would like to underline is that Kassovitz uses the language of cinema as a weapon. The slow rhythm in the film is not a weakness, as criticized, but rather a striking move to reflect the emptiness and hopelessness of the youth.&nbsp;&nbsp;



La Haine was actually made before the Black Lives Matter movement and critical race theory. It is not fundamentally a racist movie. Nor does it contain identity politics. Black Hubert, Arab Saïd and Jewish Vinz each represent a different personality type. Together, they symbolize all marginalized people in France, the embodiment of the expression &#8216;black-blanc-beur&#8217;, which was developed in the 1990s to emphasize France&#8217;s new multicultural, multiethnic identity, against the Republican motto &#8216;bleu-blanc-rouge&#8217;. In fact, it&#8217;s not hard to find a lesson here: Grunwalski&#8217;s story made the film&#8217;s message even clearer: sometimes we have to accept disasters bigger than ourselves, but other times we risk falling off a fifty-story building and don&#8217;t realize it until it&#8217;s too late.



While La Haine leaves us alone with intense emotions and a full head, we invite you to the playlist we prepared with the energy we got from the film:



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<iframe title="Spotify Embed: La Haine" style="border-radius: 12px" width="100%" height="352" frameborder="0" allowfullscreen allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy" src="https://open.spotify.com/embed/playlist/6ha9tXZO6QoHFqSoZfAt7E?utm_source=oembed"></iframe>
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La Haine

<h2 class="wp-block-heading">Anything can become anything else; it&#8217;s just a matter of coincidence. How we meet, where we dwell, even what we feel—intentionally left unintentional, we drift through the river of time. Have you ever felt the pull of the unseen, the allure of what&#8217;s just beyond perception? Stefan Visan lives in that very beyond.</h2>



<h2 class="wp-block-heading">Stefan&#8217;s artistic process is as instinctive as it is relentless. Objects converge by chance in his studio, forming unplanned connections as if destiny wove them together. Immersed in the here and now, he curates a world of boundless curiosity. In this white box, encounters are all that matter. Stefan looks inward to find the missing pieces: &#8220;It&#8217;s about the here and now—sitting in a room, in red light, with coffee, cigarettes, and music&#8230; It&#8217;s about sitting alone with myself,&#8221; he reflects. A lot to confess, a lot to discover&#8230; ready to remove your blinders?</h2>



YANKI Can you walk us through your creative vortex—from that first spark to the final form?



STEFAN The first spark can appear in several ways, any moment of the day. Though, it apperas most often when I’m in the studio studying objects—&#8221;playing” we may call it. As a child, I had a world of my own. I used to study objects, nature and people. I would take apart any watch I found around the house to study its mechanisms so for a long time I thought I would become a jeweler or a watchmaker. Eventually, I had a room full of drawings and that’s how I ended up in art classes. Painting is my first love, but not having enough resources to paint, I looked for some other menas to express myself. 



From that initial spark my process has a lot of study, repetition and frustration—sometimes only for one shot. Apart from the 6 hours that I spend in the studio every day, it can even appear when I sleep and wake up with an idea. As if I dreamt it. Other times, it’s ignited by what happens around me or in the world. I think a lot&#8230; It&#8217;s a constant exercise and I never abandon an idea even if sometimes I think it&#8217;s impossible to achieve.



YANKI Inspiration can be quite shy for some; where does it hide in your world? How is your relationship with the concept?



STEFANInspiration can be found anywhere and in anything in my world. There are some ideas that surprise me sometimes and I don&#8217;t know how I ended up creating them. The relationship with my multiple concepts is very connected and close to me.



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YANKI Given that you&#8217;re working with a lot of unconventional ideas, do you ever find yourself against a creative block? How do you tackle it?



STEFAN Oh, so many times! There are moments when I think to myself, “That&#8217;s it, no more ideas for you” I don&#8217;t know how to approach it exactly either&#8230; I go into the studio and after spending so many hours alone and come out without realizing no work is very frustrating. Sometimes, I go into to studio and spend hours and hours alone only to come out without any finished work. It gets very annoying. But I’ve noticed that going out into the nature helps, I have a favorite place where I think and recharge myself. Then, I start from the beginning and start studying objects, nature, people again—walking kilometers on foot.



YANKI How much of your artistic direction is instinctive?



