Proyecto curatorial - Próxima exposición y publicación
Los desnudos de Estambul
A rare collective fine-art nude photography publication and exhibition from Turkey
Fourteen photographers. Fourteen years of body-based photographic production in Istanbul. An English-language hardcover publication and Berlin exhibition bringing a sustained collective practice into international circulation.
Los desnudos de Estambul is a collective fine-art nude photography project formed across fourteen years of curator-directed photographic practice in Istanbul. It brings together fourteen photographers whose works were made within shared physical conditions: real bodies, real light, constructed sets, material interventions, model presence, and the discipline of photographing the body in a room held through consent.
The project is not a national survey of nude photography in Turkey, nor a personal exhibition by the curator. It focuses on one specific lineage: a long-term collective practice shaped by repeated photographic productions in Istanbul, where the curatorial framework, lighting environment, casting decisions, and material conditions were developed by Burak Bulut Yıldırım, while the final image belonged to each photographer's frame, distance, timing, attention, and decision.
The Berlin exhibition is the opening chapter of the project's public circulation. The accompanying publication is conceived as an autonomous book-length record, independent of any single venue, and intended for art book circulation, institutional outreach, academic use, and selected library acquisition proposals.
At a moment when synthetic and AI-generated body imagery has become increasingly normalised, Los desnudos de Estambul insists on the physical event of photography. The body in these images is not generated, simulated, or abstracted into data. It is present. It has consented. It has occupied the room. The light is real light; the surface is real skin, fabric, glass, pigment, water, shadow, and breath.
Why This Project Matters
A rare collective record from Turkey
The public record of fine-art nude photography from Turkey has remained limited and intermittent. Existing histories have largely been shaped by single-author exhibitions, a thin publication record, and a small number of documented reference points. Los desnudos de Estambul appears within that narrow field as a rare collective book-length project dedicated to fine-art nude photography from Turkey.
A sustained practice, not a workshop archive
The project did not emerge from a single workshop or a casual archive of participant images. It was formed through fourteen years of repeated, curator-directed photographic productions in Istanbul. Each production created a demanding photographic situation: a body, a visual premise, a lighting environment, a set of material conditions, and a shared ethical space. The selected works are not presented as exercises. They are treated as individual photographs made within a sustained collective field.
Shared conditions, distinct authorship
The exhibition holds two layers together. The first is the curatorial field: the concept, lighting environment, casting, set construction, material direction, and publication framework developed by Burak Bulut Yıldırım across fourteen years. The second is photographic authorship: the individual decisions of each participating photographer — frame, distance, timing, restraint, tonal sensitivity, and the moment of release. The project does not treat shared conditions as a weakness. It treats them as the structure through which differences in seeing become visible.
Models as contributors, not only subjects
The publication includes commissioned essays by Zeynep Renda and Su Yeşil, two models who have been central to the Istanbul practice. Their texts are not supplementary commentary. They are structural components of the book. The decision to include model voices follows from the curatorial position that nude photography is not only an image of a body, but a relationship between the person photographed, the person photographing, and the light that holds the room.
Berlin as the opening chapter
The Berlin exhibition does not relocate the work away from Istanbul. It opens a public and international chapter for a body of photographs made in Istanbul and held for years within limited channels of circulation. After Berlin, the project is intended to continue through book presentations, exhibitions, public conversations, institutional collaborations, and academic programming in Turkey and selected European cities.
Obras seleccionadas de la exposición
Un avance de las obras de los catorce fotógrafos participantes.
The photographs are organised through six contemporary registers of the photographed body: Superficie, Materia, Opacidad, Habitaciones, Duracióny Autoposesión. These are not stylistic labels or fixed genres. Each register identifies the dominant condition through which a photograph asks to be read: form, material contact, interrupted visibility, interior space, physical duration, or the body as held by the person within the image.
Exposición
Krossener Str. 34, 10245 Berlín, Alemania
Fotógrafos participantes
Fourteen photographers are presented in Los desnudos de Estambul. They were selected from a sustained collective practice formed across fourteen years of curator-directed photographic production in Istanbul.
Selection was based on continuity of participation, technical and visual coherence, distinctness of photographic decision-making, and the ability of each photographer's work to contribute to a collective body without dissolving into it. Five of the fourteen participating photographers are women. This presence is not presented as a quota or corrective gesture, but as part of the project's authorship structure: the body is seen, framed, withheld, and released into public view through different positions of looking, distance, restraint, and self-possession.
