On “True Love Leaves No Traces”

"Happens to the Heart," Hale Tenger from the Istanbul exhibition, "True Love Leaves No Traces."

15 MARCH 2022 • By Arie Amaya-Akkermans
Hale Tenger, “Happens to the Heart”, 2022, silk fabrics, sound and motor mechanism, 147 x 131 x 131 cm.

 

The group exhibition “True Love Leaves No Traces,” in Istanbul, approaches hospitality as an intimate coexistence between bodies and beings. In the exhibition, Hale Tenger and Kostis Velonis, two prominent contemporary artists from Turkey and Greece, engage in an indirect dialogue on the traces of life and death.

 

Arie Akkermans-Amaya

 

Hospitality without end

The vegetation at Şelale is so rich and exuberant that it feels almost like a throbbing body, and you would be easily led to believe that it’s a site destined for magic. Known in Arabic as Beit el-Ma, Şelale is the name of a massive waterfall, located on the outskirts of the small town of Harbiye, in Antakya, Turkey originating in several springs that burst out of the mountain, collecting clear water in various basins and ponds that subsequently flow into a valley before entering the Orontes River. It would be a spectacular sight to behold on a summer day; it felt like a temple without walls, a temple destined for love, or for falling in love, or simply for falling. And in fact it was all of that, as we will find out. On the basins, turned into eateries, overflowing with fresh but cold, ankle-deep water, visitors lunch in the company of elegant geese, unable to hear almost anything other than the cascading, tinkling waters. But the waterfall is the site of a myth: Known historically as Daphne, it has been associated with the myth of Daphne and Apollo, since the Seleucid era.

Springs shooting off from the Şelale waterfall, Harbiye, Turkey.

When the god Apollo killed the Python, a great snake that terrorized mankind, he became full of pride, and upon seeing Eros, the god of love, himself a famous bowman, he turned to mock his winged nature. Eros didn’t take this offense lightly and he struck Apollo with one of his arrows, shot right through the heart. With the second arrow he shot beautiful Daphne, a nymph who was a virgin huntress of goddess Artemis. The arrow that hit Apollo was one of intense love and passion, and the moment he was hit, he spotted Daphne in the wild and was unable to contain his passion for her. The arrow that hit Daphne, on the other hand, filled her with repugnance for the god that appeared in front of her. The revenge of Eros was cruel. Apollo tried to approach Daphne, but before he could even blink, she had fled. The god was running and running while Daphne was becoming exhausted and Apollo could almost grab her—he finally did.

At that very moment, Daphne could see the waters of her river-father Peneus and screamed at the top of her lungs: “Help me father! If your streams have divine powers change me, destroy this beauty that pleases too well!” Peneus helped his daughter, and she began metamorphosing into a tree. The topic of the myth is not only love and power, but the possibility of transformation and change. Artistic representations of Daphne’s escape are numerous through the centuries, from the late 3rd century CE mosaic pavement excavated from Harbiye, to the very famous interpretations by Rubens and Bernini (including many others by painters such as Giovani Battista Tiepolo, Francesco Albani or Cornelis de Vos). And yet there’s a contemporary sculpture, “Apollo e Dafne” (2022), by Greek artist Kostis Velonis, which reflects both the nymph’s flight and the condition of her sudden transformation through the perspective of historical change and especially the notion of historical failure.

The sculpture confronts us with this failed couple, of predator and prey—in words of the poet Ovid, who handed down to us the most authoritative version of the myth. It is a reference to failed utopias, but not necessarily drawing our attention toward the state of failure as such, focusing instead on the remains of the utopian project (modernism, constructivism and the avantgarde are Velonis’ primary visual language), and its inscription onto the striated surface of history. Grounded in Tatlin and Rodchenko’s constructivist proposal, and its rejection of style as form, Velonis rejects beauty in a predisposition that he shares with Daphne’s request to Peneus. The destruction of beauty is in the context of 20th century utopias and the artistic movements that accompanied them, a demand for a minimalist realism that will show the inner structure of reality in its truer appearance: All the constituting parts are fragile, endangered, subject to decay, perishable and almost imperceptible to historical memory.

