
<p><strong>Caught in between the rush, Tokyo’s subways carry more than passengers but silent stories as well. Michael Wolf’s&nbsp;<em>Tokyo Compression</em>&nbsp;series captures the visceral reality of urban congestion and the relentless hum of modern life. His lens peels away the thin veneer of city glamour, revealing a world of exhaustion, alienation, and silent endurance that feels both universal and uniquely Japanese.</strong></p>



<p><em>Tokyo Compression</em>&nbsp;studies the crushing intensity of city living—literally and metaphorically. Renowned for his explorations of urban spaces, Michael Wolf confronts us with Tokyo’s stark, condensed realities one shutter click at a time. His imagery holds a mirror up to the unnervingly close quarters of contemporary urban existence, capturing his subjects in an unembellished state. Weary faces, clenched hands, fogged-up windows, and the indifferent mood of a person stuck on a subway door… There’s an unsettling intimacy in each photograph, a tension between viewer and subject that is as inescapable as the claustrophobic conditions he documents.</p>



<p>This visually compelling work also speaks volumes about Japan’s societal structure and its paradoxical approach to personal space in public realms. Tokyo is a city celebrated for its orderliness, yet its people must sacrifice personal boundaries daily, especially on its famously packed trains. This contrast between cultural decorum and physical discomfort is at the heart of&nbsp;<em>Tokyo Compression</em>, capturing a reality that feels alien yet deeply familiar. The whole series serves as a critique on the impact of relentless urbanization—almost like propaganda. &#8220;I was interested in creating a visual metaphor. The negative effect that life in mega cities has on its inhabitants,&#8221; Wolf adds, transforming the series from mere documentation into a commentary on our own societal constraints and the limitations we unwittingly accept.</p>



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<p>The images convey this personal commentary in a heavy and dense way. Wolf’s close-up shots emphasize texture and emotion: the imprint of a cheek on glass, the condensation of breath, the barely perceptible twitch of a closed eyelid. By choosing not to shy away from the often uncomfortable closeness of his subjects, Wolf creates an intense visual impact that holds the viewer captive, much like the subjects themselves. The series is powerful not just because of what it shows, but because of how courageously these moments are captured.</p>



<p><em>Tokyo Compression</em>&nbsp;forces us to confront the discomfort of the modern urban experience. These are not simply images of strangers on a subway; they are portraits of collective isolation, a powerful reminder of the solitude that can exist even within crowded spaces. Wolf’s work invites us to question not only the spaces we inhabit but the ways in which we’ve learned to tolerate them, perhaps to our own detriment.</p>



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Caught in Between the Rush—Tokyo Compression 


<p><strong>Ever wonder what 80&#8217;s New York really felt like?&nbsp;Arlene Gottfried would like a word with you.&nbsp;In an era when the city was a pure nerve of energy, grit, and unfiltered emotion, Gottfried was there—35mm in hand—capturing it all without a single moment of hesitation.&nbsp;Talk about the real deal, no sugar-coating, no filtering, no light-play; just the unadulterated life as it unfolded on the streets and in the shadows of the city that never sleeps.Gottfried&#8217;s love affair with New York was anything but ordinary. Born and raised in Brooklyn, she did more than photographing the city—she lived with it.&nbsp;</strong></p>



<p>The concrete jungle was her playground, and she knew its heartbeat like the back of her hand. She wandered through neighborhoods with the kind of ease that comes from being a true local, capturing the soul of the city in blacks and whites that feel more alive than any splash of color ever could.</p>



<p>Her weapon of choice? A 35mm camera that was practically an extension of herself. Forget the polished perfection of today&#8217;s digital age; Gottfried embraced the raw authenticity that only film can deliver. The grain, the contrast, the imperfections—they all add up to images that are as real as the people in them. There&#8217;s something undeniably genuine about the way she frames her subjects, whether they&#8217;re caught off-guard in a candid moment or staring boldly into the lens.</p>



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<p>Gottfried had a knack for zeroing in on the essence of New York&#8217;s local culture. She saw beauty where others saw chaos, finding moments of connection in the most unexpected places.Her approach was as spontaneous as the city itself. Many of her most iconic shots happened in the blink of an eye, capturing people who had no idea they were being photographed. It&#8217;s this element of surprise, of authenticity, that sets her work apart. Her signature was documenting feelings, vibes, moments in time that&#8217;s impossible to replicate. It’s a form ofstorytelling without words, each frame a chapter in the sprawling, messy, beautiful novel that is New York City. She&#8217;s a reminder that sometimes the most powerful images come from simply being present, camera ready, and unafraid to dive into the thick of it.</p>



<p>And let&#8217;s talk about those nights at Studio 54. While others were lining up outside, hoping to catch a glimpse of the glamour inside, Gottfried was a living, photographing piece of it. Her frames are&nbsp;time capsules that capture the wild, unrestrained spirit of an era where anything felt possible. The celebrities, the eccentrics, the rule-breakers—they all found their way in front of her lens, immortalized in frames that pulse with energy. You can feel the rebellion, the creativity, the flamboyancy and everything that made Studio 54 what it is, in the span of a picture.&nbsp;</p>



<p>So, if you want to understand the real New York—not the glossy postcard version but the heartbeat beneath—look no further than Gottfried&#8217;s work. It&#8217;s edgy, it&#8217;s cool, and yeah, it&#8217;s a bit snobby in that &#8220;you had to be there&#8221; kind of way. But that&#8217;s the point. Through her lens, we&#8217;re all invited to experience a slice of the city&#8217;s history that&#8217;s as compelling now as it was then. Once again time moves out of the picture yet memories remain.</p>



