Marcus Raetz and Ferhat Özgür

clocwise, ferhat özgür and marcus raetz, november 2012, Marcus Raetz's studio, Bern

'Wild at Heart', Zone Contemporaine Oliver Fahrni, 2 November-29 December 2012, Bern

WILD AT HEART
2 November - 29 December 2012

Artists:
Baldur Burwitz, Fabian Chiquet, Wim Delvoye, Andreas Egli, Manon, Fabian
Gutscher & Frantiček Klossner, Victorine Müller, Ferhat Özgür, Antal Thoma,Special Guests: Rik Reinking, Tim Steiner

ZONE CONTEMPORAINE olivier fahrni
Opening | 2 November | 6-9 pm
Performance | Bernhard Schneider | 7 pm

For the opening of the new Kunsthalle ZONE CONTEMPORAINE in Niederwangen
Berne (Switzerland) the founder Olivier Fahrni together with the artist and
co-curator Franticek Klossner will present a sensual exhibition of
international art overwhelmed with emotions. WILD AT HEART assembles
polarising artworks of nine artists. The works of renowned stars engage in a thrilling dialogue with
installations, videos and performances of young, uprising talents of the Swiss art scene.

catalogue:
http://zonecontemporaine.ch/fileadmin/media/zc01.pdf<http://www.facebook.com/l.php?u=http%3A%2F%2Fzonecontemporaine.ch%2Ffileadmin%2Fmedia%2Fzc01.pdf&h=iAQF0AljTAQF7xL8g49HxQrdLkh8_dqd5rxKCcyQdSzeGsA&s=1>

zone contemporaine olivier fahrni
freiburgstrasse 580
3172 niederwangen-bern
+41(0)31 981 32 26
 zonecontemporaine.ch

ferhat özgür, video and drawing installation, exhibition view from Zone Contemporaine, Bern, November 2012(video, 'metamorphosis chat')

'Drive In', video screening, 9 November 2012, HHDM, Vienna

Drive In, next Friday 9 November 2012, at HHDM (Hinter Haus des Meeres), at 8.15pm. Originally conceived for PAMI (Peckham Artists Moving Image Festival London), this program of artists' films will be shown for the first time in Vienna.

curator: elise lammer

With films by: 

Aisha Abid Hussain

Choterina Freer 
Fabian Marti
Simon Martin Mélodie Mousset
Ferhat Özgür
Berry Patten
Sven Sachsalber
Jon Smith
Wendy Vainity

with the generous support of LUX, www.lux.org.uk

Nov. 9, 2012, 8.15pm

More info:http://t.ymlp330.net/hqagahebyalaejyanaeuh/click.php

www.hhdm.eu 

Ferhat Özgür ‘I Can Sing’, PS 1 MOMA, NEW YORK 25 October 2012-31 December 2012

Ferhat Özgür, 'I Can Sing', 2008, video, 7min.

Ferhat Özgür ‘I Can Sing’,

PS 1 MOMA, NEW YORK

25 October 2012-31 December 2012

Curator:  Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art.

22-25 Jackson Ave. at the intersection of 46th Ave.

Long Island City, NY 11101

(718) 784-2084

Ferhat Özgür’s (1965-Ankara) practice critiques contemporary political realities with humor and irony. Living and working in Istanbul, Özgür principally focuses upon the relationship of the individual with society, using his work as a space within which individuality can be expressed in spite of the context of oppressive environments.

Özgür‘s video I Can Sing (2008), depicts an Anatolian woman in a headscarf, standing before a backdrop of contemporary Ankara featuring minarets alongside the ever-expanding sprawl of urban development. The woman’s lips move in conflict with the soundtrack of Jeff Buckley’s cover version of Leonard Cohen’s classic song “Hallelujah”. Her personal lament becomes a lament for the disappearance of cultural traditions and identities in the wake of western homogenization. She appears to both praise and despair, but the lines between Islam and Christianity, Western influence and Turkish tradition are blurred--suggesting that change is being both embraced and shunned. She is an embodiment of societal upheaval and change. Even the major key of the Western popular song is an indicator of uprooting as it obliterates the minor tones characteristic of Turkish music.

Ferhat Özgür graduated from Gazi University, Education Faculty, Department Of Painting in 1989. Having completed his master and doctorate studies in Hacettepe University Fine Arts Faculty, Department of Painting in 1997, he was appointed to the same department as academic where he has taught for nearly two decades. He currently works and teaches in Istanbul Kültür University, Art and Design Faculty, Department of Communication Design (Multimedia). Özgür took part in the 6th Berlin Biennale, the 10th Istanbul Biennale and 3rd Örebro Open Art Biennale-Sweeden, 1st Mardin Biennale and Sinopale 1, 3, Çanakkale Biennale 2012, Turkey, 8^th Cairo Biennale.  His works have been exhibited in numerous venues including, Centre George Pompidou-Paris, Haus der Kulturen Der Welt-Berlin, Museum der Moderne Salzburg, MUMOK-Wien, Fondazione Sandretto Re Rebaudengo-Turin, Mattress Factory Art Museum-Pittsburgh, Casino Luxembourg Forum d’art Comtemporaine, Magazin 4 Bregenz-Austria, Zone Contemporaine-Bern etc.

