tag:blogger.com,1999:blog-4652614009410654202024-02-07T18:58:40.250-08:00MASAVahidhttp://www.blogger.com/profile/13131587098909695702noreply@blogger.comBlogger28125tag:blogger.com,1999:blog-465261400941065420.post-67059713980349317372012-11-23T02:59:00.002-08:002012-11-23T02:59:50.129-08:00Mehmet Dere "First Blood" 23 November 2012 at Oficce<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25hx1IqFwZl38iwmwQ9oL9ClVu1KuAozHACON4dfL9uCzmtvVlQcY5-ND6NYaTs3NIbDswr1FJcPTpmP_8t0KxrTWvJ1R9qf5yMjLsbW0a0EGOF0Ikt2FYarV7D8MHP7yqazyjA0_iE4/s1600/Masa-Mehmet-Dere-Davet.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25hx1IqFwZl38iwmwQ9oL9ClVu1KuAozHACON4dfL9uCzmtvVlQcY5-ND6NYaTs3NIbDswr1FJcPTpmP_8t0KxrTWvJ1R9qf5yMjLsbW0a0EGOF0Ikt2FYarV7D8MHP7yqazyjA0_iE4/s320/Masa-Mehmet-Dere-Davet.gif" width="225" /></a></div>
<br />Vahidhttp://www.blogger.com/profile/13131587098909695702noreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-4073740349904747662011-05-12T04:56:00.000-07:002011-05-13T13:40:49.589-07:00Yasemin Nur Toksoy, Holy Crap, 11-25 February 2011, Atatürk KitaplığıHOLY CRAP<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgebqjdITS5tIZjZHDToszPY6f9tYg0T8KnyyfupcwNyfafuNuVlKypxYJ1bvCr8smDFEfMYVlmitpv2c22KBXaI4tK0fygrkhdetKKfAy6-qGIf4g1BXark_HO9aWID-jfxTL2U1mAFqXj/s1600/arkadanmasada-1.JPG" imageanchor="1" style=""><img border="0" height="400" width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgebqjdITS5tIZjZHDToszPY6f9tYg0T8KnyyfupcwNyfafuNuVlKypxYJ1bvCr8smDFEfMYVlmitpv2c22KBXaI4tK0fygrkhdetKKfAy6-qGIf4g1BXark_HO9aWID-jfxTL2U1mAFqXj/s400/arkadanmasada-1.JPG" /></a></div><br />
He died just after this photograph was taken.<br />
<br />
He died after this photography has been taken for newspaper clipping. The time of death is just after the photo shoot. This photo is shortly before the death. He died a day before -we got the newspaper- just after the photograph was taken. Newspaper clipping starts from this point goes back before the death. It registers the incident, enters the headlines and reports the event from that point –the time that the photo was taken- backwards bypassing the death.<br />
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This newspaper clipping is the document of that incident. It is about being there at that moment. When we see it the scene and the date are already changed. In this scrap book, called “Holy Crap”, newspaper clippings are cut out and picked from their places, newspapers, dates. As parts and evidences of witnessed affairs they are holy scraps.Vahidhttp://www.blogger.com/profile/13131587098909695702noreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-48055227804258288162009-12-26T13:56:00.000-08:002009-12-27T05:27:57.953-08:00Cevdet Erek “Ankara Modern, Sketches for a set of nesting tables and rhythms”<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2qBZ1YFl_sGuRSQ736rdNjAH506Gnj9NsqlyrbuM2_xfrrKXZG0fR7XLyJ9NhL5o35b_MJUhP8nd45X_gAvpTUY5dx-yMSJo0DONqC6VM_IK9mmFasBqPLMbsTvL-Uqd53KDNY1FFnE4U/s1600-h/mamams.jpg"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2qBZ1YFl_sGuRSQ736rdNjAH506Gnj9NsqlyrbuM2_xfrrKXZG0fR7XLyJ9NhL5o35b_MJUhP8nd45X_gAvpTUY5dx-yMSJo0DONqC6VM_IK9mmFasBqPLMbsTvL-Uqd53KDNY1FFnE4U/s320/mamams.jpg" alt="" id="BLOGGER_PHOTO_ID_5419667193189820210" border="0" /></a><br /><span><br />Cevdet Erek uses Masa’s structure to create a set of other “masa”s which could be used as additional exhibiting platforms while the idea of "zigon"s is adapted to the very typical dance beat from Ankara. All sketches of a possible production of the idea are being shown in Masa.<br /><br />Cevdet Erek was born 1974 in Istanbul. He studied on Sound Engineering and Design and architect at MSU and ITU. He lives and works in Istanbul </span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-86335690808330597112009-11-13T22:57:00.000-08:002009-11-26T02:27:18.154-08:00Soren Thilo Funder “SURVIVALISM” @ Beyoglu Pera Sineması<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi6CbWchrkphrUB8Y4w7Znyvo51JR9nYcB6J3R3fyHBIxpdvuxc4kgA5uxx2dph5tBcMJzrRFN5hvlFep8RiDJqQbwoWM7J-P_D3en9R9ApexIfHneHWyUeOdwD8CJKxmAcXaTnp3gVd6K/s1600-h/3.jpg"><img style="cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi6CbWchrkphrUB8Y4w7Znyvo51JR9nYcB6J3R3fyHBIxpdvuxc4kgA5uxx2dph5tBcMJzrRFN5hvlFep8RiDJqQbwoWM7J-P_D3en9R9ApexIfHneHWyUeOdwD8CJKxmAcXaTnp3gVd6K/s320/3.jpg" alt="" id="BLOGGER_PHOTO_ID_5403850177292988946" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrJXdzUNbUA3QzefyPTzWvJSF1orQdtHFlrcECVnjffilgAmKpbhlwM2B_YEnOwkZNNy3jB2pDUlWwFw77fJgyGu5wj1v0QDYgWtSWLFdpoPVI6HgCv4cxNtq2kgYtV1d0JvEyUHT0Hyu/s1600-h/1.jpg"><img style="cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrJXdzUNbUA3QzefyPTzWvJSF1orQdtHFlrcECVnjffilgAmKpbhlwM2B_YEnOwkZNNy3jB2pDUlWwFw77fJgyGu5wj1v0QDYgWtSWLFdpoPVI6HgCv4cxNtq2kgYtV1d0JvEyUHT0Hyu/s320/1.jpg" alt="" id="BLOGGER_PHOTO_ID_5403850091194014978" border="0" /></a><br /><br />06, 10 – 20, 10 2009<br /><br />Funder, designates Survivalism as a notion that needs to be considered for the contemporary, historical and social conditions. He traces Survivalism in the thought of disaster visible in many ways such as the discourse of the end of the world, terrorism, climate change and the global financial crisis.<br /><br />In his work that he re-arranged for MASA, the artist tries to monumentalize the everyday survival practices, individual and institutional strategies. From the artists to environmentalists, activists to politicians, and business executives he wants to draw attention to the adaptation and survival strategies of different social and economic positions.