'PastPresentFuture: Highlights From The UniCredit and Yapi Kredi Collection'

"PastPresentFuture – Highlights from the UniCredit and Yapi Kredi Collection"
An Exhibition at Yapi Kredi Cultural Center, Istanbul
6 November 2010 – 7 January 2011

Opening:
Friday, 5 November 2010, 7 p.m.

Featuring 90 International Works and Spanning Four Centuries of Art
Selected works from across the UniCredit Art Collection and Yapı Kredi Art Collection

Yapı Kredi Cultural Center
161 Beyoğlu, Istanbul
Tel: + 90 212 252 47 00 (pbx)
www.yapikredi.com.tr/en-US/culture/main.aspx

Artists (in alphabetical order) :

Doug Aitken, Ghada Amer, Giovanni Baglione, Stephan Balkenhol, Olivo Barbieri, Georg Baselitz, Gabriele Basilico, John Ernest Joseph Bellocq, Michael Biberstein, Mathias Bitzer, Pieter Van Bloemen, Paul Bril, Balthasar Burkhard, Vincenzo Castella, Jordi Colomer, Philip-Lorca di Corcia, Tony Cragg, Charles-Francois Daubigny, Giorgio De Chirico, Antonio Donghi, Dosso Dossi, Igor Eskinja, Lara Favaretto, Trude Fleischmann, Fischli & Weiss, Francisco Goya, Andreas Gursky, Jitka Hanzlovà, Candida Höfer, Axel Hütte, Francesco Jodice, Mimmo Jodice, Imi Knoebel, Heinrich Carl Christian Kühn, Maria Lassnig, Richard Long, Pietro Longhi, Hans Makart, Ryuji Miyamoto, Muntean/Rosenblum, Hermann Nitsch, Şükran Moral, Aydan Mürtezaoğlu, Ferhat Özgür, Luca Pancrazzi, Giulio Paolini, Arnuf Rainer, Giuseppe Recco, Gerhard Richter, Gerwald Rockenschaub, Giovan Battista Ruoppolo, Giovanni Gerolamo Savoldo, Hans Schabus, Kurt Schwitters, Annelies Strba, Beat Streuli, Christine Streuli, Thomas Struth, Wolfang Tillmans, Marco Tirelli, Export Valie, Carlo Valsecchi, Massimo Vitali, Andy Warhol, Franz West, Erwin Wurm, Heimo Zobernig

Yapi Kredi Cultural Center in Istanbul will host the exhibition titled "PastPresentFuture." The UniCredit Art Collection, one of Europe's largest corporate collections, is the source of this travelling exhibition which opens in Istanbul, European Capital of Culture for 2010, after the debut in Vienna in October 2009 and the stop in Verona last spring. The exhibition will be open between November 6th 2010 and January 7th 2011. On display there will be works from the collections of the various banks of the Group. There will also be seven works from the Yapı Kredi Art Collection, including Osman Hamdi Bey's Feraceli Kadınlar (Women Wearing Fullcoats, 1887) a masterpiece from the turn of the century in Istanbul.

Curated by UniCredit Art & Scientific Commission Chairman Walter Guadagnini, the exhibition spans four centuries European art history and creates a dialogue between eras and languages. With this exhibition, including 90 works, UniCredit's significant art collection meets with Turkish art lovers for the first time.

The company's artistic and cultural heritage is mainly derived from the collections of UniCredit in Italy, HypoVereinsbank in Germany and Bank Austria. It comprises 60,000 works that together capture the history of art from ancient Greece and classical Rome to the present day. The collection, which is currently being studied and re-catalogued, is a trans-European museum that can be experienced in the Group's main offices and at the sites of its institutional partners in culture.

The show's concept is based on a variety of languages and allows visitors to see the past through contemporary eyes and to look from the present towards the future. From ancient works by significant painters including Giovanni Girolamo Savoldo and Dosso Dossi, the exhibition moves to collages by Kurt Schwitters and canvases by Giorgio de Chirico, to installations by such artists as Tony Cragg, Stephen Balkenhol and Giulio Paolini, and to photographs by Andreas Gursky and Thomas Struth.

Yapı Kredi has been a natural part of cultural life in Turkey since its foundation in 1944 as the patron of a private art collection, exhibitions and publications. Yapı Kredi possesses an important growing art collection which comprises works of Turkish and foreign artists. Yapı Kredi Cultural Activities, Arts and Publishing Inc. realizes all events with the aim of enriching the culture and art life of the country and to make varied forms of contemporary and high quality art available to all. Its raison d'être is to spread art and culture, to a wider audience. The company aims to enrich continuously the cultural and artistic life of Turkey.

Yapı Kredi Cultural Activities, Arts and Publishing has a publishing house and art galleries. Yapı Kredi Publications (YKY) the largest and one of the most influential publishing houses in Turkey, started its activities in 1949. YKY aims to offer its readers a most carefully chosen selection of the highest quality of works from Turkish and world literature. It also continues to publish books on contemporary art, monographs of prominent artists, archeology books and exhibition catalogues with leading names in their fields. With its variety of books and periodicals it has printed its 3.200th book in November 2010, Yapı Kredi Publications this year published more than 180 first editions and 400 reprints, amounting to 1 million books and 19 periodicals.


General information:
"PastPresentFuture – Highlights from the UniCredit Collection"
Yapı Kredi Cultural Center, November 6 – January 7, 2011

Address:
Yapı Kredi Cultural Center, 161 Beyoğlu, Istanbul
Tel: + 90 212 252 47 00 (pbx)

Opening Hours:
(Admission free)
Monday-Friday: from 10 am to 7.30 pm
Saturday: from 10 am to 7.30 pm
Sunday: 1 pm to 7.30 pm

2.ANTAKYA BIENNALE - TURKEY

‘Thank you for your understanding’

2. INTERNATIONAL ANTAKYA BIENNIAL / TURKEY

Curators: Arzu Yayintas - Dessislava Dimova

15 October – 20 November 2010

artists:

a77 / adalet akbaş / muhammad ali / günay alkan /burak arıkan / vartan avakian / pierre bısmuth / hakan bitmez / luchezar boyadjıev / rana çuhadaroğlu / burak delier / hülya dolaş / natalya dyu / ışıl eğrikavuk / volkan eray / mehmet fahracı / emel sıkar genç / nadi guler & m. hasan / demirci / özlem günyol & mustafa kunt / sanja ivekovic / simon kentgens / fevziye koku / daniela kostova / cüneyt / kurt / ghassan maasri / renzo martens / ivan moudov / vesselina nikolaeva / bora petkova / ferhat özgür / larissa sansour / bastiaan schevers / aygül sezer / mary hyunhee song / emel sökmen / fatih tan / kezban tatlı / sevgi tatlı / güneş terkol / varol topac / issa touma / gönül türker / macide yalçınkaya & zehra güzel / fadı yazıgı / mediha yeniocak / ediz yenmiş / ela yılmaz / sevcan yılmaz / nalan yırtmaç

Concept:

21st century turned out to be century of crisis. It is not only the big economic crisis that we are going through, it is also a period of profound social crisis: a fragmented and increasingly fundamentalist social world, an environment in danger, high unemployment rates, precarious and underpaid work life and political system failures. It seems that it is time to look through the globalization and neoliberalization and the social, economical and urban transformations that we are subject to in recent decades.

