Podcasts about islamic arts

Works of Islamic arts mesmerise their viewers, be it calligraphy, vases or mausoleums, but knowledge of their developments continues to be weak for the general enthusiast.  To give an introductory survey on how to delve deeper into the fascinating ocean of Islamic arts is Dr. Isaballe Imbert. Dr. Imbert completed her PhD in 2015 at Sorbonne in Persian and Indian Flower Paintings in the 16th to 18th century. She is an Islamic Art specialist with over 10 years' experience working with the best clients and institutions in the industry. She is known as a researcher, teacher, writer, art market expert and speaker, as well as host of the newly formed ‘ART Informant' podcast. For more on her work, see: https://isabelle-imbert.com This presentation will be the first of two parts with Dr. Imbert. The second will be a beginner's guide to investing in the Islamic arts market. 1:42 Islamic arts, we can say, starts in the 7th century with the advent of Islam in Arabia. How do we divide up time and geography thereafter, and do tell us about sources we can consult for them? 9:42 As this is the Abbasid History Podcast, why don't we focus on the long Abbasid era from 750 to 1517 even if the latter times will be referred to by other dynasties or regions? Tell us about some of the main areas of arts in this period. 18:50 You have a particular interest on Islamic art in India. Tell us about the development of that. 28:00 Between 2008 to 2010, you were dedicated to the study of a 14th century Qur'an produced in Gwalior, India, and now kept in the Aga Khan Museum. Tell us about that. 37:25 And finally, before we end tell us where listeners can turn next to learn more about today's topic and tell us what to anticipate in your second presentation with us: A beginner's Guide to Investing in Islamic Arts. 39:50 Audience questions from Instagram We are sponsored by IHRC bookshop. Listeners get a 15% discount on all purchases. Visit IHRC bookshop at shop.ihrc.org and use discount code AHP15 at checkout. Terms and conditions apply. Contact IHRC bookshop for details.   Originally published: https://www.youtube.com/watch?v=AjV5xiaTECg Oct 20, 2022 https://linktr.ee/abbasidhistorypodcast  

This is the second part of two presentations.  More on our guest: https://isabelle-imbert.com 0:50 In your previous presentation, you gave us an overview of the history of Islamic art. Give us an overview of the Islamic arts market scene: who are the main players? Where are the main auctions, and so on? 7:05 You advised in your Bayt al-Fann interview that beginners should buy what they like. At what stage can a beginner can consider himself a serious investor? Link to interview: https://www.baytalfann.com/post/the-a... 11:12 Some viewers may be concerned about buying stolen items. How can buyers protect themselves? 16:34 Where do you feel the Islamic arts market is heading and your final advice for would-be buyers? 21:00 Off-script: on affordable art investment strategies 30:55 Call for patrons! 31:25 And finally before we end tell us where listeners can turn next to learn more about today's topic and what are other current projects that listeners can anticipate? We are sponsored by IHRC bookshop. Listeners get a 15% discount on all purchases. Visit IHRC bookshop at https://shop.ihrc.org and use discount code AHP15 at checkout. Terms and conditions apply. Contact IHRC bookshop for details. Originally posted https://www.youtube.com/watch?v=z_6fRzS5SnE Oct 22, 2022 https://linktr.ee/abbasidhistorypodcast

For the 2 years anniversary of the ART Informant podcast, I welcome... myself. A very special host comes in to ask me questions about my newly released children's book, La Tortue et les Deux Canards, et autres fables de La Fontaine de source arabe, published at Versant Sud Jeunesse. We also talk about the podcast, of course, how and why it started, how it is going, and where I hope to take it in 2024. I hope you'll enjoy this very special episode! If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Isabelle Imbert on Instagram, LinkedIn and AcademiaLa Tortue et les Deux Canards et autres fables de la Fontaine d'origine arabe, Versant Sud Jeunesse, 2023.Kalila wa Dimna in Islamic Arts and Literature with Annie Vernay-Nouri and Aida El Khiari, ART Informant Podcast, 2022.Shahnama made for the Mughal emperor Jahangir in 1021H/ 1612. Millon, 3 May 2018, lot 227A Page of the Royal Padshahnama, From the St Petersbourg Muraqqa', Millon & Associés, 3 Dec. 2019, lot 366Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

