http://www.cagdassanat.com V1.3 beta /// deneme asamasinda /// Sun, 13 Jun 2010 10:28:24 +0000 http://wordpress.org/?v=2.9.2 en hourly 1 http://asli-cavusoglu.blogspot.com/2010/02/international-camp-for-improbable.html http://asli-cavusoglu.blogspot.com/2010/02/international-camp-for-improbable.html#comments Sat, 12 Jun 2010 15:51:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-4626505427325150847

June through to September

Asli Cavusoglu, Fabiano Marques, Emily Rosamond, Bedwyr Williams, Studio Weave, Andy Holden, Lars Bang Larsen and many more. A three month Camp exploring The Improbable, with a series of discursive events workshops, an outdoor sculpture exhibition and a music festival among the many proposed ideas.

We want as many people to take part in this Camp as possible. Whether you are interested in improbability in maths, science fiction, the relevance of Greek theatre in the 21st century, or anything Improbable – we want to hear from you. Contact info@wysingartscentre.org"

http://www.wysingartscentre.org/news/169

]]> http://www.cagdassanat.com/2010/06/international-camp-for-improbable-thinking/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/11/191205.html http://asli-cavusoglu.blogspot.com/2009/11/191205.html#comments Sat, 02 Jan 2010 09:44:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-2697505471886328126


1985 yılının Ocak ayında, Türkiye Radyo Televizyon Kurumu Genel Müdürlüğü Türkçenin yapı ve işleyişine ters düştüğü ve standart Türkçe düzeyine ulaşamadıkları gerekçesiyle 205 sözcüğün TV ve Radyo programlarında kullanılmasını yasakladı. İçinde ‘Anı, Anımsamak, Bellek, Deneysel, Devinim, Devrim, Doğa, Düşlemek, Kuram, Olanak, Öykü, Özgürlük, Örneğin, Söyleşi, Tüm, Yaşam’ gibi kelimelerin de yer aldığı bu genelge bir süre yürürlükte kaldıktan sonra kaldırıldı.

Dönemin TRT Genel Müdürü Tunca Toskay, 30 Ocak 1985 tarihli Hürriyet Gazetesi’ne verdiği bir röportajında bu yasağın gerekçesini şöyle açıklıyordu:

Soru: TRT yayınlarında bazı kelimlerin yayınını yasaklarken amacınız neydi?

Cevap: Amacımız dil konusunda bölünmeyi önlemekti.

Soru: Niçin kullanılan kelimelerde tercihler yaptınız?

Cevap: Dilde bir Türkçeleşme hareketi var. Bir kısım aydınlarımız halkın dili ve aydınların dili diye iki ayrı sınıf yarattılar. Bunun çaresi sadeleştirmektir. Bizim yaptığımız anayasanın kullandığı dili ölçü almaktır. İleri ve geri gitmeden dilin dengede kalmasını sağlıyoruz.

191/205, yasaklanan bu kelimelerin TRT arşivleri ve gazetelerden bulunabilen 191 tanesinin cümle içinde kullanılmasıyla oluştu.

191/205
7.16 dak.
100 adet 12'' LP üzerine baski
Daha fazla bilgi icin: baris@galerinon.com

In January 1985, the General Directorate of the Turkish Radio and Television Corporation (TRT) banned the use of 205 words on TV and radio broadcasts on the grounds that they do not comply with the general structure and operation of the Turkish language and that they are beneath the level of standard Turkish. The order banned words such as “memory, remember, recollection, experimental, motion, revolution, nature, dream, theory, possibility, history, freedom, example, conversation, whole, life,” but it was ultimately repealed.

Then-TRT General Director Tunca Toskay explained the motives behind the order in an interview with Hürriyet Newspaper on January 30, 1985:

Question: What is your purpose in banning the use of certain words on TRT broadcasts?

Answer: Our aim is to prevent lingual division.

Question: How did you decide on the words?

Answer: There is a movement towards becoming more Turkish in the language. Some intellectuals in our country created two classes: the language of the people and the language of intellectuals. The solution to this is to purify. What we do is to take the language used in the constitution as reference. We wanted to find a balance in the language without moving forward or backward.

191/205 consists of 191 of these banned words found in TRT archives and newspapers.