2nd Antakya Biennial is inviting artists to question the effects of globalization and neo-liberalism and the social and cultural transformations that we are going through and to explore the way our collective life is organized today in order to open up new possibilities for alternative coalitions, free alliances. We believe that it is important to emphasize the notion of collectivity within this context because today alongside the economic globalization, there is a global trend of rising fundamentalism and nationalism which effects our life in all layers. Questioning the globalization inholds also the critique of the art world and mainly the notion of biennial since art world - the system globalized itself.

What kind of a city?

2nd Antakya Biennial is aiming to questioning the transformation that we have been going through in the last decades through focusing on the urban life and the cityscape since as David Harvey put forward the question of what kind of city we want cannot be separated from what kind of people we want to be and what kind of social ties, relationship to nature, lifestyles, technologies and aesthetic values we desire. Therefore it is an individual right to change ourselves by changing the city and this transformation inevitably depends upon the exercise of a collective power to reshape the processes of urbanization[1].

Why Antakya?

Many cities in different parts of the world have experienced a fundamental economic, cultural and social transformation in recent decades and most of them have become nodes of goods and consumption and turned into products rather than places to live.

Approaching Antakya as the site for yet another Biennial we were confronted to a city like many others, facing transformations and expansion, yet different. Antakya is located in southern Turkey, near the border with Syria. In ancient times the city was known as Antioch and has historical significance for Christianity, being the place where the followers of Jesus Christ were called Christians for the very first time. The city of Antioch was founded in 300 BC, and went on to play an important part in the history as one of the largest cities in the Roman Empire and Byzantium, a key location of the early years of Christianity, the Antiochian Orthodox Church, the rise of Islam and the Crusades. It has a rich architectural heritage, which has not totally discovered yet.

Being so near the Syrian border Antakya is a cosmopolitan city unlike most of the cities in Turkey today, and it has not experienced the 1980s and 1990s mass immigration of people from eastern Anatolia. As a result both Turkish and Arabic are still widely spoken in Antakya although written Arabic is rarely used. In some regions people even don’t know Turkish and speak only Arabic. Although most of the inhabitants are Muslim there are still Christian communities in the city. With its long history of spiritual and religious movements Antakya is still a place of pilgrimage for Christians and Muslims. Sunnis, Alevis, Catholics, Orthodox, Armenians, Arabs and Kurds continue to co-exist in the city today.

Antakya has not been gone through a rapid transformation of the 1980s like most of the cities in Turkey and has been a cosmopolitan city since the very beginning. Contemporary Antakya is a wealthy city in a process of fast development. Its historical and geographic connections to Syria have been recently reinforced by the visa exemption agreement between Turkey and Syria and changes in the Turkish government policies have confirmed its place as a cultural, touristic and trade centre. People in Antakya begin to undergo the same processes of urbanisation, gentrification and gradual increase of control of public space that have advanced with varying speed and extent elsewhere. But there was something in the mixture between the traces of ancient history and the remnants of humanity and innocence amid the growing concerns for profit and efficiency that made us hope for an almost utopian promise for something different to be found. Is there something for us to learn from contemporary Antakya and something from the experience of other places and other histories to teach to its citizens? Antakya is a place where the streets and even the shops still do little to encourage a hectic consumerism. The banks of the river and the hills outside the town offer benches to contemplate the view but no cafes or restaurants to capitalize on it. The many historical and architectural sites continue to be part of the daily urban life and cultural heritage programs have not yet turned the city into a museum. The only museum has no shop and it is even difficult to find postcards from Antakya. However the city culturally, socially, spatially and economically going through a rapid transformation. A new airport is being constructed, most of the big old houses are being turned into hotels, each day a new souvenir shop or tourism office is being opened instead of small ateliers and etc. Just recently a big shopping mall construction has started in the outskirt of the city, which will definitely change the social, and public life of the inhabitants and understanding of the public space. And inevitably these transformations are followed by gentrification process (or we should say concurrently) in the city center and Antakya Biennial is also a result/part of this transformation. The Antakya biennial finds itself in between the needs and ambitions of the growing and developing city, and the foreign, often nostalgic, gaze. But between the drive towards globalization and its reverse but inherent demand for local difference, is there something of the old universal we can rescue, some common ground that can unite us, while still respecting all particularities?

Through focusing on the social and cultural transformations that we are going through and exploring the way our collective life is organized today, the 2nd Antakya Biennial is aiming to explore the social and cultural structure of today’s society through Antakya and build a discussion platform for Antakya inhabitants to question these changes and to invite them to take an active part in the re-making the city in other words remaking themselves since the city itself, as the spatial model of the way society is organized and functions today, that is one of our common grounds of experience as human beings. Within its spatial metaphor we can share common references and unify our dispersed struggles. Cities territorialize social injustices, but also define the space to fight them. The remaking of the city is the remaking of ourselves and as such it is one of our most fundamental, human rights.

The biennial will also expand internationally and each of its editions will collaborate with different partner countries. In 2010 these are Belgium, Holland and Bulgaria. Under the umbrella of Antakya Biennial, parallel events co-organized with local institutions will take place in Brussels, Amsterdam and Sofia. They will extend the questions we pose in Antakya and confront them to different local contexts.

Antakya Biennial is the sole international art exhibition in the region. As a result it has a stronger impact on the locality than most other biennials. This is why Antakya biennial proposes a structure that is much more locally oriented. Such a structure will be a more challenging but less standardized framework for the collaboration of local and international artists and organizations on the grounds of the biennial. However, Antakya biennial is not simply a "regional" event. Instead we see the biennial as a global laboratory for artistic and intellectual exchange that has its starting point in the local situation of Antakya but reaches out and exchanges experiences with other locations since the specifics to Antakya mimics the global transformation.

