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Balkon
Istanbul panoramas from the author of My Name Is Red
In the winter of 2011 Nobel Prize-winning Turkish novelist Orhan Pamuk took 8,500 color photographs from his balcony with its panoramic view of Istanbul, the entrance of the Bosphorus, the old town, the Asian and European sides of the city, the surrounding hills and the distant islands and mountains. Sometimes he would leave his writing desk and follow the movements of the boats as they passed in front of his apartment and sailed away.
Pamuk has been taking photographs for more than 50 years, but as he obsessively created these images he felt his desire to do so was related to a strange particular mood he was experiencing. He photographed further and began to think about what was happening to himself: why was he taking these photos? How are seeing and photography related? What is the affinity between writing and seeing? Balkon presents almost 500 of these photos selected by Pamuk, who has also codesigned the book and written its introduction.
Born in Istanbul in 1952, Orhan Pamuk intended until the age of 22 to be a painter. In the 1960s and '70s, as he describes in his book of autobiographical essays Istanbul (2003), he photographed the streets of Istanbul to use in his paintings; his early desire to take photos is explored in the introduction to the illustrated version of Istanbul (2017). Pamuk won the Nobel Prize for Literature in 2006; among his best-known novels are My Name Is Red (1998), Snow (2004) and The Red-Haired Woman (2016). His 2008 novel, The Museum of Innocence, became an actual museum, which he opened in Istanbul in 2012 to exhibit the objects, pictures, papers and photographs described in the story. The Museum of Innocence received the European Museum of the Year Award in 2014.
In the winter of 2011 Nobel Prize-winning Turkish novelist Orhan Pamuk took 8,500 color photographs from his balcony with its panoramic view of Istanbul, the entrance of the Bosphorus, the old town, the Asian and European sides of the city, the surrounding hills and the distant islands and mountains. Sometimes he would leave his writing desk and follow the movements of the boats as they passed in front of his apartment and sailed away.
Pamuk has been taking photographs for more than 50 years, but as he obsessively created these images he felt his desire to do so was related to a strange particular mood he was experiencing. He photographed further and began to think about what was happening to himself: why was he taking these photos? How are seeing and photography related? What is the affinity between writing and seeing? Balkon presents almost 500 of these photos selected by Pamuk, who has also codesigned the book and written its introduction.
Born in Istanbul in 1952, Orhan Pamuk intended until the age of 22 to be a painter. In the 1960s and '70s, as he describes in his book of autobiographical essays Istanbul (2003), he photographed the streets of Istanbul to use in his paintings; his early desire to take photos is explored in the introduction to the illustrated version of Istanbul (2017). Pamuk won the Nobel Prize for Literature in 2006; among his best-known novels are My Name Is Red (1998), Snow (2004) and The Red-Haired Woman (2016). His 2008 novel, The Museum of Innocence, became an actual museum, which he opened in Istanbul in 2012 to exhibit the objects, pictures, papers and photographs described in the story. The Museum of Innocence received the European Museum of the Year Award in 2014.
200 pages, Hardcover
First published March 27, 2018
119 people want to read
About the author
Orhan Pamuk
120 books10.5k followersFerit Orhan Pamuk is a Turkish novelist, screenwriter, academic, and recipient of the 2006 Nobel Prize in Literature. One of Turkey's most prominent novelists, he has sold over 13 million books in 63 languages, making him the country's best-selling writer.
Pamuk's novels include Silent House, The White Castle, The Black Book, The New Life, My Name Is Red and Snow. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018.
Of partial Circassian descent and born in Istanbul, Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre Étranger, 2002 Premio Grinzane Cavour and 2003 International Dublin Literary Award.
The European Writers' Parliament came about as a result of a joint proposal by Pamuk and José Saramago. Pamuk's willingness to write books about contentious historical and political events put him at risk of censure in his homeland. In 2005, a lawyer sued him over a statement acknowledging the Armenian genocide in the Ottoman Empire. Pamuk said his intention had been to highlight issues of freedom of speech in Turkey. The court initially declined to hear the case, but in 2011 Pamuk was ordered to pay 6,000 liras in compensation for having insulted the plaintiffs' honor.