<br /><br />Soren Thilo Funder was born in Copenhagen (Denmark), 1979. He studied on fine arts, cinema and architecture in Chicago (USA) and Copenhagen. His works were displayed on solo exhibitions such as “Friedlos (aka The Bandit Wolf-Man)” - Beaver Projects, Copenhagen, Denmark (2009), “We Control The Streets” - Public Art Project for The Danish Arts Foundation, DK (2009) and exhibitions “Land Grab” - ApexArt, New York, USA (2007), “Hard Revolution” - Potzdamer Platz, Berlin, Germany (2006). Besides the art spaces the artist also performed many projects peculiar to the semi-public spaces such as bookstores or shopping malls. Other works of Soren Thilo Funder can be seen on www.sorenthilofunder.comUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-39957520053245146662009-10-09T05:01:00.000-07:002009-10-09T05:04:10.921-07:00Jakup Ferri “Five clouds and A Glass of Sun” @ garajistanbul<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM7CrdOlgnLUPrqCqO3A8bcN0A4uRcjMF8h5RNkcJyBCVd3qGBZYH0yAkJz27HTFHyYK0PiwpntOjmFFfNcwrZ_R9LT-L_8LtWE8dhKa3hVOEyROA7JjS6QSedSo7zPwLDaYnoGoJ37JnP/s1600-h/en.jpg"><img style="cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM7CrdOlgnLUPrqCqO3A8bcN0A4uRcjMF8h5RNkcJyBCVd3qGBZYH0yAkJz27HTFHyYK0PiwpntOjmFFfNcwrZ_R9LT-L_8LtWE8dhKa3hVOEyROA7JjS6QSedSo7zPwLDaYnoGoJ37JnP/s320/en.jpg" alt="" id="BLOGGER_PHOTO_ID_5390569607014660722" border="0" /></a><br /><br />06, 10 – 20, 10 2009<br /><br />Jakup Ferri has been producing drawings along with his videos for a while, and he has been searching for ways to present them using "traditional" and contemporary methods. At first, it can easily be said that the people, animals and objects in his compositions were taken on with a naive approach. However, when we look at them as a whole and see that the characters of the objects we encounter have changed, the word naive seems inadequate. In Ferri's drawings, wars, grand narratives, imagining of future linked to his personal experience intertwine in a frightening way.<br /><br />More about artist’s works here http://jakupferri.blogspot.com/<br /><br />Jakup Ferri was born in 1981 in Prishtina, Kosova. His work has been shown widely in group exhibitions such as 28. Grafik Bienali (Ljubljana, Slovenya) 9. İstanbul Bienali ve In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel (Germany)<br /><br />Jakup Ferri lives and works in Amsterdam.<br /><span style="font-size: 13pt; font-family: "Trebuchet MS"; color: black;" lang="EN-US"><b><!--[endif]--><o:p></o:p></b></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-81666206333157935582009-09-22T03:24:00.000-07:002009-09-22T06:56:03.027-07:00Ahmet Öğüt “203 Mehmet YILDIZs” @ Pandora Bookstore<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBM4Dtqosvi4BzHlKcyxQDHSQH__DNUtxJBMOyyFaN538xSwdKzm28gZr6vd7KDMz1EjmL2O7xA623IxW915b8An3UR2lJ-JCzCavdHgyKW9Ctyw2cGad_nT-VGVwc3hEZMBaI5P5jPVxj/s1600-h/mehmetyildiz2.jpg"><img style="cursor: pointer; width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBM4Dtqosvi4BzHlKcyxQDHSQH__DNUtxJBMOyyFaN538xSwdKzm28gZr6vd7KDMz1EjmL2O7xA623IxW915b8An3UR2lJ-JCzCavdHgyKW9Ctyw2cGad_nT-VGVwc3hEZMBaI5P5jPVxj/s320/mehmetyildiz2.jpg" alt="" id="BLOGGER_PHOTO_ID_5384235885988028082" border="0" /></a><br /><br />22, 09 – 30, 09 2009<br /><br />Öğüt grounds his work on the fact that there are 203 licensed football players named “Mehmet Yıldız” registered in Turkish Football Federation. Setting out from this information, the artist forms an imaginative team consisting of 203 different Mehmet Yıldız's. In his MASA exhibition, Öğüt is going to exhibit the voice record of the match between the two imaginary teams: “All Stars Team” and “All Stars Collective”<br /><br />With “203 Mehmet YILDIZs”, Öğüt discusses cultural sociological identities, as well as the notions of “uniformity” and “difference” through a different form of relation. With his work, the artist aims at making people ask the same question: “Could the common names, surnames and habits in a society be the sign of social imaginaries as well?”<br /><br />Ahmet Ögüt was born in 1981 in Diyarbakır. His work has been shown widely in group exhibitions such as 53rd Venice Biennial The Pavilion of Turkey, The Generational/New Museum, 7th SITE Santa Fe Biennial, 5th Berlin Biennial, 9th Istanbul Biennial, Be[com]ing Dutch/Van Abbemuseum, Stalking with Stories/Apexart; and in solo shows at Centre d'Art Santa Mònica, Küntlerhaus Bremen and Kunsthalle Basel.<br /><br />Ahmet Ögüt lives and works in AmsterdamUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-77142075532410070332009-09-04T08:03:00.000-07:002009-09-17T06:25:10.528-07:00Pilvi Takala “Real Snow White" @ Antijen Tasarım<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDFjHVeIuPGCfgQ_vjSkXvCyPTeC5kidFs_1r3-XMojjsAxNOl59bRWgU0GBHv37NhKBgx5kPiGEkMHRmvoe7AK9WN6oKt8dGCgTLhciFwrsPHO85MGLQvGlrsiLJjJtZDf4xOtEnzsTf/s1600-h/Pilvi+Takala_Hakiki+Pamuk+Prenses_Masa.jpg"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDFjHVeIuPGCfgQ_vjSkXvCyPTeC5kidFs_1r3-XMojjsAxNOl59bRWgU0GBHv37NhKBgx5kPiGEkMHRmvoe7AK9WN6oKt8dGCgTLhciFwrsPHO85MGLQvGlrsiLJjJtZDf4xOtEnzsTf/s320/Pilvi+Takala_Hakiki+Pamuk+Prenses_Masa.jpg" alt="" id="BLOGGER_PHOTO_ID_5380520478771609090" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-CenVNZ8pBXR-inRBcNp__C7iIMn-VM8mEhWy3YCsqTXqiDZ3_Q5ztIOpSHywiumiJcu4AwlHKjnkNY2Leozzwm7qjiHtXPGXdA7N2oxuuG7XnWyDiaQFVGOjAzMXq_Xb_7blt6lXBbFu/s1600-h/real+snow+white+still+7.jpg"><img style="cursor: pointer; width: 320px; height: 190px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-CenVNZ8pBXR-inRBcNp__C7iIMn-VM8mEhWy3YCsqTXqiDZ3_Q5ztIOpSHywiumiJcu4AwlHKjnkNY2Leozzwm7qjiHtXPGXdA7N2oxuuG7XnWyDiaQFVGOjAzMXq_Xb_7blt6lXBbFu/s320/real+snow+white+still+7.jpg" alt="" id="BLOGGER_PHOTO_ID_5377628573361217938" border="0" /></a><br /><br /><br />08, 09 – 18, 09 2009<br /><br />The September exhibition of MASA, by Pilvi Takala, will take place at Antijen Tasarım. The artist will present a video taken from her performance in Disneyland Paris.<br /><br />Pilvi Takala often undergoes modest acts that are designed to disrupt daily life in semi-public locations. She generally records these acts with hidden cameras and edits them to share with her audience. This time, the artist embodies the main character of “Snow White and she Seven Dwarves”; a well known figure, created by Brothers Grimm and filmed by Disney in 1937, when it became one of Disney’s most important characters. Takala attempts to enter Disneyland Paris (Euro Disney), one of the most popular tourist attractions in Europe, while wearing the exact copy of the costume used by the “Real Snow White” inside the amusement park.<br /><br />Pilvi Takala was born in 1981. She graduated from Academy of Fine Arts in Helsinki (MFA) in 2006. Her previous works have been displayed in solo exhibitions in Kiasma Museum of Contemporary Art, Helsinki; Galerija Miroslav Kraljevic, Zagreb; Ellen de Brujne Projects, Amsterdam; Galeria Noua, Bucharest. She also took part in the 9th Istanbul Biennale and is currently a resident at the Rijksakademie, in Amsterdam.