The works are organised through six contemporary registers: Surface, Matter, Opacity, Rooms, Duration, and Self-Possession.
Colaboradores modelo de la publicación
Two models who have been central to the Istanbul practice contribute to the publication as commissioned authors. Their essays sit alongside the photographs as a structural component of the book — not supplementary commentary, but voices that the project is built on.
The decision to include them as authors follows from the curatorial position that nude photography is not only an image of a body, but a relationship between the person photographed, the person photographing, and the conditions of trust, visibility, and presence inside the room.
The Curatorial Ground
Burak Bulut Yıldırım es el único comisario de Los desnudos de Estambul and does not exhibit his own photographic work within the selection.
The project rests on his twenty-year practice in fine-art nude, portraiture, body-based photography, advanced lighting, and constructed studio image-making. Since opening his first studio in Istanbul in 2005, Yıldırım has worked across commercial photography, fine-art body-based projects, photographer education, and curator-led production environments. His long-term use of controlled light, physical material, model direction, UV-reactive pigments, reflective surfaces, long exposure, optical distortion, and studio-built visual premises forms the conceptual and technical ground from which this project developed.
Los desnudos de Estambul is his second curatorial project after TierrasDesnudo, presented at Artcore Gallery in Thessaloniki in 2015. In both projects, the body is approached not as a decorative motif but as a site where light, space, material, authorship, and cultural visibility meet.
His role in Los desnudos de Estambul is not to replace the authorship of the participating photographers. It is to define the curatorial field in which their authorship becomes readable: the premise, the environment, the ethical conditions, the selection, the taxonomy, and the publication framework.
Publicación
The publication is not an exhibition catalogue. It is conceived as an autonomous book-length record of a rare collective fine-art nude photography practice from Turkey.
The exhibition is accompanied by an English-language hardcover photobook planned with ISBN registration. The book is designed to function independently of the exhibition, with each of the fourteen participating photographers represented through a dedicated selection.
La publicación incluye una larga introducción curatorial de Burak Bulut Yıldırım, a historical framing of nude photography in Turkey drawing on Alberto Modiano's edited volume Türk Fotoğrafında Çıplak (2004) and Işık Özdal's 2011 academic survey Türk Fotoğrafında Nü Sergilerin Analizi, the six-register taxonomy used to organise the work, and two commissioned essays by Zeynep Renda y Su Yeşil.
The structure positions the project as a sustained collective practice shaped by shared conditions and distinct photographic authorship. It also recognises the models as contributors to the intellectual and ethical structure of the book.
The book is intended for art book circulation, direct distribution, institutional outreach, academic reference, and selected library acquisition proposals. Pre-order, publisher, library distribution, and institutional purchase information will be announced before the exhibition opening.
For pre-order, library distribution, publisher, or institutional purchase enquiries: info@burakbulut.info.
Ensayo curatorial
El argumento de Los desnudos de Estambul begins from a structural contradiction. Istanbul has produced a sustained and technically accomplished field of fine-art nude and body-based photography, yet this work has rarely entered international circulation through books, institutions, dedicated platforms, or collective exhibitions. The reasons are structural rather than artistic: a thin publication record, limited dedicated venues, intermittent exhibition visibility, and a historical record shaped largely by individual male authorship.
The exhibition addresses that absence through one specific collective practice. Fourteen photographers, selected from a fourteen-year curator-directed practice in Istanbul, are presented together as a coherent collective formation on an international platform. Five of the fourteen participating photographers are women. This matters not as a numerical correction, but as part of the project's structure of authorship: different positions of looking participate in deciding how the body is seen, framed, withheld, and released into public view.
The theoretical reading sits with three central questions. Jean Baudrillard is useful for recognising how the image can detach from the body it claims to depict — a question sharpened today by synthetic and AI-generated body imagery. Laura Mulvey remains unavoidable for any serious discussion of the gaze, not as a thesis to be mechanically applied to every nude photograph, but as the field within which images of the body continue to be made and read. Maurice Merleau-Ponty offers a phenomenological understanding of the body as the ground of perception, not simply an object viewed from outside.
