Taking place for the first time, the Commagene Biennale is held under the motto “An Imaginary Civilization” at six key landmarks in Turkey’s Adıyaman province. The event is a tribute to the ancient kingdom, one of many in Mesopotamia, that proved peaceful co-existence is possible, the creators say.
On top of the hills of Mount Nemrut, at a height of 2,200 metres in southern Turkey, visitors, many of them wrapped in blankets, have gathered under the dark and chilly sky to watch the breathtaking sunrise.
It’s the same ritual many more, elderly and children alike, will repeat later for sunset, after climbing up a treacherous 800-metre steep route alongside a cliff.
This year, the UNESCO World Heritage Site’s terrace, home to the royal mausoleum of Greek-Persian King Antiochus I (69-34 B.C.), the first ruler of the ancient kingdom of Commagene, has an unusual guest.
Facing a 50-metre-tall burial mound that features giant busts of kings and ancient gods, a contemporary sculpture of King Antiochus VI has appeared.
The sculpture, symbolizing an “imaginary” ruler, was recently placed at the site as part of the first-ever Commagene Biennale, an art show celebrating the legacy of the kingdom in and around the south-eastern province of Adiyaman, modern Turkey.
On a nearby hill stands Arsameia, a sanctuary built by Antiochus I in honour of his father Mithridates. It’s home to a massive stele that depicts Antiochus shaking hands with Heracles, a reference to reconciliation between East and West.
Mithridates, a Hellenistic king, had married Syrian Princess Laodice VII Thea, which historians believe served as a peace treaty.
Spanning from the east of the Taurus mountains along modern Turkey’s Syrian border to the Upper Euphrates, Commagene lay in what many call the cradle of ancient civilizations.
Several important kings and empires preceded it, from the Hittites and Persians to Alexander the Great, and it later became part of the Roman Empire.
Antiochus’ ceremonial and burial mound on Nemrut had lain forgotten for centuries until it was discovered by German archaeologists in the 19th century.
Excavations have been ongoing since the 1950s, yet have failed to uncover the king’s burial chamber so far.
This year’s biennale features a total of 53 artworks by artists from 23 countries, with nods to ancient rituals, gods and traditions and even local food culture.
The event is a tribute to Commagene’s peaceful, cross-cultural identity, explains Nihat Özdal, the curator of the event.
”The Commagene kingdom lasted only for 200 years but lived in peace. We think that is its most important legacy for us after two millennia,” Özdal tells dpa.
The event aims at creating a fictional civilization to help people imagine what a contemporary Commagene kingdom would look like, he says.
A gastronomy and culinary arts display is separately planned at Mount Nemrut by popular Turkish chef Hazer Amani.
The exhibit will offer a menu from scratch, blending ancient recipes with local products and modern cuisine, Amani tells dpa.
Other artworks on display also imitate ancient handicraft methods.
For instance, the creator of the Antiochus VI sculpture carried its parts on his back to top of the hill. He then reassembled them in the same way the ancient artefacts were once raised.
In Adiyaman, a permanent workshop is planned to be built for artists from around the world to reflect further on the inspiration the region provides for people, curator Özdal says.
Authorities also hope future similar events will help improve the image of Turkey’s south-eastern region, which has suffered from decades-old clashes between the security forces and Kurdish insurgents.
”Modern man is weary of lingering chaos, violence and wars. Our goal is to reflect more deeply on the concept of a peaceful society that served as a bridge between East and the West,” says Özdal.
The Commagene Biennale runs until the end of October. Deutsche Presse-Agentur GmbH © dpa
