Viewing 1 to 18 of 18 items
Tag Archives: City

‘Emploi Saisonnier/Seasonal Work’

‘Emploi Saisonnier/Seasonal Work’ project, proposed by Veronique Collard-Bovy and Celenk Bafra, is based on the research and exchange on and/or in the cities of Istanbul, Izmir, Antakya, Diyarbakir, Paris and Marseilles since 2008. The starting point was to have a closer look on the urban, social and cultural issues in the Mediterranean cities, and more specifically Turkey, together with the characteristics of the artistic practices nourished from them. This research, focused on multi-layered social and cultural problematics of the cities, on modes of collective production as well as the artists that try to stand together by various systems of exchange, resulted as a program composed by three art projects that were developed or invited from Turkey.

It was especially crucial for the artist-in-residency programme to invite artists from Turkey that are familiar with collective ways of living and working. This is why four artists from Izmir, third biggest the city of Turkey and an important sea port in the Aegean Sea, leading figures of major artist initiatives in Izmir, namely K2 and (-1) are invited in Marseilles to live and work. Even though their work, questioning on everyday life and its modes, has outcomes as individual artist works, a common approach and a certain spiritual affiliation exist due to the shared back-ground and city. The process of their residency and works contributed to the development of the exhibition ‘Arrangements’ together with the invitation of invaluable artists and artworks from Turkey supporting the theme of arrangement related to the issues of everyday life by their own approach and position.

Regarding ‘Die Weisser Stadt’ project following the residency of four members of Xurban collective, as a collective working in different parts of the globe on urban issues since 2000, it was indispensable to invite them to produce a new project on cities with a focus on Marseilles. In a city where urban transformation is harsh and controversial, Xurban comes up with new proposals by revisiting their own research and questions on contemporary politics and ideology.

A strong proposal from the city of Diyarbakir by Sener Ozmen, a city with deep political and social conflicts in the south-eastern region of Turkey, was invited as the third project to fulfill the approach of ‘Emploi Saisonnier/Seasonal Work’. Video and photography works from Diyarbakir by three artists, often making collaborations alongside with their individual artistic practice, present a common understanding on the difficulty to find a common front to agree nowadays in Turkey and the strategies of resistance in every possible way and field including the art world.

Comments Off

Open Studio Day at Istanbul Residency Program

Saturday, November 07
1 p.m.-6 p.m.

Platform Garanti CAC hosts an open studio day to share the work of current Istanbul Residency Program artists: Jesper Alvaer, Vangelis Vlahos, Witte van Hulzen & Sander Breure, Francesco Mattuzzi, Kalle Brolin, İnci Furni, Barbara Musil, Atılkunst, Soren Thilo Funder, and Sofie van der Linden.

Jesper Alvaer
Platform Garanti 3rd floor, Studio 4
1 p.m.-1:20 p.m.

Jesper Alvaer will present his ongoing project “From Zagros to Zagreb”, which is an attempt to present a guitar-string theory based on the Iranian origin of the Croats. The project includes the apparent lines that separate earth from sky, etnogenesis and acousticecology in spacetime.

Jesper Alvaer studied at the University of Oslo, in History of Ideas (91-93); then Cooper Union School of Art, NY (00-01), University of Oslo, Development Studies (08-09). He has participated in various group exhibitions in Oslo, Prague, Vienna and Miami. He recently had a solo presentation of his work at Galerie Jeleni, Prague.

Vangelis Vlahos
Platform Garanti 3rd floor, Studio 5
1:30 p.m.-1:50 p.m.

Vlahos’ recent work, focusing on different fragments of recent history and using archival material from various sources, questions the relevance of this material as a tool to rethink historical concepts that still seem to influence and shape the way we understand our present. For the open studios Vhalos will present “The differences between the parts are the subject of the composition”. The work is part of a series of projects realised under the same title that is again based on found images.

Vangelis Vlahos was born in Athens, Greece, where he lives and works. Recent exhibitions include: 11th Istanbul Biennial (2009); Monument to Transformation, City Gallery Prague (2009); After Architecture, Centre d’Art Santa Monica, Barcelona (2009); ISLANDS+GHETTOS, NGBK & Kunstraum Kreuzberg/Bethanien, Berlin (2009). Vlahos has also held solo exhibitions at Prometeogallery di Ida Pisani, Milan and Blow de la Barra Gallery, London, both in 2008.

Witte van Hulzen & Sander Breure
Platform Garanti 4th floor, Studio 1
2:00 p.m.-2:20 p.m.

Witte van Hulzen & Sander Breure are working on a script for a new film based on the lives of the members of their own family. The story of their family will be mixed with stories that they have discovered in Istanbul after talking to many people and the resulting interviews are mixed with fictional elements of their own imagination.

Witte van Hulzen graduated from the Academy of Fine arts and design at Artez Arnhem in the Netherlands in 2009. Sander Breure has been studying at the composition department of the Royal Conservatory in the Hague. They have participated in group exhibitions including Made in Arnhem, Modern Museum of Art, Arnhem the Netherlands; Altijd Bewegen, Gemak, the Hague, Netherlands this year. They have worked collaboratively together since 2006.

Francesco Mattuzzi
Platform Garanti 4th floor, Studio 2
2:30 p.m.-2:50 p.m.

Francesco Mattuzzi will present his ongoing project “Startrucks”. The project concentrates on the lives of truck drivers who spend most of their lives on the road travelling the regions that border the Mediterranean. Mattuzi considers how to explore such a symbolic and cultural aspect of the “travel experience” within East and West freight transport and has continued research on this topic in Istanbul.

Francesco Mattuzzi graduated from Arts in Design at University of Bozen/Bolzano, Italy. He has participated in group exhibitions in Israel, Germany, Italy, Spain, Belgium, and the Netherlands. An early version of “Startrucks” was shown at Fabbrica del Vapore in Milan, Italy this year.

Kalle Brolin
Platform Garanti 4th floor, Studio 3
3:00 p.m.-3:20 p.m.

Kalle Brolin will present two recent works: the first features a wall of posters and a performance on child labor unions in America (O! Children!); the other is a video that pitches Swedish skinheads and immigrants against each other on stage through the act of reading insulting poetry (Battla 2010). He will also talk about his project in Istanbul, which consists of two connected videos, both featuring deaf actors that speak in sign language (Mafiya). The videos reconstruct some events Kalle was involved in while staying in Moscow in 2003.

Kalle Brolin is an artist from Sweden. He works with both documentary material, in video, installation, and social projects. He is a board member of gallery Box in Gothenburg, Sweden. He will participate at the Bucharest Biennale in the summer of 2010.