The project also sits inside a wider Turkish discourse on body politics and representation. Artists such as İpek Duben and Nilbar Güreş have, across different media and registers, examined gender, intimacy, social codes, the body, and self-representation in Turkish visual culture. Ahu Antmen's writing on body, identity, gender, and art provides an important art-historical framework for understanding how the represented body has been shaped by modernity, cultural codes, and identity politics in Turkey. Los desnudos de Estambul does not claim direct continuity with these practices. It sits alongside them as part of the same broader question: how is the body allowed to be seen, by whom, under what conditions, and through which forms of public record?
That question remains structurally charged. The public exhibition of nude photography from Turkey has often moved through limited channels: private studios, small circles, intermittent exhibitions, and a relatively thin publication record. This pattern is not specific to one country. In November 2024, İnci Eviner's video Harén (2009) fue retirada de la exposición del Museo Árabe Mathaf de Arte Moderno Ver para creer shortly before opening, a case widely discussed as censorship. Read together, such examples remind us that the politics of representing the body remain active, contemporary, and unevenly distributed across cultural contexts.
What the exhibition finally argues is this: the photograph of the nude — made in-camera, with physical intervention, in a room where the body is actually present — remains a serious artistic act at a time when synthetic body imagery has become increasingly normalised. In these photographs the body is not a motif. It is the working material of the image and, at the same time, a person who has consented, posed, waited, moved, resisted, and held the room. The light is real light. The surface is real glass, real fabric, real pigment, real water, real shadow, real skin.
The exhibition takes that physical and ethical ground as its starting point.
Taxonomía curatorial
Las obras se organizan en seis registros del cuerpo fotografiado. En lugar de tratar el desnudo como un género fijo, la secuencia sigue la condición dominante a través de la cual cada fotografía pide ser leída: como superficie, como materia, como imagen retenida, como figura dentro de habitaciones, como duración o como presencia dueña de sí misma.
Una fotografía se coloca según su fuerza visual primaria, no simplemente según lo que aparece dentro del encuadre. Un velo no convierte automáticamente una imagen Opacidad; una silla no la convierte automáticamente en Habitaciones; un rostro visible no lo convierte automáticamente en Autoposesión. La pregunta es siempre curatorial: ¿qué le hace fundamentalmente la fotografía al cuerpo?
1. Superficie
El cuerpo como contorno, terreno y superficie de la imagen
Una obra pertenece a Superficie cuando el cuerpo se lee antes que la identidad: como contorno, volumen, luz, sombra, línea y terreno. Un encuadre cercano, un contexto reducido, una luz tenue o un fondo neutro pueden convertir la piel en superficie de imagen. Estas fotografías no preguntan principalmente quién es el cuerpo, dónde está o qué material lo toca. Se preguntan cómo la luz hace visible la forma.
A face may appear, but it should not dominate the reading. If the person's gaze, psychological presence, or self-held posture becomes the central force, the work moves toward Autoposesión. Si un pigmento, un líquido, un tejido, un metal o una luz coloreada modifican activamente la piel, ésta se desplaza hacia Materia.
2. Materia
Pigmento, líquido, tejido, metal y luz que actúan sobre la piel
Una obra pertenece a Materia when the body's surface is altered by physical or optical contact. Pigment, powder, paint, glitter, water, oil, fabric, metal, reflective material, projected light, or coloured light may stain, cover, mark, reflect, or reshape the skin. The body is not simply shown; it receives and records contact.
La distinción entre Opacidad is important. If a material changes the surface of the body, the image belongs here. If a material primarily interrupts the viewer's access to the body — by veiling, obscuring, blurring, or withholding visibility — the image moves toward Opacidad. La materia toca el cuerpo; la opacidad se interpone entre el cuerpo y el espectador.
3. Opacidad
La negativa a la plena visibilidad
Una obra pertenece a Opacidad when the viewer's access to the body is interrupted. Fabric, water, haze, shadow, reflection, glass, translucent surfaces, veils, nets, or atmospheric light may make the figure present but not fully available. The image does not offer the body as transparent information; it delays, filters, or destabilises looking.
La opacidad no es simplemente atmósfera. La oscuridad por sí sola no basta. Si la oscuridad dibuja el cuerpo como forma, la obra puede pertenecer a Superficie. If a veil or shadow becomes a barrier to vision, it belongs here. If the person's direct look or self-contained posture becomes stronger than the obstruction, the work may move toward Autoposesión.