STEFAN I make the connection between objects instinctively, there are works that appear naturally. Objects meet by chance in my studio. For example, two objects can sit next to each other for a while and out of the blue I might glance over them and see exactly the connection.



YANKI What was the last thing that you found muse in? What amazed you about it?



STEFAN My wife, Alexandra. We’ve had the same fight for a long time. She’s the one who gives me a boost when I’m down and keeps me going. She also argues with me when I call some of my own works “mess.” I have a series of works that will continue with the two of us. What amazes me about her is her strength—how she fights with both my family and hers so that we don’t have regular jobs. She has always supported me emotionally as an artist and never let me quit, even when we were going through very difficult times.



YANKI Do you believe it’s an artist&#8217;s mission to disrupt? While producing, do you aim to disrupt, or is it a natural occurrence of the work you do?



STEFAN Not at all. I’m not trying to disrupt. I’ve noticed from the messages and comments on some of my works that it happens, but it’s never intentional. Even when I work for a brand, there are times when a piece is sent back to me for a redo because it’s considered too disruptive. I’ve realized that sometimes I have no control over this and don’t even recognize when a work might move in that direction.



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
Inspiration can be found anywhere and in anything in my world. There are some ideas that surprise me sometimes and I don&#8217;t know how I ended up creating them.”



-Stefan Visan
</blockquote>



YANKI You once mentioned &#8220;Everything I create is handmade, nothing digital.” Is your art channeling the Platonic metaphors, reflecting digital shadows of physical unexpectedness&#8217; or are you all about bottling the raw essence of the here and now?



STEFAN There was confusion that my work was digital, I’ve even received messages and comments calling me “a digital master.” But for me, it’s about the here and now—sitting in a room, in red light, with coffee, cigarettes, and music&#8230;It&#8217;s about sitting alone with myself.



YANKI Your social media basically serves as your own gallery—an exhibition space. How do you feel about it serving as a modern canvas? Does the fleeting nature of it ever make you think it devalues artistic integrity?



STEFAN Well, it’s about validating an artist’s work as the public perceives it, and that validation happens very quickly. This instant feedback can become addictive, but it’s not about chasing engagement or likes. If you, as an artist, don’t get caught up in those metrics, social media can be a very effective exhibition space. What makes me happy is seeing people from different nations and cultures around the world resonate with my work—something that’s harder to achieve in a physical gallery.



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YANKI How does your emotional landscape inform your choice of materials? How does this process reflect on the final work?



STEFAN My emotional landscape is deeply reflected in my works. It guides me in choosing materials like roses, leaves, feathers, and many more. Each material becomes part of the story, shaped by the emotions behind the idea, and this connection carries through to the final work.



A few years ago, I found an injured pigeon among some roses on the street. I took it in, cared for it, and bandaged its wound. The pigeon stayed in my studio for three years because it could no longer fly due to its injuries. This experience inspired one of my works: a rose tied with a zip tie. It was a reflection of that moment, blending care, fragility, and resilience into a single piece.



YANKI Now flipping the script to the other side, do the materials you repurpose carry their own stories or simply start fresh chapters? 



STEFAN It depends on the materials. Some, like candles or white gloves—which I always manage to stain and can’t use anymore—start fresh chapters. But others come with their own stories, carrying a sense of history that becomes part of the final work.



YANKI A confession about yourself?



I don’t have a driver’s license, and I’m 38 years old. I walk a lot and ride a bike.&nbsp;



YANKI What excites you that is in the horizon?



STEFAN I feel that, through my work, I’ll soon be able to buy my own house and have a bigger studio.



From Based Istanbul N°44 – Confessions Issue. “World is basically a “dynamic” mess of jiggling things. You need to confess your messy parts first.”&nbsp;<a href="https://shop.basedistanbul.com/">Buy your copy now!</a>



Stefan Visan <em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">In conversation with Tunga Yankı Tan

ziplock pigeon

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<pre class="wp-block-verse">The hour of the theater shows “now”. Theater is concerned with what happens here and now. It brings the events that we couldn’t witness right before our eyes and just like in dreams, it exercises our minds with possibility practices. Theater is dreaming while awake. In other words, what transforms a script into a theater play is the actor, their action, their generosity, their courage to risk being seen while baring their soul. The audience establishes a distanced identification with the stage, and embarks on a journey to new realms. In a way, actors on stage become the avatars of the audience. The antique form of a 3-dimensional journey… The acting ground is ritualistic place at its core. The “performance” begins when some people leave the circle of ritual to watch. As Peter Brook stated, “I can take any empty space and call it a stage. If a person walks through this empty space, and another watches them, the necessary conditions for theater are fulfilled.” The acting stage rolls the closed curtains and shows what's inside. The inner self mentioned in Yunus’ verses, “There is an I within myself” is that connection—a connection of imagination. </pre>



