Isil Egrikavuk

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8
Jan 08

Second Issue of BootPrint is Available Online!


Boots Contemporary Art Space is now proud to present the second issue of Boot Print. Volume 1, Issue 2 covers the Boots exhibitions; discusses independent curatorial practice with six young independent curators; looks at different fields that intersect with art, or vice versa; and features artist Serkan Ozkaya’s selection for translation into English from Turkish, an extract of Afsar Timucin's Estetik.

This season’s exhibitions at Boots Contemporary Art Space kicked off with the Pedestrian Project, initiated by artist Mike Shuh; followed-up with international artist-in-residence Beate Engle’s exhibition A Perfect World; surveyed local artists with a local end-of-the-night classic, The Slinger; hosted the MFA Roadshow from recent MFA grads at the School of Visual Arts curated by Dan Cameron; and finished with an exhibition/video screening series, Here and Elsewhere, with work by recent BFA grads from the School of the Art Institute of Chicago and in correspondence with the Artist in the Marketplace participants at the Bronx Museum of the Arts in New York.

The second issue of Boot Print initiates our study section with vigor by investigating firsthand the role of the independent curator. Dana Turkovic, Jan van Woensel, Elpida Karaba, Cecilia Canziani, Sotirios Bahtsetzis and Abdellah Karroum were invited to discuss their vision, their thoughts, their place, and future in independent curatorial practice.

Boot Print’s regulars and guest contributors explore the intersections of art, including Beate Engle and her exploration of the alternative marketing strategies of Hannah Beck-Mannagetta at FIELD (Berlin); Isil Egrikavuk interviewing Turkish artist-curator-publisher Halil Altindere; Daniel Tucker with a review of three recent publications on art and activism; Georgia Kotretsos with an interview of Oliver Kochta-Kalleinen and Tellervo Kalleinen of the Complaints Choir; Juan William Chàvez on art and music, interviewing Carlos Amorales of Nuevos Ricos, and Milena Muzquiz and Martiniano Lopez-Crozet of Los Super Elegantes; Tim Ridlen testing the limits of cinema in the art world; Wyatt Arden Kahn with a look at the entertainment value of Dash Snow; and last but not least, Juozas Cernius on the deathly implications of Damien Hirst’s For the Love of God.

Boot Print will reach 2000 art professionals in print form via postal mail in the United States and abroad; 3000 via email in its electronic form. It will be available at Boots Contemporary Art Space and can be downloaded here.

http://www.bootsart.com/html/bootshome.html
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19
Nov 07

IMAGES FROM SNAPSHOT at CULTURAL CENTER







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4
Nov 07

CHICAGO CULTURAL CENTER, NOVEMBER 13TH 2007



BUSH SAYS A-BOMB CAN WRECK SOVIET
WOODY ALEN IS UP FOR THREE OSCARS
WORLD WAR III? MAO CHALLENGES U.N


" Snapshot" is a performative project that will take place at Chicago Cultural Center on November 13th, 2007 between 6-9 PM.

This project is an attempt to challenge reporting methods of mainstream media and make reporting available to everyone through the audience participation. On the date of the performance the Cultural Center's Garland Room will be turned in to a news studio. But this time the news will not be written by the editors and journalists, they be written by the audience who will come to see the show.
Each audience member will choose a headline from the archives and will be asked to complete the story. While doing this, they will be able to fictionalize the news as much as they wanted. It should only fit into "news" language and standards, and it is up to the audience to define those. The collected stories will then be read by two real Chicago anchors.


Snapshot is a performance by Işıl Eğrikavuk, investigating history, archiving, reality and reporting reality. Selected American Press' news headlines up to now will be taken from their historical and geographical context and will be re-situated into a new context, thus will give language and history a constructed reality. By re-writing news stories, the audience will be asked to question the archive.
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16
Oct 07

“Gerçekçi ol, imkânsızı talep et! / Be a realist, demand the impossible!” 19 Ekim Karsi Sanat Istanbul’da

“Gerçekçi ol, imkânsızı talep et! / Be a realist, demand the impossible!”