For further detail: http://momaps1.org/exhibitions/view/362

clockwise: ferhat özgür, wolfgang laib and his wife, 14 October 2012, Paris. 

Noordkaap Tour - Closing Part: 11-21-2012, Dordrecht, The Netherlands

Noordkaap Tour - Closing Part

Thursday October 11, 2012 till Sunday October 21, 2012

Closing Exhibition of Noordkaap's European tour on the rise of Populism.

http://noordkaap.org/programma/noordkaap-dordrecht/

Guided tours: October 11 – 21, startingpoint De Waag 110 3311XS Dordrecht.  For guided group tours please contact info@noordkaap.org.

Commedia dell'Arte: Saturday October 13, 13:30 and 15:30, Het Hof 3311XG Dordrecht

Dinner and public debate: Saturday October 13

Concert Hall & Rauch: Saturday October 13, Vriesweg 22 (Baracca)

After a European tour to Munich, Istanbul, Cologne, Budapest, and Lisbon, Noordkaap is coming home with an extensive overview exhibition in October. A selection of artworks that was created during the tour, will be on view in Dordrecht for two weeks. Various locations in the city center set the stage for international exchange between the artists and you! With guided tours, performances, film screenings, and more.

Many international artists, designers, art institutions, writers and social partners crossed the border with us for this traveling exhibition. The tour focused on socially relevant themes such as the economic crisis, national identity, urban development, democracy, populist imagery and hope! Noordkaap explored the theme Populism, and how this reflects on everyday life, art, culture and politics in various European countries.

Persbericht NL

Press Release EN

Participants

among others:

• Carlos D’Abreu (PT)
• Monica Aerden (NL)
• Ban & Zn. (NL)
• Johannes Brechter (DE)
• Nada van Dalen (NL)
• Burak Delier (T)
• Roland Farkas (HU)
• Foundland (NL)
• Arturo Hernández Alcázar (MX)
• Fabian Hesse (DE)
• Daan den Houter (NL)
• Oliver Kunkel (DE)
• Jan Kryszons (NL)
• KunstCommando (NL)
• ±maismenos± (PT)
• Tirzo Marta (AN)
• Filippo Minelli (IT)
• Federico D’Orazio (NL)
• Ferhat Özgür (TR)
• Remotewords (DE)
• Alexander Schikowski (HU)
• Zentrum für Politische Schönheit (DE)
• Art van Triest (NL)
• Yvo van der Vat (NL)
• The Geert Wilders (NL) 
• The Voice of Dordrecht

Eieren voor je geld

On Saturday, October 13, an extraordinary folk spectacle will take place, inspired by responses to artworks in Dordrecht's public space. The play 'Eieren voor je geld' (Eggs for your money, Dutch saying for the easy way out) is directed by artist Hans van den Ban, our man behind SuperLaTief, 2008. Once again, Hans connects unexpected elements, artists and audience.

Gijs Frieling creates the stage, and actors of theater group Toendra play the Harlequin, a headmaster, an art director, the pierrot, the artist and Jan Klaassen. The story is strewn together by Tedje Hausmacher (also known from the Dutch comedy duo Rembo & Rembo), and in between scenes the audience can sing along with folk singer Ed Palermo. There will be three performances at 't Hof in the city center, close to the weekly market, so all people in Dordrecht can choose the easy way out.

…What is it, people of Dordrecht? A conspiracy against art on the streets? Fear of the unknown? Where are the wide open vistas of yesteryear? Do you want to return to the time before the merchants, the adventurers and the sailor mobs, before the time of the flapping sails... Reed cutting and weaving baskets? Do you want to return to the swampy moors?...

From 'Eieren voor je geld', Hans van den Ban

Come one, come all!

Diner and debate

In the evening October 13,  Noordkaap offers a long table with many guests, audience, and great food, recitals, and discussions. Details to follow, as usual, at the last minute... If you want to reserve a spot at the table, please email us at info@noordkaap.org

Data

The exhibition is opened from October 11 – 21, Thursday & Friday 17:00- 21:00. Saturday 13:00-18:00. Sunday 14:00-18:00

Hometown Partners

For this closing exhibition foundation Noordkaap is working together with a.o.

