In Stitches, the ambitious group exhibition at the Leila Taghinia-Milani Heller Gallery, is open until December 19. We need all the time we can get to grasp its many facets.This survey includes artists from very different geographic and professional backgrounds, united by the medium of stitching, broadly defined.
Ghada Amer’s Painting to Trini’s (2006) is one [...]
A short interview video with Michael Mandiberg shot and Edited by Dan Eckstein (daneckstein.com) in March 2009, with Music from Au Revoir Simone at Eyebeam and Postmasters Gallery NYC.
From the dialog:
I’m Michael Mandiberg. I am an artist, designer, and educator, and I am a Senior Fellow at Eyebeam, which is an Art and Technology Center in Chelsea, Manhattan.
As an artist I am pretty omnivorous. I have a background in photography, so it is pretty image based, but I was also a really really good bad high school poet. So I am particularly interested in words and their meaning, and their nuances and their poetic value. So I am always looking at the world around us visually, informationally, and culturally, and politically for inspiration
Some of my more recent work involves the laser cutter, cutting paper and books, making sculptures and drawings. The laser cutter takes the information from the computer file, and it uses a laser to cut that shape out of the material being cut, which in this case is a newspaper.
A few of my recent works are at The Future Is Not What It Used To Be, which is a show at Postmasters Gallery. One is called Old News, which is a stack of New York Times into which I am cutting daily the phrase “Old News” into it. The other is DATA BASE, which is an Oxford English Dictionary with the phrase “DATA BASE” cut into it.
The show itself is about the promise and the failed promise of technology, and its potential to connect people or not connect people.
What keeps mankind alive? This question, posed in 1928 by Brecht and Kurt Weill in their song from The Threepenny Opera, was the catalyst for the 11th Istanbul Biennial. In their introduction to the catalogue, Zagreb-based curatorial collective What, How and for Whom (WHW) outline their intention for the Biennial to re-function it as a facilitator to renew critical thinking, and to discuss, analyse and scrutinise the problematic issues of the capitalist order so as to trigger real social change in light of Brechtian principles. With its directly anti-capitalist and anti-globallsation statement speaking to memory and intellect through serious and even tragic issues from the present and the recent past, this was undoubtly the most radical among all Istanbul Biennials.
Istanbul Biennial has been consistently engaged with the local in its 22-year history. Unexpectedly, this exhibition was not about the host city. Rather, it chose to extend its sight from the local to the surrounding territories, to that ‘hot’ portion of the globe that is being more and more traced and acknowledged, but often overlooked by both Western and Eastern mainstream in terms of artistic, cultural and social formations. The curatorial agenda enquired the dense ideological, social and cultural strata of the Middle East, ex-Soviet Union, the Balkans and Turkey as a way to scrutinise the widespread topics of the ‘new world order’, its current failures and deteriorating effects on human life. Unsurprisingly, 45% of the 70 participating artists (half men and half women, and most of them under 40 years old) came from these Eastern countries and most were unknown to the Western art world. Only 22 out of 70 had galleries.
Marxism, along with the Brechtian excerpts, sprinkled throughout the exhibition spaces stood as a ‘rhetorical armour’ (a pertinent definition previously given by Daniel Miller on Frieze July 09, in response to the curating agenda) which could have easily resulted in incompetence making either the thick statement or the actual exhibition seem ancillary. WHW resolved the riddle by including enough politically oriented works with overtly shared Marxist and collectivist principles. Indeed, there was something slyly humorous about this exhibition. Upon wandering around, one was guided by signs with Cyrillic-derived fonts directing to the left.
The Biennial as a whole felt quite easy to pin down. Arranged as a conventional white-cube exhibition, the main space at Antrepo No.3 was light and well-designed. It incorporated well-combined pieces with some stronger ones carrying the whole. Most art works involved strategies of repetition, distribution and reproduction as in reference to the current trend of copying, gathering and accumulation in contemporary art. Tashkent-based Soviet conceptualist artist Vyacheslav Akhunov’s work exemplified this mode of production. Fly-Beat Revolution (1977), was an installation work of collage-drawings which took a collection of designs for fly-swatters as its space. Drawings featuring portraits of Communist hero-figures, state signs and symbols were each placed on the large end of a fly-swatter. Another work provided by the artist was titled 1 m2, in which small-scale re-productions, drawings and plans, extracted from the artist’s sketchbooks between 1976-1991, were filled into matchboxes brought together in an installation of one square meter. The work at once combined a visual archive of fragments of Soviet propaganda ambigously pushed to its limits and a comprehensive retrospective of the artist’s work.
Tracing the everyday reality from Beirut was Mounira Al Solh’s two-channel video installation The Sea is a Stereo (2007-09). The work delved into the daily habit of swimming, obsessively developed by a group of Beiruti men, who would accomplish their activity everyday no matter the daily condition: rain, wind or war. The story gave an uncanny twist when the artist gave her voice to the men. As the story went on, the ‘apparent’ normality of the event would gradually fade away making the real motivation behind this obsessive ritual perceivable: resisting to the difficulty of pursuing an ‘ordinary life’ in the country.
Focusing on the everyday rituals was also the work of Istanbul-born, Istanbul and Vienna based artist Nilbar Gures. Gures was present at the Biennial with Unknown Sports (2008-09), a series of collages, drawings and photographs thematising female identity and gender discourse in contemporary Turkish society. The photographs were staged performances showing a group of women in a gym, while recreating the ideas from the artist’s drawings: waxing, styling, dressing up, vacuum cleaning etc. The series explored rituals of an exclusively female world yet the staged character of the work presented the problem of accepted gender roles.