İnci Furni
Platform Garanti 4th floor, Studio 4
3:30 p.m.-3:50 p.m.

İnci Furni will present a fanzine titled “I made a new human” designed specially for the open studio day. Furni’s recent works have been shaped under her project “The Control Room and Imaginations”. She says: “Control Room and Imaginations” allows me ask questions such as: What is the meaning of the act of imagining? When do we start to imagine? Why do we need to imagine? What is the source of our imagination? Is it the world that we know? Can we imagine something we have never seen or known? Is imagination itself a language? Or, how does language affect the imagination?”

Inci Furni’s recent exhibitions include “I Don’t Believe in Personal Isolation, I Believe in Building!”, Masa Project, Istanbul (2009) and “Spirit”, Apartment Project, Istanbul (2007). Selected group exhibitions include “Unfair Provocation”, Hafriyat-Karaköy, Istanbul (2009) and “Connect The Dots 2”, Fargfabriken, Stockholm. She is currently participating in the 11th International Biennial.

Sofie van der Linden
Platform Garanti 4th floor, Studio 5
1 p.m.- 6 p.m.

Sofie van der Linden’s works focus on the relation between the city and the people. During the open studio day, she will present her recent project realised in Ghent where she visited residents living in social houses and made sketches of their apartments. After this research period she made a large-scale detailed drawing of all the different flats based on her sketches and on memory.

Sofie van der Linden received a masters in Multimedia from Kask, Ghent, Belgium. Recently she had a one person show in Gallery Gyga in Antwerp, Belgium (2009) and participated in group exhibitions at SMAK, Ghent, Belgium (2009), KUVA, Helsinki, Finland (2007)

Barbara Musil
Platform Garanti 4th floor, Studio 6
4:00 p.m.-4:20 p.m.

Although a variety of techniques and media are involved in the work of Barbara Musil, two areas of focus can be recognized in her work: experimentation in and with public space and a preference for video/video installation based on available raw materials. Both of these spheres of activity are continually intertwined with one another. Realised in a medium suitable for the respective context, the works all have one thing in common: a conceptual approach. For the open studios she will present three ongoing projects.
Barbara Musil lives in Linz and Vienna. She studied human medicine in Graz, then experimental design in Linz. She has undertaken residencies in Cluj, Romania; Vilnius, Lithuania; Tallinn, Estonia; Tenno, Italy and Istanbul, Turkey.

Atılkunst
Platform Garanti 5th floor, Studio 3
4:30 p.m.-4:50 p.m.

Atılkunst will present a new video work titled “Agenda Exercises”. They will also make a sticker intervention on a daily newspaper.

Atılkunst is an artist collective run by three women artists since 2006. The main activity of Atılkunst focuses on current events, and the agendas of the day. They send out one e-mail every week with the subject “Surplus of Agenda”, consisting of one image called “Decal” which is inspired by political topics that have been raised throughout that week.

Soren Thilo Funder
Platform Garanti 5th floor, Studio 4
5:00 p.m.-5:20 p.m.

“Focusing on the literary realm of counter-culture and political-(militant)-activism, Soren Thilo Funder is currently engaged in an investigation of a possible connecting-space between the literary allegory and the political antagonistic action. It is a myth-making, storytelling attempt to fuse critique, subversion and exposure with mythification, dislocation and fictionalization, in order to enable a new potential allegorical space to encounter the “reals” of our contemporary society and propose new possibilities for the future.” Soren Thilo Funder will show one of his videos during the open studio day, and will talk about his current project.

Soren Thilo Funder studied at The Royal Danish Academy of Fine Arts (2002-2008) and The School of Art and Architecture at the University of Illinois at Chicago (2006-2007). He participated in exhibitions in Denmark, Iran, Serbia, Vietnam, USA, Spain. He had a one person show at Beaver Projects, Copenhagen, Denmark in 2009.

5:30 p.m.-6:00 p.m.
Studios open wide!

Artists at Open Studio Day are supported by OCA (Norway), IASPIS (Sweden), DAC (Denmark), FONDS BKVB (The Netherlands), Flemish Government (Belgium), GAI-PARC-D.E.M.O (Italy), European Union grant, Creative Collaboration Grant (British Council, UK) and Platform Garanti.

Comments Off

Performa 09



Performa 09
The third biennial of visual art performance, New York
November 1–22, 2009

Performa 09, the third edition of the internationally acclaimed biennial of new visual art performance, will be held in New York City from November 1–22, 2009, showcasing new work by more than 150 of the world’s most exciting contemporary artists.

Agnieszka Kurant, Ahmet Ögüt, Aida Ruilova, Aldo Tambellini, Alex Waterman, Alexandre Singh, Alicia Framis, Amy Granat, An Architektur, Anat Pick, Anna Halprin, Anne Collod, Arto Lindsay, Aurélien Froment, Ben Coonley, Benedict Drew, Bernd Krauss, Blixa Bargeld, Braco Dimitrijevic, Bradley Eros, Brendan Fowler, Brody Condon, Bruce Nauman, Bruno Jasienski, Candice Breitz, Carlo Zanni, Chamecki-Lerner, Christian Tomaszewski and Joanna Malinowska, Christoph Draeger, City of Tomorrow (Lize Mogel, Jen Kaminsky, and Stephanie Rothenberg), Cyprien Gaillard, Danielle Freakley, Darius Miksys, Deborah Hay, Darren Bader, Destroy All Monsters, Dexter Sinister, Diango Hernandez, Didier Faustino, Discoteca Flaming Star, Dominique Gonzalez-Foerster and Ari Benjamin-Meyer, Einat Amir, Elliott Sharp, Emily Coates, Emily Mast, Emily Sundblad, Emma Hart, Eva and Franco Mattes, Extended Organ, Felicia Ballos, Fischerspooner, Fluxus, Fred Frith, The Future (Matthew Silver and Shoval Zohar), Genesis Breyer P-Orridge, George Kuchar, Glenn Kaino, Guillaume Désanges, Jennifer Allora and Guillermo Calzadilla, Guy Ben-Ner, Guy Benfield, Hair Stylistics, Jad Fair and Lumberob, James Hoff, Jeff Crouse and Aaron Meyers, Jen DeNike, Jennifer Walsche, Joan Jonas, Joan La Barbara,jodi.org, Johanna Went, John Malpede, John Butcher, John Cage, John Duncan, John Zorn, Jonas Mekas, Justin Bond, Kabir Carter, Kalup Linzy, Karin Schneider, Katia Bassanini, Karlheinz Stockhausen, Katie Paterson, Keren Cytter/DIE Now, Khatt Foundation, Lilibeth Cuenca Rasmussen, Loris Gréaud, Luciano Chessa, Lucy Raven, Luis Recoder, Luisa Gui, Carlos Soto, and Christian Wassmann, Lynn Hershman Leeson, Lynne Margulies, Mai Ueda, Maria Hassabi, Marije Vogelzang/Proef, Marina Rosenfeld, Margaret Lee, Markus Miessen and nOffice, Martha Colburn, Martí Guixé, Marysia Lewandowska and Neil Cummings, Matthieu Laurette, Max Neuhaus, Meg Stuart, Michael Aerts, Michel Auder , Michael Smith, Mike Kelley , Mike Patton, Nick Relph, Nikhil Chopra, Nils Bech and Lina Viste Groenil, Noordung, Olaf Breuning, Oliver Herring, Omer Fast, Oswaldo Macia, Paul Elliman, Pauline Oliveros, Pedro, Murial, and Esther (PME), Pierre Bismuth, Professor Eilers, Rabih Mroué, Ragnar Kjartansson and Alterazioni Video, Rancourt/Yatsuk, Rhys Chatham, Robert Lazzarini, Rodney Graham, Ruth Sacks, Ryan McNamara, Ryan Sawyer, Sandra Gibson, Santiago Sierra, Saya Woolfalk, Scott Keightley and Tom O’Neill, Shana Lutker, Shana Moulton, Shannon Plumb, Shelley Hirsch, Snöfrid, Stuart Sherman, Sung Hwan, Kim, Tacita Dean, Tamar Ettun, Tanja Ostojic, Terence Koh, The Bruce High Quality Foundation, Tony Clifton, Tony Conrad, Thurston Moore, Tracey Emin, Trisha Baga, Uqbar Foundation (Mariana Castillo Deball and Irene Kopelman), Vadim Vosters, Wangechi Mutu and Imani Uzuri, William Kentridge, Yemenwed, Yeondoo Jung, Yoko Ono, Yvonne Rainer, z’ev