191/205
7.16 min.
100 editions printed on 12'' LP
For more information please email to: baris@galerinon.com

]]> http://www.cagdassanat.com/2010/01/191205/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/12/teslim-6-delivery-6.html http://asli-cavusoglu.blogspot.com/2009/12/teslim-6-delivery-6.html#comments Sat, 05 Dec 2009 14:13:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-5691930937762825599

Bu tez, İstanbul’da faaliyet gösteren bir akademik tez ofisi* aracılığıyla irtibata geçtiğim bir tez yazarı** tarafından hazırlanmıştır. Dizgi yanlışları ve anlam bozukluklarının düzeltilmesi dışında metinde hemen hemen hiçbir değişiklik yapılmamıştır.

* Türkiye’de son derece yaygın olan, belli bir ücret karşılığında sizi aklınıza gelebilecek her türlü konuda tezinizi yazacak kişiyle irtibata geçiren, illegal olmaları nedeniyle kapılarında hiçbir tabelanın bulunmadığı, ancak sora sora bulunulan ofislerdir.
** Tez ofislerinin aldıkları güvenlik önlemleri gereği hiç tanışılmayan, yalnızca tez ofisinde görevli kişinin kontrolünde olmak şartıyla telefonda veya yazdıklarınızın anında silindiği özel bir chat odasından görüşebileceğiniz tezin gerçek yazarı* – ki bu kişi benim için yalnızca bir ses** olmuştur.

* Bu kişiye yalnızca tezinizin konusunu ve bölüm başlıklarını vermeniz yeterlidir. Tezi şekillendirecek tüm kaynaklar bu “hayalet” yazar tarafından okunur, hatta tez için gereken istatistikleri bile o hazırlar. Teziniz kapsamına göre 3 ila 6 ay arasında elinizde olur.
** “Bu tez tam olarak neyle ilgili?” diye sordu. “Bir şey ararken başka bir şey bulma üzerine,” diye cevap verdim.


This thesis is prepared by a thesis writer* that I had contacted through an academic thesis office** in Istanbul. Almost no changes have been made in the text, except for the correction of typographical and grammatical errors.

* One never personally meets the actual thesis writer* due to the security measures taken by the thesis office. You can contact the writer only under the supervision of a staff member from the office, over the phone or in a private chat room where all messages are immediately deleted. In my case, this person was nothing but a voice**.
** Found in large numbers in Turkey, these essay mill offices charge a certain fee to establish contact between you and the person that will write a thesis on any subject you can ever imagine. As they are illegal, there are no company signs outside the offices and they can only be found by asking around.

* It is enough to give this person just the subject of your thesis and the titles of the chapters. This ghostwriter reads all of the source materials that support the thesis, and even the statistics required for the thesis are prepared by the same person. The thesis is delivered to you in 3 to 6 months, depending on its scope.
** The writer asked, “What exactly is this thesis about,” I answered, “Finding something while looking for something else.”

11.1 APPENDIX 1: Starting Point

N. writes;
The true story of a blue book of suitcases (a suitcase of books):
July. 24th. 09. When I woke up there was a huge bag standing near the door. That was the cargo mentioned the previous day. I opened the plastic bag: There was a suitcase. I opened the suitcase. There were dozens of books. They were so many that one could not put them back (in the suitcase). We all felt weird. Even A.K. came to the living room to see this mysterious treasure and after taking Foucault, went back to their room. After examining the books and saying “it is older than me”, my mother took a brain atlas which in my opinion was published in 1955 (that was the only date on the book). As for me, I found around 10 -15 books worth reading and put them on top of each other…

susufifiN.esesyaya.



Hello,

I think notes are very nice. I’m looking forward the rest of it.

By the way this document has green, yellow painted places because it is a note. They won’t take place in the original text, will they? Because, I want everything to suit the thesis format as much as possible.
see you,
(p. 55)

a. and I talked. How? on the phone. we talked through teleconference. Later on I learnt that she had a free line for all operators. That is why not be but a. called.I did not mind at all. I was the one being called. As I was hanging the phone it caught my attention that I spoke for 42 min. 03 sec. it was around 23.00, so it was 23.42 until I hung up. Let me tell you why we talked through teleconference technique. because there was somebody else listening to us too. a. and I did it on purpose. We wanted to be listened. Just as “big brother” programme is included in a.w. populism, we wanted to be listened by big brother. Because we also wanted to be famous. Unfortunately the one who listened to us was telephone line installer instead of big brother. Look who we were looking for and who we found, tiiiiired of it.