• Do Not X-Ray
• restaurant Veerhuis
• jongerenwerk De Twern
• Vastgoedbedrijf Dordrecht
• KunstCommando
• InnerCity Hotel
• Baracca
• SBK/ Galerie 180 Dordrecht
• Jonkers Events BV
• Boy Bastiaans 
• Werkplaats Oost
• Stad & Land NVM Makelaar

Made possible with the kind help of

• Mondriaan Fund
• City Council of Dordrecht
• VSBfund
• Fund for Cultuurparticipatie
• Goethe Institute
• NRW Kultursekretariat
• Do Not X-Ray
• and the growing number of supporters!

Artists: Abner Preis, Art van Triest, Arturo Hernández Alcázar,Carlos d’Abreu, Daan den Houter, Dan Dryer, Fabian Hesse,Federico d'Orazio, Filippo Minelli, Foundland collectief, Hans van den Ban, Jan Kryszons, Johannes Brechter, Michael Kluver, Nada van Dalen, Oliver Kunkel, Remotewords, Tassilo Letzel, Tirzo Martha and Yvo van der Vat.

Vienna Fair: 20-23 September 2012

İstiklal Cad. No:163 Mısır Apt. k.3 d.10 Beyoglu / Istanbul t: +90 212 251 12 74 - 251 12 14 www.galerizilberman.com Galerimiz Salı-Cuma 10:00-19:30 arası, Cumartesi 12:00-19:00 arası açıktır. Operating Hours: Tuesday - Friday 10:00-19:30, Saturday 12:00-19:00 Yeniliklerle ilgili e-bülten almak istemiyorsanız lütfen tıklayınız. If you prefer not to receive email from us please click here.

FICTIONS AND DISSENTIONS: 3rd CANAKKALE ART BIENNALE, 28 SEPTEMBER-3 NOVEMBER 2012

FICTIONS AND DISSENTIONS / 3rd Çanakkale Art Biennale / TURKEY

28 September - 3 November 2012

http://canakkalebienali.com/en/index.php?option=com_content&view=article&id=57&Itemid=59

Curators

Beral Madra Art Director
Firat Arapoglu

Seyhan Boztepe

Parallel Activities Curator

Fatih Balci

Biennial Director
Seyhan Boztepe

Coordinator Curator

Deniz Erbas

Coordinators

Ismail Erten

Ezgi Ariduru

participants

Yesim Agaoglu (TR)

Murat Akagunduz (TR)

Nikita Alexeev (RU)

Melih Apa (TR)

Artik Isler Video Kolektifi (TR)

Fikret Atay (TR)

Bobbie (TR-DK)

Mehmet Ali Boran (TR)

Braco Dimitrijevic (HR)

Baris Eviz (TR)

Jakob Gautel (FR)

Nadi Guler (TR)

Insel Inal (TR)

Hakan Kirdar (TR)

Serhat Kiraz (TR)

Komet (TR-FR)

Kalliopi Lemos (GR)

Michelangelo Pistoletto's Love Difference & Artway of Thinking (IT)

Moataz Nasr (EG)

Mustafa Okan (TR)

Ali Ibrahim Ocal (TR)

Ferhat Ozgur (TR)

Neriman Polat (TR)

Ulrike Rosenbach (DE)

Cagri Saray (TR)

Marwan Sahmarani (LB)

Ani Setyan (TR)

Julian Stallabrass (UK)

Ayhan Taskiran (TR)

Sevil Tunaboylu (TR)

Yeni Anit (TR)

Sencer Vardarman (TR-DE)

Nalan Yirtmac (TR)

Pinar Yolacan (TR-USA)

Conceptual Framework

Turkey being closely watched from a global perspective has become a focus of attention, not only because of its own political and cultural state of affairs, but because of "The Arabic Spring" in the region, Iran's bid for nuclear power, its approaches and response to various countries in turmoil such as Iraq and Syria in a post-U.S.A. world politics and no doubt its dynamic relations with The EU.

In relation to all these, recently Turkey also somehow has managed to represent itself as a potential major player in the global art industry, with many worldwide cultural and artistic events and organizations. Turkey has succeeded to attain a unique status in this respect by giving a start to Istanbul Biennial in the mid-eighties, and by realizing Istanbul Cultural Capital of Europe Project in 2010. Now this development, this unique position has been strengthened by various biennial organizations of many emerging Turkish cities like that of Antakya, Canakkale, Mardin and Sinop.

The Third International Canakkale Biennial is contributing to this development with strong commitment and energy.

Canakkale-Gallipoli is a historically loaded city, since it has always been a geopolitical passage way between continents, oceans and civilizations. From the legendary fall of Troy to The Gallipoli Campaign during the 1st World War, Canakkale has always attained a very special place in the hearts and minds of many cultures and civilizations.