Comments Off

Migrating Gardens

Migrating GardensOda Projesi (TR) and Nis Rømer (DK)
Møstingshus, Copenhagen, October 2009Migrating Gardens is a collaborative project by Oda Projesi and Nis Rømer reflecting on the relation of micro-scale farming and migration. It is an investiga…

Comments Off

Warsaw under construction


Warsaw under construction

Museum of Modern Art in Warsaw

03.10.2009 – 22.11.2009

The list of artists participating in the project:
Michał Budny
Carlos Bunga
Daniela Brahm
Cyprien Gaillard
David Maljković
Bartosz Mucha
Ahmet Ögüt
Toby Paterson
Katarzyna Przezwańska
Tobias Putrih
Joanna Rajkowska
Ariel Schlesinger
Magdalena Staniszkis/Jan Smaga
Superflex
Armando Andrade Tudela
Uglycute
Aleksandra Wasilkowska
Karol Żurawski

Projekty specjalne/ special projects:
Daniela Brahm
Tomasz Rygalik
Relax Studios

illustrations:
David Maljković, movie still “Images with their own Shadows”, 2008
Tobias Putrih, “4th Gift (Warsaw)”, 2009
Toby Paterson, bez tytułu (wystawa „Ever Growing Never Old”, Modern Institute), 2008

On Oct. 3 the Museum launches its feature project – “Warszawa w budowie” – “Warsaw under construction”, a trailer of a new festival focused on designing. The trigger for this event was the City of Warsaw’s request to have a new design festival. The Museum proposed to debate it’s formula – is bringing beautiful objects into an ugly city worth the effort. Shouldn’t we discuss the quality of the urban space instead? During the forthcoming two months of exbibitions and talks the Museum is looking for answers, how to redesign the public space in Warsaw in order to make it better.

The EXHIBITION presented at the Museum’s temporary HQ and in the neighbouring locations (the pedestrian passage in front of it, the Honorary Tribune on the Defilad Sq. and inside the Palace of Culture) comprises of works by artists, who relate their practice to design and urban planning and who borrow from their languages. They offer no solutions, do not yield to the demand for functionality. Instead, they bring into focus the particularities of Central-European urban space. The key-words to that world are: temporariness, decay, non-durability, anarchy, the validity of urban utopias. Where complex solutions are bound to fail, makeshift replaces designing and becomes an alternative way of satisfying needs. Temporariness, remaining half-way characterizes Warsaw just as other metropolises of the dynamically developing regions – Asia, Middle East or Latin America.

http://www.warszawawbudowie.pl/

http://warszawawbudowie.blox.pl/html

Comments Off

28th Biennial of Graphic Arts Ljubljana



28th Biennial of Graphic Arts, Ljubljana

International Centre of Graphic Arts (MGLC)
1000 Ljubljana / Slovenia
4 September – 25 October 2009

Patrick Ward, Vahram Aghasyan, David Kareyan, Sabine Bitter & Helmut Weber, Klaus Schafler, Tracey Moffatt, Ivan Moudov, Ján Mancuška, Ahmet Ögüt, Jesper Fabricius, Therese Sunngren, Société Réaliste, Space Invader, Igor Eškinja, Ivan Fijolic, Iva Kovac;, Jelena Kovacevic, Ana Lozica, Ines Matijevic, Marko Tadic, Afsoon, Eva & Franco Mattes, Cesare Pietroiusti, Taiyo Kimura, Nana Shiomi, Lee Chul Soo, Bu Hua, Ye Funa, Zhang Minjie, Carlos Motta, Jakup Ferri, Alban Muja, Hungarian Double-tailed Dog, Nada Prlja, Julieta Aranda, Betsabee Romero, Adrian Sauer, Nasan Tur, Maria Alicia Zamora Noguera, Jorgen Craig Lello & Tobias Arnell, Sameera Khan, M-City, Malgorzata Etber Warlikowska, ChtoDelat.org, Nika Autor, Viktor Bernik, BridA, Ksenija Cerce, Vuk Cosic;, Vesna Drnovšek, Samuel Grajfoner, Dejan Habicht, Ištvan Išt Huzjan, Matej Košir, Borut Krajnc, Tanja Lažetic, Nika Oblak & Primož Novak, radioCona, Katja Sudec, Miha Štrukelj, Tomaž Tomažin, Huiqin Wang, Ivan Grubanov, Dejan Kaludjerovic, Jelena Sredanovic, Katarina Zdjelar, Juan Perez Agirregoikoa, Fernando García, La Más Bella, Francesc Ruiz, Ignacio Uriarte, Moises Yagües Fernandez, BAS / Bent, Anita di Bianco, JustSeeds, Nicola López, Swoon

The 28th Biennial of Graphic Arts is a multifaceted event with a long tradition; it consists of a number of exhibitions as well as other happenings. Once again, the Biennial’s central exhibition, The Matrix: An Unstable Reality, on view for two months in Ljubljana galleries, will focus on contemporary graphic art in the broadest sense of the term.
At the invitation of the International Centre of Graphic Arts, which proposed the theme of the main show, this idea was further developed and shaped by Galerija Alkatraz, Galerija Ganes Pratt, Galerija Jakopič, Galerija Kapsula, and Galerija Škuc, which are also serving as venues for the Biennial. Alongside the central exhibition, the 28th Biennial of Graphic Arts includes as well the Artist’s Book Salon, the traditional exhibition for the winner of the Grand Prize from the previous Biennial, and a number of accompanying exhibitions.
Comments Off

“Benim Kentim” Konuk Sanatçı Programı

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.