Anyway, to cut the long story short. a. declared the final decision and made other requests. Now I need to play these without trying to take NOTES. I was about to write down that I needed to make additions to the study when I found myself thinking of a., they I discovered the word play.
(P.77)

Delivery 6, 2009
Artist Book (edition of 5)
594 Pages
Turkish/English

]]> http://www.cagdassanat.com/2009/12/teslim-6-delivery-6/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/10/this-place-you-see-has-no-size-at-all.html http://asli-cavusoglu.blogspot.com/2009/10/this-place-you-see-has-no-size-at-all.html#comments Fri, 13 Nov 2009 15:00:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-2635073410370042741
"This place you see has no size at all..."
Kadist Art Foundation
19 bis - 21 rue de trois Frères 75018 Paris
tel./fax : +33 (0)1 42 51 83 49

December 4, 2009 - February 7, 2010
Opening: Friday December 4, 2009, from 6-9pm

curated by Jennifer Teets

With existing and newly commissioned works by:

David Adamo, Mark Aerial Waller, Mariana Castillo Deball, Aslı
Çavuşoğlu, Alex Cecchetti, Kate Costello, France Fiction, Darius
Mikšys, Tania Pérez Córdova, Michael Portnoy, Pietro Roccasalva, Alex
Waterman

Writings by Mark von Schlegell

----------

Madame, Monsieur,

Everything I am about to tell you began with a sighting of a heron in
a tree. There I was in the Jardin Trocadero at the Parc de Saint Cloud
on a late summer afternoon, burying the bones of Tom Ripley, in what
the history books told me was once a labyrinth. When I looked around,
I noticed that the place had no size at all. In one instance, the
landscape was unusually curvy and in another, intricate alleyways and
corridors appeared miraculously as I turned corners. Though I could
see no one, a flurry of recombinant voices echoed from the hedges and
the dialogues of fourteen individuals began to take on the qualities
of those around them, in a seemingly ritualistic order.

"This place you see has no size at all..." is an exhibition rooted in
the possibility of virtual and parallel worlds as a viable platform
for the production and consumption of art. Originally proposed as an
out-of the box adaptation to an "alternate reality game", on July 22,
2009, artists were convened from around the globe to partake in a
"scenario" at the Parc de Saint Cloud in Paris, of which they had
little knowledge of, yet were immediate to its origin of initiation.
In collaboration with sci-fi writer Mark von Schlegell, an abstract
time-travel guide was scripted, combining clues, facts, and prompts
around the peculiarities of the garden together with the singular
questions: What could you perceive as the present? What would this
present be? What are the elements of the present? Who are the members
of the present? What methods and tools could be used to arrive here?
The guide spawned a chain of events suggested by and created for each
of the artists with the purpose of activating a work and a
communication process.

Puzzles, motion, fictitious force, heuristics, chambres, a perte de
vue, lost item, incoherency, the dead end. In one of the alleyways I
found a man resting on a bed-sheet. He was surveying the universe with
a planisphere. He told me he got there via an air balloon in order to
produce a shroud, that this shroud was an embodiment of all of us. A
fiction of the strangest kind that can't be materialized in any known
form of art including classical conceptualism. He held an invisibility
cloak that somehow protected him from the world of visible matter. It
was sure to give him good fortune.

A hypothetical collective structure, a private happening, and now
exhibition, "This place you see has no size at all..." is purportedly
non site-specific; on the contrary it grapples with the objectives of
context. At Kadist, newly commissioned works are paired together with
existing works, prompting an array of interactions, relationships, and
readings in the exhibition setting.

Dear reader, what I am telling you is real. I believe in real things.
If we did not have real experiences, how would we have dreams?


------------

Schedule of parallel exhibitions and performances:

Opening night: Friday, December 4th: Michael Portnoy with a
performance titled "Met ton doigt quelque part!", said Theo. 7:30pm,
Kadist Art Foundation

Saturday, December 5th: FRANCE FICTION, opening of parallel exhibition
in conjunction with the Kadist show at 6pm, FRANCE FICTION, 6bis rue
de Forez 75003

Thursday, January 7th: a night of radio play by Alex Waterman and Mark
von Schlegell, 7:30pm, Kadist Art Foundation

...Fingerprint on the invisible canvas of time...Trees of St. Cloud
swaying in near silent savagery...Bells casting the fair ones away...
Footsteps sounding on the matted leaves...

LOVE THE CLEAR DARK
story by Mark von Schlegell
radio play and soundtrack by Alex Waterman

Performed live by Mark von Schlegell and Alex Waterman with additional
voices by Jennifer Teets.

Wednesday February, 3rd: guided tour with Alex Cecchetti, Museé du
Louvre, 7pm. Meeting point to be confirmed.