The Third International Canakkale Biennial will be held in Canakkale, on the eastern shore of The Dardanelles Straights. This year the Biennale has the aim to portray the intricate realities of political, social and economic world state of affairs in today's global stage. As an artistic event, it will question, analyse and deconstruct the current order of things. It will have a claim, to present visual and performing arts that reflects today’s contemporary art aesthetics and dissents.

The Third International Canakkale Biennial will have a particular claim, an argument. That is; today's artists everywhere, can and must create areas of engagement, activity, interpretation so that this alone could constitute an example, a proof that democracy and freedom can in fact be attained on both global and regional levels. This claim also underlines the attributes of creativity, innovation and memory, all may be interpreted as direct results of the Mediterranean socio-political geography in general into which this historic peninsula opens a passage way. But beyond all that, this claim also asserts that art has a politics of its own and this 'art-politics' does in fact competes fiercely with the other mainstream politics, by proving to its public an alternative way of living together is also indeed possible.

Today's contemporary art-especially an art that is based on questioning and analysis-is in fact a process, which moves forward slowly but surely and effectively. As a result of this process, it is able to portray many intricacies and ambiguities that are a part of our seemingly ordinary daily lives. Contemporary artists of today work like a detective; He/she researches into the complex web of political, social, economic and cultural issues and portrays them in the most effective forms and concepts that are possible. The artists point to the strong currents beneath the seemingly calm waters and try to reveal the truth. The strong currents in The Dardanelles Straights appear to be an analogy for this act. The currents of The Dardanelles presented many difficulties to Xerxes, who was trying to march his army against Alexander the Great. In 1810, this time Lord Byron crossed the straights and told about it in his poem of Don Juan.

Due to the internet, the network of artists from every corner of the world reduces the size of this vast geography and diminishes the time span of events around the globe. They are capable of learning about many issues, decipher secrets and tackle major problems concerning the whole of humanity in this age of swift information. Now, with this new arsenal at hand, great myths of the past are being rewritten and the post-modern individual position is no longer relevant in the state of current events as testified by ripples of rebellion vibrating through Twitter and Facebook. This is indeed a new epistemological situation which requests a new perception and appreciation. This current organization evidently has not invented the soul of rebellion, but makes possible for waves of rebellion to accumulate.

Modern artists have always questioned the conventions or rebelled against them by indulging into areas of class contradictions, ethnic identities, beliefs, identities and the concept of other. Their methods have been analytical and based on processes. This process opens a horizon based on analysis, appreciation and comprehension of these fast changing space-time notions. To realize and fully comprehend space and time and to operate on political, economic and cultural levels has requested a new way of collaboration and partnership between the artists. Thus, the artist initiatives of today are best active examples of this collaboration. These initiatives are a way to share the experience with the society.

The Third International Canakkale Biennial aims;

• To be a platform for viewing and perceiving art that is created within the above mentioned context;
• To make visible the geographical boundaries that is being re-drawn in global dimension, the neo-liberal economy which tries to re-incarnate itself, and in particular the political transformations in The Middle East region.
• To examine the emerging pressure on the existing political power; and evidently all these issues that influenced the daily life;
• To exhibits works emanating from a certain concept that supports an existing environment or proposes a new environment;
• To discuss and to deconstruct this organized movement that emerges with the new waves of revolution and revives itself.

Thus the Third International Canakkale Biennial;

• Will place this historical city into the calendar of international art world by inviting artists and art experts from all over the world, who will contribute to the conceptual framework of this biennial;
• Will provide interesting and functional locations such as The Old Bus Terminal, The Naval Museum, Korfmann Library, The Old Armenian Church, and The State Fine Art;
• Will invite the art and culture institutions and universities to join the biennial artists to create an environment of interaction and communication;
• Will provide the widest possible discussion of the biennial with various social and educational programmes such as workshops, debates and conferences;
• Will prove the fact that a biennial is not an end in itself, but a sustainable event which demands audience participation and which will become a form of cultural interface for The Mediterranean region;
• Will place Canakkale into the global art-culture production and communication networks.

*"Art does not produce knowledge and submissions for politics. It produces dissent, fictionalities, and the reciprocal interdependence of different kinds of sequences in the realm of sensibility. These it produces, not for political action, but in the framework of its own politics, in accordance with that peculiar double action, which on one hand encourages itself for self-destruction and on the other locks itself in loneliness. Art produces fictionalities and dissents which reorganize the space-time of can pages, museums, films and theatre which are in fact forms that demand divisions and subdivisions of general locations of sensibility, alone and together and the interrelations between vision and reality. In this way, art produces-creates forms that provide recreations of experiences- It is indeed the area, in which forms of political subject-agent to come into existence.”

Jacques Ranciére, Die Aufteilung des Sinnlichen (Die Politik der Kunst und İhre Paradoxen), Polypen, 2008, pg.89-90