Three other pieces worth mentioning are Lisi Raskin’s Control Room (2008), a room-size installation of paper and styrofoam sculptures resembling an empty science-fiction set of a workstation; Deimantas Narkevicius’ For The Role of a Lifetime (2003), a documentary yet poetical film-work composed of various overlapping spatio-temporal layers, with an interview with film director Peter Watkins on the role of the artist, process of filmmaking and the importance of critical thinking extending throughout the film as the main narrative thread; and Trevor Paglen’s Celestial Objects (Istanbul) (2009), a series of photographs mapping military intelligence sattelites in the night skies over Istanbul.
One realises how complex the task posed by WHW was when it came to resist the system in which the Biennial also found itself, a task likely to exceed orthodox exhibition formats. To this effect, the curators wanted to take a critical and self-reflexive look at the Biennial itself as well as the global biennial circuit, uttering within the exhibition some internal curatorial decisions and production details to the budget distribution, status of works on loan and distribution of artists for their countries of origin, age and gender. Despite all the positive intentions, the sense of transparency it strived for felt just too contrived.
After all, amid endless debate about art’s increasing lack of critical relevance and abundance of individual stories and subjective mythologies in recent contemporary art production, this exhibition proved something of an ease. Unfolding in interlaced themes and interests, single art works were combined into a meaningful whole which simultaneously questioned the role of art and awakened a worldly awareness without falling into nostalgia nor a spectacularised effect. Still, one cannot help but leave with a missing feeling – a feeling which derives from the constant seeking out the inherent appeal of art’s ability to present something else to the imagination; a sense of its famous ‘enigmaticalness’1.
1 See Theodore Adorno, Aesthetic Theory, London: Continuum 1997.
ISTANBUL – Hürriyet Daily News
Thursday, November 12, 2009
Fikret Atay, a well-known Turkish artist living in Paris, brings together the recent works of ’Batman vs. Batman,’ which depicts the comical homonymy between the southeastern Turkish city of Batman and the superhero figure, and ’Gooaall!!’ in which he deals with asphalt roads, which are prime symbols of modernism
Outlet//Independent Art Space presents the first Istanbul solo show of internationally renowned Turkish artist Fikret Atay. The artist is premiering two video works for the Istanbul audience.
The exhibition brings together the recent works “Batman vs. Batman” and “Gooaall!!” which were both produced this year. Added to these is a selection of past highlights, including “Spring Fever” and “Holiwuut.”
Fikret Atay has had solo exhibitions at prestigious venues such as Bonner Kunstverein in Germany, Site Gallery in the United Kingdom, Hammer Museum in the United States, Maison de l’Architecture in France, Index in Sweden and Büro Friedrich in Germany.
Atay, who is showing his video work “Theorists” at the ongoing 10th Lyon Biennial, will also participate at the Alexandria Biennial this December, where “Gooaall!!” will be introduced to a large international audience.
In his videos, Atay makes reference to “country issues” through cultural, social and geographical connections. His work is involved with traditional lifestyles, which are marked by Western influences. As a Turkish artist who has gained worldwide acclaim at a young age, his success is rooted in his ability to discover the universal aspects of supposedly local concerns.
In his “Batman vs. Batman” video, Atay depicts the comical homonymy between the southeastern Turkish city of Batman and the superhero figure, documenting a lawsuit pursued by distraught local authorities. Whereas the case was largely ignored or derided internationally, Atay turns the officials’ quest into a superhero story of its own. The mayor of Batman morphs into a real-world surrogate of the “Dark Knight.” Atay’s documentary-style inquiry is meshed with snippets of the Batman series, thus involving the audience in a spirited and playful displacement.
In the video “Gooaall!!” the artist deals with paved roads, which serve as a primary symbol of modernity. He depicts children experiencing modernity, consciously or not, as they play football barefoot on the asphalt road where past meets future and center meets periphery. The old man scores in the seemingly empty net – which is perhaps kept by the viewer. He scores against the center.
The exhibition “Batman vs. Batman” can be seen from Tuesday to Saturday through Nov. 26.
Outlet//Independent Art Space
Bogazkesen Cad.
Kadirler Yokuşu No: 69
Tophane, Istanbul
www.outlet-istanbul.org
Fikret Atay
Born in Batman in 1976, Atay has lived and worked in Paris and Batman since 2003. The artist, who focuses on symbols and codes, alongside the relationships of identity, geography and history, has focused recently on the representation of time and space within the framework of personal responsibility. His work is held in major public collections including the Castile Leon Museum of Contemporary Art, Montreal Museum of Fine Arts and the Museum of Luxembourg.
In “Batman vs. Batman,” Atay depicts the comical homonymy between the city of Batman and the superhero figure as a contention that is taken seriously by local authorities and which led to a lawsuit. Whereas internationally the case was neither taken seriously nor derided, Atay turns the event into a superhero story, similar in style to the Batman movies. The mayor of Batman mutates virtually into “The Dark Knight.” Atay’s documentary-style inquiry is meshed with snippets of the “Batman” series, thus involving the audience in a spirited and playful displacement. In “Gooaall!!” Atay delves into asphalt roads, which are billed as prime symbols of “modernism.” Atay depicts children experiencing modernism, consciously or not, as they play soccer barefoot on the asphalt road.
Born in the southeastern city of Batman in 1976, Atay has lived and worked in Paris and Batman since 2003. The artist focuses on symbols, the codes of symbols and the relationship between the concepts of identity and geography as well history in his work. Atay’s work is found in major public collections including the Musée d’art contemporain de Montreal and the Museé du Luxembourg.