4. Habitaciones
Interiores privados, presión pública
Una obra pertenece a Habitaciones cuando el espacio interior se convierte en un elemento determinante de la fotografía. Las camas, las sillas, los sofás, las cortinas, las alfombras, las paredes, las ventanas, las puertas, las esquinas, los cuartos de baño y los interiores de los estudios temporales pueden actuar como algo más que un decorado. Sitúan el cuerpo dentro de un campo social y psicológico: privacidad, permiso, exposición, domesticidad y presión.
No basta con la presencia de muebles. La sala debe influir en la lectura del cuerpo. Si el cuerpo permanece aislado como forma, la obra puede pertenecer a Superficie. Si una cortina o sombra bloquea principalmente la visibilidad, puede pertenecer a Opacidad. If the figure's inwardness or gaze is the strongest force, the work may belong to Autoposesión.
5. Duración
Movimiento, suspensión, gravedad y tiempo
Una obra pertenece a Duración when the body is read as an event in time. Movement, suspension, balance, blur, long exposure, dance, acrobatics, falling, holding, stretching, or resisting gravity replace the fixed pose with a sense of physical duration. The photograph records not only a body, but the time it takes to hold, move, fall, remain suspended, or resist collapse.
La duración no requiere un desenfoque visible. Una imagen fija puede pertenecer a esta categoría si el cuerpo está sometido a una fuerte tensión física: tensión muscular, equilibrio, suspensión o resistencia. Si la pose es estática y el cuerpo es principalmente una forma formal, la imagen puede pertenecer a Superficie. Si el movimiento es secundario a una habitación, un velo o una intervención material, otro registro puede ser más fuerte.
6. Autoposesión
El cuerpo que sostiene la persona de la imagen
Una obra pertenece a Autoposesión cuando el cuerpo no se entrega al espectador, sino que es sostenido por la persona dentro de la imagen. Esto puede ocurrir a través de la mirada directa, el rechazo, la quietud, la interioridad, una postura cerrada, un gesto de autoprotección o una insistencia silenciosa en la presencia. La categoría no trata de la vulnerabilidad. Se trata del cuerpo como pertenencia a alguien.
Un rostro visible es una señal importante, pero no un requisito. Una espalda vuelta, un cuerpo doblado o una postura retraída también pueden producir autoposesión si la figura sigue siendo legible como persona que establece los términos de la visibilidad. Si el cuerpo se convierte en una forma anónima, la obra puede pertenecer a Superficie. Si el material, la opacidad, la sala o el movimiento dominan la lectura, la obra debe colocarse en otro lugar.
Cómo se utiliza la taxonomía
Los seis registros no son géneros rígidos. Son herramientas editoriales para leer la fuerza dominante de cada fotografía.
Muchas obras pueden abordarse a través de más de un registro. Un retrato velado puede situarse entre Opacidad y Autoposesión; un cuerpo en una habitación también puede tener la fuerza psicológica de un retrato; la luz coloreada puede funcionar como atmósfera en una imagen y como materia en otra. La colocación final depende de lo que la fotografía ejerza con más fuerza sobre el cuerpo.
Por tanto, la secuencia sigue un principio curatorial más que puramente descriptivo. Superficie forma de los nombres; Materia nombres de contacto; Opacidad nombres interrumpieron la visibilidad; Habitaciones nombra la presión interior; Duración nombra el tiempo y la tensión física; Autoposesión nombra el cuerpo que sostiene la persona que aparece en la imagen.
Metodología curatorial
Los catorce fotógrafos de Los desnudos de Estambul were not selected through an open call. They were invited from a collective field formed across fourteen years of curator-directed photographic production in Istanbul — repeated working environments usually organised around a shared model, a constructed lighting situation, material intervention, and a defined visual premise.
Selection was based on sustained authorial development rather than isolated strong images. The criteria included continuity of participation, technical and visual coherence, distinctness of photographic decision-making, and the ability of each photographer's work to contribute to a collective body without dissolving into it.
The aim was not to assemble a representative survey of nude photography in Turkey. It was to identify a coherent collective practice that emerged from one specific working environment in Istanbul. That working environment is part of the project's identity: the curator's conceptual premise, lighting environment, model direction, and staging on one side; the photographer's framing, timing, distance, tonal judgement, and interpretive decision on the other.