But in fact, beauty is destroyed constantly, and this destruction is one of the fundamental markers of time: It was likely Alexander the Great, the first to discover the springs at Harbiye following the victory against the Persians at Issus, in the 4th century BCE, where it’s told in legends that he drank the sweetest water he ever tasted. But it was his general Seleucus I, who laid the foundations for Daphne, Seleucia and Antioch (present-day Harbiye, Samandaǧ and Antakya). Relying on oracles and divinations, he believed with certainty that he had located the original location of the myth, because of the ubiquitous laurel trees. The healing springwaters at the shrine of Apollo, built on order of the general, in a grove called the Daphnaion, were widely visited as pilgrimage sites in antiquity.  The temple was subsequently burnt down completely in the year 362 and Emperor Julian the Apostate blamed the Christians. Although the ruins of the temple survived many earthquakes through the centuries, no traces of it can be found today.

Isn’t this also what happened to Daphne? Didn’t she disappear without leaving traces? Her hair turned into leaves, her arms into branches, and her legs into roots. Before Apollo could fully gaze into her, she had already disappeared. The only thing standing was a beautiful laurel tree. But even after Daphne’s transformation, Apollo did not abandon the pursuit of love: “Since you cannot be my bride, you must be my tree! Laurel, with you my hair will be wreathed, with you my lyre, with you my quiver.” And since then, the laurel tree became a sacred tree for Apollo, and the wreath of laurels his symbol. The wreath of Apollo is an image of his unfulfilled love, but also a symbol of victory, glory and power. These utopian remains are something other than a fossilized moment or an archive; it is a transtemporal symbol that articulates the contradictions of history. And this history is not a continuous narrative but a mere fragment, the material taken out of context, the impossibility of permanence. The throbbing body of an ancient spring today.

“Apollo e Dafne” Kostis Velonis, wood, acrylic, oil, gesso modeling clay, 232x89x5cm, 2022.

Velonis’ sculpture of duality and symbiotism—two bodies attached to each other, is part of the large group exhibition “True Love Leaves no Traces”, on show in Istanbul at Galerist, attempting to grapple with the question of hospitality, but not within the Biblical tradition or in a context of vertical hierarchies between guest and host, but in a more complex setting where there exists an unconditional reception of the other, the uninvited, and the stranger, in such a way that the constituting parts merge into a seamless organism—whether you call it life, the body or politics.

This hospitality does not depend on whether the guest may be welcome or not, but on a relationship in which something not technically alive, becomes a living organism only by association with its host. The curator of the exhibition, Burcu Fikretoǧlu, drew inspiration from a fascinating, autobiographical text by the philosopher Jean-Luc Nancy, “L’intrus”, where he speaks about a heart transplant that he overwent and the strangeness of this experience.

 

Saved by an anonymous donor

In receiving an organ from an unknown donor, the boundary of life and death expands, as Nancy explains: “What is this life ‘proper’ that it is a matter of ‘saving’? At the very least, it turns out that in no way resides in ‘my’ body; it is not situated anywhere, not even in this organ whose symbolic renown has long been established?” L’intrus isn’t a stranger whom we can invite into our homes, but an intruder, one that will claim the space on his own, and will make the host someone other than himself: “A life ‘proper’ that resides in no organ but that without them is nothing.” The intruder is not a living being yet, but will become living through the host’s disposition towards life. The traces of the strangeness will eventually disappear but the acknowledgement of risk, of contingency, of unpredictability—an organ might still be rejected, becomes an act of unconditional acceptance. The strangeness becomes an ordinary event, and it is precisely the memory of this foreign body that the exhibition is attempting to highlight.

