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in my imagination, this girl ran away from home. she's, i guess, lost this direction. so all these modern projects failed. it was the future and it promised a better life. and you're saying, actually, that's not the story of the 20th century? yeah, it's true. many dramatic things happen in turkey, especially recently. but at the same time, i needed some joy for the struggling. all of the turkish works i've discovered so far feel somehow enmeshed with this great, vibrant city of istanbul, which straddles the bosphorus strait and the last work i want to consider is no different. it was originally installed nearby, in an old dock warehouse. it's beautiful and intriguing, and a bit of a puzzle. the artist who made it,
of the artist who's made it. it's a thing that has enormously powerful, i think, powerful beauty, really. it's been a very rich visit. it's been very intense and immensely pleasurable. and there's a lot here that i already knew. i mean, there are clearly lots of big name familiar artists who are in the collection, and great to see them. but i was hoping to discover a lot more beside, and i think i did. this is a collection which focuses on the intricate story of modern and contemporary turkish art. and that story is so sinuous, so surprising, but also quite often, really affecting. as one artist, inci, put it to me, a lot of the stuff i've seen
gulsun karamustafa, isjoining me on a video call. you can...you can see me, you can hear me? yeah. yeah, i can hear you. so you're in front of my work. you're in istanbul, then? yeah, i'm in istanbul. we're here at the modern. and this isn't a new piece, is it? it is from 1995. it was done for the istanbul biennale. am i correct then in thinking that when you made the work for the biennial then, it was in the same part of the city that's now been redeveloped, and near where istanbul modern stands today? exactly. and this was created in...did you say in a depot, like a sort of old industrial building, a warehouse? it was this working harbour once. you know, ijust sat down for a while thinking and feeling the space. and then i found out that i am in the oldest entertainment district of istanbul. this red light district was there since the byzantium times, since the genoan times, you know.
which straddles the bosphorus strait and the last work i want to consider is no different. it was originally installed nearby, in an old dock warehouse. it's beautiful and intriguing, and a bit of a puzzle. the artist who made it, gulsun karamustafa, isjoining me on a video call. you can...you can see me, you can hear me? yeah. yeah, i can hear you. so you're in front of my work. you're in istanbul, then? yeah, i'm in istanbul. we're here at the modern. and this isn't a new piece, is it? it is from 1995. it was done for the istanbul biennale. am i correct then in thinking that when you made the work for the biennial then, it was in the same part of the city that's now been redeveloped, and near where istanbul modern stands today? exactly. and this was created in...did you say in a depot, like a sort of old industrial building, a warehouse? it was this working harbour once. you know, ijust sat down for a while thinking
the data. the simple fact about creating an installation in a curved room with a mirrored floor to create the sense of infinity. so i find that quite heartening too, to have a sense that here's a work that's looking straight at the future, but it also has one eye, if you like, on the art historical past. refik�*s work here may be linked directly to the bosphorus, but it relies on the backrooms of silicon valley in california, a few hours from los angeles, where he now lives and works. decades earlier, another pioneering turkish artist was connecting east with west, and creating her own kaleidoscopic visual worlds. fahrelnissa zeid is a central figure in the story of modern turkish art. but despite being born at the dawn of the 20th century, she's only being truly appreciated now. yeah. pleasure to have you here. i'm meeting chief curator oyku
is work by turkish artists and what it reveals about their national identity. so as the museum is making final preparations, i've been told that there's an artist who was born in istanbul but is now based in los angeles, who's having a really big moment internationally. refik anadol�*s rise has been meteoric. his spectacular high—tech installations have wowed audiences across the world, and he's created astonishing backdrops for the grammys music awards. i want to peek behind the curtain, to meet this wizard of oz—like visual magician. ah, refik, you're here. how are you? i'm good. oh, this is... this is something else! it feels like we're in the middle of this kind of vortex. i know the piece
in a manner that is pithy and readily understandable. this is not esoteric, strange, difficult to get, thanks to its simplicity and the commitment and sincerity of the artist who's made it. it's a thing that has enormously powerful, i think, powerful beauty, really. it's been a very rich visit. it's been very intense and immensely pleasurable. and there's a lot here that i already knew. i mean, there are clearly lots of big name familiar
artists who are in the collection, and great to see them. but i was hoping to discover a lot more beside, and i think idid. this is a collection which focuses on the intricate story of modern and contemporary turkish art. and that story is so sinuous, so surprising, but also quite often, really affecting. as one artist, inci, put it to me, a lot of the stuff i've seen is as much painful as it is playful. and i think that's a good thing, because here you find something which is reflecting the complexities of the world as it is, notjust in turkey, but universal human experiences. and for me, that's what good art should always aspire to do. for more on inside museums and for our accompanying inside museums artist guide, go to bbc.com.