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Unfiltered, Gritty, Raw: 80’s New York from Arlene Gottfried


<p><strong>Few films explore the transformative impact of non-European cultures with the sensitivity and depth found in <em>The Turkish Bath &#8211; Hamam</em>, the debut of director Ferzan Ozpetek. While European cinema often turns to Italy’s romantic landscapes to inspire journeys of self-discovery, <em>The Turkish Bath</em> refreshingly reverses this lens. Here, an Italian protagonist encounters Turkey’s warmth and spirituality, finding himself and an unexpected sense of belonging within Istanbul’s vibrant, ancient heart. Through this meeting of cultures, Ozpetek crafts a story that reveals the beauty of cross-cultural exploration and the deeply personal transformations it can bring</strong>.<br></p>



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<p>In <em>The Turkish Bath &#8211; Hamam</em>, Ferzan Ozpetek takes viewers on a captivating journey to Istanbul, where cultures blend and identities transform. This debut film by the Turkish-born director follows Francesco (Alessandro Gassman), a driven Italian designer in Rome whose career-driven lifestyle strains his marriage with Marta (Francesca d’Aloja). When he unexpectedly inherits a Turkish bath, or hamam, from his late Aunt Anita, Francesco travels to Istanbul with plans to sell the property quickly.</p>



<p>When Francesco arrives in Istanbul to sell his inherited hamam, he discovers that his aunt had lovingly restored and run it, becoming one of the first Western women to do so. As he reads her letters and hears stories from the Osman family, who managed the hamam, Francesco begins to see her passion for Istanbul. His bonds with the family, especially Mehmet, lead him to embrace the local traditions and decide to restore the bathhouse instead of selling it. When his wife Marta arrives with plans to divorce, she too is captivated by Istanbul and ultimately chooses to stay, continuing Francesco&#8217;s legacy of renewal through the hamam.</p>



<p><em>The Turkish Bath &#8211; Hamam</em> beautifully intertwines two cultures, offering a glimpse into how Istanbul’s vibrant spirit can inspire self-discovery. Through its mix of Italian and Turkish traditions, Ozpetek’s film serves as an homage to the power of heritage, human connection, and the timeless beauty of Istanbul.</p>



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“The Turkish Bath” – A Journey of Self-Discovery and Cross-Cultural Connection


<h2 class="wp-block-heading"><strong>A story that is suspended right at the intersection of physical and intuitive. About duality, about new experiences, and maybe about parts of ourselves we have not yet recognized… “Duo” is not about what’s apparent &#8211; it focuses on what lurks just beneath the surface. “An artwork asks questions, it doesn’t provide answers,” says Zeynep, as if this installation has been within her for a long time but has just decided to come out of its shell. A dream from years ago, “Duo” springs to life as one of the Landmark projects of 2024 at the London Design Festival. With its scale that transcends spatial and bodily dimensions, this installation allows the emptiness to breathe inside the grandeur and echoing silence of the Painted Hall, inviting us to leave the world that surrounds us behind, even for a moment.&nbsp;</strong></h2>



<p><strong>On a tight schedule, on a colossal scale, and miles away from home… The journey of the work itself is a story on its own. Tell us about that process.</strong></p>



<p><strong>Melek Zeynep:</strong> With pleasure! “Duo” was actually an artwork that I had imagined and designed years ago but it could only recently come to life. We reached an agreement in mid-2024 for it to be showcased as one of the landmark projects at the London Design Festival, and thus, we began the production process for &#8220;Duo.&#8221; Its scale that transcends spatial and bodily dimensions is very exciting and close to myself.&nbsp;</p>



<p>Naturally, working at such scales brings forth a production process that requires very strict planning. While the work falls under the category of artistic production, it is also a massive experimental spatial design setup as an engineering project, including material and impact reports. We crafted the entire piece by hand with a local team of around 110 people, and sent it to London for exhibition. We spent a very strictly planned and intense working period but that’s always been the case for us. We always work with great excitement but unfortunately, we don’t always have ample time to show that excitement.&nbsp;</p>



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<p><strong>How did all this adventure reflect on you? What are the differences between the Zeynep you were when you started and the one you are now?</strong></p>



<p><strong>Melek Zeynep:</strong> Each project, each artwork transforms a person in some way. Inevitably, you get yourself involved in the process somehow, as you think about the philosophy and context of the work. This time with “Duo”, I started inspecting my inner contrasts more closely. I’m giving voice to all my versions of Zeynep as I embrace the theme of “two” in my life. This process is of course a more natural and spontaneous experience without an audience &#8211; lived through without giving thought to what it has or will have changed. But, somehow, something always changes.&nbsp;</p>



<p><strong>“Duo” has a multi-sensory aspect, which adds a spiritual layer to the work’s experience. How did the audio and visual elements of the project come together?</strong></p>



<p><strong>Melek Zeynep:</strong> Every designer has a behavioral pattern around the designing process. Mine works like this: I envision the artwork in my mind, it literally appears right inside that moment and opens itself to me with all its familiarity. First, this communication, this connection is established between me and the artwork, and then I start detailing it. While designing, I adopt the use of materials and experiences that especially play with perception and involve the senses.These experiences are principles that are auditory, visual, sometimes related to touch, and sometimes inclusive of the viewer.&nbsp;</p>



<p>These are all because I don’t perceive humans to be merely matter and that I consider it important to touch their intuitions. Contacting intuition opens up space in people and makes them ask questions. “Duo” exactly stands on such a ground. It does not seek to provide an answer or a definition, but rather acts as a game of perception and makes the visitor ask the question. The question is everything, and the exhibition begins here.</p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p><em>“Each project, each artwork transforms a person in some way. Inevitably, you get yourself involved in the process somehow, as you think about the philosophy and context of the work.”</em><span style="font-family: -webkit-standard; font-size: medium; font-weight: 400; white-space: normal;"></span></p>