The heart as an organ is here a metaphor for the throbbing of this physical body, undergoing change, assimilating, becoming sentient but also becoming other. “Happens to the Heart” (2022), a microprocessor-controlled sound installation by Turkish artist Hale, invites us to experience the living heart, invading the host and becoming alive in the process. The work is a structure floating up and down, composed of loose orange silk fabrics forming a cube, creating a vacuum effect, as if we were in the presence of this new heart, nestling in the rib cage, and the person is breathing out a sigh of relief at the improbable but amazing continuity of life. The rhythmic sound of the motor pulling up the silk pieces inside of the airy cube takes the place of a life support machine, animating the heart, transforming dead tissue into a living organism. Is this a miracle? In fact we’re dealing with very secular wonders, for as Nancy tells us, the wish for survival and immorality is an element in modernity’s program of mastery over nature.

Hale Tenger (1960, Izmir), graduated from the Ceramics Department of Mimar Sinan Fine Arts University after a bachelor’s degree in Computer Programming at Boğaziçi University. In 1988, she completed her Master in Fine Arts at the South Glamorgan Institute of Higher Education. Tenger draws her subject matter from the cultural, political, historical and psychosocial references. Her artistic production is characterized by the overt stimulation of the sensory and intellectual perceptions simultaneously. Tenger builds up her visual and auditory metaphors by distilling complex and loaded contents, encouraging the viewer to have an intimate experience through the connection of memory, space and time. In her wide range of production, diverse materials are brought together in an elaborate combination, which includes video, sculpture and photography as well as immersive large scale installations.

 

After taking Nancy’s “L’Intrus” as a point of departure, both Tenger and Fikretoǧlu turned to the songwriter and poet Leonard Cohen for insights on the oneness and sameness of feelings, embodiment and experience. The title of the exhibition derives from the chorus of a 1977 song, which tells us:

True love leaves no traces
If you and I are one
It’s lost in our embraces
Like stars against the sun

Tenger’s inspiration was “Happens to the Heart,” a song written in the summer of 2016, a few months before Cohen’s untimely death, and said to be largely a reflection on the five years that he spent as a Buddhist monk in California. The song was released as the first single of his posthumous final LP, “Thanks for the Dance.” There’s a striking correlation between Nancy and Cohen here, in regard to the possibilities afforded by life and death, the surrendering of the self and the seamless surrendering to and into the other. In the song, the rapprochement between living and nonliving is smooth but unavoidable. The installation is enveloped by a tune extracted from Cohen’s song, recorded by Serdar Ateșer.

Sure it failed my little fire
But it’s bright the dying spark
Go tell the young messiah
What happens to the heart

 

Hale Tenger, “Where the Winds Rest,” 2019, mixed media installation (photo Laleper Aytek/Galeri Nev).

In her recent work, such as “Where the Winds Rest” (2019), inspired this time by Turkish poet Edip Cansever, Tenger deals with surfaces of history that at first seem ordinary, innocuous and neutral as images, but that soon become latent, and reveal dangers lurking underneath, unexpected threats and risks, unknown layers in a fragmented narrative. Similarly in the current exhibition, the installation stands not only for the diastole and systole of the heart, but also for the way in which modern life unfolds: The narratives of civilization are artificially sustained in a world that is both chaotic and violent, and always in constant motion and change. The invisible cube of the heart, both organ and container, formed by the emptiness around the floating silk, blurs the distinction between inside and outside, in our history, in our personal lives, in the physical borders of politics and reality, and in our bodily existence. This constant loop of ups and downs is nothing like an extraordinary event—it is just bare life itself.

The uncanny element in the installation is not the surprise or unpredictability of the event—a new heart, new beginnings, the renewal of a narrative, but the sense of continuity: The cycles of the living heart, not unlike those of time and nature, continue on account of the hardships of conflict and love, and not in spite of them. It is through the encounter—which can result in other ways than desired, that the human person as a whole, in the singular only a combination of atoms and particles, becomes a plurality of stories and experiences, always shared with others. Hospitality here becomes more than simply hosting, it is also a common production of space which saves passing time from total ruin by means of memory. Artifacts of memory, whether archaeological, technological, or simply historical, however, have no context or life of their own without the entire dynamic system. What is an organ without a body? This speaks also to the alienated individual, unfree insofar as he does not partake in the common world.