What was it like curating the 1st Diriyah Islamic Arts Biennale? And how do you capture the essence of a place that is in the hearts and minds of Muslims around the world? Sumayya Vally talks to us about her personal relationship with Saudi Arabia, suspended geographies, adding to the Islamic Art canon, and reimagining Jeddah's Western Hajj Terminal as an exhibition space. She talks us through it from the very conceptualization of the Diriyah Islamic Arts Biennale in Saudi Arabia to individual pieces that caught Mikey's attention when he attended the opening. We also touch on what it's like letting go of a creative project once it has come to fruition, with Sumayya likening the process to post-partum depression. Lastly, we hear about what Sumayya and her research and architecture practice, Counterspace, are working on now.Sumayya Vally is an award-winning architect from South Africa. In 2022, the World Economic Forum chose her as one of its Young Global Leaders. She has been featured as a TIME100 Next List Honoree. Vally is also on the board of directors for the World Monuments Fund and is the founder of Counterspace, a research and architecture practice. In 2019, Counterspace was chosen to design the 20th Serpentine Pavilion in London. This made Vally the youngest architect to ever win this prestigious commission. Finally, Vally worked as artistic director for the very first Islamic Arts Biennale in Jeddah that ran from January through to April of 2023. Created & hosted by Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by: Tarek Yamani https://www.instagram.com/tarek_yamani/About Outline:Outline is a process-focused conversation that looks at guests' individual projects rather than their full bodies of work. The conversation sketches the journey of the project; the spark of curiosity that led to the project, the process of implementing the idea, the struggles that emerged throughout the implementation, and the aftermath of the project that includes new questions and new ideas. The name “Outline” stems from the idea of creating a retroactive project outline which is part of a broader emphasis on the process of curiosity, creativity, and critical thinking from a nuts and bolts perspective. Outline is not discipline-specific; the series will be held with artists, academics, writers, filmmakers, among others. Join the live audience: https://www.afikra.com/rsvp   FollowYoutube - Instagram (@afikra_) - Facebook -Twitter Support www.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. Read more about us on  afikra.com 

For the first episode of Season 2, Dr Isabelle Imbert welcomes Dr Mehreen Chida-Razvi, in-house editor and deputy curator in the Khalili collection of Islamic Arts, and specialist of Mughal architecture. The Mughal empire reigns between 1526 and 1857 on a territory that encompass, at its peak, modern India, Pakistan, Bangladesh, parts of Afghanistan, parts of Tibet, so talking about Mughal architecture is no small feat. Through the tombs, palaces and mosques, Mehreen gives some insights in what we call today Mughal architecture, its patronage, stylistic evolution, and the inherent challenges of its preservation.   Mentioned in the Episode and Further Links Click here to see the reproductions of artefacts discussed in the episode. 

Astronomy, Astrology and the Islamic Arts and Sciences. Shireen Taweel has undertaken an arts residency at Sydney's Powerhouse Museum, researching designing and creating works that cross the boundaries of space, time, culture and belief. Shireen discusses with curator Professor Pedram Khosronejad the challenges and satisfaction derived from investigating the power not only underlying the construction and discoveries of science, but also of the power of connecting science, art and culture. A transcript of this interview is available for download HERE. The transcriptions are made possible by the support from the Australian Arts Channel.  

Her Royal Highness Princess Lamia Bint Majed Al-Saud is the Secretary General at Alwaleed Philanthropy and a Goodwill Ambassador for UN-Habitat, helping address urgent humanitarian crises around the globe. She's also a mother, a writer, and Islamic art enthusiast.She received the "Arab Woman of the Year" award in 2017 and the "Most Influential Figure in the Arab World for Social Responsibility" award in 2021. In this episode, they discuss her childhood in Egypt, identity struggle, day in the life as a Princess, charitable giving, women empowerment, and the developments happening on the ground in Saudi Arabia.