Comments Off

İstanbul Misafirleri Programı Açık Atölye Günü

27 Haziran ’09 / Cumartesi, 14:00-18:00

Platform Garanti Güncel Sanat Merkezi’nin 2003′den beri devam eden İstanbul Misafirleri Programı (İMP) kapsamında İstanbul’da bulunan sanatçılar atölyelerini ve üzerinde çalıştıkları projeleri ziyaretçilerle paylaşacaklar.

Katherine Hymers:
Platform Garanti 3. kat, Stüdyo no:5
14:00-14:15
Katherine Hymers’ın işlerindeki görüntü kullanımı sinemadaki anlatım alışkanlıklarına şiddetle direnmekte. Açık Atölye Günü’nde Hymers, üzerinde çalıştığı Untitled’ı (Abandon) sunacak. İki ekranlı video sanatçının İstanbul’da çektiği birbirinden bağımsız iki görüntüyü, ortak bir anlatının parçalarıymış gibi bir araya getiriyor. Hareket ya da hareketsizlik, zamanın akışında hissedilir bir gerilim yaratmak için kullanılıyor. İki imaj arasındaki çelişki sergilenirken, aynı zamanda izleyicilerin bu görüntüyü bir bütün içinde algılamaları yüreklendiriliyor.

Can Altay:
Platform Garanti 3. kat, Stüdyo no:4
14:20-14:35
Can Altay, kendisiyle aynı dönem içerisinde Platform’da bulunan Jeremiah Day ile geliştirdikleri ortak proje hakkında konuşacak. Popüler ama bir o kadar da riskli bir sokak yemeği olan midye dolma üzerinden İstanbul’un çeşitli dinamiklerine bir bakış niteliği taşıyan bu çalışmada, ikili, birbirinden bağımsız gözüken anlatı parçalarını biraraya getiriyor. İkili, “Boğaz’ın Böbrekleri” olarak da bilinen midyelerin içlerinden geçen suyu filtrelerken tuttukları kimyasal izlerin yanısıra daha soyut ve kentin sosyal, ekonomik ve siyasi coğrafyalarına dair izler de barındırdığı kanısında.

Frenchmottershead:
Platform Garanti 3. kat, Stüdyo no:3
14:40-14:55
Rebecca French ve Andrew Mottershead kimlik, sosyal gelenekler, günlük kamusal ve özel alan üzerine işler üretiyor. Şimdiye kadar Brezilya, Çin, İngiltere, Finlandiya, Romanya ve Slovenya’da gerçekleştirdikleri “SHOPS -DÜKKANLAR” projesini İstanbul’da sürdürmekteler. Farklı dükkan sahipleri ile görüşerek bu dükkanlar çevresinde örülen iletişim ağlarını, kültürü, günlük yaşam unsurlarını incedikleri fotoğraf projesi 2009 yılı sonunda bir sergi ve yayın olarak tamamlanacak.
http://shopsproject.blogspot.com

Stefanos Tsivopoulos:
Platform Garanti 4. kat, Stüdyo no:1&2
15:00-15:15
“Filmlerim, arşivlerin ve sinemanın, tarihi ve politik olayları araştırmak üzere kullanılması şeklinde tanımlanabilir. Yeni projem “As Others Continue to Fall” (Diğerleri Düşmeye Devam Ederken), miras kalan anıtların topluma yakınlığı sorusunu ortaya atıyor. Anıt (monument) kelimesi, latince ‘monere’ den geliyor, yani ‘uyarmak’, ‘hatırlatmak’ anlamını taşıyor. Bu durumda, etrafımızda gördüğümüz anıtlar bize tarihsel olayları hatırlatmak yerine politik gücün nasıl kötüye kullanabileceği konusunda bizi uyarmak üzere yapıldığında ne olur?”

Hans Rosenström:
Platform Garanti 4. kat, Stüdyo no:3
15:20-15:35
Hans Rosenström, Hasankeyf’te kamerayı Dicle nehrinin akışına bırakarak çektiği videosunu Açık Atölye’de sunuyor. Nehrin doğal akışı kamerayı Hasankeyf’in içinde taşırken görüntüler manzarayı tanımlıyor. Video, doğal ve kültürel oluşumların birbirinin içine geçtiği, uzun zamandır değişim içinde olan bir bölgeyi gösteriyor.

Asli Cavusoglu:
Platform Garanti 4. kat, Stüdyo no:4
15:40-15:55
Aslı Çavuşoğlu, Açık Atölye Günü’ne son işleri ile katılıyor. Dünyayı Nasıl Dolaştım? Sanatçının hazır seyahat turları görüntülerinden yararlanarak yeniden kurguladığı bir video. William Blake okudum, orjinali bir Karadeniz türküsü olan şarkının sözlerinin sanatçı tarafından yazılmış ve kaydı payvon müzisyenleri eşliğinde yapılmış hali. Dünya saati ve Hiçbirşey İstemeyen Adam ise el yapımı iki adet kitap.

Alina Viola Grumiller:
Platform Garanti 4. kat, Stüdyo no:5
16:00-16.15
Alina Viola Grumiller, Açık Atölye Günü’nde City Dialogues (Kent Dialogları) isimli işini gösterecek. Bu iş, sanatçının Viyana, New York ve İstanbul’da çeşitli kişilerle gerçekleştirdiği konuşmaların ses kayıtlarının metinlerinden oluşuyor. Platform’daki dönem içinde yazıya dökülen bu konuşmalar, bir video ya da kitap olarak tamamlanacak. Sanatçı ayrıca The Tree on the Hill ve The Serpentine Road isimli iki resmini de gösterecek.