Karşı Sanat Galerisi, küratörlüğünü Halil Altındere’nin yaptığı “Gerçekçi ol, imkânsızı talep et! / Be a realist, demand the impossible!” sergisine 19 Ekim-17 Kasım 2007 tarihleri arasında ev sahipliği yapıyor.

Türkiye ve yurtdışından 41 sanatçının katılım sağladığı sergi; Berlin, Frankfurt, Viyana, Amsterdam, Gent, Chicago, New York, Ankara, İzmir ve İstanbul gibi, Türkiyeli güncel sanatçıların yaşadıkları ve ürettikleri merkez-kentlerde “yeni bir yaşam-yeni bir dünya” olasılığını yokluyor. İmkânsızlığın gerçek dünyasında direnmeye çalışan güncel sanatın son örnekleri, dünya devrimcisi Ernesto Che Guevara’nın büyük insanlığa adadığı sözüyle birleşiyor. Mücadelesi ve efsanevi kişiliği, başta 1968 isyancıları olmak üzere, dünyadaki tüm devrimci hareketleri etkilemeyi sürdüren Che Guevara, imkânsızı istemenin imkânsız olmadığı bu sergiye de ışık tutuyor. “Gerçekçi ol, imkânsızı talep et!”, bugünden 68 hareketine ultra-nostaljik/geç-romantik bir bakıştan çok, sanatçının imkân ve imkânsızlık arasındaki gerçek ve gerçek-dışı konumlanmalarını işaretliyor.

“Gerçekçi ol, imkânsızı talep et!” sergisine sanatçı Burak Delier, 2 Temmuz 1993’te 37 yazar, ozan ve aydının yakılarak katledildiği “Sivas Madımak Olayı”na göndermeli, yanmaz kumaştan ürettiği “Madımak 93” isimli Ters Yön marka takım elbisesiyle katılıyor. Bashir Borlakov “Bomba” isimli mekâna özgü fotoğraf çalışmasıyla, 6-7 Eylül 1955 olaylarını öncesi ve sonrasıyla belgeleyen 50. Yıl sergisine ev sahipliği yaptığı için Karşı Sanat Çalışmaları’nı basarak “şiddet”e başvuran “sağ” duymazlığa gönderiyor. Frankfurt’ta yaşayan sanatçı Özlem Günyol’un “Avrupa Haritası” videosu, 1804-2006 yılları arasında Avrupa’nın değişen sınırlarını çarpıcı bir biçimde zorlarken, Ha Za Vu Zu grubu sürü psikozuyla sınavını canlı bir performansla mekânın dışına taşıyor. Yine Özlem Günyol-Mustafa Kunt’un kamusal alanlardaki bayrak direklerini kaynak ve darbelerle eğip-bükerek heykele dönüştürdükleri, direğin bir sanat nesnesi olarak galeri mekânında teşhiriyle sonuçlanan performasları göz dolduruyor. Anny-Sibel Öztürk kardeşlerin “Behind The Wheel” yerleştirmesi, serginin de en “ağır” işlerinden. Almanya-Türkiye arasında mekik dokuyan bir arabayı galeriye yerleştirecek olan Anny-Sibel Öztürk kardeşler, bizleri enfes bir yol güncesi okumaya davet ediyor.

Bir çok yeni genç sanatçının da katılım sağladığı sergide; Nevin Aladağ, Halil Altındere,Vahap Avşar, Cem Aydoğan, Seyhun Babaç, Tufan Baltalar, Ramazan Bayrakoğlu, Bashir Borlakov, Songül Boyraz/Peter Höll, Gökçen Cabadan, Aslı Çavuşoğlu, Burak Delier, Işıl Eğrikavuk, Aksel Zeydan Göz, Ara Güler, Özlem Günyol, Nilbar Güreş, Ha Za Vu Zu, Hakan Gürsoytrak, Seda Hepsev, Gülsah Kılıç, Mustafa Kunt, Levent Kunt, Cem Madra, Sefer Memişoğlu, Ahmet Öğüt, Fahrettin Örenli, Ferhat Özgür, Anny-Sibel Öztürk, Necla Rüzgâr, Erinç Seymen, Aslı Sungu, Canan Şenol, Serkan Taycan, Murat Tosyalı, Nasan Tur, Mehmet Ali Uysal, Evrensel Belgin, Ali Miharbi, Demet Yoruç ve .-_-. yer alıyor.

