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Mustafa Horasan Mustafa Horasan studied printmaking at the fine arts faculty of Marmara University and graduated in 1986. He currently lives and works in İstanbul. Mustafa Horasan creates autobiographical images that are dialogues between the ‘present’ in which he is currently caught and his own personal history. They seem to intersect memory at right angles. He maps out the distorted organs, creature/human duality of transmogrified beings and frustrated or confined bodies, through the use of original anatomical and flexible forms. Horasan works with distinctive shapes, compositions, and colors, capturing the anger, unease, exaggeration and sarcasm contained within human bodies. His humorous and playful approach can unsettle our sense of reality. His series ‘Crash’ grew from his interpretation of images created by certain artists. In these two works entitled ‘From Paul McCarthy,’ Horasan draws on McCarthy’s work to depict tense scenes with elements of crudity, echoes of the subconscious, and extreme references to sexuality and the body. The anxiety of a person trying to remove a mask from his face by tearing it to pieces and the unparalleled discomfort of someone who transforms a cauldron into a toilet are some of the performances that McCarthy realized in confined spaces. Less Material/Technique Oil on canvas Original Title Yırtılma (Çarpışma serisi,Paul McCarthy ), 2009

At the Window 1932 Voldemārs Tone

Old Testament Landscape undated Antonio Travi Medium Oil on canvas Rights Information Acquired 1941 Image Rights Public Domain

Japanese, Momoyama period (1573–1615) In this melancholy scene, the large sea of rough, billowing waves, the nobleman seated in the hut with only his books and koto as companions, and the dusky tones of ink and silver and gold suggest the solitude of a distant island. A windblown visitor dressed in a straw cape, who appears to have arrived in a small boat moored at the left, trudges along the shore to the hut. The green of the tatami mats and the white and pink of the blossoming cherry trees (indicating springtime) provide the only brightness in an otherwise somber composition reflecting the sense of isolation and the forlorn state of mind of the nobleman. Exile to a remote area of Japan or to a small offshore island was a common form of punishment for political crimes throughout Japanese history. Two emperors are known to have been exiled to the island of Okinoshima: retired emperor Gotoba-in (reigned 1184–98) and Godaigo (reigned 1318–39). Accounts of both exiles were recorded in the Masukagami, a historical work that covers the years 1180–1333. The account of Gotoba-in’s exile is more likely to have been illustrated on an independent screen—although the scene depicted here could equally represent the events of Godaigo’s exile when, after a year on the island, he escaped in springtime in a fishing boat brought by a loyal supporter, Takaoki Chidane. Less Medium Six-fold screen; ink, gold, silver, and pigments on paper