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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.
Thursday, August 19, 2010
Tuesday, August 17, 2010
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.
Tuesday, July 13, 2010
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
Wednesday, May 05, 2010
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 |
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
Friday, April 16, 2010
'Chaotic Metamorphosis / Kaotik Metamorfoz'
|
Wednesday, March 10, 2010
'Unplugged'
unplugged: a transition from the fragmented nature of the image to a background acoustic / unplugged: gorüntünün fragmanlaşmış doğasından bir arkaplan akustiğine geçiş
“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
Monday, March 01, 2010
'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
Friday, February 26, 2010
'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
Friday, February 12, 2010
'the saints' series, photographs, 2008
'Felt Like A Prophet Today or Self-Portrait', 2008, dimensions variable, 3/5
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