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-32954957551690648592009-08-14T07:51:00.000-07:002009-08-14T07:59:59.141-07:00Fulya Çetin "Plastic Doll" @ Urban Cafe<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvUZ6jvqIE9fivI9SsXDSYG7HjZHGFoRGtUU7rN3MhwucmfdjA16Y53jUzuqh3D3HOkrYxJwHTwl7t7vVB4cWOv7rhD1lgiHDYZmryPO0a_OvdyLsDTCUjwPWr8pmXZKPEJsxiNnsiVFES/s1600-h/fulya_2.jpg"><img style="cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvUZ6jvqIE9fivI9SsXDSYG7HjZHGFoRGtUU7rN3MhwucmfdjA16Y53jUzuqh3D3HOkrYxJwHTwl7t7vVB4cWOv7rhD1lgiHDYZmryPO0a_OvdyLsDTCUjwPWr8pmXZKPEJsxiNnsiVFES/s320/fulya_2.jpg" alt="" id="BLOGGER_PHOTO_ID_5369832338946419842" border="0" /></a><br /><br />13. 08 - 30.08.2009<br /><br />The consumerism and mercantilism of human body, especially the female body, constitutes Fulya Çetin’s production since 2007. Beauty contests, cosmetic and aesthetic industries, advertisement and pornography industries are the most evident and the most direct examples. Until today; she depicted the inflatable dolls shrunken in their boxes, beauty queens with their bodies stiffened from ambition and anxiety, child beauty queens indistinguishable from dolls and Barbie dolls that seem to serve an adult consumer fantasy rather than being a children’s toy with their terrifying realism and realist poetry.<br /><br />Fulya Çetin steps out of her aesthetic expression and medium up until the present. The reason of this change is Masa’s provision of a space allowing a dramatic composition of the commercialisation of the female body in the consumer culture. The inflatable doll stuck on the surface of the Masa stands before us as a metaphor of the female identity trapped in certain in roles of beauty, utility, meaning and society. The artificial lungs of the female body, the replica of the female anatomy and its fetishized limbs, crafted from petrol waste, heave with in-blown air. The Doll, as a piece of plastic tucked under the Masa, not as an object of pleasure, is in a cycle of gaining and losing the air necessary for it to meet its marketing slogan of fulfilling a desire.<br /><br />When the basic data is observed; a corporeal replica -a fake woman supplied for consummation to satisfy desire and vital needs- encountering breath –the vital source of energy for life- demands an inquiry for the circumlocations of the patterns of flesh and aesthetics -into which we delve with human processes of desire, pleasure and satisfaction- in which the woman is trapped.(Deniz Erbaş)Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-27075132141640765752009-07-13T02:50:00.000-07:002009-08-14T08:00:49.327-07:00Burak Delier "Zapturapt"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_SYgdzmAHdiwttuDLsm-0gQPGhlcQo-0ZqJ_mAvkjfzUsy_zNkLjMMsXBIdOk-wuk4Are3hItoCpRBicbDRkf32F5IUcSB7x6mVqSCvVm8_hiErv9IupsrQpFeWRjdihxPZwN2ccYa0XG/s1600-h/2.jpg"><img style="cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_SYgdzmAHdiwttuDLsm-0gQPGhlcQo-0ZqJ_mAvkjfzUsy_zNkLjMMsXBIdOk-wuk4Are3hItoCpRBicbDRkf32F5IUcSB7x6mVqSCvVm8_hiErv9IupsrQpFeWRjdihxPZwN2ccYa0XG/s320/2.jpg" alt="" id="BLOGGER_PHOTO_ID_5357880279471637922" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWaIMvXvOpwaeG2Vb7_U7kMtDJ785ulwXcaRlZyfs36cv2toHKwqVAw1isNGunJv7qI-OzuhPFo0jx-oS2uV47R1vPQ9Bcy3Iu6MjoZtM939rqsKWfK1UTDAJgY2Gm7lg-49AD_Xs1PU04/s1600-h/1.jpg"><img style="cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWaIMvXvOpwaeG2Vb7_U7kMtDJ785ulwXcaRlZyfs36cv2toHKwqVAw1isNGunJv7qI-OzuhPFo0jx-oS2uV47R1vPQ9Bcy3Iu6MjoZtM939rqsKWfK1UTDAJgY2Gm7lg-49AD_Xs1PU04/s320/1.jpg" alt="" id="BLOGGER_PHOTO_ID_5357880205182261618" border="0" /></a><br /><br />10, 07 – 31, 07 2009<br /><br /><span style="font-weight: bold;">Delier</span> made a modest intervention in public place under the name of “Counter Attack”. He is showing an installation titled “Zapturapt” that will include images was taken from that action at Masa.<br /><span style="font-weight: bold;">Delier,</span> concentrated on situation of in-betweenness when he choosing place where will make an intervention and wants to continue same attitude for exhibition space. He made a decision on an unutilized space in between two apartment building in Cihangir. He questioned concepts like public place, right of intervention, appropriation that is involved his intervention through exhibition place as well.<br /><span style="font-weight: bold;">Delier</span>, mentions the following about his work:<br />This modest intervention which refers to acts such as privatization, isolation, appropriation, closing is in fact one of the most significant actions of civilization. But there are a lot of characteristics that differentiates it from the wave of top-down privatization process that we witness nowadays. Its moving from below, its small scale, its modest kingdom that will only last until discovered by the system…<br /><span style="font-weight: bold;">Burak Delier</span> was born in Adapazarı, 1977 and complete his Bachelor of Fine Art from Marmara University and MA Program of Art and Design from Yıldız Technical Universty. His works took place at 10th International Istanbul Biennial (2007) “Be a realist, demand the impossible!” Karşı sanat, İstanbul (2007), 6th Taipei Biennial, Taipei, Taiwan (2008)<br />Burak Delier lives and works in İstanbul.<br /><br /><span style="font-weight: bold;">Counter-Attack:</span> Counter-Attack is an organization which designs and carries out varries interventions. When possible Counter-Attack enters into collaboration with political, economical, cultural struggles in the public sphere.<br />The power that will re-establish life exists in the hands which produce the life we live today. Counter-Attack emphasizes certain quality which resides within the powers of production and collaboration and which manages to escape mechanisms of control; and reveals the cracks, the hidden possibilities and contradictions in the city. In contrast with the structure of the system which refuses to acknowledge any other reality apart from its own, it performs actions which re-establish flows of energy and production on different values.<br />Counter-Attack smuggles the potential of the accumulation of knowledge, experience, skill and labour away from the exploitation of the rulling system and returns this potential to its source; it presents the inappropriable accumulation of skills of material and immaterial labour as a public service.