<p>Melek Zeynep Bulut</p>
</blockquote>



<p><strong>What kind of phase did you imagine individuals would go through after the “Duo” experience?</strong></p>



<p><strong>Melek Zeynep:</strong> “Duo” is a product of the perception and consciousness that gave birth to it, and it performs like a skin. It opens up space for questions rather than answers.</p>



<p>It has senses. Memory and a sense of familiarity are at the forefront, which we crafted with basic elements as far as possible. We designed the experience as follows: First of all, what grabs you is the scale of the work, the relationship between the eye and perspective; then you softly start to question your physical perception with the effect of the space as a theatrical monument suspended in the air. The space embarks on a journey with you as the sensors and light perceive and react to you, the echo mechanisms are activated while you leave, walking through it.&nbsp;</p>



<p>I do not have radical dreams such as the visitors going through a phase or experiencing major transformations at that moment. However, as I mentioned earlier, “opening up space” is a very valuable theme in “Duo”.</p>



<p><strong>The scale of the work and the engineering behind it are stunning. How did the philosophical and physical progress take place during the production process? How do the material choices on the physical axis relate to the themes of duality and perception?</strong></p>



<p><strong>Melek Zeynep:</strong> “Duo” is built with about 7.000 cubes. These cubes are connected to a sensor system, and this system reveals a ground gear that is suspended in the air, inside a specially designed structure. Through this interposition, the artwork offers an experience based on various cause-and-effect principles, where the visitor becomes part of the interaction. Supported by microphones, speakers, and various systems, the semi-transparent and transparent cubes create a living monument. We worked with a team of about 110 people to produce it, as I mentioned before, everything was specially handcrafted in Turkey. This process holds significant importance for our conceptual theme as well.</p>



<p>Naturally, exploring the theme of “two” makes all the dualities in life visible, and it becomes a separate exhibition in itself through material, form, and experience. However, “Duo” is an installation that doesn’t promise any answers. On the contrary, it creates space for questions and stands in an undefined, open-ended place. For this reason, the best answer to this question is to experience the artwork itself.</p>



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<p><strong>The Painted Hall is an iconic place, enriched by stories of a deep-rooted past. Did these features of the space have effects on the design process of “Duo”? What is the relationship between the artwork and the space?</strong></p>



<p><strong>Melek Zeynep:</strong> The Painted Hall is truly amazing and a highly characteristic place. As a location, the Meridian line runs right through the middle of it, and we are setting up &#8220;Duo&#8221; along this line. This is a very exciting context for an installation. Of course, the idea of ​​designing a second abstract, experimental space within such a characteristic space is a very determining, powerful motivation. A space within a space… A setup that is quite appropriate, perhaps even something that defined classic, but abstract in its own right. The hall itself has a story as well; the paintings inside include both abstract mythological and political figures, creating a narrative that moves between the material and the metaphysical. &#8220;Duo&#8221; mirrors this with a contemporary language, coming from two different eras and meeting each other to accompany a new narrative.</p>



<p><strong>What’s next for you?</strong></p>



<p><strong>Melek Zeynep:</strong> I’m not planning at all. I’m always open to the beautiful ideas and possibilities that life brings with all my heart, and without any plans. Let&#8217;s see what&#8217;s next!</p>



<p class="has-text-align-right">Melek Zeynep Bulut <span style="text-align: right;"><span class="font-snell">In Conversation with</span></span><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</span></p>


Right in “Duo” with Melek Zeynep Bulut


<p><strong>A feminist horror? Purifyingly grotesque? The Substance, written and directed by Coralie Fargeat, feels like a modern nightmare where exaggerated flamboyance asserts itself in every frame. Demi Moore plays TV star Elisabeth Sparkle, who is let go from her job for being &#8220;too old.&#8221; Driven by the desperation to reclaim the youth and beauty she believes she has lost, Elisabeth finds herself in an anonymous, sci-fi body transformation program. Guided by the motto “You are one,” the program provides a series of instructions that ultimately lead her to create Sue, portrayed by Margaret Qualley. Sue is a vibrant, young woman—an example of “perfection” who embodies everything Elisabeth has lost and is here to reclaim. The two are expected to nourish each other both spiritually and physically, moving in sync through seven-day rotations as a single entity. Yet, any minor misalignment within this system will result in lasting damage. The system is clear: harmony brings perfection, deviation has a price. There’s a balance. There’s no “I” and “you.” You are one. This concept, emphasized continuously throughout the film, alongside its Kubrick-esque wide-angle shots and exploitation-free visual language, hints at the making of a new-generation “icon.”</strong></p>



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<p>We’ve all seen countless adaptations of the Jekyll and Hyde story, but Fargeat, with daring creativity, fuses it with&nbsp;<em>Showgirls</em>—and even that isn’t enough for her. She draws on the hallucinatory scene in&nbsp;<em>The Shining</em>, where Jack Torrance embraces a young woman in the bathtub, only to see her transform into a cackling old hag. Beyond that, Fargeat’s imagery evokes the bloody prom scene in&nbsp;<em>Carrie</em>&nbsp;and the haunting descent into addiction in&nbsp;<em>Requiem for a Dream</em>. What transforms all these references into such a unique tone is the film’s minimalist dialogue, typography that supports the narrative flow, and Fargeat’s simmering feminist rage. The flawless performances by Demi Moore and Margaret Qualley further enhance the experience, bringing moments of anger, horror, despair, and vengeance one after the other.</p>