 

Kostis Velonis (born 1968) is a Greek sculptor, known for exploring the afterlives of unrealized Modernist and avant-garde projects. Many of Velonis’ sculptures explore awkwardness and the slapstick, and he is particularly interested in “stumbling” as an important aesthetic and political category. Velonis lives and works in Athens. His work has been shown at Kunstverein in Hamburg, Museum of Contemporary Art, Athens, the Witte de With Contemporary Art Center in Rotterdam, Palais de Tokyo, Paris, Museo Tamayo in Mexico City, Palais des Beaux Arts (BOZAR) in Brussels, Kunsthalle Athena, Athens, Whitechapel Gallery, London, Cranbrook Art Museum in Michigan, and Kunsthalle Osnabrück, among other places.

Leaving no traces

What does it mean then to leave no traces for Velonis and Tenger? After the destruction of the temple of Apollo, the waters of the spring of Habiye continued to be identified with the myth and practices of divination and dream incubation are still carried out today in neighboring sacred sites by Arab Alawites, the present inhabitants of the region. Coins are left often in the many water basins by those asking for good luck, making vows or wishes. The traces of lived history, though invisible, are symbolically carried by generation after generation of words, supplications, images. As Daphne fled her captor, she fell out of balance, in the same way that the world falls out of proportion and scale, during times of crisis when perspectives are shifting. After stumbling, she changed her world—for her world had changed as well, by becoming something else. This transformation of the nymph from naiad to dryad, from human to nature, is not a mere disappearance, but a transition between culture and nature. It is the violence of civilization.

Nancy tells us about becoming this strange self: “It’s not that they opened me wide in order to change my heart. It is that this gaping open cannot be closed.” Once the body has been altered, a plethora of contradictions arise between inside and outside, self and other, that can no longer be overcome. Who is the intruder after all? He concludes his text thus: “The intrus is none other than me, my self; none other than man himself. No other than the one, the same, always identical to itself and yet that is never done with altering itself. At the same time, sharp and spent, stripped bare and over-equipped, intruding upon the world and upon itself: a disquieting upsurge of the strange, conatus of an infinite excrescence.” In Tenger’s “Happens to the Heart”, the physical configuration of the heart is rational, a model of nature, but in the presence of the unexplained, unaccountable, living breath, the heart remains only a faint trace.

If we’re speaking spatially, for Velonis, utopias of the European 20th century also represent a sense of alienation, but in his case, from the unstable architecture of the present. This alienation is then translated into an inverted nostalgia that sees the future as the restoration of an unrealized or disfigured past. In terms of the laurel wreath, of the god Apollo, what kind of glory wreath is this? Perhaps the “κλἐος” of the Greek epic, with the implied meaning of what others hear about you—the hero’s glorious deeds. But this kleos can come only to those who have become immortalized through their heroism on the battlefield, and who are, therefore, no longer mortal or living. The accumulation of historical cycles of collapse, embodied by Tenger’s translucent time surfaces, by no means linear, tell us that in the absence of gods, there’s no beyond or afterwards. It is the impossibility of permanence, what constitutes the only horizon of transcendence in the world. Is Daphne alive or dead then? As the pumping heart signals, we’re always living and dying, changing, passing, returning, at the same time.

 

“True Love Leaves no Traces” is on show at Galerist, Istanbul. The exhibition continues through March 26.

 

Acknowledgements: Burcu Fikretoğlu, Karina El Helou, Jens Kreinath, Hale Tenger, Barıș Yapar. In Memory of Sarkis Buchakjian. 