“Gerçekçi ol, imkansızı talep et! / Be a realist, demand the impossible!” sergisi 17 Kasım 2007 tarihine kadar görülebilir.
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21
Sep 07

Here..There..Abroad..Curated by Fatos Ustek

Here..There..Abroad.. is a festival of screening various perspectives, standings, understandings, evaluations and proposals of perceiving. The festival consisting of 11 artist videos and a performance aims to underline the need of a dialogue and establishing a meaningful perspective on togetherness, society, realms of everyday.
Here..There..Abroad.. has been structured in three parts, where every part hosts a group of works that are regularly and irregularly related to the framing theme.
Variety of practices displayed by participating artists project upon the fact that geographical ambivalence is a rational aspect that is functioning to orientate who is producing where, not the generalisation of structures in the process of production.



In the festival, the part titled Here is hosting Asli Sungu, Elmas Deniz, Esra Ersen;

There is hosting Sefer Memisoglu, Isil Egrikavuk, Ali Demirel and Canan Senol and

Abroad is hosting Asli Cavusoglu, Ozlem Gunyol & Mustafa Kunt, Erinc Seymen and Nevin Aladag.

For more info:


http://here-there-abroad.blogspot.com/
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18
Sep 07

Gül

http://www.youtube.com/watch?v=QXct8p-L2I0
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14
Sep 07

Monument for A Night as part of Nightcomers/ 10th Istanbul Biennial




Conceptual Framework

During the Cultural Revolution in China in the 1960s and 1970s, the 'lower class' was encouraged to post their critiques on the elite in the form of 'Dazibao' (a journal/poster with large letters). Street corners became public forums. In spite of totalitarian propaganda, this approach showed a form of radical democracy, and even assumes an urban guerrilla-like insurgency. It is no surprise that the 'Dazibao' was banned in China after the Cultural Revolution precisely because it contributed to the challenge of totalitarian rule; it became the voice that claimed for reform and an openness from the 'bottom' of society. The famous "Wall of Democracy" in Xidan, Beijing, was the most remarkable example.

What is the most democratic form of expression in our age of new technology and global communication? How can it be demonstrated in the urban space today? A project of "Video Dazibao" is obviously an answer. For the 10th International İstanbul Biennial, five curators from Turkey have been invited to select over 150 short video works from an open-call to the public. During the nights, the program, under the title of "Nightcomers", will be projected in public spaces in different parts of the city, from the centre to the periphery. The Dutch artists couple Bik Van der Pol have researched and selected about 25 spots and have designed the mobile projection device.

For the first time in the history of İstanbul Biennial, a real open participation of the public has been made possible so that thousands of people living in areas without access to "high culture" can have direct contact with contemporary art. Or, contemporary art is brought to the frontier of a true public gaze.


