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Tuesday 11:00 - 19:00 Wednesday 11:00 - 19:00 Thursday 11:00 - 19:00 Friday 11:00 - 19:00 Saturday 11:00 - 18:00 Sunday 11:00 - 18:00

ISTANBUL'74, Arnavutköy, Beyazgül Sk. No:24, Beşiktaş/Istanbul, Istanbul (2026)

13/05/2026

‘74 Arts and Culture News —Must See in New York, Frieze New York 2026, The Shed, Hudson Yards

Frieze returns to New York City. Here’s a round-up of what to see, both at the fair, and around the city - selected by ‘74s editors. At the fair: Seba Calfuqueo’s archaeological fictions rooted in the Mapuche landscape at W-Galería; Reika Takebayashi’s geological paintings and ceramics at Public Gallery; Bruno Cançado’s raw sculptural meditations on Brazilian vernacular architecture at Central Galeria; Abraham González Pacheco’s monumental graphite works confronting Mexico’s official histories at Campeche; Aki Goto’s iPhone footage of Hudson Valley family life reworked into textile and video at Europa; Rosario Zorraquin’s layered paintings on linen gauze at Isla Flotante; Yeni Mao’s nickel-plated armatures shaped by subculture and the body at Sargent’s Daughters; Joanne Burke’s bronze and aluminium castings rooted in 17th-century hydromancy at Soft Opening; Bettina’s 1970s downtown New York works from five decades at the Chelsea Hotel at Ulrik; and Antoni Miralda revisiting El Teddy’s, the legendary Tribeca restaurant, through archival materials at Champ Lacombe.
Across the city: Iris van Herpen: Sculpting the Senses at the Brooklyn Museum through 6 December; Carol Bove’s first museum survey at the Guggenheim through 2 August; Greater New York 2026 at MoMA PS1 marking the institution’s 50th anniversary through 17 August; Fade at the Studio Museum in Harlem through 6 September; David Hammons & Jannis Kounellis at White Cube New York through 13 June; Spencer Vazquez: Glue Traps at Baxter St Camera Club through 3 June; and Tony Lewis: Abstract Slavery at Olney Gleason through 6 June.

13/05/2026

‘74 Arts and Culture News —Must See Exhibitions and Events
Photo London 2026, Olympia London

Photo London opens its eleventh edition at a new home — the fair’s debut at Olympia in Kensington after a decade. A reframing: a new trail of solo presentations, a dedicated room for artists’ film, and expanded ground for emerging and unrepresented voices. Archival depth alongside new image-making.

Steven Meisel named Master of Photography, with a rare presentation of portraits from his early London years including the Anglo Saxon Attitude series shot with Isabella Blow for British Vogue. Alongside: Rosalind Fox Solomon’s Portraits in the Time of AIDS returning to view the year after her passing; Tom Wood’s previously unseen first rolls of film from 1975; Alfredo Jaar’s Searching for Africa in LIFE spanning six decades of covers; Edward Burtynsky’s new aerial series from Western Australia; and Sarah Moon’s 2001 documentary on Lillian Bassman screening on opening day. Curated by Bindi Vora, We Are the Ones We Have Been Waiting For brings together women and non-binary artists from Autograph’s collection — from the late 1980s to now.

13 – 17 May 2026, Olympia London.

13/05/2026

‘74 Arts and Culture News —Lorna Simpson: Third Person, Punta della Dogana — Pinault Collection, Venice

The most significant presentation of Simpson’s work in Europe in over a decade — bringing together around fifty paintings, collages, sculptures, installations, and film, including new works made specifically for the Dogana’s monumental spaces. Curated by Emma Lavigne in close collaboration with the artist, and organized in partnership with The Metropolitan Museum of Art, New York.
The exhibition spans over twenty years of Simpson’s practice — from paintings created for the 2015 Venice Biennale to new commissions — tracing her exploration of memory, collective history, and the instability of representation through three major ensembles: enigmatic figures caught in political tension, Arctic panoramas rendered in deep blues and frosted greys, and a gallery of majestic female silhouettes presented in Tadao Ando’s Cube.
On view through 22 November 2026.

