Monday, November 28, 2016

"SHAME: 100 REASONS FOR TURNING RED", Exhibition 26.11.2016 – 5.6.2017, Dresden


Deutsches Hygiene-Museum Dresden

Curator: Daniel Tyradellis, Berlin Scenography: Roger Bundschuh, Berlin

Artists: 
Nobuyoshi Araki (*1940), Kurdwin Ayub (*1990), Leigh Bowery (19611994), Jörg Buttgereit (*1963), VALIE EXPORT (*1940), Christian Jankowski (*1968), Terence Koh (*1977), Leigh Ledare (*1976), Victoria Lomasko (*1978), Alex McQuilkin (*1980), Erik van Lieshout (*1968), Margret- Secret Diary (1969/70), Ferhat Özgür (*1965), Dennis O’Rourke (19452013), Bruce Richards (*1948), Rokudenashiko (*1972), Joanna Rytel (*1974), Sašo Sedlaček (*1974), Jan M. Sieber (*1975) und Ralph Kistler (*1969), Thomas Schütte (*1954), Helmut Schwickerath (*1938), Miroslav Tichý (19262011), Phillip Toledano (*1968), Oliviero Toscani (*1942), Danh Vō (*1975), Marie Voignier (*1974)

The sense of shame is a feeling we have been familiar with ever since we were children, and even as adults we encounter it time and again in all sorts of situations. No-one really likes to feel ashamed; on the contrary: shame is rather an unpleasant feeling. So perhaps it’s worth taking a closer look at what this emotion is all about. Most of the time shame can completely overwhelm us – and we don’t have to think long and hard about why we feel ashamed. And the reactions it triggers are nothing if not physical. We begin to sweat, we blush, or we hide our face. We reasons why and how much we feel ashamed can vary greatly from one person to the next. But shame is far more than a merely subjective emotion. Psychologists and sociologists have described its elementary significance for the proper functioning of society. 

Indeed, shame imperceptibly connects an individual’s self- perception with the values and rules of his or her community. So the capacity to feel shame also contributes to the inner cohesion of a particular society. In any case there is one thing that visitors to the exhibition will soon realise: it is a complete misconception to think that we live in shameless times, as some cultural critics would have us believe!

Alongside cultural-historical exhibits, documents and media, the exhibition also showcases works by the following artists:


The 100 Reasons
On your way round the central body of the exhibition you’ll come across all 100 reasons for being ashamed and even a few more:
1 Being looked at
2 Blushing
3 Being sized up
4 Cutting a poor figure 5 Not being normal

6 Flaws
7 Crooked nose
8 Being ill
9 Skin rash
10 BMI
11 Disrobing / Removing
one’s clothes
12 Being scanned
13 Touching
14 Masturbating
15 Being in love
16 Private parts
17 Farting
18 Tensing
19 Being curious
20 Foreign customs
21 Unveiling
22 Lack of respect
23 Incomprehension
24 Camera view
25 Defecation
26 Being naked
27 Short skirts
28 Being on display
29 Erection
30 Uncertainty
31 Being inducted
32 Being the focal point 33 Losing face

34 Having no voice 35 Quarrelling
36 Slighted honour 37 Indiscretion

38 Sin
39 Feeling of guilt
40 Being defiled
41 The holy of holies 42 Philanthropy
43 Secrets
44 Family
45 Two-timing
46 Pride
47 Forgetting
48 Public opinion
49 Monitoring
50 Lack of recognition 51 Disproportionality 52 Wittiness
53 Crossing the line 54 Being German
55 Remembering
56 Hate
57 Bigotry
58 Homelessness
59 Poverty
60 Helping
61 Image damage
62 Conformity
63 Unemployment
64 Addiction
65 Loneliness
66 Prudishness
67 Cohesion

68 Humiliation 69 Blackface
70 Dehumanising 71 Shitstorm

72 Anonymity
73 Big mouth
74 Making a mess 75 Behaviour
76 Embarrassment 77 Subtle differences 78 Long skirts
79 Cruising
80 Civilising process 81 Laughing
82 Naivety
83 Provocation
84 Perversion
85 Dirty mind
86 Condemnation
87 Shamelessness 88 Self-portrayal
89 ‘Soul murder’
90 Abuse of power 91 Nuclear family
92 Motherly love
93 Narcissism
94 Imperfection
95 Being different
96 Empathy
97 Making a fool of oneself
98 Artificiality
99 Authenticity
100 Shame 