Emre Hüner:
Platform Garanti 5. kat, Stüdyo no:3
16:20-16:35
“Şu anda özellikle soğuk savaş dönemi Amerikan ve Rus kültürü, edebiyatı ve sineması referanslı yeni işimin araştırma safhasındayım. Bu iş, propoganda filmleri, mimarisi ve bilimiyle ilişkili. Özellikle NASA uzay programları, Walt Disney animasyonları, dünya fuarları, 80′li yılların Hollywood kült bilim kurgu filmlerini inceliyorum. Araştırmam için, bazen işlerimin çıkış noktasını oluşturan internet üzerindeki görsel, kitap, dergi, koleksiyon malzemeleri sitelerini tarıyorum”.

Karolin Fişekçi:
Platform Garanti 5. kat, Stüdyo no:4
16:40-16:55
Sanatçı, Platform’daki çalışma dönemi sırasında yaptığı resimler üzerine bir sunum yapacak.

ha za vu zu:
Platform Garanti 4. kat, Stüdyo no:6
17:30
Sanatçı kollektifi ha za vu zu stüdyolarında bir performans gerçekleştirecekler.

Açık Atölye Günü’ne katılan sanatçılar Arts Council, İngiltere; EU Culture Fund, FONDS BKVB, Hollanda; FRAME, Finlandiya ve Platform Garanti tarafından destekleniyor.

Comments Off

yenisehirmektupculari

yenisehirmektupculari.blogspot.com




















Yenisehirmektupculari
Torre Muntadas, El Prat de Llobregat, 2008

Collective Project with Aylin Kuryel and Bob Pannebakker


Towards the end of the Ottoman Empire a new genre of literature appeared: Şehir Mektupçuları, meaning people writing letters to -or about- the city, City Lettrists. This genre consisted of writings about the city, its habits and characteristics, everyday life in the streets and moralistic behavioural rules to follow. It emerged at the same time as the Europeanization started to be a significant concern in the society and the influence of European culture became a more active cultural dynamic. Şehir Mektupçuları have written about urban life and culture especially in Istanbul, mostly comparing it to their beloved European cities. The general climate of their writings was based on the idea that Istanbul is still in a slow development process whereas European cities have already moved along in the path of modernization. While everything was ordered in European cities, in Istanbul it was very likely that your eye will get hurt by the umbrella of an irresponsible person or your shoes will become muddy while walking on premodern roads at an ordinary rainy day. This genre disappeared in 70’s.

In this international art project, we are collecting signs of urban culture and existing codes in public space, by making thematic photo series of daily life details ranging from street art, wall writings, lost shoes, street poles, nationalist items and icons in public space, empty houses, stickers of bug extermination companies and so on. Next to this, we collect sound fragments from different districts, create alternative visual and auditory city maps, write provocative letters to authorities and make interactive street walks and performances.

The first work of “Yenisehirmektupculari” was an international project between Amsterdam and Istanbul. The experiences of the first project helped to develop the second one with the project support of the Art Centre La Capsa and the Municipality of El Prat and to extend it between El Prat de Llobregat (Barcelona) and Istanbul.

The project consists of four different ways of manipulating and experimenting the cities: The first one includes thematic photographs of daily urban life details to create different portraits of the cities apart from the stereotypical, cliché and touristic ones. These details were exposed as thematic pairs of repetitive phenomena from both cities. Images are either communicating thematically or creating conflicts between them. The second part of the project is to capture the most typical sounds of the cities to create a video composed of still images. In the interactive part of the exhibition, the audience can send postcards designed by the group to the randomly selected citizens. And last, “Yenisehirmektupculari” does interventions placing the most conspicuous images from one city to another in order to achive the “Istanbulization” of “El Prat and El Pratization of Istanbul or Istanbulization of Amsterdam and Amsterdamization of Istanbul.













































postcard example from el prat de llobregat



















El Pratization of Istanbul

Would it be possible in Istanbul to use the languages of minorities in every ambit? “We want to see the movies in our language” in Kurdish.



Istanbulization of El Prat

Imagine that from every corner fascist slogans are calling you to be a perfect citizen: How content for someone who says I am Catalan .

Comments Off

flaneur

Flaneur

Aksanat, Istanbul

Flaneur is a three-dimensional game in which the possibilities of every day life in Istanbul can be followed step by step. This game is an adaptation of board games played with dice to an urban concept. It follows the path that a city dweller might have to take from early in the morning until late at night and takes him/her through all the surprises, tedious direct interactions, and the monotony of the city, as well as peculiar situations that a person might have to deal with.

Comments Off

CV

ZEYNO PEKÜNLÜ


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, Barcelona
2009 “Doublethink”, Loop 2009, Barcelona
2009 “This is not a Medical Center”, Carlos Garaicoa Open Studio 3.0, Madrid
2008 “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, Barcelona
2008 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

Comments Off

BM-SUMA 2008-12-23 20:10:00

ONCE UPON A TIME…PABLO MARTINEZ MUNIZPOHOTOGRAPHY EXHIBITION AT BM CAC8 JANUARY-7 FEBRUARY 2009COUPLED DILEMMASBM SUMA CONTEMPORARY ART CENTER is organizing the third exhibition on images of Istanbul with the photography of the Spanish artist Pablo M…

Comments Off

Els Vanden Meersch: Exchanging Icons

Wednesday, December 17, 18:30
Book Launch, 2007 Residency Artist
Els Vanden Meersch: Exchanging Icons
Garanti Galeri

Exchanging icons / Occasionally dressing-up
Double-sided photo-poster, 2008.

‘Occasionally dressing-up’ makes a connection between different cities. The city of temporary residence, Istanbul, and the city of permanent residence, Antwerp (and other Belgium cities), become interwoven by means of subjective associations.

Experiencing memory as a generating force, one place is involved with the other through similarities and differences. Continuously searching for possible links in the mental act of adjustment, apparent different locations imply and reflect one another. This mental process of connecting allows the possibility of exchanging and mixing local icons in a mutual narrative.
These cities are experienced as both obsessively changeable and invariable. Observed public space and monumentalized buildings are part of everyday flow, hardly noticed by a preoccupied citizen but obvious for a visitor.

Buildings play their role as stone protagonists of a cityscape, both containing elements for cultural or national identity and serving as facades to increase the cities international appeal.
‘Occasionally dressing-up’ can be seen as and other Belgium cities a temporary fashion show.