“Batman vs. Batman” can be seen until Nov. 26 from 10 a.m. until 6:30 p.m. Tuesday to Saturday. Outlet//Independent Art Space is located on Boğazkesen Cad., Kadirler Yokuşu, No: 69 in the Tophane neighborhood.
13.11.2009
Arts & Culture
TODAY’S ZAMAN
Deniz Gül and Burak Arıkan: Notes on Immaterial Labour Saturday, 25th April 2009the Suriye Arcade, Istanbul Deniz Gül: It all began a few months ago with me getting sick and tired of the images, works, movies, exhibitions I was watching…..
Türkiye’nin İstanbul dışında diğer kentlerinin ve farkı kültürel yapılarının Avrupa’da tanıtımına olanak sağlamayı ve karşılıklı kültür alışverişini desteklemeyi hedefleyen ”Benim Kentim” projesi, British Council’ın Avrupa Komisyonu Kültürel Köprüler programı kapsamında gerçekleştirilmektedir.
Türkiye ile Avrupa arasındaki kültürel bağları ilerletmeyi planlayan proje kapsamında Avrupa’dan beş saygın ve tecrübeli sanatçı, Türkiye’ye, ülkenin 21. yüzyıldaki kültürel zenginliğini ve çeşitliliğini tecrübe etmek üzere davet edilecek.
Aynı zamanda buna paralel olarak Türkiye’den beş sanatçı da Avrupa’nın ileri gelen kültür kurumlarında konuk sanatçı programlarına katılarak yeni işlerini sergileme olanağı bulacaktır. Berlin, Dortmund, Helsinki, Londra, Varşova ve Viyana’da gerçekleşecek olan programların son başvuru tarihi 21 Ağustos 2009′dur.
Programlara seçilen sanatçılar Eylül ayında gerçekleştirilecek olan 11. İstanbul Bienali sırasında açıklanacaktır.
‘Benim Kentim”, Avrupa Komisyonu tarafından desteklenmektedir ve Anadolu Kültür, Platform Garanti Güncel Sanat Merkezi ile işbirliği içinde British Council tarafından yürütülmektedir.
Başvuru formlarını buradan indirebilir ya da platform@garanti.com.tr adresinden isteyebilirsiniz.
My City
European Residencies [MCER]
MCER, is a one-off programme to be realized between 2010 and 2011 for enabling visual artists from Turkey to develop their work in six prominent host institutions across Europe through residencies.
It forms part of My City, a new cultural initiative funded through the European Commission’s Cultural Bridges Programme, designed and run by the British Council in Turkey. The programme’s aim is to establish partnerships between artists and institutions in Turkey and Europe.
The My City programme has two strands: MCER and a programme of activities in Turkey around the theme of art in public space, including seminars, conferences and new commissions. Starting in 2009, five artists from Europe will be invited to Turkey to develop a unique work of public art for a specific city in Turkey. The selected cities are Canakkale, Istanbul, Konya, Mardin and Trabzon. Each of these cities has a unique story to tell and this project will give the artists the opportunity to take part in residencies and show their work at some of Europe’s leading cultural venues. The names of all participants will be announced during the International Istanbul Biennale in September.
My City has been conceived by the British Council together with Anadolu Kultur and Platform Garanti Contemporary Art Center. The project is funded by the European Commission and the British Council.
Goal
The project goal is to enable visual artists to develop and reflect upon their work in a different European environment and culture. The residency also generates opportunities for making or extending contacts and for exploring and/or developing a new context as well as producing new work.
Who Can Apply?
My City European Residencies [MCER] grants are intended for visual artists. However, artists who are part of a collective or a multi-disciplinary team are also welcome to apply to the MCER.
In addition to work-related criteria, there are a number of conditions applicants must satisfy in order to qualify for a grant. All applicants must be resident in Turkey, and if they are not nationals of Turkey, they must have a valid residence permit. A good command of English and other relevant languages of the place of residence are required.
For precise details of the conditions, applicants are referred to the explanation accompanying the application form. If you require more information please contact: platform@garanti.com.tr.
Selection Process
MCER Applications will be reviewed by a committee of six professionals, including but not limited to curators, who have the experience in international residencies. There will be one representative each from Platform Garanti and the British Council.
The committee will prepare a short-list of three candidates for each institution for which the application was made. The final selection will be made by the European host institutions in consultation with the committee.
Host Institutions
Centre for Contemporary Art, Ujazdowski Castle, Warsaw
, Poland is the premier interdisciplinary contemporary art centre in Poland and one of the most vibrant art centres in Central and Eastern Europe. The CCA has been supporting, documenting and presenting art since 1989. The audience consists of professionals, artists, students but also people unacquainted with art on an everyday basis.
The a-i-r programme, created in 2002 in the frame of the CCA international activity, is an extension and a complement of the ongoing dialogue between artists from around the world. The small scale of the a-i-r laboratory has allowed for an individual approach to each visiting artist by working in close dialogue with a curator. The CCA is interested in both site-specific projects and further work on projects initiated before arrival. The institution encourages an exchange between artists from different cultures and the local milieu. Publications (artist books, posters, catalogues) created during the residency stays at a-i-r laboratory are of great importance.
Presentations of the visiting artists’ works are incorporated into the CCA’s programme of events in the form of lectures, screenings, discussions, exhibitions and performances. Artists are encouraged to work in public space.