Creative Direction and Interview by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Videography by Umutcan Öncü



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Creative Team Belgin Demirhan, Melike Duman, Tunga Yankı Tan

Based Istanbul Welcomes: Serdar Biliş

If 2024 taught us anything, it’s that Doechii is a force to be reckoned with—both in music and fashion. The Florida-born rapper, once self-described as a “TikTok rapper,” has blossomed into one of the industry’s most exciting talents. With her critically acclaimed mixtape Alligator Bites Never Heal earning three Grammy nominations, including Best New Artist, and a flurry of viral performances, Doechii’s journey this year has been nothing short of transformative. 



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The mixtape marked a shift in Doechii’s sound, trading her pop-leaning hits for a deeper dive into hip-hop storytelling. This sonic evolution was accompanied by a bold new fashion era, guided by her stylist. Together, they crafted a preppy, androgynous aesthetic that reflects her artistic growth.



Inspired by her mixtape’s rich, moody tones, Doechii’s wardrobe in 2024 leaned heavily on tailored suits, vintage-inspired silhouettes, and a blend of preppy and streetwear. Thom Browne, Miu Miu, Vivienne Westwood, and Willy Chavarria became staples, while bold textures, tartan prints, and deep hues like burgundy and forest green defined her look. Her style may described as masculine energy with her signature sensuality.



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Her standout moment might be her iconic performance on The Late Show where her braids intertwined with her dancers’ created a mesmerizing visual, complemented by a nostalgic nod to ’90s hip-hop. A day later, she dominated social feeds again with a stripped-back, yet equally captivating, Tiny Desk performance. Both looks captured her evolving aesthetic: a blend of academia and edge.



While artists often prioritize comfort on stage, Doechii embraces fashion’s theatricality. From pinstripe suits in Atlanta to schoolgirl-inspired ensembles in Philadelphia, her tour wardrobe tells a cohesive story. Yet, Doechii never shies away from her roots, infusing each look with her unmistakable charisma and swagger.



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Though 2024 introduced us to Doechii’s most authentic self yet, her love for reinvention leaves fans wondering: What’s next? With whispers of a new album in 2025, Doechii continues to prove that whether it’s her sound, her style, or her performance, she’s always evolving.



One thing is certain: Doechii isn’t just playing the game—she’s rewriting the rules

Doechii’ Era: From Mixtapes to Fashion Moments

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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
“I feel like I&#8217;m making my own luck. I think I&#8217;m making my own luck.”⁠



-Afra Saraçoğlu
</blockquote>



From Based Istanbul N°44 – Confessions Issue. “World is basically a “dynamic” mess of jiggling things. You need to confess your messy parts first.”&nbsp;<a href="https://shop.basedistanbul.com/">Buy your copy now!</a>



Cover Guest <span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Afra Saraçoğlu



Creative Direction and Interview by<span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashion Direction by Burak Sanuk



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Directed by Merve Fatma



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">DOP Celal Burak Özgü



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashion Editor Birce Naz Koş Murat Şentürk



Hair by Mustafa Akgül



Make Up by Aslı Bilge



Creative Production by BI Creative



Creative Team Aslı Kılbüker, Belgin Demirhan, Melike Duman, Tunga Yankı Tan, Umutcan Öncü⁠



3D Scanning and Animation by Çağatay Erbaş⁠



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">DOP Assistant Enes Akdağ



Color Utkan Topuzlu



Sound Designer Emirhan Ceylan



Gaffer Ömer Rauf Aksoy



Best Boy Taner Altundaş



Hair Team Enes Sakızcı, Yiğithan Yılmaz



Make Up Assistant Melisa Arslanboğa



Gaffer Assistants Berk Bayramlı, Doğan Güneş



Agent Beyza Eraydın PH7entertainment



Communications İpek Türer



Special Thanks to Ekin Bernay, Elif Petek Kızmaz