Comments Off

BRÜKSEL’DE ISTANBUL SANAT MERKEZİ

ISTANBUL DIPTYCHS
Ahmet Elhan, Neriman Polat, Gül Ilgaz, Maurizio Pellegrin, Nataliya Lyakh, Başir Barlakov, Şakir Gökçebağ, Sencer Vardarman, Sıtkı Kösemen, Xurban-collective, Ali Taptık ve Ergin Çavuşoğlu

CURATED BY BERAL MADRA
ORGANIZED BY BM SUMA CONTEMPORARY ART CENTER
Istanbul Center in Brussels is presenting an exhibition introducing contemporary artists from Istanbul with their paintings, drawings, photography, video and installations. The works mainly deal with architectonic or urban cityscapes, daily life topics, traditions and modernities and global pursuits.

Why focus on Istanbul in these exhibitions?

First, since almost two decades Istanbul has evolved into a vital site of contemporary art exhibitions. While in economy and politics the city fulfils its function as a command point of global marketplace and a production site for information economy, the culture and art accordingly unfolds its new forms and dimensions.

Secondly, the city concentrates on diversity even though the globalisation process has introduced a strong unifying corporate and commodity culture, which is fairly dominant in the centers and the periphery of the vast city. The diversity emanates from the continuous immigrations from all directions, from Anatolia in the past, from Eastern and Southern neighbours in the present. An undercurrent amalgam of cultures is making up a redundancy and multiplicity of traditional and modern cultures and identities.

Thirdly, in the heterogeneous contemporary art productions since the beginning of the 90’s, the city appears as an integral part of the micro and macro narratives, representations, simulations and metaphors. In the paintings, photographs, videos and installations of a large number of artists we can trace, recognise and perceive Istanbul as the reason of the work, while not directly the theme or the subject.

Istanbul is one of the most enticing cities of this world; and this has been elaborately expressed in many ways through different art forms, when art was about the Beautiful and the Sublime. We know that, after the erosion of traditional and modern worldviews and values things are different now; artists do not produce simple beautiful, sublime works. Yet, the culture maintains its function as being a part of social life and the critical conscious of the society, and artists face the situation in which patterns for orientation and action of the past no longer work. They have to find new options and actions to provide answers.

Yet, these answers are most of the time private, subjective, hermetic and closed to direct access. The works of the artists provide visual tools of perception and reflection and open our minds to the diversity of thinking and creativity.

The exhibition presents ten individual artistic positions of visual interpretations on Istanbul together with their distinctive selections of literary texts and poems of renowned writers and poets from Turkey.
The ever popular form of diptych, that displays two images attached to each other is being used here as a representation of verbal and visual culture with the claim that there is an ongoing spirited competition between the verbal and visual culture, regardless of the occupation of electronic visual information.
This ancient tool of representation has its modern and post-modern examples in today’s art, mostly related to the dichotomy of socio-political state of affairs or philosophical and theoretical debates and criticisms. Within the post-modern production the form of diptych served as an instrument of influencing the viewer’s attention and perception towards a more elaborate interpretation and comparison of his/her position in relation to the presented image. The division of the image clearly calls for a division of thinking. In today’s culture of visual knowledge we are still tied up to two kinds of knowledge as described in the prophetic book Orientalism of Edward Said. He indicates the distinction between knowledge “that is the result of understanding, compassion, careful study and analysis” and “knowledge that is part of an overall campaign of self-affirmation”.

bm
Comments Off

Neighbours in Dialogue: Istanbul Collection for Ars Aevi

Exhibition /// PRESS RELEASENeighbours in DialogueIstanbul Collection for Ars AeviARTISTIC DIRECTOR: Beral Madra (Istanbul)ARTISTS: Steve Sabella (Jerusalem); Wafaa Yasin (Galilee); Sanan Aleskerov (Baku); Lamia Joreige (Beirut); Vahram Aghasyan (Ereva…