Arie Amaya-Akkermans

Arie Amaya-Akkermans is an art critic and senior writer for The Markaz Review, based in the broader Middle East since 2003. His work is primarily concerned with the relationship between archaeology, heritage, art, and politics in the Eastern Mediterranean, with a special... Read more

is an art critic and senior writer for The Markaz Review, based in the broader Middle East since 2003. His work is primarily concerned with the relationship between archaeology, heritage, art, and politics in the Eastern Mediterranean, with a special interest in displaced communities. His byline has appeared previously on Hyperallergic, San Francisco Arts Quarterly, Quotidien de l'Art, Al-Monitor, and DAWN Journal. Previously, he has been a guest editor of Arte East Quarterly, a moderator in the talks program of Art Basel, and a recipient of fellowships at IASPIS, UNIDEE, and Kone Foundation.

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4 JUNE 2023 • By Malu Halasa
Earth Strikes Back
Poetry Markaz

Zara Houshmand, Moon and Sun

4 JUNE 2023 • By Zara Houshmand
Zara Houshmand, <em>Moon and Sun</em>
Film

The Refugees by the Lake, a Greek Migrant Story

8 MAY 2023 • By Iason Athanasiadis
The Refugees by the Lake, a Greek Migrant Story
Poetry

Three Poems by Mona Kareem

2 MAY 2023 • By Mona Kareem
Three Poems by Mona Kareem
Art

Doha Street Artist Mubarak Al-Malik’s Fabulous Journey

2 APRIL 2023 • By Christina Paschyn
Doha Street Artist Mubarak Al-Malik’s Fabulous Journey
Art

The Skinny on Qatar’s National Museum

2 APRIL 2023 • By TMR
The Skinny on Qatar’s National Museum
Essays

Beautiful Ghosts, or We’ll Always Have Istanbul

27 MARCH 2023 • By Alicia Kismet Eler
Beautiful Ghosts, or We’ll Always Have Istanbul
Cities

For Those Who Dwell in Tents, Home is Temporal—Or Is It?

5 MARCH 2023 • By Arie Amaya-Akkermans
For Those Who Dwell in Tents, Home is Temporal—Or Is It?
Columns

Letter From Turkey—Solidarity, Grief, Anger and Fear

27 FEBRUARY 2023 • By Jennifer Hattam
Letter From Turkey—Solidarity, Grief, Anger and Fear
Columns

Letter From Turkey—Antioch is Finished

20 FEBRUARY 2023 • By Arie Amaya-Akkermans
Letter From Turkey—Antioch is Finished
Columns

TMR’s Multilingual Lexicon of Love for Valentine’s Day

13 FEBRUARY 2023 • By TMR
TMR’s Multilingual Lexicon of Love for Valentine’s Day
Art

Displacement, Migration are at the Heart of Istanbul Exhibit

13 FEBRUARY 2023 • By Jennifer Hattam
Displacement, Migration are at the Heart of Istanbul Exhibit
Fiction

Beautiful Freedom For Sale, a short story

15 DECEMBER 2022 • By Nektaria Anastasiadou, Anonymous
<em> Beautiful Freedom</em> For Sale, a short story
Featured article

The Greek Panopticon, Where Politicians Spy on Democracy

15 DECEMBER 2022 • By Iason Athanasiadis
The Greek Panopticon, Where Politicians Spy on Democracy
Film

The Swimmers and the Mardini Sisters: a True Liberation Tale

15 DECEMBER 2022 • By Rana Haddad
<em>The Swimmers</em> and the Mardini Sisters: a True Liberation Tale
Art

Art World Picks: Albraehe, Kerem Yavuz, Zeghidour, Amer & Tatah

12 DECEMBER 2022 • By TMR
Film

Love Has Everything to Do with Maryam Touzani’s The Blue Caftan

5 DECEMBER 2022 • By Melissa Chemam
Love Has Everything to Do with Maryam Touzani’s <em>The Blue Caftan</em>
Art

Abu Dhabi Shows Noura Ali-Ramahi’s “Allow Me Not to Explain”