Workrooms are designed both for artists using traditional techniques and for those employing new media. There is a bedroom, a kitchen, a studio and a film workshop equipped with a camera, microports, lighting and editing computers at the disposal of the residents. Furthermore, a-i-r laboratory residents can benefit from the CCA’s technical background, library, reading room and videotheque.
Gasworks: Exhibitions, International Residencies & Studios, London
, UK
Founded in 1994, Gasworks is an art organization located in a three-story Victorian building in South London, between Vauxhall and Oval underground stations. It houses 12 artists’ studios – of which nine are rented by London based artists and three are dedicated to residencies – and offers a programme of exhibitions and events, artists’ residencies, international fellowships and educational projects.
Gasworks focuses on visual arts practice in its broadest sense, working discursively with UK-based and international artists to facilitate the development of their work. Gasworks’ programme is committed to providing a responsive context and to disseminating critical practices to a wider audience. Gasworks is part of the Triangle Arts Trust, an international network of artists and organisations.
As part of the My City programme, one Turkish or Turkey-based artist will be selected for a residency and a solo exhibition at Gasworks in Spring 2010. The residency will take place between 1 April and 30 June 2010, offering the selected artist a studio at Gasworks, accommodation and living expenses. The exhibition will open at the end of the residency, on 25 June 2010 and remain open for seven weeks, until 15 August 2010.
The artist will receive pastoral and curatorial support from both the residencies coordinator and exhibitions curator throughout the period of residency at Gasworks. The exhibition will be the result of a dialogue between the artist and the two curators and is expected to start prior to the residency period.
DAAD, German Academic Exchange Service, Berlin
Dates 3 months in the first half of 2010
The Berliner Künstlerprogramm was found in 1963 by the Ford Foundation as an artist-in-residence programme. In 1965 it was taken over by Deutscher Akademischer Austauschdienst/German Academic Exchange Service (DAAD). As part of the My City programme, the Berliner Künstlerprogramm is offering a three month residency in Berlin in the first half of 2010.
The aim of this programme is to promote an exchange of experience among artists and to foster their involvement with current cultural issues in other countries. Through numerous internal meetings and projects which are carried out in the DAAD Gallery or in cooperation with other cultural institutions, the Berliner Künstlerprogramm aims to establish contacts with local artists and personalities involved in Germany’s cultural life.
With their expertise, the visual arts team of the Künstlerprogramm will support the selected guest artist to realize a project developed during his/her stay in Berlin (for example a new piece, an exhibition, a public work, a publication etc.). In Berlin, the guest artist will have the opportunity to continue his/her work undisturbed and to participate actively in the city’s cultural life.
Visual artists who live and work in Turkey are encouraged to apply. They should be at the beginning of their career or not yet be widely internationally known. The invitation is issued in conjunction with a grant that allows for an adequate standard of living. It also includes a furnished apartment and a production budget. Artists who accept the invitation take up permanent residence in Berlin for the duration of the Berliner Künstlerprogramm grant.
Academy of Fine Arts, Vienna
, Austria
The Academy of Fine Arts Vienna has been a leading European training centre for artists for more than 300 years. The Academy offers a renowned team of professors in the arts and cultural studies department, including Pawel Althamer, Sabeth Buchmann, Martin Beck, Monica Bonvicini, Diedrich Diederichsen, Harun Farocki, Marina Grizinic, Matthias Herrmann, Tom Holert, Dorit Margreiter, Marion van Osten, Daniel Richter, Constanze Ruhm, Amelie von Wulffen, Heimo Zobernig and others. Theory and practice are regarded as necessary for the transdisciplinarity that is a common agenda in the arts and theoretical research. Disciplines such as painting, photography, sculpture, video, digital media, sound, film, conceptual art, performance, art in public space, gender studies, postcolonial studies, philosophy and aesthetic theory, art history are, among others, to be found at the Academy.
As part of the My City programme, this residency provides accommodation in the heart of Vienna, next to the Museumquartier (MQ) and the Academy. The apartment (89m²) has two bedrooms, bathroom and kitchen. The resident will have access to the labs and studios, ranging from drawing, printing and painting to photography, sound, video, digital media, performance and as well as the libraries. The Academy is interested in applicants with a strong international track record.
FRAME, Finnish Fund for Art Exchange, Helsinki
FRAME Finnish Fund for Art Exchange provides services and acts as an expert body in international exchanges relating to the visual arts. FRAME, established in 1992, works within the Finnish Fine Arts Academy Foundation and is primarily funded by the Finnish Ministry of Culture.
FRAME currently collaborates with HIAP (Helsinki International Artist-in-residence Programme) for artists’ residencies. HIAP offers a residency on Suomenlinna island from for a period still to be negotiated from Spring 2010 onwards.
Hartware MedienKunstVerein (HMKV) Dortmund & Kuenstlerhaus Dortmund, Germany
As part of the MyCity programme, one Turkish or Turkey-based artist will be selected for a residency at Kuenstlerhaus Dortmund in spring 2010. The residency will take place between 1 April and 30 June 2010, offering the selected artist a studio at Kuenstlerhaus Dortmund, accommodation and living expenses. The residency takes place in the context of the European Capital of Culture RUHR.2010.
Hartware MedienKunstVerein and Kuenstlerhaus Dortmund are inviting visual artists exploring the artistic, creative and critical potentials of digital and electronic media to apply for the residency. However, media art is not understood as a technical genre. Rather, it is the topical and conceptual discussion of our contemporary world based increasingly on media and technological structures that makes for the contemporaneity of media art.