<p>In the scenes where Sue positions herself as an “object,” perfectly giving people exactly what they want, the film’s satirical design stands out, opening a new perspective for&nbsp;<em>The Substance</em>&nbsp;around the idea of “giving people what they want.” The film can most clearly be summarized as a “duel of egos.” The battle between Elisabeth’s authentic self and her enhanced persona for dominance reveals the deformation of the soul on a physical level as well.</p>



<p><em>The Substance</em>&nbsp;may be over, but it leaves us with many questions. While you search for answers, this playlist might accompany you.</p>



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The Substance


<p><strong>Let’s get one thing straight: churches aren’t just for the devout anymore—they’re for the bold, the curious, and those with a taste for architectural statements. Case in point: Holy Cross Church. There is an unexpected softness hidden under the hard concrete shell of Brutalism, redefining aesthetics in every layer. Is everything as it seems? We doubt that. This unruly monolith is more than just another minimalist building; it has a heart and warms from the inside out with its subtle wooden interiors full of life.</strong></p>



<p>First impressions? Intimidating, like something out of a Shirley Jackson novel. Don’t get fooled by the cold exterior though, the Holy Cross Church has a heart of gold—well wood to be exact. These intricately crafted, honey-toned panels that make you rethink every assumption you had about Brutalism. Giving room for warm tones to enter around the coldness and blueness that is the signature of the aesthetic. The contrast is striking, almost disorienting, and exactly what makes this church such a bold statement. It&#8217;s the architectural equivalent of finding a soft cashmere sweater in a cold snowy day.</p>



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<p>The mastermind behind this juxtaposition is architect Walter Förderer. Carefully conducting this&nbsp;symphony of contradiction, he seduces the visitor with his unique understaning of&nbsp;interplay between textures and materials. Warm meets the cold, hard meets the soft and ultimately dualities give way to cohesion…&nbsp;His work is raw and uncompromising, but not without nuance. In a world full of architectural half-measures, Förderer’s vision was refreshingly pure.</p>



<p>At Holy Cross, it’s not just about mass and form. There’s a spirituality here, a sense that this building is engaged in something bigger than itself. You don’t just walk into this church; you&nbsp;<em>experience</em>&nbsp;it.&nbsp;If the exterior feels like a fortress, the interior is a revelation. It’s here where Förderer pulls off his most audacious move—introducing wood as a major design element.The wood doesn’t detract from the concrete; it amplifies it, creating a dialogue between the harsh and the delicate, the raw and the refined.</p>



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<p>Brutalism is often sterotyped as cold or sterile, but Holy Cross proves otherwise—much like <a href="https://basedistanbul.com/en/concrete-poetry-of-tadao-andos-church-of-light">Tadao Ando’s Church of Light</a> in Japan. But where Ando plays with light to create a divine, ethereal atmosphere, Förderer goes in the opposite direction. He doesn’t invite light to soften his Brutalist structure; instead, he introduces warmth through material, making the space feel grounded, almost earthy.</p>



<p>No need to say that, Brutalism is not everyone’s cup of tea—and&nbsp;It doesn’t care if you “like” it. That’s what makes&nbsp;Holy Cross Church special,&nbsp;its refined, thought-provoking and full of twitst.&nbsp;It’s about creating spaces that challenge you, that demand your respect, and that stay with you long after you’ve left.</p>



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Concrete Soul, Wooden Heart: Holy Cross Church


<p><strong>For the third time this year, Louis Vuitton is celebrating its partnership with Frank Gehry in the Balcon d&#8217;Honneur of the Grand Palais as it takes its place at Art Basel Paris. Gehry&#8217;s architectural genius is embodied in the white fish sculpture on display in the Balcon d&#8217;Honneur. Streamlined, elegant and powerful, it reflects the essential characteristic elements of Gehry&#8217;s buildings. Gehry&#8217;s fascination with Japanese art is also evident in the use of washi paper.</strong><br></p>



<p>In collaboration with Gehry, Louis Vuitton built the Fondation Louis Vuitton building, which has become one of the monuments of Paris. This sail-shaped building elegantly reflects the Maison&#8217;s principle of ‘the art of travelling’. The architecture is also revitalised with light and transparency in the Maison Louis Vuitton Seoul building, which opened in 2019.</p>



<p>The Maison is also extending this partnership with collections of perfume bottles and bags. The Blossom caps in 2021 reflect Gehry&#8217;s aesthetic of transparency and curves. The same inspiration can be seen in the new handbag collection, with the Capucines and BB models taking their cues from Gehry&#8217;s iconic structures. This collection combines Louis Vuitton&#8217;s heritage of high craftsmanship with a modern design approach.</p>



<p>Louis Vuitton&#8217;s deep connection with art dates back to the Gaston-Louis Vuitton era. Today, collaborations with names such as Sol LeWitt, Takashi Murakami and Yayoi Kusama continue the Maison&#8217;s legacy intertwined with art. This exhibition, adorned with Gehry&#8217;s works, awaits art lovers at Art Basel Paris between 16-20 October.</p>



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<p></p>


Frank Gehry’s Legendary Collaboration with Louis Vuitton at Art Basel Paris


<p><strong>Stories of streets portrayed in hues of nostalgia, where the past and future converge in vibrant, urban vignettes. Stepping into Devin B. Johnson’s &#8220;<em>Ritual of Welcome</em>&#8221; is like walking through a layered tapestry of urban history, where every canvas serves as a portal to the streets—streets filled with energy, memories, and untold stories. Johnson’s journey, shaped by his experiences in both New York and California, reconfigures familiar symbols like vintage cars and cityscapes into timeless reflections. His work doesn’t merely capture a snapshot of the past but looks ahead, envisioning the future while keeping the legacy of the streets alive.</strong></p>