In this episode of the ART Informant, Isabelle Imbert welcomes Rim Mezghani, expert in Islamic and Indian art and founder of the newly created Parisian auction house, Rim Encheres. Rim has worked for the most prestigious galleries and auction houses, but also has an unconventional background that has helped her become a unique brand on the art market. Since November 2021, she holds thematic auctions, the next one scheduled for the 17th May. This inspirational interview was also the opportunity to discuss the importance of Drouot, the Parisian market place, and the difficulty to define Islamic arts.  If you've liked this episode and want to support, please consider donating. Mentioned in the Episode and Further Links Follow the Art Informant on Instagram and TwitterFollow Rim Mezghani on Instagram, LinkedIn and Youtube and visit her websiteFollow Rim Encheres on Instagram and visit the websiteRim Encheres 17th May 2022 auction catalogueWebsite of Drouot, ParisClick here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

In the 12th episode of the ART Informant, Isabelle Imbert welcomes Nicoletta Fazio, Curator of Iranian Lands in the Museum of Islamic Art of Doha, Qatar. Since she joined the museum in 2018, she and the team have been working on the relaunch of the galleries, scheduled for the end of this year. Before moving to Doha, Nicoletta spent several years working in the Museum fur Islamische Kunst in Berlin, so it was interesting talking about the transition between Germany and Qatar, as well as the differences in curatorial practices, especially around religious themes. Through this conversation, Nicoletta opened a window into the mind of a curator!  If you've liked this episode and want to support, please consider donating. Mentioned in the Episode and Further Links Follow the Art Informant on Instagram and TwitterFollow Nicoletta Fazio on Instagram and AcademiaWebsite of the Museum of Islamic Arts, DohaYouTube interview with Julia Gonnella on the reopening of the Museum of Islamic Arts of Doha Thalia Kennedy, Jo Hargreaves, Aisha al Khater, "A study of visitor behaviour at the Museum of Islamic Art, Doha", in Karen Exell, Sarina Wakefield, Museums of Arabia, Transnational Practices and Regional Processes, London: Routledge, 2016YouTube: Museum Series - The Curation and Influence of Islamic Art in Museums TodayClick here for more episodes of the ART Informant.Click here to see the reproductions of objects discussed in the episode.

In the 11th episode of the ART Informant, Isabelle Imbert welcomes Beatrice Campi, Head of Islamic and Indian art at Chiswick auction, London. Isabelle was quite ill with the flu but was able to host an insightful exchange on many important topics, such as the impact of Brexit on London's art market and what NFTs could mean for our field. We also discussed in length some of her and my favourite  items from her upcoming auctions on the 29th April.  If you've liked this episode and want to support, please consider donating. Mentioned in the Episode and Further Links Follow the Art Informant on Instagram and TwitterFollow Beatrice Campi on InstagramFollow Ghislaine Howard, Department Coordinator, on InstagramCatalogue Islamic Art - Property of a European Collector Part III, 29th April, 11:00Catalogue Islamic and Indian Art, 29th April, 13:00Joko Susilo research on Indonesian shadow puppet theatre Click here for more episodes of the ART Informant.Click here to see the reproductions of artworks discussed in the episode 