Hartware MedienKunstVerein (HMKV)
Founded in 1996 in Dortmund, Hartware MedienKunstVerein (HMKV) serves as a platform for the production, presentation, mediation and contextualisation of contemporary and experimental media art. Since 1996 HMKV has realized over 70 exhibitions, film and video programs, workshops, lectures, symposia, performance programs and conferences at various venues in Dortmund (currently in the PHOENIX Halle, a spectacular 1895 factory hall measuring 2.200 square meters belonging to the giant former steel production plant of hoenix-West) as well as in other cities in Germany and abroad. Among the 40 exhibitions of the last thirteen years there were seminal projects such as „Reservate der Sehnsucht“ (1998), games. Computer games by artists“ (2003), „History Will Repeat Itself“ (2007/2008) and „Anna Kournikova … Art in the Age of Intellectual Property“ (2008). Through its strong commitment to the field of media art over the past decade HMKV has developed into a unique institution in Germany. HMKV’s exhibitions are characterised by their broad definition of media art and by positioning media art in the context of contemporary art. HMKV’s activities have received international recognition. In 2007 and 2008 HMKV has been nominated for the ADKV-ART COLOGNE Award for Art Associations. HMKV hosts since 2000 the grant program of the State of North Rhine Westphalia (NRW) for media artists (f) from NRW. Since 2006 HMKV functions as the branch office of Medienwerk NRW which will host the International Symposium on Electronic Arts (ISEA) RUHR 2010.
Künstlerhaus Dortmund
Since 1983 the artists’ organization Künstlerhaus Dortmund has been a non-profit space for contemporary and experimental arts. It is a place for all kinds of contemporary visual arts: Painting, sculpture, graphic as well as photography, film, video, installation and new
media. This spectrum can be found in the working fields of the members as well as in the group exhibitions, organized by the members exclusively for artists who are not members of the Künstlerhaus. By focusing on contemporary and experimental art, especially young, not
yet established artists are supported. In this way, the Künstlerhaus enriches the cultural scene of the city of Dortmund – consisting of museums and galleries with their economic interests, featuring mainly solo exhibitions – in a unique way. The Künstlerhaus creates free space for arts, offers optimal working conditions for artists from Germany and abroad and attempts to reach the interested public through direct and personal mediation. The Künstlerhaus frequently serves as a workstation for international guests to realize new and site-specific work. The interdisciplinary orientation of the Künstlerhaus Dortmund creates a constantly growing network of contacts to various national and international cultural institutions. Since 1993, the association “MeX” for experimental music is a continuous guest in the basement for intermedia and experimental sound projects. In addition, the Künstlerhaus cultivates the contact to the Hartware MedienKunstVerein, also located in Dortmund.
Residency Program
UIAP is a one-off project to be realized in 2009 for enabling visual artists from Turkey to attend a residency program in Linz, Austria, from July to September, 2009, and again from October to December, 2009. The program will be reciprocated in 2010 in Istanbul.
Goal:
The project “Urban Interventions” aims at inviting artists from Europe to explore various urban landscapes in different cities. It creates, within the framework of artist residency programs and activities, a platform for interaction and exchange both on a local level, as well as within a broader, inter-regional spectrum.
The project will include artists from 5 countries from Europe (Liverpool-UK, Dortmund-GE, Tallinn-EE, Istanbul-TR, And Linz-AT), developing urban art projects within the span of 3 to 6 month residencies at one of the project partner cities.
Who Can Apply:
Urban Interventions Artistic Perspectives (UIAP) grants are intended for visual artists. However, artists who are part of a collective or a multi-disciplinary team are also welcome to apply to the UIAP. In addition to work-related criteria, there are a number of conditions applicants must satisfy in order to qualify for a grant. All applicants must be resident in Turkey, and if they are not nationals of Turkey, they must have a valid residence permit. For precise details of the conditions, applicants are referred to the explanation accompanying the application form.
If you require more information please contact oykuozsoy@gmail.com / OykuOzs@garanti.com.tr.
Host Institutions for artists from Turkey:
Cultural Dept of Linz, Austria
Dates:
1 artist July-Sept 2009
1 artist Oct-Dec 2009
Selection Process:
UIAP Applications will be reviewed by a committee of five professionals, including but not limited to curators, who have experience in international residencies. There will be one representative from Platform Garanti.
Selection Criteria:
Artists who have a demonstrable interest in public spaces, urban initiatives and interventions, as well as mobilization of artistic practices and exchanges.
Detailed information about the institution:
Atelierhaus Salzamt (International Studio House Linz)
The former Salt Authority in Linz’s city has been converted into an international meeting place for artists by the Cultural Department of Linz, Austria.
Atelierhaus Salzamt is a brand new renovated 300 year old building beside the Danube. The ground floor has a 200 sqm exhibition room and a cafe/bistro.
Accommodation (around 30qm) and studio (30-70qm) is in Atelierhaus Salzamt, is free of charge for the artists-in-residence. There is also a recreation room with an extra kitchen, a small library. Internet is provided.
Selected artists will receive a stipend for living expenses Euro 800 per month and Euro 1,000 for material subsidy once.
Institutions of Interest in Linz:
Ars electronica
afo architectureforum oberosterreich
The application must include a statement/motivation letter for the residency. Please forward the application form and your CV, along with sufficient visual material such as slides, Cds/DVDs, web addresses, images and/or printed material of work no older than four years. The material will not be returned, please do not send in any original work.
All visual documentation must be accompanied by a specific information sheet on the visuals that lists the medium, date, and other necessary details.
It is important that you choose a documentation medium with which your work can be assessed best.