Pamuk's novels include Silent House, The White Castle, The Black Book, The New Life, My Name Is Red and Snow. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018.
Of partial Circassian descent and born in Istanbul, Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre Étranger, 2002 Premio Grinzane Cavour and 2003 International Dublin Literary Award.
The European Writers' Parliament came about as a result of a joint proposal by Pamuk and José Saramago. Pamuk's willingness to write books about contentious historical and political events put him at risk of censure in his homeland. In 2005, a lawyer sued him over a statement acknowledging the Armenian genocide in the Ottoman Empire. Pamuk said his intention had been to highlight issues of freedom of speech in Turkey. The court initially declined to hear the case, but in 2011 Pamuk was ordered to pay 6,000 liras in compensation for having insulted the plaintiffs' honor.
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September 8, 2019
Orhan Pamuk'un 2011'de beş ay boyunca çektiği 8500 fotoğrafın arasından seçilmiş 568 fotoğraftan oluşuyor Balkon. Kitabın adından da anlaşılacağı gibi, bu fotoğraflar Orhan Pamuk'un balkonundan görülen güzel İstanbul manzarasının fotoğrafları. Fakat bu "güzel İstanbul manzarası" işi, fotoğrafların "manasını" biraz bulandırıyor aslında.
Bu fotoğrafları değerli kılan, yalnızca fotoğrafların estetik olarak güzel olması değil, bize imâ ettiği şey. Önemli olan minarenin önünden geçen kuş ya da boğazdan geçen gemiler değil, önemli olan bunların bağlamı ve onlara yüklenilen anlam, bir başka deyişle, bu kitabın gizli merkezi. Orhan Pamuk'un fotoğrafların yatay değil de dikey olarak basılmasını ısrarla istemesinin nedeni de bu gizli merkezi bize imâ etmek bana kalırsa, bunu güzel fotoğraflara bakar gibi değil, kitap okur gibi "okumamızı" istemiş.
Peki nedir bu gizli merkez? Tek bir sözcüğe indirecek olursam, ölüm. Zaten sanat, en başından beri ölümün kaçınılmazlığı karşısında aciz insan ruhunun "Ben yaşadım!" demesinden başka nedir ki?
Bu balkonun manzarasında kuşlar uçup, gemiler yüzüp giderken, karlar yağar ve erirken, ölümlü bir çift göz onları takip ediyor; bu çift göz zamanı durdurmak, kendi gördüğünü bize de göstermek istemiş; her "Dünya ne kadar da güzel!" diye düşündüğümüzde, aslında ne kadar da küçük olduğumuzu tekrar fark etmenin kederiyle çekilmiş bu fotoğraflar.
Manzara ise işin bahanesi olmuş, Orhan Pamuk kendi çaydanlığını, kalemini, defterini, masa örtüsünü, el kremini, gözlüğünü çekip de koyabilirdi, ama onun bir benzerini zaten Masumiyet Müzesi'nde yapmıştı. Bu yüzden Masumiyet Müzesi ile ve onunla ilgili yazdığım yazıda da belirttiğim gibi, Şeylerin Masumiyeti ile aynı ruha, aynı kedere, aynı amaca sahip.
Bu fotoğrafları değerli kılan, yalnızca fotoğrafların estetik olarak güzel olması değil, bize imâ ettiği şey. Önemli olan minarenin önünden geçen kuş ya da boğazdan geçen gemiler değil, önemli olan bunların bağlamı ve onlara yüklenilen anlam, bir başka deyişle, bu kitabın gizli merkezi. Orhan Pamuk'un fotoğrafların yatay değil de dikey olarak basılmasını ısrarla istemesinin nedeni de bu gizli merkezi bize imâ etmek bana kalırsa, bunu güzel fotoğraflara bakar gibi değil, kitap okur gibi "okumamızı" istemiş.
Peki nedir bu gizli merkez? Tek bir sözcüğe indirecek olursam, ölüm. Zaten sanat, en başından beri ölümün kaçınılmazlığı karşısında aciz insan ruhunun "Ben yaşadım!" demesinden başka nedir ki?