nightcomers locations

between 20.00-22.30
06/09/07 > İMÇ, Atatürk Bulvarı, Unkapanı, Eminönü
09/09/07 > Urban Café, Kartal Sokak, İstiklal Caddesi, Beyoğlu
11/09/07 > Muhsin Adil Binal İlköğretim Okulu�nun Bahçesi, Moda Caddesi, Caferağa, Kadıköy
14/09/07 > Dikilitaş Stadyumu, Emirhan Caddesi, Aşık Kerem Sokak, Dikilitaş, Beşiktaş
16/09/07 > Bostancı Tren İstasyonu, Kadıköy
18/09/07 > Turan Caddesi, Yenikafa Sokak, Dolapdere, Beyoğlu
20/09/07 > Carrefoursa Otoparkı, Küçüksu Caddesi, Ümraniye
22/09/07 > Fil Yokuşu Sokak, Fatih
24/09/07 > Kartal deniz otobüsleri iskelesi, Turgut Özal Bulvarı, Kartal
27/09/07 > Halas Sokak, İstiklal Caddesi, Beyoğlu
29/09/07 > Nil Sokak, Mahmutbey Caddesi, Bahçelievler
02/10/07 > Kriton Curi Parkı, Atatürk Caddesi, Kozyatağı, Kadıköy
04/10/07 > Yoncalı Sokak, Kuştepe, Şişli (Bilgi Üniversitesi arkası)
06/10/07 > Atatürk Kültür Merkezi, İsmet İnönü Caddesi, Beyoğlu
09/10/07 > Fermeneciler Caddesi, Perşembe Pazarı, Karaköy, Beyoğlu
10/10/07 > Eyüp Sultan Bulvarı, Eski Yeni Dere Sokak, Eyüp
13/10/07 > Sinanpaşa Köprü Sokak, Sair Nedim Caddesi, Beşiktaş
15/10/07 > Kemal Paşa Caddesi, Büyükbakkalköy Yolu, Maltepe
18/10/07 > Tugay Yolu Caddesi, Maltepe
21/10/07 > Mecidiyeköy, Şişli (Otobüs duraklarının arkası)
23/10/07 > E5 Tem Okmeydanı Bağlantı Yolu ile Kağıthane Caddesi�nin Kesişimi, Köprü Ayağı,
Kağıthane
25/10/07 > İtfaiye Caddesi, Zeyrek, Fatih
27/10/07 > Kısıklı Caddesi, Altunizade, Üsküdar
30/10/07 > Kanlıca Hisarı Caddesi, Kanlıca, Beykoz
02/11/07 > Karamük Çayevi, Asmalımescit, İstiklal Caddesi, Beyoğlu
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29
Aug 07

Hybrid Narratives opens on September 4th

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10
Jul 07

Nearby – Curated by Tim Ridlen


This program takes its theme from the impossible task of observing from afar, and speaking nearby. Displacement, transition, and relative location reoccur in the works of Cayetano Ferrer, Isil Egrikavuk, and Irina Botea. The video work of American-born artist Cayetano Ferrer is focused on a transitory experience of urban geography. Using a variety of capture techniques including frame by frame reanimation of traffic light cameras, Ferrer’s works record and interfere in the processes of transistion. Toying with the images of Turkey found in the popular imagination both abroad and at home, Isil Egrikavuk creates scenarios too bizarre to be real, but too true to be ignored. Romanian artist Irina Botea transports Romanian history and culture to Chicago through reenactment of the televised revolution of 1989. “Irina Botea’s work is an attempt to (re-)inscribe oneself in a sequence of media images that constitutes history. Possibly, it is also an attempt to develop sympathy with the more or less active protagonists of a historical situation to which we now only have access in a strongly media-dependent form.” (Inke Arns)

Screening Program:
Cayetano Ferrer - MMDDYYYY - 4:25 – 2007 – Untitled - 1:11 - 2006
Isil Egrikavuk – Gül - 7:00 - 2007 - Untitled - 3:00 - 2007
Irina Botea - Where do you play Monopoly - 15:49 - 2006
Auditions for a Revolution -22:49 – 2006
Total runtime: 63:14
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29
Jun 07

Fair Play 2007 – Film & Video Award

Fair Play 2007 is an award dedicated to film and video works aiming to explore filmic language effect in art. Specifically, Fair Play 2007 is interested in analyzing the boundary between the two media (film, video) and examining contemporary artistic efforts in blurring the technical and aesthetic distinction between art and film. The goal of the award is to reveal new layers of communication between film and art and to stimulate the development of new visual languages and narratives.

Fair Play 2007 focuses on film and video works which are conceived specifically for a single-channel, wide screen projection, escaping the formal and framing constraints of presentation on a monitor or as a multi-channel installation. In asking what is the relation between art and film, the artistic strategy of utilizing cinematic projection reveals how technology is deconstructed and re-appropriated by artists to create new forms of visuality. Fair Play 2007 hopes to locate where the distinctions between the two media lie today.

Through the screening of film and video works, Fair Play 2007 aims to create an international, multilateral platform of discussion about the relationship between art and film and to serve as a meeting point for a diverse and international group of professionals from the fields of contemporary art, film and video to engage and exchange in critical discourse.

http://www.pushthebuttonplay.com/fairplay2007/artists/egrikavuk.html
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