---

[1] Harvey, David, The Right to the City, New Left Review 53, Sep-Oct 2008

KINAMA / CONDEMNATION

Değerli Sanatçı Arkadaşlarım

21 Eylül 2010 tarihinde çağdaş sanat tarihine 'Tophane Saldırısı' adlı yeni bir kara leke daha eklendi. Bu çirkin ve iğrenç saldırının ardından, bazı istisnalar hariç, yazılı ve görsel medyada 'mahalle halkını savunma ve haklı gösterme' stratejilerini esefle kınıyor, öfkeleniyor ve utanç duyuyorum. Amaçları apaçık ortada olan bu iğrenç saldırgan yaratıkların süratle yakalanıp, ceza yemeleri yerine, medyada olay 'ahlak, gelenek ve aile adabına aykırı davranışlar' vb sahtekar etiketlerle açıklanmaya çalışılıyor.

Mağduru değil saldırganı haklı çıkaran yumuşak dozdaki bu eleştirilerle, sözüm ona bizlerden olayı sineye çekmemiz ve unutmamız bekleniyor. Namaz çıkışlarında hep bir ağızdan tekbir getirenler, oruç vakti sokakta simit yiyenlere taş atanlar, yolda ele ele yürüyen sevgililere saldıran ayyaşlar, parklarda öpüşenleri uyaran polisler, 'huzuru kaçıran'lar olmuyor da, bir çağdaş sanat şöleni için bir araya gelen ve ellerindeki şarap kadehleriyle, galeri önündeki sokakta ortak bir duyguyu paylaşan topluluk söz konusu 'kurtarılmış bölgenin' huzur bozucuları oluyor.

Kanımca sesimizi istediğimiz yükseklikte duyuramıyoruz hala. Yanlı medya organlarını, olaylara seyirci kalan güvenlik güçlerini esefle kınadığımızı bağıra çağıra söylemeliyiz.

Tekrar tekrar hepimize geçmiş olsun diyorum.
Ferhat Özgür

'I'M SPARTACUS - DROMAHAIR- NORTHERN IRELAND

Schedule

Saturday, September 25th 2010

5pm – The Rose of Innisfree tourboat

Bea McMahon presents a reading, ‘Sink or Swim‘, on The Rose of Innisfree tourboat at 5 pm on Saturday. Departure location is indicated in this map with a boat icon.
Places are limited so please book for this event at gracelandsis@gmail.com

6.30pm – The Mimetic House site

Screenings
Ian Breakwell / Paul Bush / Rhona Byrne / Omer Fast / Rainer Ganahl / Ryan Gander / Işıl Eğrikavuk / Ciné Institute Haiti / Sanja Iveković / Kevin Kirwan / Seamus Nolan / Ferhat Özgür / Alice Rekab / Margaret Tait / Sarah Pierce / Grace Weir

Presentations/Performance
Sam Keogh and Joseph Noonan Ganley Noonan (Radical Love) / The Provisional University / Ruby Staunton / Anne Tallentire

Sculpture/Installation
Azple / Dean Hughes / Bea Mc Mahon / Isabel Nolan / Walker and Walker

Sound events ( programmed with Aisling Ryan) featuring:
John Godfrey / Dylan Rynhart / Si Shroeder / Martin Tourish

Sunday, September 26th

1pm – Hurl Learning Speed Encounters

Over late breakfast in the Blue Devon Pub, Mainstreet Dromahair

8pm – Pot luck Dinner

Bring a contribution, from 8, The United Trades Club, Castle Street, Sligo see http://themodel.ie/ for details on this project

See info on food, accommodation and travel »

One Response to Schedule

'Sister Sister City' / Thomas Solomon Gallery, Los Angeles

Thomas Solomon Gallery | Thomas Solomon Gallery@Cottage Home

Still from "I Can Sing" by Ferhat Özgür, 2008, courtesy of the artist.

Thomas Solomon Gallery @ Cottage Home is pleased to present an evening of new video works from Berlin on Saturday, September 18, 9:00 PM.

"Sister Sister City” is a video screening of works brought to Los Angeles from Berlin, two cities in continual states of renewal. The population of Berlin is constantly transforming and there are few areas in the city where one will not see construction cranes shaping the skyline. Also exhibiting a quickly evolving cityscape, Los Angeles (via Hollywood) is perpetually reinventing and borrowing from itself in the production of media. Using popular culture as a point of departure, each artist in the screening investigates methods of repetition such as sequels, copies, remakes, versions, and covers. The works implement imitation and duplication through the use of performativity and appropriation. They hold up a mirror, however faded, distorted, or far away, to LA's image-media diaspora.

“Sister Sister City” is organized by Lindsay Lawson, a Berlin-based artist formerly living and working in Los Angeles.

The list of artists:

Petra Cortright, Martin Kohout, Oliver Laric, Lindsay Lawson, Dafna Maimon, Ferhat Özgür, and Anne de Vries.

427 Bernard Street 410 Cottage Home Street

Los Angeles CA 90012 Los Angeles CA 90012

310 428 2964 323 275 1687

info@thomassolomongallery.com www.thomassolomongallery.com

'Video Dumbo 2010', Brooklyn, New York, USA

Video_dumbo: 24-26 september 2010

112 water street, DUMBO

Brooklyn, New York, USA

Curators: Caspar Stracke, Gabriela Manroy

For further information please visit: www.videodumbo.org

OPENING RECEPTION:

‘VIDEO INSTALLATIONS’, 24-26 September 2010, 7pm

Adam Leech / Hans Op De Beeck / Rimas Sakalauskas / Till Roeskens / Kristin Lucas / David Krippendorf

‘FAUNATICA’, 24 September 2010, 8 pm

Emily Vey Duke + Cooper Battersby / Shaun Slifer / Torsten Zenas Burns
Douglas Fishbone / Pene Ginard & Laura Gines / Oliver Laric / Pilvi Takala /

‘COLLISION COURSE’, 25 September 2010, 2 pm

Gratuitous Art Films / Julie Casper Roth / Zbynek Baladran Estela / Estupinyà-García Arne Bunk / Vincent Meessen / Isabelle Hayeur /

‘SINCE YOU’VE BEEN GONE’, 25 September 2010, 3 pm

David Pierce / Maria Niro / Agnes Meyer-Brandis / Penny Lane / Joseph Bennett /

‘CHOSING SIDES’, SATURDAY, 25 SEPTEMBER 2010, 5 PM

Ferhat Özgür / Christoph Schlingensief / Karen Mirza & Brad Butler / Avi Mograbi / Basma Alsharif /

‘TEL QUEL’, 25 Sepember 2010, 7.30 pm

Aaron Oldenburg / Tamar Latzman / Theodore Tagholm / Tim Leyendekker / Redmond Entwistle / David Politzer / Melanie Crean / Pete Burkeet /

‘PROJECTOR PERFORMANCES’, 25 September 2010, 8.30 pm

LIGHTBOX projector performance, Alex MacKenzie, Vancouver

SANDRA GIBSON + LUIS RECODER

Keith Sanborn / Bob Paris / Volker Schreiner / Ivan Faktor / Vivian Ostrovsky / Dave Griffiths / Julius Ziz /

‘SILVER SPLICED’, 25 September 2010, 10 pm

Keith Sanborn / Bob Paris / Volker Schreiner / Ivan Faktor / Vivian Ostrovsky / Dave Griffiths/ Julius Ziz /

ETC: DVD-EAI: SPECIAL SCREENING, 26 September 2010, 2pm

ETC: 1969 - 2007

The Experimental Television Center (ETC) was established in 1969 by Ralph Hocking at the State University of New York at Binghamton and is among the oldest yet still existing nexus for video / media artists on the East Coast.