12/05/2026

— Holy See Pavilion, Venice Biennale 2026
The Ear Is the Eye of the Soul
Curated by Hans Ulrich Obrist and Ben Vickers

The Holy See pavilion opened with Patti Smith performing a Sonic Prayer in a 17th-century church — reciting poetry, invoking the Virgin Mary, singing new songs written for the occasion. Soundwalk Collective’s rumbling electronic drone music underscored her words with an intensity that moved multiple audience members to tears. Willem Dafoe was in the room. Speaking to the audience, Smith reflected: “If we have the calling of an artist, we cannot run away from it because we will be drawn back. It reminds us that it is our mission to communicate, within our body of work, the visionary imagination.”
The pavilion itself takes Hildegard of Bingen (1098–1179) — medieval abbess, poet, healer, composer — as its animating spirit. An ensemble of 24 new commissions, presented by the Dicastery for Culture and Education of the Holy See. Participating artists include Brian Eno, Devonté Hynes, FKA Twigs, Kali Malone, Meredith Monk, Otobong Nkanga, and Terry Riley. Visitors walk through the Mystical Garden of the Discalced Carmelites, a monastic green space hidden within a 17th-century convent, listening to the commissions through headphones.

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Photo: .art

12/05/2026

— Ara Güler: CANNES!
Ara Güler Museum, Istanbul
22 April – 11 October 2026

Ara Güler first travelled to the Cannes Film Festival in 1957. He kept returning. The photographs he made there, published in Yeni İstanbul and Hayat Mecmuası, were his, and then they went into the archive, and stayed there for decades.
CANNES! brings them out for the first time. Unpublished frames from the golden age of the festival: Brigitte Bardot, Sophia Loren, Grace Kelly, Federico Fellini, Orson Welles, Jean Cocteau, Michelangelo Antonioni, François Truffaut. But also the photographers jostling for position, the fans, the beach, the street, the party. Güler photographed the spectacle and everything surrounding it with equal attention.
The exhibition unfolds across three chapters, the city as stage, the festival itself, and the celebrations after dark, accompanied by original contact prints, press cards, newspaper clippings, and festival ephemera from the archive. What emerges is less a portrait of celebrity than a portrait of a particular kind of intensity: the world, briefly, at its most luminous.

On view at Ara Güler Museum, Bomontiada, Istanbul.

12/05/2026

— Brazilian Pavilion, Venice Biennale 2026
Comigo Ninguém Pode
Adriana Varejão & Rosana Paulino
Curated by Diane Lima

The title comes from a plant known for both its protective and toxic properties. That tension runs through everything here. Varejão’s cracked azulejo tiles cascade across the pavilion ceiling, baroque figuration pushed to the point of rupture. Paulino’s wire structures root photographic portraits in sand and concrete, textile forms trace the walls like open wounds, ceramic figures hover between the human and the botanical.
Together they map the long aftermath of colonial violence and the slave trade — not as history, but as something still present in the body, in the image, in the material itself. Beauty and brutality coexist in the same surface. The exhibition does not aestheticize pain. It insists on survival, on the rewriting of inherited narratives, on collective knowledge as a form of resistance.
One of the strongest national representations of this edition. On view May 9 to November 22, 2026.

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12/05/2026

’74 ARTIST STUDIO SERIES: EL ANATSUI
The Master of Transformation

Twenty-five years ago, El Anatsui found a discarded bag of bottle caps on a roadside near Nsukka, Nigeria. He took them back to his studio, flattened each one, and stitched them together with copper wire. What emerged was something luminous, metal that moved like cloth, rigid material rendered fluid.

This accident of discovery became his language. For five decades, Anatsui has lived in pursuit of what he calls freedom, the ability to resurrect the overlooked, the discarded, the forgotten. From wooden market trays punctured with Ghanaian adinkra symbols to fractured clay vessels to salvaged mortars and cans, his practice is built on relationships: how objects speak to one another, how history lives in materials, how a single gesture can hold continents of meaning.

The bottle caps are never just bottle caps. They are currency. They are trade routes. They are the architecture of connection and extraction. Yet in Anatsui’s hands, they become something else entirely, shimmering surfaces that drape across museum walls, suspended in space, inviting us to move through them, to feel their weight and weightlessness at once.