The decision to present the work in Berlin reflects a structural condition of the field. Turkey's documented exhibition history of nude photography, traced in Işık Özdal's 2011 academic survey for Süleyman Demirel University, begins with Çerkes Karadağ's Nüans y continúa a través de una secuencia limitada de exposiciones, en su mayoría de un solo autor. El historial es importante, pero intermitente. Lo que ha faltado es una plataforma colectiva sostenida.
The Berlin presentation is therefore not a relocation of the work away from Istanbul. It is the first public international platform for a body of photographs made in Istanbul and held, for years, within limited channels of circulation. In this sense, the exhibition treats Berlin not as an escape from the project's origin, but as the first site where that origin can be read from outside.
Genealogía turca
A Turkish genealogy of nude photography exists, but it has been intermittent rather than cumulative. Işık Özdal's 2011 academic survey, Türk Fotoğrafında Nü Sergilerin Analizi, traces a record beginning with Çerkes Karadağ's Nüans - expuesta en Colonia en 1988 y en Estambul en 1989, seguida de una serie limitada de exposiciones posteriores de fotógrafos como Mehmet Koştumoğlu, Levent Öget, İbrahim Göğer, Orhan Alptürk, Saygun Dura, Cem Boyner y Niko Guido.
Özdal's survey identifies a field shaped by discontinuity. The practice has largely appeared through individual exhibitions rather than sustained collective structures. The published record remains thin, with Alberto Modiano's Türk Fotoğrafında Çıplak (2004) standing as one of the few substantial book-length treatments of the subject. The historical record also shows a pronounced imbalance in authorship, with women photographers largely absent from the early exhibition history documented in the survey.
The period after 2011 has not produced a continuous, widely visible institutional record of fine-art nude photography from Turkey. Body politics, however, remained central to Turkish visual culture. In the broader field of art history and contemporary practice, Ahu Antmen's writing on body, identity, gender, and representation; İpek Duben's long-term engagement with the body, identity, gender, and self-representation; the historical framing of the nude in modern Turkish painting; and Nilbar Güreş's sustained practice around gender, social codes, and embodied identity define a wider cultural field in which the visibility of the body remains contested.
These practices do not form a direct lineage for Los desnudos de Estambul. The project is photographic, collective, and rooted in one long-term Istanbul working environment. But they help define the broader question to which the project belongs: how does the body become visible in Turkish visual culture, who is allowed to frame it, and through which structures can it enter public record?
Los desnudos de Estambul is positioned in relation to these conditions. The accompanying publication appears as a rare book-length collective project dedicated to fine-art nude photography from Turkey after Modiano's 2004 volume. It presents a sustained collective practice rather than a single author. Five of the fourteen participating photographers are women. It includes commissioned essays by two model contributors. And it organises the work explicitly through six contemporary registers — Surface, Matter, Opacity, Rooms, Duration, and Self-Possession — that connect the Istanbul practice to current frameworks in art photography.
La exposición no pretende cerrar la brecha histórica. Pretende marcar el punto en el que se hace posible una conversación diferente.
Linaje fotográfico
The project is not presented as an isolated local phenomenon. Its six registers are read in relation to international photographic histories of the nude, the body, studio construction, duration, material intervention, and self-representation.
These names are not presented as direct influences on the participating photographers. They function as reading coordinates — a way of placing the six registers in conversation with wider histories of the photographed body.
Superficie
Bill Brandt - Edward Weston - Ruth Bernhard
Este registro pertenece al linaje del cuerpo leído como forma, contorno y superficie de la imagen. Brandt, Weston y Bernhard siguen siendo puntos de referencia esenciales para la disciplina de reducir el desnudo a volumen, geometría y luz sin vaciarlo de presencia física.
Materia
Prue Stent & Honey Long · Ana Mendieta · Carolee Schneemann
Matter names the moment when pigment, fabric, liquid, reflection, projected light, or physical contact becomes an active agent in the image. This register connects contemporary body-based experimentation with wider histories in which the body receives, records, resists, or becomes marked by material action.
Opacidad
Francesca Woodman - Deborah Turbeville - Marianna Rothen
The body is half-given, half-withheld. Woodman's blurred interiors, Turbeville's atmosphere of withheld visibility, and Rothen's cinematic reconstruction of feminine space provide useful coordinates for reading images where the body resists full legibility.