For more information please see: www.kadist.org
Program is subject to change

This project has been realized with the generous support of The
Elephant Trust and the Saison de la Turquie in France.

Special thanks to Germana Innerhofer Jaulin

]]> http://www.cagdassanat.com/2009/11/this-place-you-see-has-no-size-at-all/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/10/ill-be-in-paris.html http://asli-cavusoglu.blogspot.com/2009/10/ill-be-in-paris.html#comments Tue, 20 Oct 2009 09:56:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-8994740594019109816
http://www.citedesartsparis.net/

]]> http://www.cagdassanat.com/2009/10/ill-be-in-paris/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/10/hypnotic-show.html http://asli-cavusoglu.blogspot.com/2009/10/hypnotic-show.html#comments Thu, 15 Oct 2009 13:58:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-8001171398099887523
With scripts, ideas and works by:

Julieta Aranda
Olivier Babin
Derick Carner
Asli Cavusoglu
Torreya Cummings
Gintaras Didziapetris
Cerith Wyn Evans
Michael Fliri
Loris Gréaud
Will Holder
Pierre Huyghe
Joachim Koester
Jennifer Di Marco
Patrizio Di Massimo
Nicholas Matranga & Francesca Bennet
Piero Passacantando
Gareth Spor
Maryelizabeth Yarbrough

as well as a one night session conducted by Marcos Lutyens

Curated by  Raimundas Malasauskas  

here

]]> http://www.cagdassanat.com/2009/10/hypnotic-show/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/08/screening-at-unitednationsplaza.html http://asli-cavusoglu.blogspot.com/2009/08/screening-at-unitednationsplaza.html#comments Fri, 21 Aug 2009 14:37:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-4911350705047903429
Incompleteness of the narrative

This screening is an experiment with a set of videos, which aims to bring new perspectives into the so-called new medium video. All of the videos, which will be screened in 30 minutes with the moderation of Aykan Safoglu, can be subject to a modernist understanding of the cinematic language. Is it really possible to read all their associations through a modernist dialectic? In the light of the term temps mort, we will have the opportunity to examine these video narratives, whether they have a potential to assign new possibilities of reading the image in order to overlook the deadness of it.

The temps mort defines and lingers upon postdiegetic cinematic space; it rests upon a scene after the "main" action has finished or has moved on:

As space and time are so formally and thematically connected in cinema, it is also obvious to say, that the medium video shares this same characteristic of cinema.
When the people have left the frame, the action fades away, leaving us with a non-anthropocentric image of the world. The “dead time” description is in at least one sense misleading. It is not time, or space, which is dead; these violent primordial forces are never more alive and devastating than at such moments. Where are those moments in the contemporary video art?

We will try to examine the videos of Asli Cavuşoğlu, Burçak Kaygun, Erinç Seymen, Helin Anahit, Tayfun Serttaş, and Yaratıcı Direniş, through the lens of Deleuze's philosophy, whereas the modernist language to interpret the video may also be deconstructed.

WEDNESDAY AUGUST 26TH

4 – 12 PM WUNP / NEUROTRANSMITTER
Radio transmission of closing activities. (Angel Nevarez / Valerie Tevere)

4 – 12 PM a selection of very fine Zombie Movies
"for those who will stay in Berlin after the Building, something that may help them to deal with the empty site: to screen some zoombie movies"
Movies selection by Chus Martínez.

4 – 5 PM A Trail of Images (Workshop)
5 – 7 PM A Trail of Images (City walk, 10 people max.)
!Mediengruppe Bitnik
After a short introduction to Sousveillance and CCTV film making, we will set out on a walk through Berlin. Equipped with CCTV video signal receivers we will let the incoming surveillance camera signals lead us through the city. The CCTV video signal receivers will catch surveillance camera signals in public and private spaces and make them visible: surveillance becomes sousveillance. By making images visible which normally remain hidden, we gain access to the "surveillance from above" enabling us to use these images for a personal narrative of the city. Workshop with construction manual for later DIY!

6 – 7 pm Reterritorialization of Transit Space – A Short Guide
to Project Art
A lecture by Christopher Faulhaber

7 – 8 pm Instructions for a Drawing Class
Instructions printed as posters are offered as an experimental form of art school syllabus sent by post to the participants. The 'course' is six weeks long and will begin on-site at The Building. – Chloe Briggs

7 – 8 pm Freedom Festival
A video essay about biennials by GRID (a collaboration between Paolo Caffoni and Jose Roberto Shwafaty)

8 – 9 pm Incompleteness of the narrative (screening)
A video program put together by Aykan Safoğlu

9 – 10 pm "Toppled"
A lecture by Florian Göttke. "Toppled" is an archive, a large collection of images of the statues of Saddam Hussein collected from the Internet. Through ordering and closely examining these images several storylines emerge. Göttke presents these images and their stories in a slideshow lecture which explores the conceptual, magical, and political links between the person (Saddam) and his representation.