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-44962440357033416202009-06-22T08:42:00.000-07:002009-06-22T08:47:19.278-07:00Osman D. Bingöl “Untitled”<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYvUC3l_K5Vv5HpV1wJVk8KEPcCLRxWn3CNQ4yHK3nXq_3lISQQk_WngLrSdZAnmSPAWk_c2yIsjJq9pPKHP8ieX2bjTNcjq6Q3lkgZOitg2H0zI_N7NgXs6-jD83ADvSLV9herDLTauXR/s1600-h/2.jpg"><img style="cursor: pointer; width: 320px; height: 255px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYvUC3l_K5Vv5HpV1wJVk8KEPcCLRxWn3CNQ4yHK3nXq_3lISQQk_WngLrSdZAnmSPAWk_c2yIsjJq9pPKHP8ieX2bjTNcjq6Q3lkgZOitg2H0zI_N7NgXs6-jD83ADvSLV9herDLTauXR/s320/2.jpg" alt="" id="BLOGGER_PHOTO_ID_5350178071829231522" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_pe7Pv7LUiDVF0-CwGW0MGZwisDjNmwH7VLTIFELAd3GNCnl4XdTEews-sXNhaEeV_eHsFxFRN7Z0omjLmF-c_lL-R_923-PMLBmFwBs58Lx5Y5ZCULEaVnuv5H4k_Q92lYQxAPp6on7/s1600-h/1.jpg"><img style="cursor: pointer; width: 320px; height: 255px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_pe7Pv7LUiDVF0-CwGW0MGZwisDjNmwH7VLTIFELAd3GNCnl4XdTEews-sXNhaEeV_eHsFxFRN7Z0omjLmF-c_lL-R_923-PMLBmFwBs58Lx5Y5ZCULEaVnuv5H4k_Q92lYQxAPp6on7/s320/1.jpg" alt="" id="BLOGGER_PHOTO_ID_5350178004268499346" border="0" /></a><br /><br />12, 06 – 30, 06 2009<br /><br />Bingöl, is showing things excavated from an area which slums transformed into apartment buildings. Beside the primary topical and conceptual relation of the act of ‘excavating’, Bingöl is inferring his act by the sense of space, archaeology, knowledge and its production.<br /><br />Osman D. Bingöl mentions the following about his work:<br />“Soil, with a different stinks from the Blind, dark “livings” and as a “non-portable vessel” is holding things randomly together.I tried to put together the found voice of incantation words resuscitating the evil beings from the 1981 movie ‘The Evil Dead’ with the objects randomly situated undersoil.For me, the act of ‘excavating’ objects is making a sign to the metaphorical relation between “Producing knowledge” and “Resuscitating Beings””<br /><br />Osman D. Bingöl was born in Ankara, 1979 and complete his Bachelor of Fine Art from Hacettepe University and MA Program of Art and Design from Yıldız Technical Universty. His works took place at ‘I’m Too Sad to Kill You’(Proje 4L,Istanbul, 2003), ‘Free Kick’ (9th Istanbul Biennale, Antrepo Hospitality Zone, 2005), ‘EurHope 1153’ (Villa Manin Art Center, Cordopio-Italy, 2006) and ‘Far from Home’ (Slovenia, 2006). He also co-operate with Ahmet Öğüt and Seyhun Babaç in ‘Ünlü Olma Sergisi’ (Ankara, 2002).<br />Osman D. Bingöl lives and works in Ankara.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-4640127474984693252009-05-15T01:30:00.000-07:002009-05-18T23:01:30.965-07:00Gülçin Aksoy “The Error of the Couch on the Table” @ Mimar Sinan University of Fine Arts<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vQBlkkbsX30ZIa2FzDiKZBvWWcoGVvOt_DorVyEnHPQTatUVFNBEq5RoaVE4Hol5JA_UvOcvzohX2cLGfvUobqmeGaVmZveRn2zDvLmV3oj9GhVrYsdUIBfAVvBJxeDgiL8O6pVjFywE/s1600-h/gulcin-2.JPG"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vQBlkkbsX30ZIa2FzDiKZBvWWcoGVvOt_DorVyEnHPQTatUVFNBEq5RoaVE4Hol5JA_UvOcvzohX2cLGfvUobqmeGaVmZveRn2zDvLmV3oj9GhVrYsdUIBfAVvBJxeDgiL8O6pVjFywE/s320/gulcin-2.JPG" alt="" id="BLOGGER_PHOTO_ID_5335965959378208098" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyHww33QbOqejQJ9YKFYNtPyt_306kDLRAcA3YbewCGIAt5yGso2E9lAjcyQnnR9GzzSmNTPyLL299vyBhODconWF2MCSJ_xKKtZRfF8mljwLkSyYyZllXVnTlhmCI0Gp73OYjc69Cpkjg/s1600-h/gulcin-1.JPG"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyHww33QbOqejQJ9YKFYNtPyt_306kDLRAcA3YbewCGIAt5yGso2E9lAjcyQnnR9GzzSmNTPyLL299vyBhODconWF2MCSJ_xKKtZRfF8mljwLkSyYyZllXVnTlhmCI0Gp73OYjc69Cpkjg/s320/gulcin-1.JPG" alt="" id="BLOGGER_PHOTO_ID_5335965771023628242" border="0" /></a><br /><br />14, 05 – 31, 05 2009<br /><br />Her installation is based on the image of her homeland memory. Gülçin Aksoy is showing her work that is the ironic point of view of the symbols of bureaucratic power in Mimar Sinan University of Fine Arts at the Osman Hamdi Bey hall.<br /><br />Gülçin Aksoy was born in 1965 in Samsun. Since 1990, she has been working as a lecturer in the painting department of MSGSF.<br />Her works have been previously exhibited in 2001 "Yeniden Bak", “Reconcider”, İstanbul, TURKEY (Curated by Vasıf Kortun), 2003 “ İyi Kötü-Çirkin”, “Good, Bad and the Ugly”, TURKEY, 2005, One month of research for a project, called “Presentation of Art in Public Space” at the Basis Voor Actuele Kunst in Utrecht/HOLLAND, 2009, “Haksız Tahrik”, “Unfair Provacation”, Hafriyat Karaköy.<br />Gülçin Aksoy lives and works in İstanbul.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-54569242225554060392009-04-11T11:12:00.001-07:002009-04-11T11:15:33.882-07:00İnci Furni “I Don’t Believe in Personal Isolation, I Believe in Building!”<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFUU0b9BCEar5QSxAB8bD5mhhLeBBKa4PRSxBYMoqTH0V5VLgW0pJb1Y7xGqYMMWEhFFJHqXbPLMj_PM0R6M7SJI9f2pgPlPuRwM5RuM0L1WA4_1mClMUmy3ZD7S2bOzKkTHclPHQRS2o/s1600-h/IMG_1301.JPG"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFUU0b9BCEar5QSxAB8bD5mhhLeBBKa4PRSxBYMoqTH0V5VLgW0pJb1Y7xGqYMMWEhFFJHqXbPLMj_PM0R6M7SJI9f2pgPlPuRwM5RuM0L1WA4_1mClMUmy3ZD7S2bOzKkTHclPHQRS2o/s320/IMG_1301.JPG" alt="" id="BLOGGER_PHOTO_ID_5323498702264453442" border="0" /></a><br /><span style="font-weight: bold;"><br />10. 04 – 30.04 2009<br /></span><br />This title is a quote from the fanzine “My Recidency” which was produced based on the artist’s own isolated living space in 2008.<br />Recently, Furni has been thinking of the concept of isolation, associating it with control, monitoring, construction, ugliness, imagination and science-fiction.<br /><br />“Smashed frog was like a visual symbol of an argument in contrast to the orginized and well working system I have seen in Basel during my recidency. The sound insulation material I have seen in music studios came together with the thunderclap that I did not hear on the day mentioned before.<br /><br />I think, there is nothing else we can do for it anymore….”<span style="font-weight: bold;"><br /><br /></span><span>İnci Furni has been producing art as an individual artist along with working as a part of Hafriyat Artist Collective since 2007. Artists’s previously exhibited works were “Spirit” (2007) which has taken place in Apartman Project along with “Home Free” (2007) in Bilsar, “Your Eyes Are Bigger Than Your Belly’’ (2007) in the special projects of 10th Biennial of Istnabul, and “Unfair Provocation” (2009). In 2008, Furni was one of the organizators in Hafriyat Karakoy’s exhibition “Zig Zag” which was a collaboration with Independant Drawing Gig.