<p>What sets “Ritual of Welcome” apart is its unapologetic embrace of this urban spirit, capturing the chaotic beauty of life in these environments. Johnson’s paintings vibrate with life, whether evoking the sprawling expansiveness of California or the dense, history-laden sidewalks of New York. His use of gritty textures and muted pastel tones encapsulates the pulse of city life, while the layered history on each canvas invites viewers to experience not just a scene but the deep-seated narratives that come with it.</p>



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<p>With a signature streetwise edge, Johnson transforms familiar urban symbols into fresh, innovative expressions. Figures leap off the canvas, their presence almost tangible, as they represent the everyday lives woven into the city’s larger narrative. From the crowded alleys to quieter, fleeting moments of reflection on busy streets, his works breathe with the heartbeat of urban culture. It’s as though the streets themselves have been repurposed into art, each piece paying homage to the collective consciousness of those who have lived and breathed the city.</p>



<p>The title, &#8220;<em>Ritual of Welcome</em>&#8221; is not incidental. It speaks to the themes of acceptance, discovery, and legacy that thread through Johnson’s work. His art invites us into a ritual of shared experience, one that transcends time and place. It’s a gesture toward understanding—bridging the past with the future, much like the way his paintings do. This exhibition isn’t about exclusivity; it’s an open dialogue, painted in an urban palette that invites us all to participate.</p>



<p>There’s a nostalgic thread woven into Johnson’s work, particularly through his use of muted tones and familiar urban imagery. The pieces conjure memories of streets once walked, scenes once witnessed, and stories once shared. They act as time capsules, encapsulating the evolution of cityscapes that have shaped both the artist and the viewer. This nostalgic thread deepens the experience, allowing the viewer to engage with more than just art but with a shared history of the streets—whether in California, New York, or beyond—filled with the stories they carry.</p>



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From Concrete to Canvas: Devin B. Johnson’s Urban Journey


<p><strong>You can live a whole life looking for the right place to draw the line or you can open your eyes to see it dissolve as Nan Goldin does. In&nbsp;<em>You Never Did Anything Wrong</em>, her latest show at Gagosian, Goldin smashes centuries of art and modern life together in a way that makes you rethink what belongs in a museum and what gets hidden away in your camera roll. Raw, personal, and perfectly Goldin.&nbsp;</strong></p>



<p>Goldin is the chronicler of intimacy. She&#8217;s the one who turned her camera inward long before Instagram made it trendy to do so. Her work cuts through the performative and captures the unvarnished. <em>&#8220;You Never Did Anything Wrong</em>&#8221; gives us a first-time glimpse into a new Goldin—one still familiar but also breaking her own rules, fusing photography and film in ways that haven&#8217;t been done before. Stepping deep into abstract territories, she blends Renaissance and Baroque masterpieces with intimate portraits of friends and lovers as if they belong in the same breath. And maybe they do.</p>



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<p>The exhibition is a standout, it evokes a third eye that constantly invites you to curate your life. Looking at the pieces you can find a brief manifesto of how art is a medium that interacts and connects with the modern world. The centerpiece &#8220;<em>Stendhal Syndrome&#8221; (2024)</em> stands out as a striking contrast of classical art and personal moments. Goldin dares us to think about contrastwhile merging Renaissance art with modern pictures of her inner circle, collapsing centuries in a way that makes the “high art” versus “everyday life” divide seem ridiculous. The visual parallels are unsettling and deliberate, making you question what we choose to immortalize and why.</p>



<p>Conceptually, the exhibition weaves a heavy knit of deeply humane themes. Goldin’s use of grids, creates a visual conversation between Renaissance masterpieces and her own deeply intimate snapshots. What otherwise might feel unrelated, connects through her curation in a meaningful way. In &#8220;<em>Orpheus Dying&#8221; (2024)</em>, for example, a 19th-century painting mirrors a 1977 photo of her lover Tony, both figures caught in the same haunting pose, making the viewer confront the timelessness of grief and beauty.</p>



<p>In her fifty-year career, Nan Goldin has always been a step ahead, a provocateur. This exhibition proves she’s still evolving, still pushing, still fearless. If you thought you knew Nan Goldin, this show will make you question everything you thought you understood. And honestly? That’s the whole point.</p>



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Intimacy on Display: Nan Goldin “You Never Did Anything Wrong”


<p><strong>What separates us from each other and everything else if not perspective? Step into the photographic world of Mo Yi, where everything is an instant unraveling and snapping in a chaotically profound way— a perfect storm of the random and the intentional. Through his lens of blacks, whites, reds, and blues, he invites us to confront the gritty, unfiltered reality of urban life.</strong></p>



<p>Born in Tibet, Mo Yi’s journey into photography was anything but typical. His family’s relocation to the port city of Tianjin in 1982 became the catalyst for his signature style.&nbsp;&nbsp;Armed with a camera, Yi began translating the urban sprawl into monochromatic visuals, using black and white film to capture the strangeness and solitude of his new environment. His work spanned everything from sharp street portraits to blurry shots of feet in motion, reflecting a vision that was raw, introspective, and anything but conventional.</p>