10 – 11 pm What can we achieve together? (screening and circle sit)
The rare footage of Buckminster Fuller at Golden Gate Park in San Francisco surrounded by hippies in the late 60s captures time-capsulated moment. The curious generation of free love, sex and drug exploration, questions Fuller on his perceptions of the future and his utopian visions of how to make the planet earth a better place. In thirty minutes Fuller and the hippies pose 58 questions of our contribution to the existence of human life on the planet. In order to answer the question of 'what can we do?' this exercise will attempt to create a circle sit formation. -- Sepake Angiama

11 – 12 pm A Brief History of Curating
A public conversation with Hans Ulrich Obrist and Elena Filipovic about Walter Hopps and the eleven ground-breaking curators gathered together in Obrist's most recent book, A Brief History of Curating (JRP|Ringier)
Special thanks to Bettina Korek.

12:00 pm La Stampa (concert)
La Stampa is a five piece band from Berlin and Hamburg formed in 2007: they've got tunes, they've got rhythm, they've got rhymes about feelings and facts. Helplessly happy, unashamedly moody and mouthy, they are Jörg Heiser (voc/git), Thomas Hug (piano), Reznicek (synths), Jan Verwoert (voc/bass), and Jons Vukorep (voc/drums).

1:00 am The final Geschmeckt!!!
The last of our glorious basement parties: DJs, alcohol, dancing, etc….


Other work and contributions that will be at the building:
Federica Bueti -- Less/express (publication)
Vanessa Lopez & Israel Cordero – "Le mystère des temps composes" 2009. Offset print on paper. Take-away paper stack.
Willi Brisco - 705 A7865. Vancouver Public Library. August 17 2008 (photo)
Dana Wajda – Photocopied image

The Building
Platz der Vereinten Nationen 14a
10249 Berlin DE

]]> http://www.cagdassanat.com/2009/08/screening-at-unitednationsplaza/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/08/gecersiz-sebep-yeterli-neden.html http://asli-cavusoglu.blogspot.com/2009/08/gecersiz-sebep-yeterli-neden.html#comments Mon, 17 Aug 2009 20:52:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-2670813051813129005
Sanatçılar: Gökçen Cabadan, Aslı Çavuşoğlu, Gökçe Çelikel, Nazım Hikmet Richard Dikbaş, Mert Öztekin, Tayfun Serttaş, Güneş Terkol

NON'ın açılış sergisi "geçersiz sebep / yeterli neden", muhakeme yeteneğimizin dönüşümünü farklı tarihi dönemlerde, erginlik süreçlerinde, bazen içgözlemlerle, bazen majör açılımlarla ele alan 6 işi bir araya getiriyor.

Gökçen Cabadan "hepimiz et ve kanız" adlı enstalasyonunda, herhangi bir sağlık ansiklopedisinde karşılaşabileceğimiz yüz derisinin bir kısmı soyulmuş mükemmel görünüşlü bir cocuğun portresini ve saldırma öncesi anında öldürülmüş bir gelinciğin mumyasını bir arada bize sunuyor. Aslı Çavuşoğlu, 18 komik videodan oluşan işinde, başkalarının ızdırabına gülmek üzerine kurulu güldürü videolarının baş rollerinde oynayarak karşımıza çıkıyor. Gökçe Çelikel, tablosuna kendi model oluyor ve ergenlik çağını çağrıştıran puantiyeli çorap, sahte inciler ve koyu renk fondoten ile poz veriyor. Nazım Hikmet Richard Dikbaş, yaratma sürecinin doğuş anına dikkat çekmek üzere yola çıktığı "9 Araba Bekliyor" adlı yerleştirmesinde bu doğuş anının zamansal yapısını, çok katmanlılığını ve sürekli tekrar eden devinimini haritalayan bir mekan kuruyor. Mert Öztekin, niçin Roma İmparatorluğu'nda yaşamış insan sayısından daha fazla insanın Roma konulu filmlerde oyunculuk yapmış olabileceğini araştırıyor. Tayfun Serttaş "Seni Seviyorum" adlı heykelinde, Sabiha Gökçen üzerine üretilen etnisite tartışmasının, yakın tarihimizin en acı verici cinayetlerinden birisine uzanan öyküsünü sorguluyor. Güneş Terkol, kreşte çekilmiş bir fotografından yola çıkarak yaptığı "kendilerine değil birbirlerine" adlı işinde yerli malı meyvelerinden yapılmış maskelerin altındaki çocukların bakışlarındaki şaşkınlığı bizimle paylaşıyor.