7 NOVEMBER 2022 • By Rana Asfour
Abu Dhabi Shows Noura Ali-Ramahi’s “Allow Me Not to Explain”
Poetry

We Say Salt from To Speak in Salt

15 OCTOBER 2022 • By Becky Thompson
We Say Salt from <em>To Speak in Salt</em>
Art

#MahsaAmini—Art by Rachid Bouhamidi, Los Angeles

15 OCTOBER 2022 • By Rachid Bouhamidi
#MahsaAmini—Art by Rachid Bouhamidi, Los Angeles
Art

Defiance—an essay from Sara Mokhavat

15 OCTOBER 2022 • By Sara Mokhavat, Salar Abdoh
Defiance—an essay from Sara Mokhavat
Art

Marrakesh Artist Mo Baala Returns to Galerie 127 with Collage

3 OCTOBER 2022 • By El Habib Louai
Marrakesh Artist Mo Baala Returns to Galerie 127 with Collage
Art & Photography

In Tunis, Art Reinvents and Liberates the City

29 AUGUST 2022 • By Sarah Ben Hamadi
In Tunis, Art Reinvents and Liberates the City
Opinion

Attack on Salman Rushdie is Shocking Tip of the Iceberg

15 AUGUST 2022 • By Jordan Elgrably
Attack on Salman Rushdie is Shocking Tip of the Iceberg
Columns

World Refugee Day — What We Owe Each Other

20 JUNE 2022 • By Jordan Elgrably
World Refugee Day — What We Owe Each Other
Fiction

Nektaria Anastasiadou: “Gold in Taksim Square”

15 JUNE 2022 • By Nektaria Anastasiadou
Nektaria Anastasiadou: “Gold in Taksim Square”
Art & Photography

Steve Sabella: Excerpts from “The Parachute Paradox”

15 JUNE 2022 • By Steve Sabella
Steve Sabella: Excerpts from “The Parachute Paradox”
Art

Lisa Teasley: “Death is Beautiful”

15 JUNE 2022 • By Lisa Teasley
Lisa Teasley: “Death is Beautiful”
Film Reviews

2022 Webby Honoree Documents Queer Turkish Icon

23 MAY 2022 • By Ilker Hepkaner
2022 Webby Honoree Documents Queer Turkish Icon
Columns

Recipe for a Good Life: a Poem

15 APRIL 2022 • By Fari Bradley
Recipe for a Good Life: a Poem
Art

The Scandal of Ronit Baranga’s “All Things Sweet and Painful”

15 APRIL 2022 • By David Capps
The Scandal of Ronit Baranga’s “All Things Sweet and Painful”
Book Reviews

Mohamed Metwalli’s “A Song by the Aegean Sea” Reviewed

28 MARCH 2022 • By Sherine Elbanhawy
Mohamed Metwalli’s “A Song by the Aegean Sea” Reviewed
Poetry

Three Poems of Love and Desire by Nouri Al-Jarrah

15 MARCH 2022 • By Nouri Al-Jarrah
Three Poems of Love and Desire by Nouri Al-Jarrah
Art

Hand-Written Love Letters and Words of the Great Arab Poets

15 MARCH 2022 • By Reem Mouasher
Hand-Written Love Letters and Words of the Great Arab Poets
Latest Reviews

Three Love Poems by Rumi, Translated by Haleh Liza Gafori

15 MARCH 2022 • By Haleh Liza Gafori
Three Love Poems by Rumi, Translated by Haleh Liza Gafori
Art & Photography

On “True Love Leaves No Traces”