In 1972, ETC began a residency program, inviting artists such as Nam June Paik, Shikego Kubota, poet Jackson MacLow, and glass artist/video activist Rudi Stern to explore the center's tools. Engineer David Jones deleloped ETC's unique one of its kind image-processing system in 1974

This system layed the groundwork for subsequent innovations in artist-oriented software and tools, including Jones's frame buffer with two-dimensional print software. Over the years the Center's residency program gained international recognition through the works of visiting artists, among them Peter D'Agostino, Peer Bode, Shalom Gorewitz, Barbara Hammer, Ken Jacobs, and Gary Hill. In 1978 the Center relocated to Owego, New York, where it continues to operate today.

An anniversary DVD compilation

For it's 40th year anniversary ETC started to produce a DVD compilation of a selection of artists who had created video art during ETC residencies over the course of 40 solid years.
This enormous undertaking required digital restorations, and took three years, resulting in a 20 hour compilation of over 100 artists.

Digitizing, restorations, and overall support: Bill Seery and Maria Venuto and Standby program
Project manager and DVD author: Aaron Miller.
Art director: Diane Bertolo

The DVD is accompanied with a 130-page catalog and is distributed by Electronic Arts Intermix

A 40-min compilation program focussing on historic works from the early beginnings.

Rebecca Cleman from Electronic Arts Intermix will present additional works of the selected artists created in the same time period from the EAI collection.

The screening is followed by a small reception.

http://www.experimentaltvcenter.org/etcdvd.html
http://ww.eai.org

‘ARE WE HOME YET?’ 26 September 2010, 3.30 pm

Emmanuelle Antille / Lena Maria Thuering / Gautam Kansara / Ken Jacobs / Sam Holden / Nicole Sloan / Jill Epstein / Axel Roessler /

‘INSIDE OUT’, 26 September 2010, 5pm

Steve Rogenstein / Josh Weinstein / Allen Chen / Shelly Silver / Devrim Kadirbeyoglu / Christopher Udemezue / Melissa Potter / Erik Levine / Simon Mullan / Axel Petersén / Liz Rodda /

‘TURNING POINTS’, 26 September 2010, 7 pm

Tomoko Inagaki / Toni Comas / Jonathan Cummins / Vianney Lambert / Magnus Bärtås /

‘CRACK LIGHT’, 26 September 2010, 8.30 pm

Theodore Tagholm / John Michael Boling / Wojciech Gilewicz / Jacob Tonski / François Vogel / Flatform / Peter Rose / Yorgos Taxiarchopolus / David Grainger / Leighton Pierce / Phyllis Baldino / Gerhard Funk / Ulrich Polster and Christine Scherrer /

ARE YOU LUCKY ARTIST?

Are you a lucky artist?

La Fortuna secondo gli artisti
Biblioteca Poletti dal 17 settembre al 30 ottobre 2010
inaugurazione della mostra
venerdì 17 settembre, ore 18
a cura di Francesca Lazzarini
sabato 9 ottobre, ore 17
Giornata del contemporaneo
Palazzo dei Musei • Sala Ex Oratorio
incontro con Wainer Vaccari e Nadia Raimondi

Orari della mostra durante il festivalfilosofia
venerdì 17 e sabato 18 ottobre ore 9-23
domenica 19 ottobre ore 9-20 - La mostra prosegue fino al 30 ottobre
col seguente orario: lun 14.30-19.00
mar-ven 8.30-13.00 e 14.30-19.00 sab 8.30-13.00
Aperture straordinarie: Giornate del Patrimonio europeo
sabato 25 settembre ore 16-19 domenica 26 settembre ore 10-13 e 16-19
Giornata del Contemporaneo sabato 9 ottobre ore 16-19
Info: Biblioteca civica d’arte Luigi Poletti
Palazzo dei Musei
Viale Vittorio Veneto, 5
41124 Modena
tel. 059 2033372
biblioteca.poletti@comune.modena.it
www.comune.modena.it/biblioteche/poletti
Biblioteca Poletti dal 17 settembre al 30 ottobre 2010
Ingresso libero e gratuito

artists:

Ai Weiwei, Luca Andreoni, Philip Kwame Apagya, Marika Asatiani, Fikret Atay, Lewis Baltz, Olivo Barbieri, Gabriele Basilico, Taysir Batniji, Jodi Bieber, Elina Brotherus, Tania Bruguera, Bianca Brunner, Luca Campigotto, Cao Fei, Lorenzo Casali, Lisa Castagner, Banu Cennetoglu, Anetta Mona Chisa & Lucia Tkácová, Alexandra Croitoru, Simon Cunningham, Calin Dan, Paola De Pietri, Gintaras Didžiapetris, Annabel Elgar, Mounir Fatmi, Gianni, Ferrero Merlino, Andreas Fogarasi, Franco Fontana, Antonio Fortugno, Vittore Fossati, Samuel Fosso, Eva Frapiccini, Maiko Haruki, Naoya Hatekayama, Swetlana Heger, Matthias Herrmann, Pieter Hugo, IRWIN, Mimmo Jodice, Sarah Jones, Yeondoo Jung, Lisa Kereszi, Anastasia Khoroshilova, Kim Sooja, Josif Király, Renato Leotta, Goddy Leye, Rut Blees Luxemburg, Ma Liuming, Esko Männikkö, Alexandra McGlynn, Brígida Mendes, Ryuji Miyamoto, Suzanne Mooney, Melissa Moore, Daido Moriyama, Ivan Moudov, Pino Musi, Oliver Musovik, Daniel Naudé, Carmelo Nicosia, Walter Niedermayr, Anna Niesterowicz, Cedric Nunn, Harold Offeh, Erwin Olaf, Roman Ondák, George Osodi, Ferhat Özgür, Kirk Palmer, Hung- Chih Peng, Slavica Perkovic, Aleksander Petlura, Chiara Pirito, Renata Poljak, Konrad Pustola, Karolina Raczynska, Olivier Richon, Sophy Rickett, Giulio Rimondi, Francesca Rivetti, Martha Rosler, Hrair Sarkissian, Wael Shawky, Ahlam Shibli, Mladen Stilinovic, Risaku Sukuzi, Tabaimo, Jinoos Taghizadeh, Esther Teichmann, Toni Thorimbert, Heiko Tiemann, Guy Tillim, Rikrit Tiravanija, Milica Tomic, Danny Treacy, Franco Vaccari, Wainer Vaccari, VALIE EXPORT, Annika von Hausswolff, Manfred Willmann, Wong Hoy Cheong, Yang Fudong, Zang Zhenzhong, Akram Zaatari.