Bu balkonun manzarasında kuşlar uçup, gemiler yüzüp giderken, karlar yağar ve erirken, ölümlü bir çift göz onları takip ediyor; bu çift göz zamanı durdurmak, kendi gördüğünü bize de göstermek istemiş; her "Dünya ne kadar da güzel!" diye düşündüğümüzde, aslında ne kadar da küçük olduğumuzu tekrar fark etmenin kederiyle çekilmiş bu fotoğraflar.
Manzara ise işin bahanesi olmuş, Orhan Pamuk kendi çaydanlığını, kalemini, defterini, masa örtüsünü, el kremini, gözlüğünü çekip de koyabilirdi, ama onun bir benzerini zaten Masumiyet Müzesi'nde yapmıştı. Bu yüzden Masumiyet Müzesi ile ve onunla ilgili yazdığım yazıda da belirttiğim gibi, Şeylerin Masumiyeti ile aynı ruha, aynı kedere, aynı amaca sahip.
March 7, 2019
Orhan Pamuk'un kendisinin de tam olarak neden olduğunu bilmeksizin (bana göre yeni bir makine alışının hevesi ve genel can sıkıntısı sebebiyle) 5 ay süresince balkonundan yoğun bir şekilde (8500 tane) çektiği fotoğraflar arasından (sözde) bir hikaye çıktığı düşünülerek seçilen (kim düşündüyse ticaret zekasına sağlık) fotoğraflardan oluşan bir serginin kitabı. "Orhan Pamuk" ismini kaldırsanız ne böyle bir sergi olur, ne de böyle bir kitap. Çekerken aynı konum (balkon) kullanılabilir ama 5 ay değil de daha uzun yıllar kullanılsaymış bari. Haydi o da olmadı, en azından yazının gücünden destek alarak biraz altı doldurulsaymış.
Topu topu 10-15 sayfa olan yazılı kısımlardaki imla ve yazım hatalarına da birileri dikkat etseymiş keşke.
Bu harcanmış potansiyele puanım, baskı kalitesi (o fiyata o kadar da olsun artık) ve birkaç iyi fotoğraf hatrına 2/5.
Topu topu 10-15 sayfa olan yazılı kısımlardaki imla ve yazım hatalarına da birileri dikkat etseymiş keşke.
Bu harcanmış potansiyele puanım, baskı kalitesi (o fiyata o kadar da olsun artık) ve birkaç iyi fotoğraf hatrına 2/5.
August 18, 2020
Đọc cọp cuốn này ở Kinokuniya Bangkok hồi đi Thái Lan đầu năm nay. Thật ra phải gọi là xem cọp mới đúng vì đây là một tuyển tập ảnh do chính Orhan Pamuk chụp lại toàn cảnh thành phố Istanbul từ góc ban công nhà mình.
Ban công của Pamuk đích thị là một điểm giao thoa giữa biển cả và núi đồi, giữa hai bề Á Âu, đô thị cùng phố cổ, và - ở một chiều kích riêng tư hơn (của chính Pamuk) - giữa thị giác và dòng tư tưởng của một nhà văn.
Những tấm ảnh mà Orhan Pamuk chụp tất nhiên sẽ không quá nổi trội về chủ thể, kĩ thuật hay bố cục... ngoài một ấn tượng lớn nhất chính là màu sắc. Pamuk có cảm quan màu sắc thiên về những gam cơ bản là đỏ, xanh, đen, trắng rất mạnh. Cả tập sách ảnh này ngập tràn những màu mạnh chứ ít khi nào ngả sang tông lờ nhờ bàng bạc, chẳng trách sao ông lại rất hay đem những màu cơ bản để đặt tựa cho sách của mình.
À mà dear Mr. Pamuk, đã có những sách Đen, Trắng, Đỏ (những 2 cuốn) rồi, bao giờ mới có một cuốn sách Xanh vậy ạ?
Ban công của Pamuk đích thị là một điểm giao thoa giữa biển cả và núi đồi, giữa hai bề Á Âu, đô thị cùng phố cổ, và - ở một chiều kích riêng tư hơn (của chính Pamuk) - giữa thị giác và dòng tư tưởng của một nhà văn.