</span><span style="font-weight: bold;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-38713905556609332572009-03-09T04:20:00.001-07:002009-03-09T04:22:26.185-07:00Ha Za Vu Zu “TIRGIT'ZE! / Anyone can come in”<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj17gDAcMdUQtnoxSu2dz3Nj6ObtsZF-rnblM7F183SMbwO9u0hS6GGHchWemTanR_4kYeHLXA7_hGVIlIbwCnXIYi6mXXcVbgZhxbfyOBz7SNUGN-n_ZDSvZO96RJOVvriJDX6-ZlwwmVU/s1600-h/IMG_1699.jpg"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj17gDAcMdUQtnoxSu2dz3Nj6ObtsZF-rnblM7F183SMbwO9u0hS6GGHchWemTanR_4kYeHLXA7_hGVIlIbwCnXIYi6mXXcVbgZhxbfyOBz7SNUGN-n_ZDSvZO96RJOVvriJDX6-ZlwwmVU/s320/IMG_1699.jpg" alt="" id="BLOGGER_PHOTO_ID_5311146598805093778" border="0" /></a><br /><br /><span style="font-weight: bold;">06, 03 – 31,03 2009</span><br /><br />Their work based on a course of events that occur in 1990<br /><br />"Lieutenant Murat Şeref Father had taken into custody in Haydar paşa Hospital then discharged after his critical telegraph to term president Turgut Özal which says “ i couldn’t get use to see that you are the president” on february 17th 1990. The reason of discharce was “psychological disorder”.<br /><br />The course of events was like this:<br />The term government was established by political party “ANAP”. Their vote rate was only %21 on 1989 local elections, so that’s why their government was controversial. Opposition parties declared that ANAP can’t choose the president even if they were majority in the parliament. So the opposition parties wanted an early election. Nevertheless Anap chose Turgut Özal as the president in a session in the absence of opposition parties. For this reason Anap got big reactions, because general public didn’t want Özal as a president. Özal’s response was interesting “ they will use to it in time”. Then big demonstrations named “ i couldn’t get use to it” were arrranged in all over the country."Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-67952163585267501482009-02-03T02:36:00.000-08:002009-02-19T05:36:44.220-08:00Karolin Fişekçi “Fullü (Full) Defence” @ Platform Garanti<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT449sZEi5ikJX294tK6ZwZ3hh-KCGR4kZrhurbw3e1QNYxxLdrd7xczqaoHilnTmvU-jZQ-o8p8ACVFvdEvGg7wDQSNf8EOxqdchoVWiNhaWomI9V6TPhbiPe5ZXoNpnKOwv1mo5mETiu/s1600-h/L1100863.jpg"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT449sZEi5ikJX294tK6ZwZ3hh-KCGR4kZrhurbw3e1QNYxxLdrd7xczqaoHilnTmvU-jZQ-o8p8ACVFvdEvGg7wDQSNf8EOxqdchoVWiNhaWomI9V6TPhbiPe5ZXoNpnKOwv1mo5mETiu/s320/L1100863.jpg" alt="" id="BLOGGER_PHOTO_ID_5304501929261678498" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGwAsxHCWZd_bYdAwvID3O32yOo5Ev8uodyGc2TSRKm9jYM4CGNi56MOYHQgZHOkMgBHT7djlHWjBloiPDACNV7gSOVte2JzJ9x_dCSDcYjxBNhxsseKWy4NujxANrjXyGVblhKfppQxFg/s1600-h/Karolin+Fi%C5%9Fek%C3%A7i+full%C3%BC.jpg"><img style="cursor: pointer; width: 320px; height: 255px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGwAsxHCWZd_bYdAwvID3O32yOo5Ev8uodyGc2TSRKm9jYM4CGNi56MOYHQgZHOkMgBHT7djlHWjBloiPDACNV7gSOVte2JzJ9x_dCSDcYjxBNhxsseKWy4NujxANrjXyGVblhKfppQxFg/s320/Karolin+Fi%C5%9Fek%C3%A7i+full%C3%BC.jpg" alt="" id="BLOGGER_PHOTO_ID_5298518363412067314" border="0" /></a><br /><br />06, 02 - 28, 02 2009<br /><br />Despite the moral repulsiveness of their function Karolin Fişekçi employes the figure of the cannon for stressing its visual affect and its erotic implications. By reproducing the cannon in an ironical design, the artist disarms the fatal virility of the weapon and turns it into an object of sexual satisfaction for females. The first phase of this ongoing project contains the pink and flaccid versions of the cannons in miniaturised scale.<br />Karolin Fisekci graduated from Mimar Sinan University, Faculty of Fine Arts Painting Department in 2003, after which she attended the Faculty of Social Sciences, Painting Department of the same University. Karolin Fisekci showed her works in Under the Beach: The Pavement, Proje4L, Istanbul, 2002; Denizati Sanat Galerisi, Istanbul, 2005; and Sobe, Bilsar, Istanbul, 2007.<br /><br />More about artist here http://karolinfisekci.blogspot.com/Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-23956392957188451762009-01-07T07:19:00.000-08:002009-01-07T07:23:53.558-08:00Fatma Çiftçi “In a Moment of Abstraction” @ PLAN Design<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTeR89B1ODzykkl9GhdZo977MLx5gfgq9JEm0OjwM1YNmxA7QVtX-t1S-aBqUvW11Qfw5eSmgMpXjjcibEr0IKr2K-KLi1q-7OCcChHsYlWRIzdtRMldH-Qwa_fd9aOJRR_a7wEtjhJt_T/s1600-h/Untitled-1.jpg"><img style="cursor: pointer; width: 320px; height: 247px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTeR89B1ODzykkl9GhdZo977MLx5gfgq9JEm0OjwM1YNmxA7QVtX-t1S-aBqUvW11Qfw5eSmgMpXjjcibEr0IKr2K-KLi1q-7OCcChHsYlWRIzdtRMldH-Qwa_fd9aOJRR_a7wEtjhJt_T/s320/Untitled-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5288572102662929442" border="0" /></a><br /><br />09, 01 – 31,01 2009<br /><br /><span style="font-weight: bold;">MASA</span>, will be hosting Fatma Çiftçi as a first exhibition in 2009. Çiftçi reproduces unusual situations and scenes at different cities where she has been in a short time, trough drawings and sounds; these scenes, which have taken place in artist mind, refer to cultural diversity and its representations from Istanbul, Tehran, Seoul, and London.<br /><span style="font-weight: bold;">Fatma Çiftçi</span>, was born in Amasya, 1981 and graduated from Bilkent University, Fine Arts Faculty in 2005. She participated to YAMA screening project in Istanbul. Moreover she was represented in "Asia Art Now", Arario Beijing, 2007; "Mom's Livingroom", Goyang Art Studio Exhibition Hall, Seoul, 2007; “Freekick” Istanbul, 2005; in the 23rd Exhibition of Contemporary Artists of Istanbul and of Diyarbakir, 2004. Besides, she has awarded Asian Artists Fellowship Program, Seoul and Spike Island Residency Program in Bristol. Her works will take place at Spike Island/Platform Garanti CAC/Visiting Arts Residency Exhibition on January 31, 2009 in Bristol, UK. She lives and works in Istanbul/Ankara.<br /><br /><span style="font-weight: bold;">Drawings by</span>: Suat ÖğütUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-15291738956767844032008-10-20T06:38:00.000-07:002008-10-20T08:56:47.460-07:00Merve Şendil "DDR Discography" @ Apartman Project<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJTW-jiDj-W71c8RbJPrNXIwBUXtmYiOr-yEGjtDV4L0sfPDkKIvV8uvPJXUJANs4fqqi-C69lx-GhxbGvFuTYst_0dF2uIhSesrh3mQnZOmmfqpDQdqBfkTBd8saJHkYKqGgBWCeJPVD8/s1600-h/L1080143.