Habitaciones
Lee Friedlander - Lucas Samaras - Juno Calypso
Rooms lleva el desnudo a la presión de los interiores: muebles, rincones, camas, cortinas, superficies domésticas y espacio privado construido. Friedlander, Samaras y Calypso marcan diferentes formas en las que la habitación se convierte en algo más que un escenario: un marco psicológico, social y óptico.
Duración
Eadweard Muybridge - Étienne-Jules Marey - Viviane Sassen
La duración interpreta el cuerpo como un acontecimiento en el tiempo. Muybridge y Marey establecieron el movimiento y el análisis secuencial como cuestiones fotográficas centrales; las prácticas coreográficas y basadas en sombras contemporáneas amplían esa cuestión al gesto, la suspensión, el equilibrio, el desenfoque y la tensión corporal.
Autoposesión
Nan Goldin - Elinor Carucci - Paul Mpagi Sepuya
El registro más íntimo de la exposición. Goldin, Carucci y Sepuya ofrecen tres puntos de referencia diferentes para los cuerpos que sostienen las personas dentro de la imagen en lugar de entregarse al espectador: la presencia autobiográfica, la intimidad cercana y el estudio como lugar de la mirada autoconsciente.
Anclajes transversales
Dos cifras se sitúan a lo largo de la taxonomía en lugar de dentro de un único registro. Robert Mapplethorpe es relevante para la disciplina formal que discurre entre Superficie, Materiay Habitaciones. Zanele Muholi es relevante para la lectura política y autopositiva del cuerpo que más resuena en Autoposesión, a la vez que toca la presencia escénica de Habitaciones.
Beyond Berlin: International Circulation
Berlin is the opening chapter of the project's public circulation, not its final destination.
After the Berlin presentation, Los desnudos de Estambul is intended to continue through book presentations, exhibitions, public conversations, institutional collaborations, and academic programming in Turkey and selected European cities. Future presentations in Istanbul, Turkey, and other European contexts are being explored.
The publication is designed to circulate independently of any single venue through art book distribution, direct distribution, institutional outreach, and selected library acquisition proposals. Advance reading copies or digital previews may be made available to curators, editors, publishers, critics, and academic researchers by arrangement.
Institutions interested in hosting the exhibition, organising a public conversation, building academic programming around the publication, discussing book distribution, or acquiring the book for a library or archive are welcome to enquire.
Press, Publishers & Institutional Enquiries
Press materials are available on request: selected high-resolution images, curatorial statement in English, German, and Turkish, photographer biographies, factual press release, publication preview, advance reading copy by arrangement, interview availability, exhibition details, and image credit and consent information.
The exhibition is open to journalist previews, interview requests, academic visits, publisher conversations, institutional hosting enquiries, and curatorial meetings during the exhibition period by arrangement.
Curators, art critics, editors, publishers, library acquisition teams, and academic researchers working in contemporary photography, nude art, Turkish visual culture, gender, image politics, body-based practice, publication histories, or collective authorship are particularly welcomed.
Curatorial statement (EN / DE / TR)
Biografías de fotógrafos
Comunicado de prensa
Avance de publicación
Advance reading copy
Interview availability
Image credit and consent information
Referencias teóricas
El marco curatorial se basa en las siguientes referencias primarias.
- Antmen, Ahu. Kimlikli Bedenler: Sanat, Kimlik, Cinsiyet. Sel Yayıncılık, Istanbul, 2014.
- Baudrillard, Jean. Simulacros y simulación. University of Michigan Press, 1994.
- Berger, John. Formas de ver. Penguin Books, 1972.
- Merleau-Ponty, Maurice. Fenomenología de la percepción. Routledge, 2012 (1945).
- Modiano, Alberto (ed.). Türk Fotoğrafında Çıplak. Bileşim Yayınevi, Estambul, 2004.
- Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Pantalla 16:3, 1975.
- Özdal, Işık. "Türk Fotoğrafında Nü Sergilerin Analizi." SDÜ ART-E, 2011.
- Sontag, Susan. Sobre fotografía. Farrar, Straus y Giroux, 1977.
La bibliografía completa -incluidas las fuentes primarias para la historia de la exposición turca y las referencias a la política del cuerpo posterior a 2011 comentadas anteriormente- aparece en la publicación.