<p>There is just no way to describe his photography without mentioning his signature—black and white. Navigating Tianjin in early ages he started attempting to translate his perspective on it into black and white photographs. His images are ever-changing in form and composition, ranging from classic street style portraiture to blurry snaps of moving feet and even some early examples of selfies from a time that they didn’t even existed. Mo Yi later moved into colour photography, becoming known for the flashes of red that appear in much of his later work. With the introduction of “Scenery with me—a hint of Red” and the aforementioned “Red Streets” (both 2003) mark a significant shift in his style. Yi affixed red film to the camera’s flash, so that the parts of the image closest to the lens are bathed in red, while the backgrounds are drenched in blue. The introduction of color electrifies the work. These images feel brasher, more modern, denser with significance.</p>



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<p>You might be thinking, &#8220;Haven’t we seen this before? What makes him different?&#8221; Sure, his conceptual approach is one thing, but what truly defines Mo Yi is how he exists within his own work. He’s not a passive observer snapping from the sidelines. He’s inside the scene, part of the energy, moving with his camera strapped around his neck, waist, or even back. It’s an instinctual, almost performative process, recalling Jackson Pollock’s action painting. Like Pollock’s brush, Yi’s camera becomes an extension of himself, whirling through the chaos to capture fleeting, unscripted moments of beauty.</p>



<p>Yi’s creative process is pure intuition, capturing random moments without even looking through the viewfinder. Of course this is a product of muscle memory that comes from years of practicing his unique way of photography. Unique is a word that is easy to throw around yet in Yi’s case we’re definitely talking about one of a kind. We’re talking moving the camera around his body, mounting it to his arms or head, even placing it below his waist to capture from the eyes of a stray dog navigating life in the human world—hovering somewhere between conceptual and performative in his own medium.</p>



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<p>His unorthodox style, unsurprisingly, wasn’t embraced by everyone. In the 1980s and 1990s, Mo Yi’s work was considered controversial in China. Critics took issue with his melancholic, almost dismal portrayal of urban life. But instead of stepping back, he doubled down. His shots of crowds and lonely figures in the streets of Tianjin weren’t meant to glamorize life but to mirror it—gritty, isolating, and unpredictable. And while others were out there capturing China’s rapid growth through glossy, aspirational lenses, Mo Yi was focused on something deeper: the emotional residue left behind in the cracks.</p>



<p>It’s tempting to call Mo Yi’s work &#8220;unique,&#8221; but that’s almost an understatement.&nbsp;The man is a full-blown artistic outlaw, pushing the limits of what photography can be. His ability to exist “simultaneously” with his subjects—not just observing them but almost living through them—sets him in a league of his own. In a world where everyone seems desperate to frame reality through filters, Mo Yi is out there breaking the lens, forcing us to see life as it really is. Disjointed. Unpolished. But always captivating.</p>



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Snapping into it with Mo Yi


<p><strong>Welcome to Makedonium, where you’ll find yourself wondering, “Is there a virus-shaped monument standing there, or am I just daydreaming about brutalism?” Designed by Jordan and Iskra Grabulovski in 1974, Makedonium is a peculiar love child of brutalist architecture and Yugoslav cosmic modernism. Unlike traditional memorials that lean into somberness, Makedonium is unafraid to be loud, bold, and frankly weird. Here, the mundane is nowhere to be found, but only unorthodox shapes and forms of history.</strong></p>



<p>Jordan Grabulovski was a pivotal figure in the Yugoslav modernist movement, and his work reflects an obsession with breaking conventions. His vision for Makedonium embodies architectural rebellion—solidifying freedom in a hulking mass of concrete. By shunning rigid structures, he demonstrated his commitment to innovation, with Makedonium serving as a bold declaration that flouts convention. Grabulovski&#8217;s work reminds us that architecture can be a form of rebellion itself. Makedonium is the rebel&#8217;s dreamscape, more than that it’s a trophy of freedom.</p>



<p>Beneath its striking white exterior lies an emotional magnet that draws us closer. You can feel the weight of history in the air around it—the trauma of the post-war era forms the literal building blocks of this memorial. The design invites us to challenge convention, as its organic, starburst-like shape juts out of the ground in Kruševo like it was summoned by the revolutionaries of the Ilinden Uprising themselves. But that’s the point: Makedonium isn’t a relic; it’s a living archive. Grabulovski&#8217;s avant-garde approach, rooted in Yugoslav modernism, melds brutalist aesthetics with a more utopian vision.</p>



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<p>Inside, Makedonium&#8217;s stained glass windows transform the brutal into the spiritual, creating a play of light and color that reflects both the glory and the pain of Macedonia&#8217;s revolutionary history. It&#8217;s a meditative space—otherworldly, with its curved walls and cosmic ambiance—a meeting point where art and war collide, balancing the brutality of revolution with the beauty of hope.</p>



<p>Makedonium is the definitive symbol of cultural rebirth through architecture. Rising from the Kruševo plateau, it embodies the spirit of Macedonia&#8217;s revolutionaries while signaling a future of unbroken freedom. The &#8220;Breaking the Chains&#8221; sculptures surrounding the memorial echo this sentiment, their raw, angular forms representing the fight for liberation. If the dome is the heart, then these sculptures are its pulse—active participants in a future where freedom continuously evolves, just as the monument itself does.</p>



<p>While the Ilinden Monument pays tribute to those who fought for freedom, it also embodies the idea that revolution never ends. It stands as an icon for those who dare to dream beyond what’s possible, fusing the aesthetics of raw power with the notion of cosmic harmony. A living testament to the idea that freedom and creativity are eternally intertwined, Makedonium’s flesh of white and tears of glass is here to change your mind about the importance of art in eras of war.</p>