Please take into account that the committee may not view a video for longer than 15 minutes. If necessary, please provide an explanation no longer than a single A4 sheet.
Your materials must be delivered to Platform Garanti by June 2, 2009
Important Note:
If you have already applied for the:
Accented Residency, or the Can Xalant Residency programs, you do not have to send your file again.
Please send only a letter of intent specific to the application.
The application can be found here
‘Side by Side’
2009.05.08 – 2009.05.31
300m3, Göteborg, Sweden
Opening Friday May 8th, 18-22
Artist talk and performance 19:00
PRESS RELEASE:
As an artist, architect and musician, Cevdet Erek composes and (re)composes his works as ingredients of grand ideas which are materialized through continuous output processes of intermediary products, in forms of performance, moving image, sounds and installations. He proposes the [...]
A Review of the Taipei Biennial 2008:(When) Global Attacks On A Local Paradise By ADNAN YILDIZ a) Taipei City Context and Curators’ Approach After landing at the Taipei International Airport, on my way to the hotel, I was listening to my taxi d…
Please scroll down for the English text
Bettina Lockemann
Ülkeleri Keşfetmek / Exploring Territories
Sanatçı Konuşması / Artist Talk
13.03.09 Cuma / Friday
18:30 / 6.30 pm
http://www.archivalien.de/
PiST///
Dolapdere Caddesi
Pangaltı Dere Sokak
No 8 A/B/C
Pangaltı 34375
İstanbul TR
pist@pist.org.tr
Kavramsal-belgesel fotoğraf işleri üreten Alman sanatçı Bettina Lockemann Kunststifung NRW (Northrine-Westphalia Sanat Vakfı) tarafindan desteklenen son projesini gerçekleştirmek için bugünlerde Türkiye’de çalışıyor. Bu çalışmasını İstanbul’un kentsel yapılanması, Avrupa ile Asya arasında konumlandığı coğrafi sınır ve Türkiye’nin geleceğini bir Avrupa ülkesi olarak şekillendiren Atatürk’un Ankara’yı başkent olarak seçmesi üzerine oluşturuyor. Lockemann Avrupa’nın yanı başında yer alan Türkiye’yi ne tam Avrupalı ne de tam zıttı olarak gören anlayışın bağlantı ve ayrılıklarını oluşturan bir söylemi bir araya toparlamayı amaçlıyor. Bunu gerçekleştirirken bireylerin Avrupalı kimliğine de sorular yöneltiyor.
Lockemann 13 Mart 2009 Cuma günü saat 18:30′da PiST’te hem Türkiye’de gerçekleştirmekte olduğu son projesi üzerine hem de 2006-2008 süresince Japonya’daki Avrupa etkisi ve Brüksel’deki Avrupa Parlementosu içerisinde gerçekleştirdiği iki yeni projesi üzerine de konuşacak. 13 Mart Cuma günü sizi de PiST’e bekliyoruz!
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German artist Bettina Lockemann is working in the field of conceptual documentary photography. Currently she is working on a project in Turkey funded by the Kunststiftung NRW (Art Foundation Northrhine-Westphalia). Her work in Turkey is conceived in the urban settings of Istanbul, situated at the geographical border between Europe and Asia and Ankara, being the capital chosen by Atatürk who was working on Turkey’s future as a European country. Lockemann is searching for threads of connection and disjunction within the discourse of Turkey being situated at the European frontier neither being fully European nor the contrary Other, therefore also posing questions towards European identities themselves. In her latest works she is exploring cultural and institutional territories in search of Europe and its Other.
On March 13th, 2009 Lockemann will give an artist talk on not only about her recent project in Turkey but also about two other projects she has realized in 2006-2008 one about the European influences in Japan and the other on her approach to the interior of the European Parliament in Brussels. We look forward to see you at PiST on March 13th!
Friday, February 27 at 6:30 p.m.
Platform Garanti CAC
Istiklal Str. no:115A
Beyoglu/Ist.
5th Floor
Larissa Sansour current resident at Platform Garanti supported by Danish Arts Council since January will speak about her work and current projects.
Larissa Sansour’s work tackles difficult political situations through unorthodox means. During the talk, she will introduce some of her videos that deal specifically with the situation in Palestine.
Sansour will also be joined by Oreet Ashery to talk about their latest book project, “Nonel and Vovel”. The book is a collaborative work in which Ashery, an Israeli born artist and Sansour, a Palestinian born artist engage in a surreal dialogue that addresses issues ranging from art and politics to the problematic nature of their collaboration. The book is a graphic novel in which both artists contract a virus that gives them super human powers yet rids them of their creative creativity. The adventure lies in the dilemma of such a scenario and the consequences of the artists’ decisions.
Born 1973 in Jerusalem, Sansour studied Fine Art in Copenhagen, London and New York, and earned her MA from New York University. Her work is interdisciplinary, immersed in the current political dialogue and utilizes video art, digital photography, experimental documentary, the book form and the web.
Sansour’s work has been exhibited worldwide in galleries, museums and film festivals. Her most notable shows include the Tate Modern in London and the Arken Museum of Modern Art in Denmark. Her work was shown in last year’s Third Guangzhou Triennial in China, the Contemporary Art Biennale in Nîmes, France and the Busan Biennale in South Korea. Her latest film “A Space Exodus” was nominated for the Muhr Awards for short film at the Dubai International Film Festival. In 2009, Sansour will launch the graphic novel “Nonel and Vovel” which she is working on with artist Oreet Ashery. She will also have her first oneiperson exhibition in New York.