SINOPALE 3, Third Sinop Biennale: 'Hidden Memories, Lost Traces'

SİNOPALE 3, Third Sinop Biennial “HIDDEN MEMORIES, LOST TRACES”

Workshops: 4th August – 4th September 2010
Opening: 14th August 2010
Exhibitions: 14th August – 4th September 2010

Venues: Historical Sinop Prison, Lonca Kapısı, Dr. Rıza Nur Public City Library, Ülgen Cutter Boat House, Gerze City Theatre, Sinop Science-Art Centre

Curators: T. Melih Görgün, Beral Madra, Vittorio Urbani, Nike Baetzner, Rana Öztürk, Branko Franceshi, Vaari Claffey, Hande Sağlam

Artists

Ayhan&Bahar Enşici, Maria Ikonomopoulou, Karena Johnson, Hülya Karakaş, Ludwig Kittinger, Georg Klein, Rean Koen, Sıtkı Kösemen, Ronan McCrea, Anne Metzen, Daniele Pezzi, Jelena Vasiljev, Rhona Byrne, Declan Clarke, Işıl Eğrikavuk, Gülsün Karamustafa, Sean Lynch, Fiona Marron, Bea McMahon, Ferhat Özgür, Maria Papadimitriou, Sarah Pierce, Tayfun Serttaş.

The third edition of Sinopale, International Sinop Biennial is going to be held this year with the conceptual framework “Hidden Memories, Lost Traces”. It has been envisioned for tackling what is visible and invisible in a city in order to apprehend the memory of the city and to identify properly the information related to this habitat so that it can be preserved for future years. The conceptual framework intends to draw attention to what is “told” and “untold” in this geographical location which is a “transit area”.

“In order to hear the hidden narratives of a city, one has to experience the city. The invisible aspects of a city are revealed by the narratives of the city. The sense created by the narratives related to a city is the same with the sense of that city. If one has internalized the sense of a city, s/he projects something relating to his/her home city onto every city that s/he sees or relates, just as in the novel ‘Invisible Cities’ by Italo Calvino.”*

The project aims to deal with the hidden memories and lost traces of the city, thus stimulating memories of the artists as well. The artists who will be given information about the city’s memory pertaining to a period before the world was subjected to the coercive effects of globalisation, will seek ways of revealing memories that were concealed for a long time. The actualization of t he memory by means of arts will perhaps link with the present unexpected singular events, thus allowing new readings of the process of change and actual events that take place in European cities.

Sinopale 3 is a civil society project that aims to enhance development and social transformation through cultural and artistic cooperation and creates a platform for collaboration through workshops, exhibitions and performances. It attempts to make artists, designers, architects, cultural managers, tradesmen, local governors, educators, inhabitants and viewers collaborate at intellectual and operational levels and work in a “participative-interactive” way.

The exhibitions displaying the artworks will be launched at the opening which will take place in the Historical Sinop Prison on the 14th August 2010.

Furthermore, within the scope of Sinopale 3 there will also be; “Gotland Pedagogy Art Seminar” for training art teachers lead by Sonja Tanrısever, art workshops for children, “The Giant Symphony Within Me II” - musical therapy workshop by Renan Koen, Artcitizens’ shop - “A 22 day design shop” (a project that was first realised within the framework of the 11th International Istanbul Biennial parallel events), dance workshop and “Ember” performance by Ziya Azazi, “To Get Lost... Hidden Faces...” – theatre workshop run by Hülya Karakaş in collaboration with Gerze City Theatre, performing arts workshop run by Karena Johnson in collaboration with independent theatres in Sinop, “The Trace of the Voice – Engin Aksan Archive Exhibition” and “Voices” workshop curated by Hande Sağlam, “Sinop’s Forgotten Children’s Games” workshop by Ayhan and Bahar Enşici and the showing of video art selections by Turkish and Irish artists curated by Rana Öztürk and Vaari Claffey. The international forum “Arts and Culture as Catalysers for Urban Development and Social Transformation” is another important event at Sinopale 3.


For the programme and further information please visit www.sinopale.org.

WATERCOLORS-2008

"Sweet Dreams", 2008, 30x40 cm, watercolor on paper


"Let's Name Our New Baby Grenade", 2008, 40x30 cm, watercolor on paper



"A New Pool Proposal", 2008, 30x40 cm, watercolor on paper


"An Analysis of a Gun", 2008, 30x40 cm, watercolor on paper


"Hands Up", 2008, 30x40 cm, watercolor on paper



"farewell", 2008, 40x30, watercolor on paper


"One, Two, Three", 2008, 30x40 cm watercolor on paper




"impossible bridge", 2008, 30x40 cm, watercolor on paper


"Discharge Letter", 2008, 30x40 cm, watercolor on paper


"hide and seek", 2008, 30x40 cm, watercolor on paper


"water gun", 2008, 30x40 cm, acrylic on canvas


"caretaker", 2008, 30x40 cm, acrylic on canvas


"War Memory", 2008, 30x40 cm, watercolor on paper



"Careless Soldier", 2008, 30x40 cm, watercolor on paper



"Today's Beggar", 2008, 40x30 cm, watercolor on paper



"Monument for Olaf Metzel", 2008, 30x40 cm, watercolor on paper



"New Pilot", 2008, 30x40 cm, watercolor on paper



"Military Zone", 2008, 40x30 cm, watercolor on paper



"Joke", 2008, 40x30 cm, watercolor on paper




"Jerk Off", 2008, 40x30 cm, watercolor on paper




"Farm", 2008, 30x40 cm, watercolor on paper




"Curious Moments", 2008, 40x30 cm, watercolor on paper




"Burglar", 2008, 40x30 cm, watercolor on paper



"Birthday Present", 2008, 40x30 cm, acrylic on canvas



"The 6 Arrows", 2008, 40x30 cm, watercolor on paper

Posted by ferhatozgur at 11:51 AM

6th Berlin Biennale

Berlin Biennale
Michael Schmidt Untitled, 2010 (from the series "Frauen", 1997–1999) Photographs in public space		6th Berlin Biennale for Contemporary Art 11 June – 8 August 2010 KW Institute for Contemporary Art Auguststraße 69 D-10117 Berlin www.berlinbiennale.de

The 6th Berlin Biennale for Contemporary Art announces the participating artists, the venues, and accompanying events.