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Oh My Makedonium


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<p class="has-text-align-right"><sub>AI-Generated images created by&nbsp;<strong><em>Jeff O’Neal</em></strong>, inspired by&nbsp;<strong><em>Based Istanbul N43’s «Winner» statement.&nbsp;</em></strong>Dedicated to aspiring girls.</sub></p>
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<p class="has-text-align-right">From Based Istanbul N°43 – The Winners Club Issue. “For us, winning is deciding to embark on a journey. Ask yourself aloud: If this is a race, who else but me can make the rules? Welcome to the winners club!”&nbsp;<a href="https://shop.basedistanbul.com/urun/based-istanbul-the-winners-club-issue-cover-guest-esra-gulmen/">Buy your copy now!</a></p>



<p></p>


Girls Do It Better


<p><strong>Driven by the desire to uncover beauty within chaos, Lachlan Turzcan embarks on an extraordinary journey of artistic expression. Holding its ropes just tight enough to co-create with it rather than battle against it. Using sound, light and water as canvas Turzcan unveils hypnotic explorations of visual and sonic dimensions in a complexly simple way. Drawing inspiration from the resonant interactions of nature he tells stories of unconventional dimensions.</strong></p>



<p>Do you ever get that feeling of familiarity while staring into the consuming dance of fire? That warm feeling of comfort resonating from the most volatile form of matter. In a similar way we shift our focus to water—the counter part, the yin in fire’s yang. Lachlan Turzcan plays with the shapes of water to reveal sculptural forms of pulsating, undulate rhythmic imagery. His work is a hypnotic reminder that beneath every surface lies a chaotic system waiting to be understood. Playing around shapes of water to reveal sculptural forms of pulsating undulate rhythmic imagery.&nbsp;</p>



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<p>In this unorthodox medium of expression, Turzcan yields his distinct visual manifestations in a systematically curated way. Searching for forms within the ambiguous dance of frequencies, he finds beauty in patterns between 20 and 60 Hz—frequencies that are, to the untrained eye, invisible. By lowering and raising them, he contrasts expansive, wide wave patterns with tighter, intricate networks of wavelets. It’s like watching nature write a secret language, one only he can decode. Turzcan’s work distills the chaos of water into something tangible, even ethereal. He lets the waves speak, creating art that feels at once ancient and futuristic, bridging two worlds through the most basic yet profound element.&nbsp;</p>



<p>Technicality is not an afterthought for Turzcan’s work, it lies in the very core of it.In a contemporary interpretation of Shibumi, Turczan’s thematic approaches take shape, illustrating the balance between complexity and simplicity. Damn right, our agenda is once again influenced by the breezes from Japan. Shibumi in its core is an aesthetic concept that embraces simplicity, understated elegance, and a profound sense of grace. So the relation should be clear by now. It is an endless juggle of complexity and simplicity, where effort and experience bring a work to an effortless and refined state.</p>



<p>In this digital age, Turczan’s art embraces technology as a vital component of its beauty. The integration of digital media allows for a unique representation of his work, enhancing the fluidity and vibrancy of each piece. His Instagram feed serves as a canvas of its own, where color dances with his medium in an ethereal display. Through his lens, the transient nature of water becomes an immersive experience, where viewers can delve into the delicate textures and rich hues that bring his artistic vision to life.It’s a moment where the digital realm seamlessly transforms into artistic expression. In the interplay of light and water, he captures not just images, but the very essence of movement and emotion, inviting us to explore the beauty hidden within the chaos.</p>



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Cymatic Sculptures of Lachlan Turzcan


<p><strong>Picture this: 140 tiny modular houses, stacked like a dystopian Rubik&#8217;s Cube suspended in Tokyo’s skyline—a relic of Japan’s boldest architectural rebellion. The Nakagin Capsule Tower is like a time capsule for Japan’s tech-obsessed, post-war dreams. Designed by renowned Japanese architect Kisho Kurokawa and completed in 1972, the tower stands as an icon of Japanese Metabolism movement.</strong></p>



<p><strong>Kisho Kurokawa</strong>, was one of Japan’s most radical thinkers, pushing boundaries and blocks. As a founding member of the Metabolist movement, Kurokawa envisioned a future where buildings could evolve and adapt as living organisms do. His obsession with flexibility, technology, and urban dynamism defined his work. The Capsule Tower embodied his desire to create architecture that would be temporary, modular, and responsive to changing needs—a clear rebellion against the rigid, static structures of his time. Kurokawa had more than building in mind, he wanted a living, breathing building that could respond to the changing needs of urban life.</p>



<p>Visually, it’s a love letter to that gritty, tech-obsessed era. Ain’t no denying that. Sharp, geometric shapes, all stacked in a wild, almost chaotic harmony. Built in 1972, it features 140 modular pods, each snug at 10 square meters. These were fully prefabricated in a factory and later bolted onto the concrete core of the tower. Kind of punk for its time, like a concrete rebel. Each pod was designed to be swapped out when needed, connected to the central shaft with just&nbsp;four bolts—incredibly forward-thinking. No wonder the building has become one of the first and most iconic examples of modular architecture.</p>



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<p>So, if you’re wondering where it stands in today’s Tokyo, it feels like the outcast sibling of the slick, hyper-modern skyline. But there’s something undeniably compelling about that. Nagakin Tower&#8217;s simple design aesthetic is in perfect harmony with the spirit of duality that is embedded in the essence of the building. The funky aesthetics of the 70s and the retro-futuristic perspective of Kisho Kurokawa&#8217;s progressive approach bring the two eras together in a mood that is literally uncontainable.&nbsp;</p>



<p>I shouldn’t be the only one thinking about this, does Nagakin give Opium to you too? An escapist, surreal feeling that’s halfway between dream and reality, almost like being high on the possibilities of the future. Think about the way it mirrors that hazy, distorted reality. Its blocky structure and repetition of geometric forms feel like an overdose of retro-futurism. Would definitely be my spot for a fit pic, just saying.</p>