His Turbine Hall commission at Tate Modern compartmentalizes monumentality into intimate passages. His sculptures sprawl across classical facades, resuscitating them with unrestrained pattern. Always, they refuse to be fixed. Always, they reveal new possibilities.

Photographs mixed and by Clara Watt for The New York Times
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11/05/2026

Born on this day— Salvador Dalí (1904)

“Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.” — Salvador Dalí

Born in Figueres, Catalonia, Dalí became one of the most singular and unclassifiable figures in the history of art. Painter, filmmaker, writer, jeweller, set designer — his practice refused every boundary. Trained in the classical tradition, he turned those skills toward the irrational, the hallucinatory, the deeply strange. His canvases collapse time, distort the body, and dissolve the line between waking and dreaming with an almost scientific precision.
He was expelled from the Surrealist movement, collaborated with Hitchcock and Disney, kept an ocelot as a companion, and cultivated his own persona with the same obsessive craft he brought to his paintings. Eccentric? Absolutely. But beneath the theatre was an artist of genuine rigour and inexhaustible imagination.

11/05/2026

— Must See in Venice
Venice Biennale 2026 · In Minor Keys
Part III: Off-Site, Collateral & New Openings

JR pastes 176 figures across the Byzantine facade of Palazzo Ca’ da Mosto — guests, volunteers, and chefs from Refettorio Paris recomposing Veronese’s Wedding at Cana on the Grand Canal. The work continues inside The Venice Venice Hotel. It is the image of the season.
Elsewhere across the city: Michael Armitage’s largest show to date at Palazzo Grassi, painted on bark cloth not canvas. Lorna Simpson’s first major European survey at Punta della Dogana, in partnership with the Met. Arthur Jafa and Richard Prince in conversation at Ca’ Corner della Regina. Jenny Saville at Ca’ Pesaro. Trevor Paglen introducing Protocol Art at Palazzo Diedo. Studio Drift’s silk pendants breathing on the Grand Canal facade of Palazzo Balbi.
Further out: Anish Kapoor reopens Palazzo Manfrin after four years of restoration. Fondazione Dries Van Noten takes Palazzo Pisani Moretta, open to the public for the first time. Sanya Kantarovsky at Palazzo Loredan. Ca’ Riviera across two villas on the Riviera del Brenta. And the Peggy Guggenheim Collection turns back to 1938, London, the beginning.
Marina Abramović opens at the Gallerie dell’Accademia on her 80th birthday — the first living female artist to receive a major exhibition in the institution’s 250-year history. Her performances placed beside Titian’s unfinished Pietà on its 450th anniversary. History and body, side by side.

11/05/2026

A Place Remembered, by ‘74: Harry’s Bar, Venice

Some rooms accumulate. Not deliberately, through no curatorial decision or preservation effort, but simply by remaining open, consistent, and themselves across decades.

Harry’s Bar opened in 1931 on a dead-end street steps from Piazza San Marco. Giuseppe Cipriani chose the location with intention: he wanted guests who arrived on purpose. The room has not changed since. Forty-five square metres, dark wood, white linen, six barstools.
What followed was not engineered. Hemingway found a table by the window and kept it. The Bellini arrived in 1948 — white peach, prosecco, named after a Venetian painter’s palette. Carpaccio came two years later, improvised for a countess on a restricted diet. Two of the defining dishes of Italian food culture, both invented in response to the specific needs of a specific room on a specific afternoon.
The regulars over the decades read like a list assembled by no one in particular: writers, directors, collectors, painters, passing through Venice and finding themselves returning to the same counter.
In 2001, the Italian government declared it a national landmark — not for its architecture or its objects, but for what had happened inside it over seventy years.
Every year, when the Biennale opens, the same door opens again. The room fills. The Bellinis take the same amount of time to pour.

ISTANBUL'74

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Tuesday	11:00 - 19:00
Wednesday	11:00 - 19:00
Thursday	11:00 - 19:00
Friday	11:00 - 19:00
Saturday	11:00 - 18:00
Sunday	11:00 - 18:00