In the 10th episode of the ART Informant, Isabelle Imbert welcomes Annie Vernay-Nouri, previously curator of Arabic manuscripts in the Bibliotheque nationale de France, and Aida El Khiari, doctoral student in the Sorbonne University, under supervision of Pr Eloise Brac de la Perriere, who unfortunately could not be present. Since 2012, they have been working on a major research project focused on illustrated Arabic copies of Kalila wa Dimna, a literary text born in India which had a huge impact from Asia to Europe. The project just concluded with a book, titled The Journeys of Kalila and Dimna: Fables in the Literature and Arts of the Islamic World. Together, they talked about the book, the definition of Arab painting, physical analysis, and the unpleasant experience of harmonising bibliographies.   Mentioned in the Episode and Further Links Follow the Art Informant on Instagram and TwitterLes périples de Kalila et Dimna: Quand les fables voyagent dans la littérature et les arts du monde islamique - Brill, 2022  Follow Aida El Khiari on Academia Blog Kalila wa Dimna (2012-2016) Oldest illustrated copy of Kalila wa Dimna, 13th c. (BNF, Arabe 3465)Maqamat of al-Hariri, dated 1222-23 (BNF, Arabe 6094)Kalila wa Dimna, 18th c. (MET Museum, 1981.373)Exhibition "L'Art du livre arabe", BNF, 2001Exhibition "Enluminures en terre d'Islam", BNF, 2011 Click here for more episodes of the ART Informant.Click here to see the reproductions of artworks discussed in the episode.

In the 9th episode of the ART Informant, Isabelle Imbert welcomes Alice Bailey, Head of the Islamic and Indian Arts department, at Rosebery's auction. Together, they discuss London Islamic week, to which Alice has been actively contributing for more than a decade. This year, Rosebery's will close the event on the 1st April with a large catalogue full of treasures and great investment opportunities for new and seasoned collectors. Through this auction and Alice's fruitful experience of the market, they talk about provenance, legislation and the future of Islamic art expert roles.   Mentioned in the Episode and Further Links Follow the Art Informant on Instagram and TwitterFollow Alice Bailey on InstagramFollow Rosebery's Auction on InstagramCheck Rosebery's auction catalogue for Spring 2022 Islamic week (1st April)Click here for more episodes of the ART Informant.Click here to see the reproductions of artworks discussed in the episode.

What does the career of an Islamic and Indian arts expert look like? How do we get to it? Also, what should you buy in the upcoming auction of Millon et Associés? In the second episode of the Art Informant, Isabelle Imbert sits with Anne-Sophie Joncoux-Pilorget, head of the Oriental Art and Orientalism department of the Parisian auction house Millon & Associés to answer all these questions.  Mentioned in the Episode and Further Links  Millon & Associés 8th December auction catalogueIbn Kammuna, Refinement and Commentary on Suhrawardi's Intimations, €30.000-50.000Qur'an, Safavid Iran, 16th c., €20.000-30.000Two birds on a rose, signed Abdullah Bukhari, Ottoman Turkey, 18th c., €5.000-6.000Talismanic shirt, Ottoman Turkey, 18th c., €8.000-12.000 Portrait of a ruler, India, c. 1800, €600-800A page from the royal Padshanama, sold December 2019, €702.000The painting Anne-Sophie would love to acquireFollow the Art Informant on InstagramFollow Anne-Sophie Joncoux-Pilorget on InstagramFollow Millon & Associés on Instagram 

This is it, the first episode of the Art Informant! Isabelle Imbert sits with Camille Célier, Islamic and Indian arts expert at Ader Nordman, and Romain Pingannaud, founder of Pingannaud-David expertise, to discuss the passing of Marie-Christine David, her legacy and the upcoming auction of her collection. Also, what do experts do with fakes? And why is documenting object provenance so important? These difficult questions are answered! If you've liked this episode and want to support, please consider donating.Mentioned in the episode and Further LinksCheck Ader Nordman next auction catalogueThe Islamic piece Camille would add to her collection The Islamic piece Romain would add to his collection Follow Camille Célier and Pingannaud-David on InstagramFollow the Art Informant on InstagramFollow Isabelle Imbert on Instagram and LinkedInClick here to see the reproductions of artworks discussed in the episode.