A chest examination: is the gaze of science free of shame? X-ray examination, 1896.
© Deutsches Röntgen-Museum, Remscheid

Covering up the genitals I: Boastfulness?
Codpiece from a suit of armour, Nuremberg, 1540
1550.
© Germanisches Nationalmuseum, Nuremberg. Photo: Monika Runge

Groping: who’s embarrassed here – the passer-by or the artist? VALIE EXPORT, Tapp- und Tastkino, 1968.
© The Artist and sixpackfilm, VG Bildkunst, Bonn 2016

Covering up the genitals II: Prudishness?
Bruce Richards, Grand Tour, 2014.
© The Artist and Jack Rutberg Fine Arts, Los Angeles (CA), USA

Is it possible to be publicly ashamed?
Christian Jankowski, Schamkasten, 1992. © Courtesy of the Artist

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VENUE
Deutsches Hygiene-Museum Lingnerplatz 1
D-01069 Dresden, Germany 0351 4846-400
www.dhmd.de/english
OPENING HOURS
Tue to Sun and public holidays
10 am to 6 pm
Closed 24 and 25 December 2016 and New Year’s Day
ADMISSIONS
Standard adult ticket: EUR 7 Concessions: EUR 3 Admission free up to age 16 Family ticket: EUR 11
DIRECTIONS
From the city centre/Frauenkirche approx. 10 minutes on foot or take tram lines 1, 2, 4 or 12 to ‘Deutsches Hygiene-Museum’ or tram lines 10 and 13 to ‘Grosser Garten’ 

Thursday, November 10, 2016

Jubilee Event of Visarte in Lucerne - Switzerland, 07.11.2016

Block A     (22')     16:00 Uhr und 20:30 Uhr 

Max Philipp SchmidStella Händler, Knut Jensen, Christian Regenass, Combo, 1995, 6'58

Dominik Stauch, Coast to Coast, 2016, 6'14

Alexander HahnRandom Frequences I, 1981, 3'34

Pipilotti Rist,You Called Me Jacky, 1990, 4’00


Block B     (24')    17:00 Uhr und 21:30 Uhr

Zilla Leutenegger, Low Battery Day, 2011, 17"

Roman Signer, D’ont cross the line, 2002, 5'54

Simone Zaugg, Berg und Beton, 2013, 07'39

Myriam Thyes, Analytischer Tagtraum Nr. 4, 2014, 2'15

Michael Spahr, Globocity. Rise & Fall, 2009/2016, 7'30


Block C    (28')     18:00 Uhr und 22:30 Uhr

Yves Netzhammer, Die Möglichkeit nicht mehr haben, sich weniger ähnlich zu sein, 2003, 12'27

Elodie Pong, Je suis une bombe, 2006, 6'35

Jeanette Ehlers, Black Bullets, 2012, 05'05

Ursula Palla, Flowers 2, 2001, 2'23 


Block D    ( 27')    19:00 Uhr und 23:30 Uhr

Susanne Hofer, Le Jeu d'amour, 2001, 2'30

Ferhat Özgür, Remains of the day, 2013, 11'09

Renata Bünter, Mittwoch, 2014, 3'00 (ohne ton)

Silvie und Chérif Defraoui, Les Formes du Recit, 1980, 9'10


Zilla Leutenegger, I love you, 2011 15" (4 x gespielt – am Ende jedes Blocks)


Um Mitternacht nochmals alle 4 Blöcke hintereinander

'video art', tulla culture center, tirana-albania, 10 November 2016

13:30 COMPETITION | Video Art 1 | Tulla - Culture Center

Detour by Ivi Topp |2015| France | 6'
Za Andreja by Mary Marinpoulou |2016| Slovenia | 2'
Origin by Mary Marinopoulou, Charlène Biju |2015| Greece | 1'
Anarchy by Fani Zguro |2014| Albania | 10'
Film by Ilir Lluka |2015| Albania | 17'
Adam's Apple by Alketa Ramaj |2013| Albania | 4'
Exchange domination by Gentian Gjikopulli |2013| Albania | 4'
Tescani. No Limits by Ana Catalina Gubandru |2016| Romania | 9'
Under Collar by KOJA |2012| Kosova | 7'
Remains of the Day by Ferhat Özgür |2013| Turkey | 13'
Je Suis Malade by Cappella Dejan |2014 | 9'

Monday, October 24, 2016

"Stay With Me", 21er Haus Vienna, 26 October 2016

Gäste im Salon: Selda Asal, Isin Önol

Die Ausstellung Stay with me versammelt Notiz- und Tagebücher von mehr als 60 Künstlerinnen und Künstlern, die im Zusammenhang mit ihren Erfahrungen während der Gezi-Park-Proteste 2013 in Istanbul entstanden sind.