<p>Besides the visuals, the engineering behind the work is just as remarkable. These 10 square metre modular houses, which look like giant washing machines, are mounted in the centre of the structure and become a magnificent 14-storey stack. A huge Jenga, in a way. This is where the boundaries of metabolist architecture are drawn; moving, dynamic and living buildings offer a new breath of personalisation. Japan clearly tells us every time we visit: Everything in life is curatable.</p>



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Retro-Futuristic Dreams of the Nakagin Capsule Tower


<p><strong>Under the creative direction of Bünyamin Aydin and Lamia Al-Otaishan Aydin, Les Benjamins takes us on a vibrant journey through the stories of the East with a show set in Istanbul for Fall 2024. The collection, Eastern Punk, dives deep into the roots of Turkish punk culture, honoring the legendary Tünay Akdeniz, a key figure in Turkey’s punk movement of the 1970s.</strong></p>



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<p>This season, the brand reimagines punk by weaving together traditional Turkish motifs with rebellious, cutting-edge designs. Infused with the essence of punk rock, <em>Eastern Punk</em> plays on the tension between rich cultural heritage and modern attitude, a cultural bridge, linking the past with the future. Breathing fresh life into historical elements while embracing a forward-thinking, daring style.</p>



<p>A central theme of gender fluidity runs through the collection, with bold, asymmetrical cuts and distressed textures defining the silhouettes, fuses tradition with the avant-garde, encouraging a fresh take on rebellion through the lens of Turkish heritage. The color story ranges from neon pinks and fiery reds to deep purples and sleek blacks, creating a striking mix of brightness and depth. The outerwear features intricate trompe l’oeil patterns, cleverly blending traditional Turkish designs into contemporary shapes, while printed denim mimics the look of soft leather. Pleated skirts in varying lengths and fabrics are designed to be worn by anyone, making the collection inclusive and versatile.</p>



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<p>The visual language of the collection draws from punk’s collage-style album art, while also incorporating the refined beauty of Turkish calligraphy, ancient rug patterns, and Eastern symbols. Punk elements—think studs, zippers, and frayed finishes—add a gritty edge to the traditional influences. Patchwork details, featured on everything from tailored suits to leather pieces held together with safety pins, capture the defiant energy of punk rock.</p>



<p>This season, <em>Eastern Punk</em> invites you to embrace the rebellious spirit and explore the rich cultural intersection between Turkish heritage and punk rock’s fierce attitude.</p>



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Les Benjamins Fall 2024: A Bold Tribute to Eastern Punk


<p><strong>At the Spring/Summer &#8217;25 shows, individuality and intricate, offbeat beauty took center stage, and Nicolas Ghesquière, without even realizing it, perfectly captured the mood. For his latest Louis Vuitton collection, Ghesquière embraced his instinctive urge to blend the past with the future—a skill he’s finely tuned over his impressive 10-year tenure at the brand. Throughout the decade, he’s delivered everything from meticulously crafted architectural jackets to playful pop-culture pieces like Stranger Things t-shirts, creating a vibrant interplay of historical references and modernity. His experimental approach is especially significant, given Louis Vuitton&#8217;s legacy as part of the powerful LVMH conglomerate. What Ghesquière brings to the runway is not just fashion—it’s a reflection of how a historic brand can stay relevant and forward-thinking. Over time, his collections have only become more refined and thought-provoking, as evidenced by his debut Autumn/Winter &#8217;14/&#8217;15 collection, which still feels fresh and relevant today.</strong><br></p>



<p>Ghesquière’s goal of balancing boldness with subtlety was evident right from the first look: a puff-sleeved, intricately embroidered jacket with red and blue stripes, paired with a scarf and dangling jewelry. &#8220;What I really wanted was for these pieces to be unclassifiable,&#8221; he told Vogue Runway about the oversized, textured coats, which, at first glance, appeared heavy but were surprisingly light and summery. Other highlights included coats that floated like kaftans and sharp-shouldered jackets with sheer fabric cascading from underneath. Stretchy leggings were styled with breezy, colorful blouses that caught the eye with their bold prints and vibrant patterns.</p>



<p>Ghesquière’s sharp focus extended to the accessories, where fresh ideas took center stage. The standout was a comfortable yet stylish sandal-pump hybrid, while his iconic GO-14 bag was reinvented with a playful fringe of tassels. The beloved Side Trunk bag, a nod to Louis Vuitton’s history in handmade luggage, was given a modern twist with metallic chain embellishments, enhancing the collection&#8217;s handcrafted aesthetic.</p>



<p>While over-reliance on the past can stifle creativity, Ghesquière showed this season that history can also be a powerful catalyst for innovation. In his second decade at Louis Vuitton, one of fashion’s most versatile designers continues to break boundaries, adding yet another unforgettable moment to his legacy. His signature desire to challenge conventions was evident in this Spring/Summer ’25 collection, closing out a season where many designers opted for nostalgic comfort. But Ghesquière took a different path. Drawing inspiration from the ornate clothing of the French Renaissance—known for its dramatic collars and heavy chains—he explored one of the more intense chapters of French fashion history. This isn’t new territory for Ghesquière, who also examined the concept of &#8216;French style&#8217; in his Autumn/Winter &#8217;23/&#8217;24 collection. This time, however, the designer asked an important question in the show notes: &#8220;How do we reconcile two opposites, softness and strength?&#8221;</p>



<p>In this collection, Ghesquière answered that question with an intricate, daring fusion of the old and new—proving once again that he is a master at crafting fashion that resonates in the present, while offering a glimpse into the future.</p>



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