NON disiplinsiz sanat pratiklerini benimseyerek yeni diller ve sanatsal ifadeler ortaya koyan sanatçılara adanmıştır.

www.galerinon.com
Boğazkesen Cad. No:27-A Tophane, Beyoğlu, İstanbul

unsound reason / adequate cause

Artists: Gökçen Cabadan, Aslı Çavuşoğlu, Gökçe Çelikel, Nazım Hikmet Richard Dikbaş, Mert Öztekin, Tayfun Serttaş, Güneş Terkol

NON’s opening exhibition “unsound reason / adequate cause” brings together 7 works that trace the transformation of our judgment skills with introspections and major openings into different historical ages and the processes of adulthood.

In his installation titled “we are all flesh and blood”, Gökçen Cabadan combines a standard image from a health encyclopaedia, the portrait of a seemingly perfect child with a section of his facial skin peeled off to reveal the inner structure of the section, in juxtaposition with a stuffed weasel in an attacking posture. Aslı Çavuşoğlu stars in all the 18 “funny” videos her work is composed of, which are based on the idea of schadenfreude, or laughing at other people’s suffering. Gökçe Çelikel becomes the model of her painting and poses with dotted tights, fake pearls and dark foundation, suggesting adolescence. Nazım Hikmet Richard Dikbaş’s installation 9 Coaches Waiting sets out to focus on the moment of genesis in the creative process, constructing a space mapping this temporal, multilayered and repetitive structure. Mert Öztekin investigates how a higher number of people than the population of the Roman Empire itself managed to star in films based on the Roman Empire. In his sculpture titled “I Love You”, Tayfun Serttaş’s sharp and remote discourse interrogates the story of how a discussion on ethnicity about Sabiha Gökçen led to one of the most painful murders of our recent history. In her work titled “not for themselves but for each other”, based on a photograph of the artist at nursery, Güneş Terkol shares with the viewer the surprised look on the children’s faces, hiding behind masks made of fruit for the Home Produce Week.

]]> http://www.cagdassanat.com/2009/08/gecersiz-sebep-yeterli-neden/feed/ 0 http://asli-cavusoglu.blogspot.com/2009/08/video-was-edited-among-40-hours-long.html http://asli-cavusoglu.blogspot.com/2009/08/video-was-edited-among-40-hours-long.html#comments Tue, 11 Aug 2009 09:34:00 +0000 Asli Cavusoglu tag:blogger.com,1999:blog-7872707099968143753.post-7897670023923283698








The video was edited among the 40-hours-long tapes, which were recorded by my aunt and her husband during different guided tours they have participated in the last 12 years. It consist of the scenes where my aunt and her husband give a statement about the landscape, objects, animals etc. to the camera and to the audience they long for.

As they say: Nothing is more dull than an unnamed landscape.*

2009
Single Channel Video,
9.40 min.
Turkish with English subtitles.

*Prosper Mérimée


Halam ve eşinin son 12 yılda katıldıkları rehberli yurtdışı turlarında kaydedip, sonrasında sıkıcılıklarından dolayı izlemeyip de bir kenara attıkları 40 saati aşkın görüntüyü izledim.
Halam ve eniştem, kamerayla bir manzara kaydederken gelecekteki muhtemel izleyicilerini birdenbire hatırlayıp, manzaraya dair televizyon programlarını çağrıştıran beyanlar vermeye başlıyorlardı. Kamera karşısında turistken turist rehberine dönüştükleri bu anlar daha çok bir ortaokul dilbilgisi alıştırmasını ya da az muğlak bir Rocha testini çağrıştırıyordu. Ama zaten izleyicinin görüntüsünden de anlayabileceği bir kertenkele çekerken neden bir de ‘kertenkele’ deme gereği duyuyorlardı?
Belki de manzarayı kelimelerle dolduruyorlardı.
Video kameraya –dolayısıyla da gelecekteki izleyicilerine- açıklama yaptıkları bu bölümlerden oluşuyor.

Tek kanal video
2009
9'40''
İngilizce altyazılı

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