Im Frühling des Jahres 2013 kam es in Istanbuls Gezi-Park zu Protesten gegen Pläne für dessen städtebauliche Zukunft. Die sich in den folgenden Wochen über den Taksim-Platz ausbreitende Welle von Demonstrationen erfasste das ganze Land. Die Menschen kamen in dezentraler Organisation auf über 5.000 Veranstaltungen zusammen, und geschätzte 3.5 Millionen gingen auf die Straße. Die mit ungewöhnlicher Gewalt niedergeschlagenen Demonstrationen forderten damals 11 Tote und mehr als 8.000 Verletzte. Seit dem Sommer 2013 hat sich die innenpolitische Lage weiter verschärft. Ist es möglich, die Hoffnung von damals zu bewahren?

An den Exponaten der Ausstellung lassen sich die unterschiedlichsten Herangehensweisen ablesen, in denen sich eine Kunst der Selbstbehauptung realisiert: den singulären Zauber gemeinsamer Momente festhalten, das Bedrohende auf Papier bannen, sich an einen anderen Ort projizieren, Erlebtes durch Abstraktion erinnern.

Stay with me wurde von der Künstlerin Selda Asal initiiert.

Mit Beiträgen von/ with contributions from: Ali Miharbi, Anti-Pop, Aslı Çavuşoğlu, Ata kam, Ayşe Küçük, Azra Deniz Okyay, Balca Ergener & Meltem Ahıska, Berkay Tuncay, Burçak Bingöl, Carla Mercedes Hihn, Ceren Oykut, Christine Kriegerowski, Çiğdem Hasanoğlu, Devrim Ck, Devrim Kadirbeyoğlu, Didem Erk, Eda Gecikmez, Ekin Saçlıoğlu, Elif Çelebi, Elmas Deniz, Endam Acar & Fırat Bingöl, Erdağ Aksel, Erhan Öze, Erdem Helvacıoğlu, Eser Selen, Fatma Belkıs, Fatma Çiftçi, Ferhat Özgür, Figen Aydıntaşbaş, Fulya Çetin, Genco Gülan, Gonca Sezer, Gökçe Süvari, Gökhan Deniz, Göksu Kunak, Gülçin Aksoy, Gül Kozacıoğlu, Gümüş Özdeş, Güneş Savaş & Eren Yemez, Güneş Ter kol, Gözde İlkin, Hale Tenger, Hubert Sommerauer, İnci Furni, İpek Duben, Kınay Olcaytu, Melike Kılıç, Merve Çanakçı, Merve Şendil, Mischa Rescka, Murat Tosyalı, Nalan Yırtmaç, Nancy Atakan, Nazım Dikbaş, Neriman Polat, Nick Flood, Nurcan Gündoğan, Onur Ceritoğlu, Onur Gökmen, Özgür Atlagan & Bengi Güldoğan, Özgür Demirci, Özgür Erkök Moroder, Özge Enginöz, Rüçhan Şahinoğlu, Raziye Kubat, Sabine Küpher Büsch & Thomas Büsch, Seda Hepsev, Seçil Yersel, Sena Başöz, Senem Denli, Sevim Sancaktar, Sevil Tunaboylu, Sevgi Ortaç, Suat Öğüt, Sümer Sayın, Şafak Çatalbaş, Ulufer Çelik, Yaprak Kırdök, Yasemin Özcan, Yasemin Nur, Yavuz Parlar, Yeşim Ağaoğlu, Zeyno Pekünl.

Friday, September 23, 2016

'Lines of Passage (in medias res)', September 30- November 11,The Municipal Art Gallery of Mytilene, Lesvos

Lines of Passage (in medias res)

Lines of Passage (in medias res) endeavours to demonstrate a variety of connections among narratives of memory and expressions of differing intensities and (stylistic) approaches through artworks selected from the permanent collection of the Elgiz Museum in Istanbul. Sevda and Can Elgiz began amassing the collection in 1980 by focusing on "the contemporary" in art and life and in 2001, made the collection accessible to the public at The Elgiz Museum in Istanbul.