Những tấm ảnh mà Orhan Pamuk chụp tất nhiên sẽ không quá nổi trội về chủ thể, kĩ thuật hay bố cục... ngoài một ấn tượng lớn nhất chính là màu sắc. Pamuk có cảm quan màu sắc thiên về những gam cơ bản là đỏ, xanh, đen, trắng rất mạnh. Cả tập sách ảnh này ngập tràn những màu mạnh chứ ít khi nào ngả sang tông lờ nhờ bàng bạc, chẳng trách sao ông lại rất hay đem những màu cơ bản để đặt tựa cho sách của mình.
À mà dear Mr. Pamuk, đã có những sách Đen, Trắng, Đỏ (những 2 cuốn) rồi, bao giờ mới có một cuốn sách Xanh vậy ạ?
June 10, 2021
The idea of this - a collection of photos that Orhan Pamuk took from his balcony (in Cihangir, so some of the best views is Istanbul) in-between writing sessions - is fantastic. And the general quality of the book - the binding, ribbon, and heavy paper - would have been brilliant for a work that’s primarily prose.
But this so desperately needed glossy pages. The matte pages mean that most of the colour in the photos is stripped out. Such an unfortunate production choice for what would otherwise have been a lovely photo book!
But this so desperately needed glossy pages. The matte pages mean that most of the colour in the photos is stripped out. Such an unfortunate production choice for what would otherwise have been a lovely photo book!
December 17, 2018
Quick Review: From December 2012 through April 2013, Orhan Pamuk took 8,500 photographs of the sweeping panorama seen from his balcony. Of these 8,500 photos, 568 were curated by the artist/author and presented in this beautiful volume by Steidel Verlag. As Pamuk himself notes in his introduction, the 568 are not necessarily the best of his photographs (Indeed, a number of them are rather unexceptional.); however, the curated selection of photos tells a story and conveys a mood: other combinations of selections would convey yet another story of Istanbul. This edition plays with distance - literally, in terms of geographic and cultural, the expansion of his view with the addition of his telephoto lens from B&H, as well as in terms of emotion and mood. Pamuk's photos remain firmly planted on his balcony, and present a sort of checklist of visual cues corresponding to both the city, as well as to the author's emotional state. While Turkey's political situation at the time is absent from this portfolio, there is a foggy and ominous mood throughout the majority of the images.
One thing I find curious about this edition: the choice of the paper used. The stock is thick and dreamy, but the fibers in the paper tend to (further?) obscure some of Pamuk's photos, particularly the darker ones...intentional? A thick photo paper may have assisted with clarity in some instances... 3.5 to 4 stars
One thing I find curious about this edition: the choice of the paper used. The stock is thick and dreamy, but the fibers in the paper tend to (further?) obscure some of Pamuk's photos, particularly the darker ones...intentional? A thick photo paper may have assisted with clarity in some instances... 3.5 to 4 stars
October 12, 2019
Orhan Pamuk’s Balkon is a nice collection of photography from Nobel laureates own balcony. It consists over 500 photos, which at the same time brings richness and loss to the book. Sometimes it seems that there should have been done more selection. There are some amazing photographs and then some that couldn’t be described as such. If there would have been more precise curating, the best would have stand out more brightly from the entirety.
I’m not sure why the paper is like in this publication. The quality of some photos seem to suffer because of the paper.
I’m not sure why the paper is like in this publication. The quality of some photos seem to suffer because of the paper.
January 14, 2020
Photo album is to photographer what love letter is to poet, is it?
October 24, 2021
Pictures are great!
October 13, 2022
Interesting idea, shooting from the same balcony, every day, for months. However, looking at them felt monotonous, and uninspiring. Glad to give it a look though.
February 18, 2019
Maalesef vasatın ötesine geçemeyen bir fotoğraf derlemesi. Pamuk güzel bir hikâye ve tanıklık yakalamak istemiş; ancak başaramamış gibi geliyor.
Displaying 1 - 10 of 10 reviews