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJTW-jiDj-W71c8RbJPrNXIwBUXtmYiOr-yEGjtDV4L0sfPDkKIvV8uvPJXUJANs4fqqi-C69lx-GhxbGvFuTYst_0dF2uIhSesrh3mQnZOmmfqpDQdqBfkTBd8saJHkYKqGgBWCeJPVD8/s320/L1080143.jpg" alt="" id="BLOGGER_PHOTO_ID_5259230216055706018" border="0" /></a><br /><br />26 September 18 October 2008<br /><br />On the 2th anniversary, MASA that will be hosting Merve Şendil’s exhibition DDR Discography from September 26 to October 19 at Apartman Project<br /><br />Until 2007, Şendil has been working on the archives about the amateur music bands, under the name of "Underscene Project". As a part of this project, she will bring objects and documents together about a İstanbul based post-rock band named DDR for the exhibition called "DDR Discography". The exhibition will consist of the documents belonging to the group DDR and the objects that the artist produced for the group on Masa.<br />Merve Şendil will try to investigate individual and collective productions made for music and other productions about music by the workshops in different places and times.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-19044935051649584182008-10-20T06:33:00.000-07:002008-11-17T05:57:51.059-08:00Masa@Kunstvlaai 7<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4nvSg2p_2WrgqVIKD3bBi6CK3PDVtt2TrEGEhn9ZJkX_z9_zfHR7NbstZkDVET8W_PyIHPzOCQQjX1oqWlo9DTU1FC3ggJdsBaUUA_uILzlKzIClkhVfPoOZGShDjg0P3W6kWCB72pB5v/s1600-h/DSC01951.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4nvSg2p_2WrgqVIKD3bBi6CK3PDVtt2TrEGEhn9ZJkX_z9_zfHR7NbstZkDVET8W_PyIHPzOCQQjX1oqWlo9DTU1FC3ggJdsBaUUA_uILzlKzIClkhVfPoOZGShDjg0P3W6kWCB72pB5v/s320/DSC01951.JPG" alt="" id="BLOGGER_PHOTO_ID_5259229836552905794" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjbZzrYRhh0cSbKLfESyaxCta2m_vK1qC_z6vlxPHRjcxM9AkEhHGYbcU84QhWFRcz2AO9sYKyb5Wim988BHcGMer2IGNC9JsTJbGglqYN_RXouEE8ZfnhZHsBomtN1VNkj4Ryz3rgdnoq/s1600-h/DSC01699.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjbZzrYRhh0cSbKLfESyaxCta2m_vK1qC_z6vlxPHRjcxM9AkEhHGYbcU84QhWFRcz2AO9sYKyb5Wim988BHcGMer2IGNC9JsTJbGglqYN_RXouEE8ZfnhZHsBomtN1VNkj4Ryz3rgdnoq/s320/DSC01699.JPG" alt="" id="BLOGGER_PHOTO_ID_5259229709848410962" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYWHCQPeyNHSHK44DfaxCCfMEMvb2-1cJ_8mCg7kSsbjt35BrzmRtTK793Tq0ytnWsjV0H-WvRPUXFZnU0QKP7NL3_ZrxOHjzwPdJynFzCF-FaQxAElWQkSCisMlZy9WBpKx6yMh9BkbNt/s1600-h/DSC01706.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYWHCQPeyNHSHK44DfaxCCfMEMvb2-1cJ_8mCg7kSsbjt35BrzmRtTK793Tq0ytnWsjV0H-WvRPUXFZnU0QKP7NL3_ZrxOHjzwPdJynFzCF-FaQxAElWQkSCisMlZy9WBpKx6yMh9BkbNt/s320/DSC01706.JPG" alt="" id="BLOGGER_PHOTO_ID_5259229603415138690" border="0" /></a><br /><br />Since 1997, besides from the KunstRai, where you can find a yearly overview of commercial galleries, the Sandberg Institute wanted to create an art fair showing other kinds of art i.e. non established art. Here artist initiatives from the Netherlands were invited to represent themselves with their best work. Dutch contributors were invited to introduce a foreign colleague next to their own presentation. This year Kunstvlaai A.P.I. / Amsterdam, a large selection of Turkish artist run spaces as well as some Chinese ones will be showing.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-27122507454143522262008-10-20T06:24:00.000-07:002008-10-20T07:34:22.136-07:00Isabel Schmiga "Camouflage" @ BAS<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-I50RDiFTPeIus_3O-jmC3VEQoMAWbk0OV6ZWgqgFhyphenhyphenyMiYN6BHs2w4go5GIQRMiecJyR6C07RhDyrG76Zm-rGsUNJsQIHJk868V5Xm9KvBMjQRNh4bD8OLpAOT237V6SaTNcXtNC3Gw/s1600-h/DSC01428.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-I50RDiFTPeIus_3O-jmC3VEQoMAWbk0OV6ZWgqgFhyphenhyphenyMiYN6BHs2w4go5GIQRMiecJyR6C07RhDyrG76Zm-rGsUNJsQIHJk868V5Xm9KvBMjQRNh4bD8OLpAOT237V6SaTNcXtNC3Gw/s320/DSC01428.JPG" alt="" id="BLOGGER_PHOTO_ID_5259227659557241298" border="0" /></a><br /><br />“Things that due to their permanent presence in everyday life appear negligible, become almost invisible. Foundation of Isabel Schmiga’s artistic engagement are shifts in context of insignificant elements from familiar situations. So far, the artist concentrates on transitions, idiosyncrasies of her everyday surroundings, collisions of seemingly irreconcilable opposites, substances and their emblematic qualities, the form, the word.<br />The rhetoric of the material, the multilingualism of familiar things and symbols, and the relationship of body and space contour the artist’s view in a double sense: they are literally motivation and motive of her enterprise of engaging with the ambiguity of familiar signs, thereby bringing to the surface firmly inscribed, hidden potentials of meaning:<br />For example, the board game Ludo became visible in the Swiss national flag (MENSCH ÄRGERE DICH NICHT, 2003), Robidogbags (bags for the disposal of dog excrements in public spaces) turned into a disposed fur of a greyhound that ran away (GREYHOUND, 2005).”<br /><br />Isabel Schmiga, born in 1971, currently lives and works in Paris. Studies at the Academy for Fine Arts Braunschweig (MFA), studies in Art History at Basel University. Several scholarships and residencies, among them DAAD for Switzerland, Basel, iaab for Platform Garanti, Istanbul in 2006 and iaab for Cité Internationale des Arts, Paris in 2008. To get more information about her work, please go to: www.schmiga.de.<br /><br />http://artforum.com/archive/id=19892Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-6629858036308448652008-10-20T03:55:00.000-07:002008-10-20T06:31:38.164-07:00Önder Özengi "I wanna love, I wanna hurt" @ İMÇ 5533<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDk2wg5XFQ3bxG9GZeEBcUECXgs3VSjnDP_sLAZ4jlzbE8dhPYVbdjmRulyxV8igOnTp_xBRtKkOYAEvkpX4mwRdFCn7guybWQajjRvuDqQm2Yi-ehEATaz6jJE4_WIxw1vO1i8szmz_q/s1600-h/DSC_6619.