The third of three previous posts invoking Orhan Pamuk mentions an experience in a museum a couple years ago in Istanbul. I did not write much about it in that post because I did not know what to say, or if there was anything to say about how the museum affected me. But reading Orhan Pamuk’s words in the essay below about his friend, and the photographs that man took, evoked strong memory of the effect that museum had on me. It evoked a strong sense of the value of memory, in all its limits and even imperfections.
Just prior to that museum experience I had written a dozen posts about the work we had been doing in India since 2010, which was connected to work we began in Costa Rica many years earlier. I think what that museum visit put into focus for me was how, in our work crafting experiences with sense and sensibility, we were creating our own museums of innocence. Our mission is to create authentic, distinctive and valuable life experiences, to build profitable businesses around these, and then to direct the associated economic benefits to the conservation and prosperity of unique natural and cultural heritage and to the improvement of the quality of life of the local host communities. That work is about crafting memories, just as books, museums and photographs do in their own way. Seeing these pictures and reading these words reminds me of that:
Orhan Pamuk remembers his friend Ara Guler, the great photographer, who lovingly captured Istanbul and its people.
Ara Guler, who died on Oct. 17, was the greatest photographer of modern Istanbul. He was born in 1928 in an Armenian family in Istanbul. Ara began taking photographs of the city in 1950, images that captured the lives of individuals alongside the city’s monumental Ottoman architecture, its majestic mosques and magnificent fountains. I was born two years later, in 1952, and lived in the same neighborhoods he lived in. Ara Guler’s Istanbul is my Istanbul. Continue reading
Reading the review, and the museum’s description of this show, I immediately thought of a museum that Amie and I had the chance to visit in Istanbul, which had been on our to-do list for some time; and the next click through the museum’s website led me to this:
THURSDAY 09/29 /16 7PM
Which just seemed right because the museum in Istanbul was create by Orhan Pamuk. I will do my best to find a recording of this conversation, if they make a recording or transcript available and but for now the best I can do is direct you to the website of the museum in Istanbul which, hopefully, will lead you to the actual museum, easily the most moving museum experience of my life:
The Museum of Innocence is both a novel by Orhan Pamuk and a museum he has set up. From the very beginnings of the project, since the 1990s, Pamuk has conceived of novel and museum together. The novel, which is about love, is set between 1974 and the early ’00s, and describes life in Istanbul between 1950 and 2000 through memories and flashbacks centred around two families – one wealthy, the other lower middle class. The museum presents what the novel’s characters used, wore, heard, saw, collected and dreamed of, all meticulously arranged in boxes and display cabinets. It is not essential to have read the book in order to enjoy the museum, just as it is not necessary to have visited the museum in order to fully enjoy the book. But those who have read the novel will better grasp the many connotations of the museum, and those who have visited the museum will discover many nuances they had missed when reading the book. The novel was published in 2008, the museum opened in Spring 2012.
Be sure that you read the explanation for this floor motif.
Click the image above to go to the article in Financial Times about a museum inspired by a book, and an author’s life experience:
In a dark-red Ottoman town house in Istanbul’s antiques district, a fast-gentrifying quarter where brassware spills on to steep, cobbled lanes, an idiosyncratic museum has been taking shape. Continue reading