Coverart Elif Gokcigdem Elif M. Gokcigdem, Ph.D. is the founder of Empathy-Building Through Museums Initiative, and the editor of two books: Fostering Empathy Through Museums (2016),and Designing for Empathy (2019). She is the chief curator and the co-chair of the world's first summit on empathy and museums with Dalai Lama (2018). She holds a Ph.D. in History of Islamic Arts from the Istanbul Technical University, and a Museum Studies certificate from the George Washington University. Elif is a Fellow at the World Innovation Organization, an Advisor to Minneapolis Institute of Art's Center for Empathy and Visual Arts, as well as the Empathy Project by Woodland Park Zoo. She worked as a curatorial research assistant at the Islamic Arts Department of the Arthur M. Sackler and Freer Galleries of the Smithsonian Institution. Dr. Gokcigdem currently works as a Senior Public Affairs Advisor at Aramco, and has bean a senior advisor to Ithra, the King Abdulaziz Center for World Culture, since its conceptual development phase where she has advised on mission and vision development, content development and integration, strategic institutional partnerships, and exhibition and educational program development for children. She has published and presented her research at conferences including the European Science Foundation Conference, American Alliance of Museums Annual Meeting, Association of Science and Technology Centers Conference, Science and Nonduality Conference, and the World Summit on Innovation and Entrepreneurship.

In today's episode we will feature audio from an interview of Trevor Naylor, Sales and Marketing Director, The American University in Cairo Press. The interview was conducted by Matthew Ismail, Editor in chief of the Charleston Briefings and Conference Director at the Charleston Conference.  Trevor began working in a bookshop when he was 18 years old, and has lived in Cairo for 12 years. He says the AUC Press recently celebrated its 100 year anniversary, but it wasn't until the 1960's and 70's that they saw a publishing need at the University and then that side of the business took off.  The press now has a very interesting and varied role and is a small and targeted business which allows Trevor the opportunity to be involved and to touch almost every part of the publishing process. He calls himself a "non-academic expert on Egypt" due to osmosis from the publishing industry there. Trevor also talks with us about his work with nobel prize winner Naguib Mahfouz, known as the "Dickens of Egypt," and how the AUC publishing his book, Palace Walk, and the subsequent world wide demand for this book led to a great increase in their publishing overall. The AUC Press also started the Creswell Collection of Islamic Arts.  He says the AUC Press publishes books on Egyptology, Islamic studies and the Middle East for academic use and also for the curious public, and now some children's books.  

Den muslimska bordskalendern är Zaia Islamic Arts första produkt. Vi får också veta hur Anisa och Zainab kombinerar entreprenörskap med universitetsstudier.Zaia Islamic Arts på InstagramPoddradioserien om Muhammad Ali365 muslimska visdomsord som berikar ditt liv (Salihs bok)Besök gärna vår hemsida: www.koranpodden.se.Följ vårt arbetefacebook.com/koranpoddeninstagram.com/koranpodden/Stöd KoranpoddenOm du finner någon glädje eller värde i vad jag gör, snälla överväg att donera ett valfritt belopp. Alla donationer går till att utveckla och marknadsföra Koranpodden. Swisha ett frivilligt belopp till swish 123 669 10 18 (Support Koranpodden) eller via bankgiro 5271-8053.Bli månadsgivare! Klicka här.

Our founder Nadine Abdelghaffar, speaks to Yannick Lintz, director of Islamic Arts at the Louvre Paris. They will be talking about Yannick's educational background and career that spans the industries of art and education and lands at the Louvre where she is now heading the department of Islamic Art.

SalamFest is a unique and enlightening offering for the people of Victoria. This year salamFest is featuring famous Sufi and folk legendary singer, Abida Parveen. Reading from Tilism e Hoshruba besides Sufi girl's music group will also mesmerize the audiences. SalamFest team members, Ayesha Bux, Zarmeen and Anushay are sharing the details of colorful events #Salamfest2020 - سلام فیسٹیویل میں اس سال رنگا رنگ تقریبات کا میلہ سج رہا ہے جس میں دنیا بھر کے علاوہ پاکستان سے بھی فنکار شریک ہورہے ہیں۔اس بار فیسٹیویل میں عابدہ پروین، کے ساتھ ساتھ، صوفی گلوگارہ بہنوں کا ہر سکھیاں گروپ، فریال گوہر کی زبانی طلسم ہوش ربا جیسے پروگرام شامل ہیں۔ ۔سلام فیسٹ کی ٹیم ممبران عائیشہ بخش ، زرمین اور انوشےاس سال کے فسٹیویل کی مزید تفصیلات بتا رہی ہیں۔