Deadline for accreditations for media representatives and professionals is May 7, 2010. Please register online under www.berlinbiennale.de/accreditation.


ARTISTS:

Bernard Bazile (*1952 in France), Mark Boulos (*1975 in Boston/USA), Mohamed Bourouissa (*1978 in Blida/Algeria), Olga Chernysheva (*1962 in Moscow/Russia), Phil Collins (*1970 in Runcorn/Great Britain), Minerva Cuevas (*1975 in Mexico City/Mexico), Shannon Ebner (*1971 in Englewood/USA), Nir Evron (*1974 in Herzliya/Israel), Marcus Geiger (*1957 in Muri/Switzerland), Ion Grigorescu (*1945 in Bucharest/Romania), Friedl vom Gröller (Kubelka) (*1946 in London/Great Britain), Nilbar Güreş (*1977 in Istanbul/Turkey), Petrit Halilaj (*1986 in Skenderaj/Kosovo), Marlene Haring (*1978 in Vienna/Austria), Cameron Jamie (*1969 in Los Angeles/USA), Sven-Åke Johansson (*1943 in Mariestad/Sweden), Thomas Judin (*1982 in Frankfurt am Main/Germany), George Kuchar (*1942 in New York/USA), Andrey Kuzkin (*1979 in Moscow/Russia), Thomas Locher (*1956 in Munderkingen/Germany), Adrian Lohmüller (*1977 in Gengenbach/Germany), Armando Lulaj (*1980 in Tirana/Albania), Renzo Martens (*1973 in Sluiskil/The Netherlands), Adolph Menzel (*1815 in Breslau, † 1905 in Berlin), Avi Mograbi (*1956 in Tel-Aviv/Israel), Henrik Olesen (*1967 in Esbjerg/Denmark), Roman Ondák (*1966 in Zilina/Slovak Republic), Marion von Osten (*1963 in Dortmund/Germany), Ferhat Özgür (*1965 in Ankara/Turkey), Margaret Salmon (*1975 in New York/USA), Hans Schabus (*1970 in Watschig/Austria), Michael Schmidt (*1945 in Berlin/Germany), Ruti Sela (*1974 in Jerusalem/Israel) & Maayan Amir (*1978 in Hadera/Israel), Gedi Sibony (*1973 in New York/USA), John Smith (*1952 in London/Great Britain), Michael Stevenson (*1964 in Inglewood/New Zealand), Sebastian Stumpf (*1980 in Würzburg/Germany), Ron Tran (*1972 in Saigon/Vietnam), Danh Vo (*1975 in Saigon/Vietnam), Marie Voignier (*1974 in Ris-Orangis/France), Vincent Vulsma (*1982 in Zaandam/The Netherlands), Anna Witt (*1981 in Wasserburg am Inn/Germany), Pleurad Xhafa / Sokol Peçi (both *1984 in Albania).


EXHIBITION VENUES:

Berlin-Mitte:

KW Institute for Contemporary Art
Auguststraße 69, 10117 Berlin

Alte Nationalgalerie / Old National Gallery (Museum Island)
Bodestraße 1–3, 10178 Berlin

Berlin-Kreuzberg:

Oranienplatz 17, 10999 Berlin

Dresdener Straße 19, 10999 Berlin

Kohlfurter Straße 1, 10999 Berlin

Mehringdamm 28, 10961 Berlin


ACCOMPANYING EVENTS AND COLLABORATIONS:

La monnaie vivante / The Living Currency / Die lebende Münze
17.–19.6.2010, 7.30 pm–00.30 am, HAU 1, Stresemannstraße 29, 10963 Berlin
After Pierre Klossowski, staged by Pierre Bal-Blanc for the 6th Berlin Biennale and realized in cooperation with Hebbel am Ufer (HAU) and Centre d'art contemporain de Brétigny (CAC Brétigny).
With performances and works by Marie Cool Fabio Balducci, Robert Breer, Pier Paolo Calzolari, Ceal Floyer, Simone Forti, Prinz Gholam, Jens Haaning, Sanja Iveković, Jiří Kovanda, Teresa Margolles, Roman Ondák, Christodoulos Panayiotou, Gianni Pettena, Pratchaya Phinthong, Santiago Sierra, Annie Vigier & Franck Apertet (les gens d'Uterpan), Franz Erhard Walther, Franz West, Artur Żmijewski, amongst others; and with scores by Cornelius Cardew and Christian Wolff, played by Jean-Jacques Palix.

Searching for the Post-Capitalist Self
e-flux journal #17, Summer 2010, guest-edited by the artist and curator Marion von Osten, as her contribution to the 6th Berlin Biennale in cooperation with e-flux journal.
With texts and conversations by An Architektur / Massimo de Angelis / Stavros Stavrides, Manuela Bojadzijev / Serhat Karakayali, Antke Engel, Jesko Fezer, Tom Holert, Judith Hopf, Isabell Lorey, Sebastian Luetgert, Natascha Sadr Haghighian, Marion von Osten / Fahim Amir / Eva Egermann / Peter Spillmann and Florian Zeyfang.
www.e-flux.com/journal



The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

The exhibition Menzel's Extreme Realism is curated by the American art historian Michael Fried at the invitation of Kathrin Rhomberg in collaboration with the Alte Nationalgalerie / Old National Gallery and the Kupferstichkabinett / Museum of Prints and Drawings of the National Museums in Berlin.

The project George Kuchar was realized in collaboration with film scholar Marc Siegel.