15 MARCH 2022 • By Arie Amaya-Akkermans
On “True Love Leaves No Traces”
Book Reviews

Hananah Zaheer’s “Lovebirds”? Don’t Be Fooled by the Title

31 JANUARY 2022 • By Mehnaz Afridi
Hananah Zaheer’s “Lovebirds”? Don’t Be Fooled by the Title
Art & Photography

Children in Search of Refuge: a Photographic Essay

15 JANUARY 2022 • By Iason Athanasiadis
Children in Search of Refuge: a Photographic Essay
Columns

Getting to the Other Side: a Kurdish Migrant Story

15 JANUARY 2022 • By Iason Athanasiadis
Getting to the Other Side: a Kurdish Migrant Story
Columns

Burning Forests, Burning Nations

15 NOVEMBER 2021 • By Hadani Ditmars
Burning Forests, Burning Nations
Columns

Day of the Imprisoned Writer — November 15, 2021

8 NOVEMBER 2021 • By TMR
Day of the Imprisoned Writer — November 15, 2021
Columns

Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum

1 NOVEMBER 2021 • By Iason Athanasiadis
Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum
Fiction

“The Passion of Evangelina”—fiction from Anthoney Dimos

15 OCTOBER 2021 • By Anthoney Dimos
“The Passion of Evangelina”—fiction from Anthoney Dimos
Columns

Kurdish Poet and Writer Meral Şimşek Merits Her Freedom

4 OCTOBER 2021 • By Jordan Elgrably
Kurdish Poet and Writer Meral Şimşek Merits Her Freedom
Art & Photography

Displaced: From Beirut to Los Angeles to Beirut

15 SEPTEMBER 2021 • By Ara Oshagan
Displaced: From Beirut to Los Angeles to Beirut
Latest Reviews

Three Poems by Kashmiri American Bard Agha Shahid Ali

15 SEPTEMBER 2021 • By Agha Shahid Ali
Three Poems by Kashmiri American Bard Agha Shahid Ali
Essays

Why Resistance Is Foundational to Kurdish Literature

15 SEPTEMBER 2021 • By Ava Homa
Why Resistance Is Foundational to Kurdish Literature
Latest Reviews

The Limits of Empathy in Rabih Alameddine’s Refugee Saga

15 SEPTEMBER 2021 • By Dima Alzayat
The Limits of Empathy in Rabih Alameddine’s Refugee Saga
Latest Reviews

Women Comic Artists, from Afghanistan to Morocco

15 AUGUST 2021 • By Sherine Hamdy
Women Comic Artists, from Afghanistan to Morocco
Latest Reviews

An Anthropologist Tells of 1970s Upheaval in “Turkish Kaleidoscope”

15 AUGUST 2021 • By Jenny White
An Anthropologist Tells of 1970s Upheaval in “Turkish Kaleidoscope”
Weekly

World Picks: August 2021

12 AUGUST 2021 • By Lawrence Joffe
World Picks: August 2021
Weekly

Summer of ‘21 Reading—Notes from the Editors

25 JULY 2021 • By TMR
Summer of ‘21 Reading—Notes from the Editors
Essays

Sailing to Gaza to Break the Siege

14 JULY 2021 • By Greta Berlin
Sailing to Gaza to Break the Siege
Weekly

World Picks: July 2021

3 JULY 2021 • By TMR
World Picks: July 2021
Book Reviews

The Triumph of Love and the Palestinian Revolution

16 MAY 2021 • By Fouad Mami
Essays

We Are All at the Border Now

14 MAY 2021 • By Todd Miller
We Are All at the Border Now
Fiction

A Home Across the Azure Sea

14 MAY 2021 • By Aida Y. Haddad
A Home Across the Azure Sea
Interviews

The Hidden World of Istanbul’s Rums

21 FEBRUARY 2021 • By Rana Haddad
The Hidden World of Istanbul’s Rums
TMR 5 • Water

The Sea Remembers

14 JANUARY 2021 • By TMR
The Sea Remembers
Weekly

Academics, Signatories, and Putschists

20 DECEMBER 2020 • By Selim Temo
Academics, Signatories, and Putschists
Weekly

Breathing in a Plague

27 NOVEMBER 2020 • By TMR
Breathing in a Plague

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