Sara Choudhrey is a London-based artist and researcher, using an investigative process to explore themes of space and place. Episode info and images: www.islamicillumination.com/podcast-blog/ep7

Mohammed Ali is an award winning artist, curator and creative producer. He is regarded as a pioneer in the Islamic street-art movement, fusing street art with Islamic script and patterns. He has been awarded an MBE for services to Art. Mohammed began as a graffiti artist, painting Islamic inspired street art. He has since evolved his work towards combining street art with live performances, installations, digital projections and moving soundscapes. He has created truly immersive experiences for audiences throughout the world, from street canvases in New York,  Amsterdam, London and Melbourne, to intimate performances in the Vatican. His work serves as a bridge, bringing together communities divided by culture, faith and ethnicity. In 2008, Mohammed founded ‘Soul City Arts’, a global arts movement bringing together artists, activists and communities with the goal of transforming society. In 2013, Mohammed was invited to the Vatican to present at a TedX entitled “Religious Freedom Today” where he painted a street art mural live on stage. On the show today, we discuss his journey as a graffiti artist and becoming a role model to future Islam-inspired artists, the state of the Islamic arts scene today and learning from past experiences, the future of the Islamic Arts and the inspiration behind his Vatican performance. We had an insightful conversation with the pioneer, exploring an area which does not get much media coverage and learning more about the Islamic Arts space. If you liked this episode, please leave us a review on Apple Podcast. Subscribe to the podcast via Apple Podcast, Android or Spotify. Follow us on Instagram or Facebook. For feedback, banter or any business enquiries, e-mail us at info@onefootinthesink.com.

Sascha Crasnow is the RC's newest faculty member. She's joining the Arts and Ideas team, bringing her research in Islamic arts and visual culture to the College. In this interview, she discusses her academic path, what common misconceptions she witnesses as students start to use a critical lens to study the Arab world, as well … Episode 6 – Introducing Sascha Crasnow, New Arts and Ideas Islamic Arts Instructor Read More »