Lines of Passage (in medias res), curated by Basak Senova, forms a constellation reflecting on the trajectories of memory and perception. Within the exhibition, potential encounters between the selected artworks and spaces designate an ever-changing dynamic which is based on personal narratives, consciousness, psychological and cognitive recognitions. The exhibition suggests various paths of understanding through its scenography and potential dialogues of historically and politically charged geographies. It is nurtured by a selection of core works encompassing a cross section of narratives. Each work in the exhibition connects to another with non-linear narratives employing the in medias res, either through content-based or form-based links.

The first iteration of Lines of Passage (in medias res) will take place at the Municipal Art Gallery of Mytilene on the Greek Island of Lesvos. The gallery, formerly known as the Halim Bey Mansion, is an example of the island's Ottoman period architecture. Furthermore, there is an emotional connection with the Lesvos venue: Can Elgiz's great grandfather, Halim Bey, was born and raised in this building. The exhibition, already inhabited and inscribed in the narrative of the building, aims to add and route other lines of passage.  

Lines of Passage (in medias res) winds through the Halim Bey Mansion and presents artworks in various media ranging from painting to sculpture, from installation to objects, from photographs to film and video by prominent artists including: Pınar Yolaçan, Oleg Dou, Cindy Sherman, Azade Köker, Bedri Baykam, Bengü Karaduman, Ferhat Özgür, Gilbert & George, Hale Tenger, Tracey Emin, Mateo Mate, Burak Delier, Gülsün Karamustafa, İhsan Oturmak, Kendell Geers, Komet, Nan Goldin, Nilbar Güreş, Özlem Günyol, Rebecca Horn, Tomur Atagök, Veljko Zejak, Ola Kolehmainen, Benji Boyadgian and Hera Büyüktaşçıyan.

A companion book, edited by Başak Senova, documenting the evolution of Lines of Passage (in media res) will be launched during the exhibition and will be available in three languages (Turkish, Greek, and English).

For further inquiries about the book launch and the exhibition please contact the Elgiz Museum of Contemporary Art: pr@elgizmuseumistanbul.org
September 30–November 11, 2016

The Municipal Art Gallery of Mytilene, Lesvos
Agramitiou
Mitilini 811 00

www.elgizmuseum.org
www.lesvosgreece.gr/municipal-art-gallery

Sunday, September 18, 2016

'Yumuşak Bir İnişi Takiben Dik Bir Uçurum', Rem Art Space and Gaia Gallery-İstanbul, 8 September - 22 October 2016

Sanatçılar: Burçak Konukman, Elif Süsler, Gül Ilgaz, Ferhat Özgür, Vahit Tuna, Ani Setyan, Emre Zeytinoğlu, Çınar Eslek, Gözde İlkin, Yıldız Çintay, Yasemin Özcan, Serda Çamlı, Ali Miharbi ve Erdem Ergaz 

Küratör: Mehmet Kahraman

8 Eylül – 22 Ekim 2016

Gaia Gallery ve REM Art Space, yeni sezona ortak bir sergiyle başlangıç yapıyor. İki farklı mekanda eşzamanlı olarak gerçekleşen sergi, 22 Ekim’e kadar REM Art Space ve Tarihi Elhamra Han'ın beşinci katında yer alan Gaia Gallery'de gezilebilir.

Belleğin anlık değişimlerine odaklanan Yumuşak Bir Inişi Takiben Dik Bir Uçurum sergisi, ‘an’ın sanatsal üretim biçimiyle ilişkisini sorunsallaştırıyor. Anlık karşılaşmaların zihinde yarattığı değişikliğe göre tepki veren bireyin ifade yöntemlerini görünür kılıyor. 

Zihin yaşamak için unutmak zorunda olduğu kadar unuttuklarının izini de korur. İfade edilemeyen, giz olarak kalan tanımsız bu izler, öznenin farkında olmadan karakterini belirleyen birer refleks olarak karşımıza çıkar.

Bu bağlamda Yumuşak Bir Inişi Takiben Dik Bir Uçurum sergisi, belleğin unutamadığı ve ifade edemediği izleri bir araya getiren resim, fotoğraf, video ve mekana özgü çalışmaların birlikteliğinden oluşan an’lık durumların görünür kılıyor.