Contact Information
Adress: Comandant Benítez 7 / PO 3 08028 Barcelona
E-mail: zeynopekunlu@yahoo.com
Telephone: +34 671 88 88 23
+90 533 541 74 51
Education
1980 Born in Izmir, Turkey
1998-2002 BA in Painting Program at Istanbul Mimar Sinan Fine Arts Academy
2002-2004 MA in Painting at Istanbul Mimar Sinan Fine Arts Academy, Masters thesis; “Turkish Painting in the context of the identities that the socio-economic structure attributes to the individuals between 1920-1950″ (Keywords: national-state, identity, Westernization, social engineering, national art, single party regime)
2004-2007 Teaching assistant in Department of Plastic Arts in Yeditepe University, Istanbul
2007-2009 Masters in Artistic Production and Research, University of Barcelona, Barcelona
Exhibitions and Projects
2009 La Trama Celeste, “Being an Artist from the periphery game”, Sala de Arte Jove, Barcelona
2009 “Doublethink”,Biennal de Valls, Barcelona2009 “Doublethink”, Loop 2009, Barcelona
2009 “This is not a Medical Center”, Carlos Garaicoa Open Studio 3.0, Madrid2008 “Being an Artist from the periphery game”, Selected Artist 2009, Sala de Arte Jove, Barcelona
2008 “Yenisehirmektupculari”, Selected Artist 2008 (Aylin Kuryel, Bob Pannebaker, Zeyno Pekünlü) La Capsa, Torre Muntadas, El Prat de Llobregat
2008 “Being an Artist from the periphery game”, 4ª Mostra d’Art de Dones FEM ART 08, Casa Elizalde, Barcelona
2008 “Yo Soy No Soy”, (Brooke Borg, Cecilia Lerma, Karin de Almeida Frutig, Laura Gamboa, Mahdie Motamedi, Silvia Rodríguez, Zeyno Pekünlü) 4ª Mostra d’Art de Dones FEM ART 08, Casa Elizalde, Barcelona
2008 “La Fàbrica Transparete”, Centre de Creació i Pensament Contemporani de Mataró
2008 “Fill in the Blanks” , (Aylin Kuryel, Zeyno Pekunlu) 19th Ankara Film Festival, Ankara
2006 “Gra-Plast”, BKM, Istanbul
2005 “Searching the Spirit of Space”, Istanbul Design Week, Galata Bridge, Istanbul
2005 “66th State Exhibition on Painting and Sculptures”, Museum of Painting and Sculpture, Ankara
2005 “City: Practice and Project”, Istanbul Modern Arts Gallery, Istanbul
2005 “Thieving City”, Aksanat Art Gallery, Istanbul
2005 “Painting Exhibition of University Members Association”, Tophane-i Amire, Istanbul
2004 “65th State Exhibition on Painting and Sculptures”, Museum of Painting and Sculpture,Ankara
2004 “Holes in the Mirror”, Siemens Art Gallery, Istanbul
2003 “Belvü Project”, (Ceren Oykut, Ari Alpert, Zeyno Pekünlü), Galatasaray, Istanbul
2003 “Extreme Exteriors”, Gallery X, Istanbul
2002 “International ExLibris Exhibition”, Istanbul Archaeology Museum
2001 “Dükkan Dövmeciyan Project”, (Ceren Oykut, Zeyno Pekunlu, Guclu Oztekin) Anabala Han, Istanbul
2000 “Apartment Project”, Gümüşsuyu, Istanbul
Awards and scholarships
2009 Guasch-Coranty Award, Biennal de Valls, Barcelona
2009 Selected Artist 2008 (as part of the collective Yenisehirmektupculari) Idensitat 5, Barcelona2008 Selected Artist 2009, Sala de Arte Jove, Barcelona
2008 Selected Artist 2008 (as part of the collective Yenisehirmektupculari) La Capsa, Torre Muntadas, El Prat de Llobregat
Articles:
2008 Post-it City, Radikal daily Newspaper, 26.4.2008
2007 Naro (Detournement Movements and Their Ideologies in Istanbul), Art-Ist (Quarterly Contemporary Art Magazine), 6th edition.
2007 Sanat Galiba Karin Doyuruyor (The role of professionalization in today’s art), Art-Ist (Quarterly Contemporary Art Magazine, 5th edition.
Fanzines
2005 “Bizarre Duet”, Izmir
2003-2004 “Belvü”, Istanbul
2003 “Extreme Exteriors”, Istanbul
2001 “Dükkan Dövmeciyan”, Istanbul
Platform Garanti CAC/Visiting Arts Residency Exhibition
Spike Island Project Space
31 January – 15 March 2009
Fatma Çiftçi
Turkish artist Fatma Çiftçi returns to Spike Island after completing a three month residency summer 2008 which has been funded by Visiting Arts.
This residency is an on-going collaboration with Platform Garanti CAC, Istanbul and had previously been awarded to Can Altay. Fatma graduated at Bilkent University Fine Arts Department in Ankara and her work spans photography, video, performance, animation and drawing. This will be her first solo show in the UK .