Join Us in France Travel Podcast To give feedback on this episode, call 801-806-1015 To learn about Join Us in France Tours, visit Addicted to France If you enjoy the show, subscribe to the Join Us in France Newsletter Click here for show notes and photos for this episode. Click here to review the show on iTunes. Join Us in France Book Group on Goodreads Click here to leave us a voice mail question or comment. Send email feedback: annie@joinusinfrance.com Follow the show on Facebook "People who have been to Paris before should not discount this tour because they are going to learn so much, my head got filled every day. And for people who have never been to Paris, what a great way to see Paris for the first time" --Steven Struck, Inaugural Tour member What You Will Learn About in this Episode 4'30 While leading the Inaugural Tour we ran into a lot of tour groups where there were so many people that it was just a one-way conversation.  It's like factory tourism. What we're doing is totally different because our groups are so small. 5'16 Touring with Annie and Elyse is like touring with family. 5'50 Because group members chose us based on the podcast, they were looking forward to it and knew what they were getting into. 6'20 We had group members from all over the US, we also had various ages, and it all worked out really well. 7'10 Our next Paris Tour is going to be October 1st through Oct 7th 2017 and we hope to announce 4 more Paris tours in 2018 as well. 8'50 Our tour started by going to a wine bar called Chez Nous, followed by a river Cruise on the Seine River. Next time we'll probably start a little earlier on Sunday and visit the Luxembourg Gardens. 9'45 Two guys who thought the Luxembourg Gardens were ugly. When you look at something with no context, it's hard to see the beauty or appreciate anything. 11'30 On Monday we didn't start too early 12' We lucked out on all the places we went to eat. Annie's goal was to keep it around 15€-20€ for lunch and 30€-35€ for dinner. We were looking for good value and we found it! 13' France is not a good place to keep a strict diet. No vacation is good for your diet, reallay, is it? We eat a lot of meat and dairy in France. Lots of duck and lamb, fish (fish is usually the "diet" choice on a French menu). But we also don't eat fried food very much in France. 17' We'll be looking for a good audio solution to use all the time. We had a whisper system in some of the museums, but even there, they limit you to a specific amount of time. So we'll be looking for a good solution. 17'50 Monday activities: Conciergerie (where Marie-Antoinette was held before she was beheaded), Sainte-Chapelle, restaurant Saint-Régis. 19' Annie being recognized by her voice, an eerie experience for sure! 20'41 Notre Dame, Place de la Concorde, the Orangerie. "Droit de parole" complications. They give you an appointment at a specific time, which is not always suitable. 22' Tuesday: Orsay Museum which isn't very big as far as Paris museums are concerned. Lunch by the big clock. Arc de Triomphe and Champs Elysées. In future tours we will do a drive by night that will include all the big sights of Paris by night. 25' Wednesday: Louvre Museum. If you want to have some peace in the Louvre you have to get off the beaten track and choose other pieces that are of interest to you ahead of time. There are lovely sections of decorative arts, music, Egypt, Roman and Greek, Babylonian, Islamic Arts, etc. Next time we do a tour we will spend a little time with each participant to help them decide about a good section for them so they can go explore that part and enjoy the Louvre with some peace and quiet. 29'30 Montmartre: Annie is not in love with the area, it's too touristy and crass. Elyse will plan a different itinerary where we don't spend so much time in the middle of the crowds. Wine tasting with a sommelier. Next time we'll take the time to have dinner right after the wine tasting. 31'20 Thursday: Opéra Garnier, Galleries Lafayettes, Musée Rodin, then we went to Montparnasse, ate at a crêperie, we got soaked that night. 34'20 Friday: Marais walk with Elyse, lunch at l'As du Fallafel, Picasso Museum, dinner at Bouillon Racine on rue Racine. 37'40 Saturday: we split up that day. Annie went to Père Lachaise and Steve from Florida helped greatly because of his surveyor powers. Elyse went to the Pantheon, Sorbonne, Saint-Eitenne-du-Mont church, the Cluny Museum and the Latin Quarter in general. Then we all met together at the Centre Pompidou which was an add-on, and had some free time. 45'30 Next time we will add more shopping time and we'll give people the choice of two different shopping areas. We'll also add some time at a flea market or food market and a drive by night Uber ride around Paris. Next time we'll choose a concert with more approachable music, probably not Notre Dame. 48'40 We will also add some excursions one day before the tour and another after the tour. We'll do a day at Giverny on the Saturday before the Tour and a whole day at Versaille on the Sunday after the Tour. For 2018 we'll set some dates for a Tour in April, another for May, then one in September and one in October. We won't do a Tour in July and August because it's too hot and June is too busy in Paris. 55' Annie didn't grow up wanting to be someone who evangelizes about France and a tour organizer, but Paris small group tours are so much fun, this is something worth investing time into. 56'38 Thank you for your support new Patreon donors Nancy Calkins, Todd Costella, and Stephanie Ellis. Thank you also Sophia Semensky and Paul Goess for tipping your guide. 58'37 Feedback on the previous episode on using Uber in Paris: using Uber between Disneyland and Paris city center. They had a really good experience using Uber in Paris, but it is true that most Uber drivers in Paris do not speak English. They had one bad experience with an Uber driver who never showed up at all and they grabbed a taxi instead. The Uber to get back to the airport to go home went well, but the ride took 1.5 hrs because the traffic was heavy. Feedback on the Inaugural Tour from Steven Struck, his impressions and experience as a tour member. He also shares about his experiences moving to France.   THANK YOU for listening to the show!