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDk2wg5XFQ3bxG9GZeEBcUECXgs3VSjnDP_sLAZ4jlzbE8dhPYVbdjmRulyxV8igOnTp_xBRtKkOYAEvkpX4mwRdFCn7guybWQajjRvuDqQm2Yi-ehEATaz6jJE4_WIxw1vO1i8szmz_q/s320/DSC_6619.jpg" alt="" id="BLOGGER_PHOTO_ID_5259188653762188674" border="0" /></a><br /><span style="font-style: italic;"><br />There can therefore be moments of community- not those festive moments that are sometimes described, but dialogic moments, moments when the rule laid down by Gregory of Nazianzus is contravened, when an impertinent dialectic is created by those who have no rights in matter, but who nevertheless assert such right in the junction between the violence of a new beginning an the invocation of something already said, something already inscribed…<br /><br />Jacques Ranciére</span><br /><br />"I Wanna Hurt I Wanna Love" is an exhibition composed of the objects which remain from the actions of a non-existent music band that carries the same name as the title of the show. The history and places of these objects coincide with the important breaking points in the musical and political history that are often referred to by the anti-culture and thus create for themselves a quiet existence beside these fundamental historic stations. This work also examines the notions of partnership and community which have arisen after the occurence of a series of events during those times. It tries to create a community which is imagined as the partnership of those who are terrorized by what has happened, requestion it and then produce a counter stance using the historical structure of a music band.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-45638977924168369282008-10-20T03:48:00.000-07:002008-10-20T09:31:48.652-07:00Elke Marhöfer "Realness can escape - the rest is instinct rising from the shock of the moment" @ Platform Garanti<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7jtn2iPGUGj-EEgDJiTJWMHHvaDToTdJqt80bL2HzTamvqdpMBpwawoqRBRg3-YZJt0cHPDLWtS4ReAVwdS3-5tlVhITSuMF5Ckoh9ow8nMnDXzWwfBczi0MiOjUwSAdT6lWMrJwBg28/s1600-h/IMG_9699.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7jtn2iPGUGj-EEgDJiTJWMHHvaDToTdJqt80bL2HzTamvqdpMBpwawoqRBRg3-YZJt0cHPDLWtS4ReAVwdS3-5tlVhITSuMF5Ckoh9ow8nMnDXzWwfBczi0MiOjUwSAdT6lWMrJwBg28/s320/IMG_9699.jpg" alt="" id="BLOGGER_PHOTO_ID_5259187717736072498" border="0" /></a><br /><br />The short film "Les exclus" appropriates figures, settings und texts from the Robert Bresson movie "Le diable probablement" (1976). The film continues to discuss the events in the French suburbs in November 2005. Together with friends, filmed in one day, it discuses the language of politics. Who and what determents an event? What kind of ability motivated the young people in their action? And if the real, that else wise seams to be invisible, got visible for a short period of time?<br /><br />The narration of the second film "nowt/sooner" goes back to a short novel by Marguerite Duras "Ah! Ernesto" and tells the story of a child, that refuses to continue to go to school, because it doesn't want to learn what it doesn't know yet. The adaptation examines the relation between subjective and objective language use, between voice and language by the means of different speeches (rap/classic), to make use of the poly-lingualism of one's own language, to oppose the oppressive quality of language, to find points of non-culture or underdevelopment - linguistic "Third World zones" by which a language can escape, an animal enters into things.<br /><br />Both films question the institutionalization and the non-institutionalization of young people. nowt/sooner asks questions around compulsory education and a school system that doesn’t give information, but allocates coordinates and reproduces class hierarchies. And Les exclus originates from the events in France, when it became obvious that institutionalization young persons in schools or in workstations is not demanded by the rest of the society and where the institutions account for the phenomenon of exclusion.<br /><br />Elke Marhöfer makes films, drawings and performances. She searches for emancipative moments, contemporary and historical, to investigate the relationship between history and politics. She has an appetite for militancy. Leaving the distanced critical role behind, she follows through on temptations fraught with contradiction - health regimes, representations of dead or undead political actions all to root out new communicative strategies. By joining others in collaboration, she has become a medium against the notion of the producer. Forgetting how 'to make' in order to better learn how 'to practice'. Practicing to be alive together. Against the death blows of advanced capitalism, 'to practice' becomes 'to struggle'. What does the art world do with this? Some works have been shown in festivals, biennales and museums.<br /><br />http://www.whateverbeing.de/Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-48587793617983290932008-10-20T03:44:00.000-07:002008-10-20T03:47:30.977-07:00Çağrı Saray "Homage to Handke"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRZ3n1VTIlPXwrukq9mPd5XV5TDVmd85pLXGpbfWIex3DwV6CdGXcCimIyepM9F-2WR0G60W5VRpKSeadz-zmX7nTG6C7BPtjuRFxtBkbLL3luEPIskk6ir8oXqgoetKJnPQ_CkJbXqZ3/s1600-h/cagri.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRZ3n1VTIlPXwrukq9mPd5XV5TDVmd85pLXGpbfWIex3DwV6CdGXcCimIyepM9F-2WR0G60W5VRpKSeadz-zmX7nTG6C7BPtjuRFxtBkbLL3luEPIskk6ir8oXqgoetKJnPQ_CkJbXqZ3/s320/cagri.jpg" alt="" id="BLOGGER_PHOTO_ID_5259185450024758354" border="0" /></a><br /><br />7 -31 December 2007<br /><br />“Dating from 1987 and considered as the pioneer of postmodern cinema, the film ‘Der Himmel Über Berlin’ begins with the poem “Lied Vom Kindsein” (Song of Being a Child) by Peter Handke, whom the director Wim Wenders has worked with in many of his films.<br /><br />The feeling of void we, as the reader, share with Handke is so intimately personal yet at the same time can be so easily empathized with that it perfectly describes the solitude of today’s metropolitan beings.<br />In ‘Himmel Über Berlin’ Handke’s poem is rewritten, moreover the monumentality of the image points to a structure that works through the means of the act of writing. During this reproduction phase, due to the cinematographic elements such as the moving image and the sound, the effect of the text multiplies in manifolds.<br />Now it is time to rewrite Lied Vom Kindsein, as if they were our own words …” [Çağrı Saray]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-19249786693822069112008-10-20T03:38:00.000-07:002008-10-20T03:40:53.859-07:00Canan Şenol "Bahname"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlqphveIBRZHPpPi4XEGp7lp8RQMHK3JKNcgNiDfIuq6BHBlMtUgJeH4rkspGvtKruI2QfePvSoowscLFeHjo9tZtPHRXdXecW_GiuzLvxfgsteYzXU1MImXdzdbHCIsFduUMDa1Oigp2x/s1600-h/CananSenol_Bahname%5BKara%5D.