16 May 2008: Second Spike Island artist selected
26 February 2008: Spike Island Production Residency ‘08 in the UK in partnership with Platform Garanti
5 February 2007: Can Altay, First Spike Island artist exhibition
It is always difficult to sum up the developments in art scenes and come up with a precise panorama. The most precise observation is that the content and the form of art and art making has changed since the beginning of the 1990s. The change is very …
PRESS RELEASE: CONTEMPORARY ART IN BAKHCHISARAYCAPTIVATED BY BAKHCHISARAY/ ZACHAROVANI ___________ / PLENENNYE BAHCHISARAEM / _______________ ___ ____________ / BAHÇESARAY’A TUTULDU /Bakhchisaray State Historical and Cultural Preserve 28.09 2008 – 2…
Conference / Debate25 – 26 June 2008Palais du Rhin, StrasbourgOn the occasion of the Conference on “Intercultural Dialogue : utopias and situations”, to be held in the Palais du Rhin by courtesy of the Alsace Regional Department for Cultural Affair…
LiST, PiST/// Disiplinlerarası Proje Alanı’nın Artist Information projesi dahilinde başlatılan bir rehber. İstanbul güncel sanat ortamındaki etkinlikleri bir harita üzerinde 2 aylık dönemlerle güncelleyerek listelemeye devam edecek olan LiST, katılımcı mekanlar ve şehir genelinde ücretsiz olarak dağıtılıyor. LiST’in içerik bilgileri yer alan mekanlar tarafından oluşturuldu. Bu mekanlar ulaşım bilgileriyle birlikte İstanbul haritası üzerinde gösterildi. LiST 04, Mayıs – Haziran 2008 tarihleri arasındaki güncellenmiş sergi takvimini içeriyor. www.istanbulartlist.net adresinden LiST 04‘e pdf olarak da ulaşabilirsiniz.
LiST is an extension of PiST/// Interdisciplinary Project Space’s Artist Information project. Updated regularly, LiST is a guide to contemporary art events in Istanbul, and includes a map of all events locations. It is distributed every 2 months, free of charge, at participating venues and other locations throughout the city. Participating venues contribute their own entries to LiST. Those venues are marked on an Istanbul map with a brief transportation information. LiST 04 has the updated information of May-June 2008 exhibition program. You can down load LiST 04 as pdf from www.istanbulartlist.net
SOVIET AGITART: RESTORATION
SAMVEL BAGHDASARYAN – ARMINE HOVHANNISYAN
18 January- 29 February 2008
The exhibition entitled SOVIET AGITART: RESTORATION is being realized 18 January- 29 February 2008 at BM SUMA Contemporary Art Center and presents a poster collection of Samvel Baghdasaryan, his art works and the documentary photographs of his student Armine. The collection consists of propaganda posters of Soviet times, with images of Lenin, Brezhnev, Khrushchev, Stalin and their original audio material.
Samvel Baghdasaryan is a pioneer, a komsomol, an artist working in the communist structures. The socio political and cultural conditions of the period was forming and creating artist’s behavior and experience. The
popularity of the posters had a concrete mission. As the most important and truly propaganda machine, posters were used to have an influence on the consciousness of the multinational republics of the Soviet Union. It was an instrument serving for the change of the Soviets’ behavior, it was talking about progress, glorifying the times, governmental structure, educating the young generation andsearches for way out. One of them is reconstructing and re-embodying agitation materials by interpreting their aesthetics and using didactic meaning. Another way for Samvel Baghdasaryan is his pedagogical activity. Being artist-pedagogue he always combines his creative processes with young artists’ studies. In this 
case Samvel Baghdasaryan suggests Armine’s (his student) collaboration in his project. Armineh is searching for the remains / remainders of the Soviet Armenia that are not visible for everyone and documenting/ archiving them by photo. What is the impact of this exhibition today?
showing social- cultural norms and values. There was not any event that could find its place in the agitation posters, again and again focusing people to the slogans and intentions of the Soviet Power. But there was a strained and repressive relationship between artist’s own creative process and existing political, ideological and cultural situation. The architectural stage props, basis, frontons of comm
unist parties’ buildings, continuing with posters, postage stamps, slogans, pins, speeches stimulating masses had an outer attraction and a secret aggression. All these traces of the Soviet Union are popular still now. But this popularity did not motivate Samvel Baghdasaryan to gather the poster-collection. The question is that artist realized that he is just one of the victims of big history.
This is a memory exhibition and for the young generation viewers, who cannot imagine that they have affected many lives, these posters may have a nostalgic meaning; they would even 
perceive them as “pop art” of the Soviet times. Yet, these posters convey a rich material for questioning the other kind of orders and conditions that steer and determine our lives. Today, within the conditions of global politics, media hegemony, neo-liberal economies and society of spectacle, the people struggle against the insistent billboards, advertisements and slogans with
authoritative, repressive and expansive ideologies that may have different strategies but the same power. The artists produce in this same environment. The remarkable attempt of Samvel Baghdasaryan to utilize these Soviet posters as a “ready made” for his installation is a way of re-constructing the memory and its documentation through artistic processes.
This exhibition journeys from Yerevan to Istanbul with and intention to underline the effective dialogue – the dialogue which succeeded in staying out of the point of references of the political powers – between the artists of Armenia and Turkey.
And this exhibition is dedicated to the memory of Hrant Dink. 
THIS EXHIBITION IS REALIZED IN COLLABORATION WITH ANADOLU KÜLTÜR AND SODEV. WE WOULD LIKE TO THANK TO CHREST FOUNDATION, TO OPEN SOCIETY INSTITUTE, TO EMFA ELEKTRİK MALZEME FABRİKASI A.Ş. AND TO ANONYMOUS CONTRIBUTORS FOR THEIR KIND SUPPORT. 
International Symposium ’The Aesthetics of Resistance’ Műcsarnok / Kunsthalle, Budapest Friday 29.09.2006 Moderator: Dóra Hegyi Tour in the exhibition with Roza El-HassanÉva Fodor sociologist, Budapest Overpopulation debatesEmese Süv…