KW Institute for Contemporary Art
6th Berlin Biennale for Contemporary Art
Auguststraße 69
D-10117 Berlin

www.kw-berlin.de
www.facebook.com/KWInstituteforContemporaryArt
www.facebook.com/BerlinBiennale


Further information:
Denhart v. Harling . T +49. 30. 243459. 42 . press@berlinbiennale.de

'Chaotic Metamorphosis / Kaotik Metamorfoz'

Maslak Beybi Giz Plaza Istanbul Tel: +90 212 290 25 25 info@proje4l.org www.proje4l.org www.elgizmuseum.org Kapak / Cover : Murat Germen Kaotik Muta-morfoz#2 / 2009 Krom Bask / Chromogenic print Elgiz Koleksiyonu'nun ev sahipliği yaptığı 2010 Proje Odaları sergi açılışına katlmanızdan mutluluk duyarz. Elgiz Collection kindly invites you to attend at the opening of the 2010 exhibition in Project Rooms. "Kaotik Metamorfoz" "Chaotic Metamorphosis" 29.04 - 04.09.2010 Açılış / Opening 29.04.2010 perşembe / thursday 18:30 - 20:30 Panel 17:00 - 18:00 Sanatçılar / Artists Can Aytekin Elif Çelebi Çnar Eslek Murat Germen Genco Gülan Gözde lkin Bahar Oganer İrfan Önürmen Ferhat Özgür Ekin Saçlıoğlu Küratör / Curator Burcu Pelvanoğlu

'Fasafiso / Gobbledygook'

'Unplugged'

unplugged: a transition from the fragmented nature of the image to a background acoustic / unplugged: gorüntünün fragmanlaşmış doğasından bir arkaplan akustiğine geçiş

Kaydı Yayınla

“unplugged: gorüntünün fragmanlaşmış doğasından bir arkaplan akustiğine geçiş”

Ali Kazma, Çağrı Saray, Fatih Aydoğdu, Ferhat Özgür, Hülya Özdemir, Suat Öğüt, Yeni Anıt

12.03. — 12.04.2010

Açılış 12.03.2010, saat 19.00

Manzara Perspectives, VİDEOİST’in “unplugged: gorüntünün fragmanlaşmış doğasından bir arkaplan akustiğine geçiş” sergisini sunmaktan mutluluk duyar.

VİDEOİST bu sergide monitörlerin, projeksiyonların ve oynatıcıların fişini çeker. Elektriği keserek Vide­o­ist, materyali ve hareketli imgelerin maddi olmayan arkaplanlarını sorgular ve seçilmiş video işlerin süreçlerini, erken gelişim aşamalarını görselleştirir. Bu aşamalardan çizimler, metinler, nesneler ve notlar gibi türemiş materyaller serginin esas unsurlarını oluşturular ve başlangıç noktalarına ve yaklaşımlara işaret eder, video sanatçılarının stratejilerini ve üretim süreçlerini tematize ettiği gibi medyumun üstüne düşünceleri de tematize ederler. Bu materyaller final ürünü olan vide­oyu tasvir etmezler ama bağımsız işler olarak kendilerini temsil ederler.

‘Zaman Notları” işinde Ali Kazma, hareketli imgenin temel yapısı olarak zamanı çıkartır. ”Obstructi­ons” adlı video serisi üstüne çalışırken kullandığı defterden çıkarttığı zamankodları, kurgu aşamasında önemli bir rol oynadığı gibi, kendi çalışma süreçlerini görselleştiren bir metod oluşturur.

Fatih Aydoğdu, vide­osu ”Diglossia” nın tektek karelerini, çizgisel imge sekansının haritasını çıkartır veya şifresini çözer gibi bir yerleştirme şeklinde gösterir.

Sinema ve filmlerin klasik üretim modelini Suat Öğüt ve Çağrı Saray farklı yollarla ele alır. Suat Öğüt’ün ”Tüketim Pratikleri” vide­osu için hazırladığı storyboard’dan (hikaye izleği) çıkarttığı dokuz çizimi sanatçının çalışma pratiğini tasvirler. Sinema filmlerinin üretim süreçleri ile doğrudan ilişkilidir. İlk etapta Öğüt tek tek sahnelerin ve dekorların çizgi romana benzer iki boyutlu görselleştirmelerinin planını belirten bir storybo­ard yaratır. Çağrı Saray’ın ”Kırmızı Oda” vide­osunda temel unsur teşkil eden el ile yazılmış senaryosu ayrıca ”Sekans 30, 31, ve 32″ için temeldir ki vide­oda göründüğü gibi senaryo betimlediği imgelere çevrilmemiş fakat imgenin kendisi olmuştur. Bölünmüş storybo­arduna benzer olarak Saray senaryonun üç sekansının parçalarını gösterir.

Ferhat Özgür Video işlerinde güncel toplumsal ve kültürel fenomeni öznel referans sistemleri ile birleştirir. Özgür’ün ”Bridgend Onyedi” adlı video işinin başlangıç noktası Bridgend’da (İngiltere) bir yıl içinde (Şubat 2007-Şubat 2008) intihar etmiş gençlerin medyadan alınmış 17 portresidir.

Hülya Özdemir, materyalin bir başlangıç noktası olmasını, potansiyelini ve bir müzenin kurumsallaştırma sistemindeki bilginin güce dönüşümünü sorgulayan ”Resmi Hafıza Kaybı” adlı işinde vide­osunun materyallerini bağımsız bir yerleştirmeye dönüştürüyor.

”Sanatçının Mal Beyanı”nda Yeni Anıt, VİDEOİST’in geçmişini ve temel özelliklerini, 2003’ten beri mobil ve bağımsız bir proje olarak varolduğunu belirterek gösterir.

www.videoist.org

—

“unplugged: a transition from the fragmented nature of the image to a backgro­und acoustic”

Ali Kazma, Çağrı Saray, Fatih Aydoğdu, Ferhat Özgür, Hülya Özdemir, Suat Öğüt, Yeni Anıt

12.03. — 12.04.2010

Opening 12.03.2010, 7pm

Manzara Perspectives is happy to present the exhibition “unplugged: a transition from the fragmented nature of the image to a backgro­und aco­ustic” by VİDEOİST.

In this exhibition VİDEOİST unplugges monitores, projectors and players. By cutting off the electricity VİDEOİST questi­ons the material and immaterial backgro­unds of moving images to visu­alise early development stages and processes of selected video works. Materi­als deriving from these stages such as drawings, texts, objects and notes become the core elements of the exhibition and point on appro­aches and starting points, thematise the work processes and strategies of video artists as well as refelcti­ons on the medium itself. These materi­als do not illustrate the final product video but stand for themselves as independent works.

In the work “Time Notes” Ali Kazma extracts time as basic structure of the moving image. The timecodes taken from his notebo­oks while working on the video series “Obstructi­ons” become a method to visu­alize the own working processes as timecodes play an essential role in the editing.

In form of an installation Fatih Aydoğdu shows single frames of his video “Diglossia” as decoding or mapping of the linear image sequence.

The cinema and the classical mode of production of films are taken up by Suat Öğüt and Çağrı Saray in different ways. The nine drawings by Suat Ögüt form the storybo­ard for his video “Consumption Practices” and illustrate the working practise of the artist which is directly related to production processes of motion pictures. As a first step Öğüt cre­ates a storybo­ard that implies the planning of individual scenes and settings in a two-dimensional visu­alization, similar to a comic. The handwritten scenario, that is a central element in the video “Red Room” by Çağrı Saray is also the basis for “Sequ­ence 30, 31 and 32″. Whereas in the video the scenario is not converted into the images it describes, but becomes the image itself, Saray visu­alizes in the three sequ­ences parts of the scenario, similar to a fragmented storyboard.