Comments Off

The National

Bridge over troubled water
Last Updated: October 02. 2008 2:57PM UAE / October 2. 2008 10:57AM GMT
Detail from Cindy Sherman’s Untitled FIlm Still #17, currently on display at Istanbul Modern’s Held Together With Water. Courtesy Cindy Sherman / Metro Pictures
As Istanbul Modern prepares to turn four, a new show finds it coming into its own. Kaelen Wilson-Goldie reports.
A city of 15 million people splayed over the joint between Europe and Asia, Istanbul boasts a thriving art scene replete with commercial galleries, public institutions, private museums, studios, residency programs, project spaces and a handful of serious art stars such as Kutlug Ataman and Haluk Akakçe. The international art world has deigned to recognise the city since 1987, when the Istanbul Biennial was born. Nonetheless and however absurd, Istanbul is still regarded as peripheral to the art world’s centres in Europe and North America. Among artists and curators, anxieties over occidental versus oriental influence persist. The exhibition Held Together with Water, on view at the Istanbul Museum of Modern Art until January 11, features two videos that confront these anxieties head on.
The first piece is Nil Yalter’s 1974 video La Femme sans tete ou la danse du Ventre (The Headless Woman or the Belly Dance). A groundbreaking work by a Turkish artist who was born in Cairo and has been based in Paris since the 1960s (a columnist for Turkey’s Today’s Zaman newspaper recently likened her art to a national treasure fit for the official archives), the piece frames the artist’s bare midriff as she uses a felt-tip pen to write passages from a text on eroticism in winding circles around her navel. When her skin is all but covered in ink, she begins to dance, oriental style, cleverly collapsing a set of competing clichés about the drive for women’s sexual liberation (in the West) and the desire for old-school exotic seduction (in the East).
The second piece is Sener Özmen and Cengiz Tekin’s uproarious 2004 video The Meeting or Bonjour Monsieur Courbet. Deliciously irreverent, the work presents three men who meet in a wasted rural landscape, insult one another and, in a final crescendo, exchange blows over ludicrous claims about realism, revolutionaries and the bourgeoisie. While Yalter’s piece skewers the feminine mystique, Özmen and Tekin’s playfully ridicules masculinity. Yet both works strike an important chord that situates the exhibition in a specific place and time.
Detail from Francesca Woodman’s Untitled (Providence, Rhode Island, 1975-1976/1997-2000). Courtesy George and Betty Woodman
Istanbul Modern, as the museum is widely known, turns four in December. It opened its doors to much fanfare in late 2004, when its inauguration was politically fast-tracked to coincide with the announcement that summit talks would soon take place on Turkey’s European Union membership bid. (Recip Tayyip Erdogan, the country’s prime minister, addressed the press amid the white walls of the newly minted museum.) Istanbul Modern is in many ways regarded today as a showcase for Turkey’s European ambitions, though it is notably not a state institution.
Many of Istanbul’s museums and art spaces are private initiatives backed by major banks – such as the Platform Garanti Contemporary Art Center and the Yapi Kredi Kazim Taskent Sanat Galerisi. Others are financed by corporations, holding companies or the estates of business tycoons – such as the Pera Museum (funded by the Koç family) and the Sakip Sabanci Museum (which organised Picasso in Istanbul, a 2005 exhibition billed as the first of its kind for a western artist in Turkey, and is currently hosting a blockbuster show on Salvador Dalí).
Istanbul Modern is inextricably linked to the Eczacibasi family, industrialists and cultural philanthropists who in 1973 established the Istanbul Foundational for Culture and Arts. In addition to Istanbul Modern, the foundation oversees the Istanbul Biennial, several jazz, film and theatre festivals and a series of smaller, more intimate cultural events. The Eczacibasi family prised Istanbul Modern’s venue from the state – a boxy, 8,000 square metre space in a former customs warehouse that edges the bustling Bosporus. But it financed thebuilding’s $5 million (Dh18.3m) renovation alone.
Though Istanbul’s relationship to other cities in the Middle East is far from straightforward, the museum is an interesting case study for arts initiatives emerging elsewhere in the region. The current exhibition – which is bolstered by an enjoyable if fairly lightweight photography show (Human Conditions, featuring the Turkish artists Sitki Kösemen, Süreyya Yilmaz Dernek and Ergün Turan), a weightier video program (The City Rises, pairing the Turkish video artists Ali Kazma and Fikret Atay with vintage works by the Polish artist Zbig Rybczynski) and a film series dedicated to Tilda Swinton – is an opportunity to assess its achievements.
Held Together with Water features 116 works by 39 artists and retrieves much of its material from the vault that was 1970s feminism. There are examples of body art, performance art, video art and a slew of gender-bending experiments in which women photograph themselves as men and vice versa. There are rarely-shown works by well-known artists such as Cindy Sherman, Valie Export, Suzy Lake and Eleanor Antin alongside masterpieces by less-known artists such as Birgit Jürgenssen and Francesca Woodman.
Held Together with Water offers a glimpse of Cindy Sherman’s early efforts, such as the 16-milometer silent film Doll Clothes and several photographic series made before the artist’s landmark Untitled Film Stills. It sets feminist art in context rather than considering it in isolation. Named for a floor sculpture by Lawrence Weiner that is skillfully installed at the entrance to the show, Held Together with Water balances a certain intellectual austerity (Bernd and Hilla Becher, Gordon Matta-Clark, Fred Sandback) with a lightness of touch (a nine-channel video of Francis Alÿs tumbling over a stray dog in Mexico City) and subversive street cred (Nan Goldin’s gritty imagery, David Wojnarowicz’s Arthur Rimbaud in New York series).
The exhibition ponders the ways in which feminists, conceptualists and urban interventionists all broke with traditional methods of art-making such as painting and sculpting. It considers how these cracks and fractures extend from the 1970s to the present day. And it explores the critical turns that photography in particular has taken over nearly four decades.
Still, it is worth noting that Held Together with Water is as much a corporate merger as an artistic enterprise. All of the works in the show come from a collection that was established by Austria’s leading electricity company, Verbund, in 2004 (Philipp Kaiser of the Museum of Contemporary Art in Los Angeles and Marc-Olivier Wahler from Paris’ Palais de Tokyo sit on the Verbund collection’s board of advisors). Last year, Verbund entered into a joint venture with Turkey’s Sabanci Holding, and each company now holds a 50 per cent stake in EnerjiSA, which aims to acquire a ten per cent share in the Turkish electricity sector and hopes to be a player in a privatization process. So Held Together with Water, which represents the first public presentation of the Verbund collection outside of Austria, may be most cynically viewed as a signing bonus. This could be seen as cause for lamentation over the insidious intermingling of commerce and culture, but the collection is too strong for that. More generously, the exhibition might be a model for private sector involvement in the arts.
Levent Çalikoglu, Istanbul Modern’s chief curator, writes rather passionately in the exhibition catalogue about how Held Together with Water epitomises the museum’s mission, which is to promote Turkish modern art, introduce Turkey to contemporary international art and forge meaningful links between the two. Istanbul Modern’s previous exhibitions, eclectic to say the least, haven’t always been so effective. But it seems that the museum is somehow, somewhat, on the right track.
Recent changes in the creative and administrative staff, however, raise a few red flags. When Istanbul Modern first opened, Rosa Martinez was the museum’s chief curator. She organised 16 exhibitions in three years. A Spanish curator with considerable art world clout – she has organised countless high-profile biennials from Sao Paulo to Venice – Martinez has been heavily involved in Istanbul’s contemporary art scene since the late 1990s. In 2007, David Elliott, a British curator who held previous posts at Modern Art Oxford and the Mori Art Museum in Tokyo – joined her as Istanbul Modern’s new director. In interviews, he outlined a vision for the museum over a three-year tenure. But by the end of last year, both Martinez and Elliott were gone. Elliott reportedly resigned over a dispute with Oya Eczacibasi regarding the permanent collection (Oya Eczacibasi chairs Istanbul Modern’s board of directors, and a substantial portion of the museum’s permanent collection was donated, of course, by the Eczacibasi family). Now Elliott is on deck to curate the next Sydney Biennale. Istanbul Modern, meanwhile, has no director.
Comments Off

Ali Kazma



Ali Kazma,
sunum&söyleşi presentation&talk
12 Nisan Cumartesi On Saturday 12 April
14:00 at 2:00 p.m

5533
IMC 5. Blok
no:5533
Unkapani / Istanbul

ALI KAZMA
“dexterity of mind/hand/eye
creates highly refined finished products”
.

Born in 1971 in Istanbul, Ali Kazma graduated from Robert College in 1989. In 1993, he completed his undergraduate studies in the United States. After briefly studying photography in London, in 1995 he returned to the United States to study film. He received his MA from the The New School in New York City where he worked between 1995 and 1998 as a teaching assistant. In 2000 he returned to Istanbul, opened a film production company, and between 2001 and 2003 taught part time at Bilgi University. After settling in Istanbul, he has produced not only art films, but also commercial products and a full-length documentary. Among others, he has exhibited his work in 7th International Istanbul Biennial (2001), Tokyo Opera City (2001), Platform Garanti Center for Contemporary Art (Istanbul, 2003), Cetinje Biennial (2004), Istanbul Modern (2004), 2nd Istanbul Pedestrian Exhibition (2005), 9th Havana Biennial (Cuba, 2006), San Francisco Art Institute (2006), 10th International Istanbul Biennial (2007), and has opened a solo exhibition at the Francesca Minini Via Massimiano (Italy, 2008). Presently, three of his videos are being shown on Istiklal Caddesi, Beyoglu, in a group show, “Oditoryumda Sanat” sponsored by the Vehbi Koc Foundation.