Thursday, August 04, 2016

'freund schafts spiel: Istanbul:Freiburg', 9.7.2016 / 9.10.2016, museum für neue kunst freiburg, Germany



09/07/2016 - 09/10/2016

Museum für Neue Kunst

Freundschaftsspiel Istanbul : Freiburg

Museum für Neue Kunst Freiburg continues its ongoing exhibition format Freundschaftsspiel, which engages the museum collection in dialogue with diverse outside collections. In collaboration with two independent, private collections in Istanbul, the second edition of the series is a multigenerational and international exhibition. Freundschaftsspiel, Istanbul : Freiburg takes place in three acts: a joint exhibition with Ayse Umur Collection, a video program from Agah Ugur Collection in the museum’s Schau_Raum and series of book launches in Istanbul as a closing event. 
This evolving exhibition is the result of correspondences between collections based in different geo-political contexts, yet sharing related artistic attitudes. Freundschaftsspiel, Istanbul : Freiburg surveys a range of historically and politically charged contexts including gender, language, identity and humor. In parallel with this contextual framework, the diversity of the museum’s contemporary collection is on display as it is assembled with two seldom seen, yet impactful private collections. Further contributions include artist talks, a discussion program, screenings, readings and performances. The encounter between the collections creates a non-linear, conversational composition that maps out parallel artistic positions across different generations and suspends the euro-centric approach in exhibition making.


Hera Büyüktasçıyan | Handan Börtüteçene | Selim Birsel | Cansu Çakar | Aslı Çavusoğlu | Şevket Dağ | Dellbrügge & de Moll | Max Diel | Merike Estna | Cevdet Erek | Ralph Fleck | Nilbar Güreş | Eugen Gomringer | Stefan Hösl | Ali Kazma | Joseph Kosuth | KOMET | Merve Kılıçer | Anselm Kiefer | Ola Kolehmainen | Kurucu Koçanoğlu | Aleksandra Mir | Ciprian Mureşan | Laure Prouvost | Raqs Media Collective | Max Radler | Necla Rüzgar | Hanni Rocco | Abigail Reynolds | Viviane Sassen | Michel Sauer | Richard Schindler | Fritz Schwegler | Kemal Seyhan | Nedko Solakov | Curt Stenvert | Serra Tansel | Yavuz Tanyeli | Erdem Taşdelen | Amalia Ulman | Mehmet Ulusel | Raymond Waydelich

VIDEO & FILM PROGRAM 
Aslı Çavuşoğlu | CANAN | Annika Eriksson | İnci Eviner | Leyla Gediz | Nilbar Güreş | Şener Özmen | Ferhat Özgür | Didem Pekün | Zeyno Pekünlü | Aykan Safoğlu | Hale Tenger | Erdem Taşdelen

'talking about: mulliqi art prize exhibition', national gallery of kosovo, 27.07.2016 / 28.08.2016


Tuesday, June 07, 2016

'crisis as ideology', 9 June-27 July, 2016, kunstraum niederoesterreich, vienna











Artists: 
Marianne Flotron , Anna Hofbauer , Vlatka Horvat , Dejan Kaludjerović , Ferhat Özgür , Markus Proschek, Stefanos Tsivopoulos , Miklos Erhardt 
Opening: 09 06 2016
Duration: 10 06 – 23 07 2016
Curators: Anamarija Batista und Dejan Kaludjerović
Co-Curator: Karolina Radenković
Design: Seth Weiner

CRISIS AS IDEOLOGY?
The crisis is not only present today – it is a constantly recurring narrative, a cyclical guest, and a messenger of social and geopolitical upheaval. It is an abstract and elusive construct that calls for reform, discipline, and struggle. These imperatives trigger physical discomfort, mental hardship, and leeway for exploitation. This condition causes the carousel in search for a secure existence, freedom of choice and participation to spin ever faster, and it becomes increasingly difficult to keep pace with this acceleration or to find an own rhythmic interval and put it into play.
The cry for reforms – above all, the demand for a continuous reduction of costs and higher cutbacks – is targeted towards states, companies, and ultimately the citizens. The condition of crisis is provoked in the moment when capital becomes an independent reality, which only has an abstract connection to human labour, available resources, and work processes. This leads to a dangerous gap between everyday work realities and the movements of capital. The resulting “contradictions” and “cracks” define our contemporary political and economic debates.
The division between capital and human labour as well as the dominant paradigms of scarcity and instability currently produce spaces and circumstances that propagate restraint, fear, and insecurity.
According to politicians, economists, and the media, we are facing a crisis once again!
In this exhibition we investigate and (de)construct the character of the crisis. It is an attempt to probe the ambiguous status quo. The artistic works address notions of social manipulation, discontinuity, and value creation along with historical and contemporary precedents, with the aim to transfer the crisis and its phantoms into concrete and tangible states of thought, to outfox them, and to transform them into spatial constructs and relationships.