In his video works Ferhat Özgür combines current social and cultural phenomena with subjective reference systems. Taken from the media, the 17 portra­its of young suicides from Bridgend (UK), who have all commited suicide within one year (Febru­ary 2007-February 2008), are the starting point of Özgür video work “Bridgend The Seventeen”.

The material as a starting point and its potential shows Hülya Özdemir in her work “Resmi Hafıza Kaybı” (Official Memory Loss), as she develops materi­als of her last video, in which she questi­ons the transformation of knowledge into power in the instituti­onalised system of a museum, as an independent installation.

In “Artist’s Declaration of Property” Yeni Anıt visu­alises the basic characteristics and the backgro­und of VİDEOİST that exists as a mobile and independent project since 2003.

www.videoist.org

—

“unplugged: ein Übergang von der zersplitterten Natur des Bildes zum akustischen Hintergrund”

Ali Kazma, Çağrı Saray, Fatih Aydoğdu, Ferhat Özgür, Hülya Özdemir, Suat Öğüt, Yeni Anıt

12.03. — 12.04.2010

Eröffnung 12.03.2010, 19.00 Uhr

Manzara Perspectives freut sich, die Ausstellung „unplugged: a transition from the fragmented nature of the image to a backgro­und aco­ustic“ (unplugged: ein Übergang von der zersplitterten Natur des Bildes zum akustischen Hintergrund) von VIDEOIST zu präsentieren.

In dieser Ausstellung zieht VIDEOIST den Stecker von Monitoren, Projektoren und Abspi­elgeräten, um frühe Entwicklungsstadien und Entstehungsprozesse von Vide­o­arbe­iten zu visu­alisi­eren. Materi­alien aus diesen Phasen wie Zeichnungen, Texte, Objekte und Randnotizen werden zu den wichtigsten Elementen der Ausstellung und zeigen Herangehenswe­isen und Ausgangspunkte, thematisi­eren die eigenen Arbe­itsprozesse und Strategien von Vide­okünstlern sowie Reflekti­onen über das Medium selbst. Sie stehen nicht illustrativ neben dem Endprodukt Video, sondern für sich als eigenständige Arbeiten.

In „Time Notes“ extrahi­ert Ali Kazma Zeit als Basisstruktur bewegter Bilder. Aus seinen Notizbüchern für die Vide­ore­ihe „Obstructi­ons“ entnommene Timecodes die beim Editi­eren der Videos eine zentrale Rolle spi­elen, werden zu einer Methode, um die eigenen Arbe­itsprozesse zu offenbaren.

Fatih Aydoğdu zeigt in einer Installation einzelne Frames seiner Vide­o­arbeit „Diglossia“ (Zwe­isprachigkeit) als Entschlüsselung und Analyse der line­aren Bildfolge.

Das Kino sowie die klassische Produkti­onswe­ise von Kinofilmen werden von Suat Öğüt und Çağrı Saray auf unterschi­edliche Weise aufgegriffen. Die 9 Zeichnungen von Suat Öğüt bilden das Storybo­ard zu seinem Video “Consumption Practices” und veranscha­ulichen die Arbe­itswe­ise des Künstlers, mit der er sich direkt auf Produkti­onsabläufe von Kinofilmen bezi­eht, in einem Storybo­ard die Planung einzelner Szenen und Einstellungen in einer zwe­idimensi­onalen Visu­alisi­erung, ähnlich einem Comic, umzusetzen. Das handgeschri­ebene Szenario, das zentrales Element in der Vide­o­arbeit „Red Room“ von Çağrı Saray ist und dort eben nicht in Bilder umgesetzt, gre­ift der Künstler für „Sequ­enz 30, 31 und 32“ auf und entwickelt eine eigenständige Visualisierung.

Ferhat Özgür kombini­ert in seinen Vide­o­arbe­iten aktu­elle sozi­alpolitische und kulturelle Phänomene mit subjektiven Bezugssystemen. Die 17 in den Medien veröffentlichten Portra­its jugendlicher Selbstmörder aus dem Walisischen Bridgend (UK), die sich alle innerhalb eines Jahres (von Februar 2007 bis Februar 2008) das Leben genommen haben, sind der Ausgangspunkt von Özgürs Vide­o­arbeit „Bridgend The Seventeen“.

Das Material als Ausgangspunkt und dessen Möglichke­iten zeigt Hülya Özdemir in ihrer Arbeit „Resmi Hafıza Kaybı“ (Official Memory Loss) in der sie Materi­alien aus ihrem letzten Video zu einer eigenständigen Arbeit weiterentwickelt.

In der Arbeit „Artist’s Declaration of Property“ (Eigentumserklärung des Künstlers) visu­ali­ert Yeni Anıt die Grundzüge und Hintergründe des Projektes Vide­o­Ist, das als mobiles und unabhängiges Projekt seit 2003 besteht.

www.videoist.org

'Network: Videos Contemporaines Turques'

'NETWORK / ŞEBEKE: Videos Contemporaines Turques'

2 - 7 Mars, 14h - 18h, Maison des Arts Georges Pompidou -
Maison Daura, Residences internationales d'artistes / Saint-Cirq-Lapopie
Centre d'art Contemporain / Cajarc - FRANCE

Orçun Baştürk - Fatma Çiftçi - Mehmet Dere - Köken Ergun - Deniz Gül - Murat Gök - Başak Kaptan - Bengü Karaduman - Sefer Memişoğlu - Ferhat Özgür - Öner Özlü - Şener Özmen/Cengiz Tekin - Mehmet Vanlıoğlu - Burcu Yacıoğlu

Commissaire invite: Selim Birsel

'Video Capitale' - Villersexel - France

Video Capitale 2010 Villersexel
Villersexel (France)
du 02 au 06 Mars

Villersexel (France)
Vitrine de la Rue Grammont/ Projections de 18h00 a 23 h00

participants:

Gruppo Sinestetico (I), Ferhat Ozgur (Tur), Condros & Alexandra Karsiani Gr), Cristina Pavesi(I), Jeff Perkins(Usa), Isabelle Varle (Fr), Hervè Constant (UK), Michel Collet(F), John Armleder (Ch), Valentine Haegel(F), Anne Durez(F), Collecht Fact(Ch), Marc Gerenton(F), Valentine Verhaeghe (F), Nadege Maion(F), Pierre Alfar (F), Jean-Paul Rosse(F), Marina Herivault(F), PerHuttner (Se)

rencontre au cafè le D'Jack jeudi 04 de 18 h00 à 22 h00