During the 10th International Istanbul Biennial, Kazma presented an installation consisting of four videos, Ceramist Studio (2007), Clock Master (2006), Brain Surgeon (2006), and Slaughterhouse (2007), projected simultaneously side by side in the bottom floor of IMC. Unlike most of the other video work shown in IMC as a part of the “World Factory”, Kazma’s videos were optimistic. In contrast to many of the other films shown, he did not choose work places using informal labor. He did not show exploitation or poor working conditions.
At the “Oditoryumda Sanat” exhibition he is exhibiting again Brain Surgeon (2006) and Slaughterhouse (2007) while showing Jean Factory (2008) for the first time in Istanbul. Jean Factory emphasizes the detail and craftsmanship used to produce the seemingly simple jean hanging in shops around the world. Every crease, every wrinkle, every gradation of color is highly thought out and calculated. In his seemingly obsessive exploration of contemporary human production and activity, he also made Rolling Mills (2007), showing a steel factory and Household Goods Factory (2008), a film about a factory in Italy owned by Alessi . This series of films cannot be seen as documentary and socioeconomic issues surface only indirectly. The films consist of a series of close-ups, fragments, and glances at sophisticated use of skills. While highly sophisticated technology is present, the skilled hand is still important. In his videos, the gruesome becomes beautiful and the mundane becomes complicated. While viewing highly skilled workers in different contemporary environments, we are reminded of the subtle aesthetic and technical skills required to produce a contemporary high quality work of art. All require dexterity of mind/hand/eye, and ability for cutting/sewing/reshaping, to make a highly refined finished product, a masterpiece. All the places and activities chosen share almost allusive similarities even though they are totally unique.
Marcus Graf, Volkan Aslan, and Nancy Atakan are pleased to have Ali Kazma as a guest on April 12 at 2:00 p.m. at 5533. We find it significant for him to return to IMC and make a presentation about his artistic viewpoint, discuss his artistic practice, and explain the direction his most recent work is taking.

Nancy Atakan
April, 2008

Ali Kazma
5533 te Sunum
‘Zihin, göz ve el becerisiyle
yaratılan sofistike üretim’

1971 İstanbul doğumlu Ali Kazma, 1989 yılında Robert Lisesi’nden mezun oldu. 1993 yılında ABD’de lisans eğitimini tamamladı. Londra’da kısa bir süre fotoğraf eğitim aldıktan sonra 1995 yılında tekrar ABD’ye film eğitimi almak için döndü. 1995-1998 yılları arasında New York’ta The New School’da master programıyla eş zamanlı öğretim elemanı olarak görev yaptı. 2000 Yılında İstanbul’a dönerek film yapım şirketini kurdu. 2001-2003 yılları arasında misafir öğretim görevlisi olarak Bilgi Üniversitesi’nde ders verdi. İstanbul’a yerleştikten sonra sanatsal filmlerinin yanı sıra kendi kurduğu yapım şirketinde belgeseller ve reklam filmleri çekti. 7. Uluslar arası İstanbul Bienali (2001), Tokyo Opera Şehir (2001) Platform Garanti Çağdaş Sanat Merkezi (2003), Cetinje Bienali (2004), İstanbul Modern (2004), 2. İstanbul Yaya Sergileri (2005), 90. Havana Bienali (2006), San Francisco Sanat Enstitüsü (2006), 10. İstanbul Bienali (2007) ve kişisel sergi Francesca Mimini Via Massimiano İtalya (2008) Ali Kazma’nın katıldığı sergilerden bazıları. Bu ay içerisinde İstanbul’da Vehbi Koç Vakfı’nın desteklediği “Oditoryumda Sanat” başlıklı projede üç çalışması gösterilmektedir.

10.Uluslararası İstanbul Bienali’e Ali Kazma İMÇ’de Seramik Atölyesi (2007), Saat Tamircisi (2006), Beyin Cerrahı (2006) ve Mezbaha (2007) isimli dört video yerleştirmesi ile katılmıştır. “Oditoryumda Sanat” başlıklı sergiye ise Beyin Cerrahı, BlueJean Fabrikası (2008) ve Mezbaha ile katılmıştır. Ali Kazma videolarında çağdaş insanın üretim ve aktivitelerini tutkulu bir şekilde ve derinlemesine araştırır. Bu araştırma serisi bir belgesel değildir. Toplumsal ve ekonomik konuları dolaylı bir şekilde ele alır. 10. İstanbul Bienali sırasında İMÇ’ de “Dünya Fabrikası” başlığı altında sunulan çoğu eserin tersine, Ali Kazma’nın video eserleri iyimser olup, sunduğu dört film kötü çalışma koşulları ve sömürü ile ilişkili değildir.

Filmlerinde yakın çekimler, parçalanmış sahneler, ani geçişler ve sofistike beceriler görülür. İleri teknolojinin imkanları ve el becerisi Ali Kazma filmlerinde yan yanadır. İtici, iğrenç ve korkunç sahneleri güzelleştirdiği gibi basit olanın da çok karmaşık olduğunu gösterir. Ali Kazma’nın filmlerinde insan, el becerisi ve teknolojinin yardımıyla güzel bir ürün yaratırken eş zamanlı olarak sanatçı da aynı yöntemle sofistike filmlerini ortaya çıkarır. Hem sanatçı hem de filmlerinde bulunan figurler zihin, göz ve el becerilerini kullanarak keser, birleştirir ve bitirir. Sonuç olarak her ikisi de ortaya bir eser çıkartır. Filmlerde seçilen mekan ve eylemler eşsiz olmalarına rağmen derin bir benzerlik ve birlikteliği içerirler.

5533 adına sanat mekaninda, Marcus Graf, Volkan Aslan ve Nancy Atakan, 12 Nisan Cumartesi saat 14:00’te sanatçı Ali Kazma’yı ağırlamaktan mutluluk duyar. 10. İstanbul Bienali sırasında da İMÇ’de bulunan Ali Kazma’nın bu mekana geri dönerek yeni projelerinden bahsedecek ve video sunumu yapacak olmasını 5533 olarak anlamlı buluyoruz.

Nancy Atakan
Nisan, 2008

Comments Off

pluversum 2006-12-09 20:05:00

Forum European Cultural Exchanges Discussion panel: Borderlines25/11/2006,Hellenic American Union (theater)Part A: Theoretical frameworkZiauddin Sardar: “The irrelevance of Borders”Pier Luigi TazziPart B: ProjectsLouisa Avgita, introductionBeral M…

Comments Off