Episode 297with Massumeh Farhad & Simon Rettighosted by Emily NeumeierDownload the podcastFeed | iTunes | GooglePlay | SoundCloudThe preeminent position of manuscript painting and poetry at the Ottoman court has been well established by historians, yet the equally important practice of commissioning and collecting sumptuously decorated copies of the Qur'an--the sacred text of Islam--has been less explored. The role of the Qur'an in the artistic culture of the Ottoman world is just one facet of the landmark exhibition The Art of the Qur'an: Treasures from the Museum of Turkish and Islamic Arts, on display at the Smithsonian Institution in Washington DC. The show traces the formal evolution of the Qur'an, especially in terms of calligraphy and manuscript illumination, with over 60 manuscripts and folios spanning a thousand years and created in an area stretching from Egypt to Afghanistan. Besides having an opportunity to appreciate the level of labor and skill invested in producing such high-quality manuscripts, visitors will also be surprised to learn about the mobility of these books, as they were avidly collected, repaired, and donated by members of the Ottoman court to various religious institutions around the empire. In this episode, curators Massumeh Farhad and Simon Rettig sit down with us to reflect both on the reception of the exhibition in the United States, as well as the process of organizing this collaborative venture between the Smithsonian and the Museum of Turkish and Islamic Arts in Istanbul. « Click for More »

Episode 297with Massumeh Farhad & Simon Rettighosted by Emily NeumeierDownload the podcastFeed | iTunes | GooglePlay | SoundCloudThe preeminent position of manuscript painting and poetry at the Ottoman court has been well established by historians, yet the equally important practice of commissioning and collecting sumptuously decorated copies of the Qur'an--the sacred text of Islam--has been less explored. The role of the Qur'an in the artistic culture of the Ottoman world is just one facet of the landmark exhibition The Art of the Qur'an: Treasures from the Museum of Turkish and Islamic Arts, on display at the Smithsonian Institution in Washington DC. The show traces the formal evolution of the Qur'an, especially in terms of calligraphy and manuscript illumination, with over 60 manuscripts and folios spanning a thousand years and created in an area stretching from Egypt to Afghanistan. Besides having an opportunity to appreciate the level of labor and skill invested in producing such high-quality manuscripts, visitors will also be surprised to learn about the mobility of these books, as they were avidly collected, repaired, and donated by members of the Ottoman court to various religious institutions around the empire. In this episode, curators Massumeh Farhad and Simon Rettig sit down with us to reflect both on the reception of the exhibition in the United States, as well as the process of organizing this collaborative venture between the Smithsonian and the Museum of Turkish and Islamic Arts in Istanbul. « Click for More »

Episode 297with Massumeh Farhad & Simon Rettighosted by Emily NeumeierDownload the podcastFeed | iTunes | GooglePlay | SoundCloudThe preeminent position of manuscript painting and poetry at the Ottoman court has been well established by historians, yet the equally important practice of commissioning and collecting sumptuously decorated copies of the Qur’an--the sacred text of Islam--has been less explored. The role of the Qur’an in the artistic culture of the Ottoman world is just one facet of the landmark exhibition The Art of the Qur’an: Treasures from the Museum of Turkish and Islamic Arts, on display at the Smithsonian Institution in Washington DC. The show traces the formal evolution of the Qur’an, especially in terms of calligraphy and manuscript illumination, with over 60 manuscripts and folios spanning a thousand years and created in an area stretching from Egypt to Afghanistan. Besides having an opportunity to appreciate the level of labor and skill invested in producing such high-quality manuscripts, visitors will also be surprised to learn about the mobility of these books, as they were avidly collected, repaired, and donated by members of the Ottoman court to various religious institutions around the empire. In this episode, curators Massumeh Farhad and Simon Rettig sit down with us to reflect both on the reception of the exhibition in the United States, as well as the process of organizing this collaborative venture between the Smithsonian and the Museum of Turkish and Islamic Arts in Istanbul. « Click for More »

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

Taymiya Zaman, University of San Francisco