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlqphveIBRZHPpPi4XEGp7lp8RQMHK3JKNcgNiDfIuq6BHBlMtUgJeH4rkspGvtKruI2QfePvSoowscLFeHjo9tZtPHRXdXecW_GiuzLvxfgsteYzXU1MImXdzdbHCIsFduUMDa1Oigp2x/s320/CananSenol_Bahname%5BKara%5D.jpg" alt="" id="BLOGGER_PHOTO_ID_5259183970603892978" border="0" /></a><br /><br />5 September - October 2007<br /><br />The word “Bahname” is a noun comprising “bah,” the Arabic word for sexual desire, sexual potency, and lust; and “name,” the Farsi word for book or booklet.<br /><br />The texts featured in the works of this exhibition are excerpts from the 17th century bahname of Tabib (Doctor) Mustafa Ebu’l Feyz, “Tuhvetü’l Müteehhilin.”<br /><br />“Tuhvetü’l Müteehhilin’I,” which roughly means “The Natural Impulse in the Desire for Sexual Intercourse” in today’s language, has been translated into modern Turkish by Prof. İtler Uzel as “Evlilik Armağanı (Wedding Gift).”<br /><br />……The Republic of Turkey was founded after renovating itself at the end of the Empire’s century of destruction. Meanwhile, the language of its multi-layered sexual culture was unfortunately abandoned. Islam had never banned love-making outside of the male hegemony; instead had encouraged this. However, the Islamic language for this topic was now being locked behind closed doors.<br />…The first chapter of “Evlilik Armağanı (Wedding Gift)” explains the qualities of beautiful women. The second chapter classifies the female organ, or rather “ferç...”<br />…Ferç means “opening, cut” in Arabic. It is said that “if the mouth of the beloved is small, then her ferç is narrow; the redder her tongue, the drier her ferç shall be.” This is how the ferç has been classified and named by male doctors centuries ago.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-37269553367445640562008-10-20T03:30:00.000-07:002008-12-03T07:24:01.707-08:00Şeref Erol "Maximum Pragmatism"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEichiOWEmG8mus_ddIyFcXTW9zf6xKxC1zIoh9E8jAG4wCPXLJjxf-dmpj9voQwVe0AsJXXxEfcHwohvEfugz-jGVDw9L15n0sQEQOUtAIFdf7he0Yj-HBXopJ0QzLVQWXMI1c13nURjVhQ/s1600-h/Seref.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEichiOWEmG8mus_ddIyFcXTW9zf6xKxC1zIoh9E8jAG4wCPXLJjxf-dmpj9voQwVe0AsJXXxEfcHwohvEfugz-jGVDw9L15n0sQEQOUtAIFdf7he0Yj-HBXopJ0QzLVQWXMI1c13nURjVhQ/s320/Seref.jpg" alt="" id="BLOGGER_PHOTO_ID_5259183153650749746" border="0" /></a><br /><br />2 April - 1 May 2007<br /><br />Şeref Erol wants to describe the Masa as a space, which is, sterilize and defined. He puts soil, grass, and a tree and build a structure on the Masa. He tries to problematize that what is the space in one's imagination and how describe in their mind.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-72716519669189979332008-10-20T03:19:00.000-07:002008-10-20T03:28:53.868-07:00Artur Zmijewski "Zeppelinetribune"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKytmjRyErl8hJdbNAUxcS2HGh2BPVzdlvoV0SEBYc6cBcMZcs3MnZ3qM5mgbkKaz0Kdddl83I2Jacln2vnMYfzjolg7VyoPUUplQOQEaIIDhYmJOv3h9HiO5w_7mGdPHUlZVWrnKpOO8i/s1600-h/Artur_screen.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKytmjRyErl8hJdbNAUxcS2HGh2BPVzdlvoV0SEBYc6cBcMZcs3MnZ3qM5mgbkKaz0Kdddl83I2Jacln2vnMYfzjolg7VyoPUUplQOQEaIIDhYmJOv3h9HiO5w_7mGdPHUlZVWrnKpOO8i/s320/Artur_screen.jpg" alt="" id="BLOGGER_PHOTO_ID_5259179335079870770" border="0" /></a><br /><br />2 February - 15 March 2007<br /><br />This film was shot near the Zeppelintribüne in Nuremberg, designed by Albert Speer, ‘chief architect’ of the Third Reich. The 360-metre-long structure is part of a larger architectural complex called the Zeppelinfeld, which the National Socialist used for their marches and rallies. The Zeppelintribüne was immortalised in Leni Riefenstahl’s filmpropaganda masterpiece The Triumph of the Will, a record of a 1934 Nazi Party rally. The Zeppelintribüne was destroyed by degrees, beginning as early as 1945, when the Americans, who held a victory parade there, blew up a large swastika on the roof. In the 60s, the columns and side-reinforcement were removed, further stripping the ruin of embarrassing architectural allusions to the past. Zmijewski: ‘This is a place of pilgrimage for tourists – it’s in every guidebook. It is at the same time the most neglected, dirty, and ruined place in all of Germany. They rarely clean, and reluctantly. You could say the whole nation works in solidarity to destroy these remnants of the past. Yes – dirt and litter are welcome here.’ The film features fragments of fascist newsreels from the 1930s, mixed with Zmijewski’s own footage of a pair of Turkish artists-in-residence in Germany, dubbed the Arbeitsmänner (‘workmen’), shovel in hand, parodying the ritual of military drill. ‘If these places are still “alive,” why not return to the historical forms. This is a film about impersonation, about memory. But about memory so perverse that leads many tourists standing on Hitler’s old balcony to raise their hand in the gesture of the Nazi salute.’<br /><br />Zeppelintribüne<br />Format: DVD, Master: DV<br />2002<br />Duration: 10’Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-465261400941065420.post-37000310602179562382008-10-20T03:14:00.000-07:002008-10-20T03:19:16.124-07:00Aslı Çavuşoğlu "Caiet de Geografie"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfPt-fFv1QEcu5e-lsKAW8EZviladWrxPHx1gyOLnP2_j6ggsBOyVjO0-S-oB1gvaYoOYrZHA1Xa0DnzSNSaep9DOUJsWFZ26u4e6PMLuKIuQI9hAyieZxLaxkC3VbI5icUGsk2EUDhxOj/s1600-h/DSC08250.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfPt-fFv1QEcu5e-lsKAW8EZviladWrxPHx1gyOLnP2_j6ggsBOyVjO0-S-oB1gvaYoOYrZHA1Xa0DnzSNSaep9DOUJsWFZ26u4e6PMLuKIuQI9hAyieZxLaxkC3VbI5icUGsk2EUDhxOj/s320/DSC08250.jpg" alt="" id="BLOGGER_PHOTO_ID_5259178632179432290" border="0" /></a><br /><br />Born in Istanbul in 1982, Asli ÇAVUSOGLU has been carrying out her studies in Istanbul Platform Centre for Contemporary Arts as a participant in Visitors of Istanbul Program. Trying to investigate the effects of text upon memory, Asli ÇAVUSOGLU has a book printed by BAS, a non-profit institution in Istanbul, under the title of "Takip / Poursuite." The project realized in the frame of Backyard Residencies Program at Vector Association, Iasi, is conveying<br />the 2-month period she has had in Romania as a modest tourist in the form of a book, "Caiet de Geografie" a socio-political exploration of the private ways of resenting and responding to cultural differences which resembles a diary.Unknownnoreply@blogger.com0