06, 10 – 20, 10 2009
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.
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.
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.com
06, 10 – 20, 10 2009
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.
More about artist’s works here http://jakupferri.blogspot.com/
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)
Jakup Ferri lives and works in Amsterdam.
22, 09 – 30, 09 2009
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”
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?”
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.
Ahmet Ögüt lives and works in Amsterdam
08, 09 – 18, 09 2009
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.
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.
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.
13. 08 - 30.08.2009
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.
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.
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)
10, 07 – 31, 07 2009
Delier 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.
Delier, 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.
Delier, mentions the following about his work:
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…
Burak Delier 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)
Burak Delier lives and works in İstanbul.
Counter-Attack: 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.
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.
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.
12, 06 – 30, 06 2009
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.
Osman D. Bingöl mentions the following about his work:
“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””
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).
Osman D. Bingöl lives and works in Ankara.
