May

CI Announces New Director and New Artistic Advisor

on Friday, 01 May 2015. Posted in May, ---2015---

Related Article: The Pavilion of Turkey to present Respiro by SARKIS


Silvia Koch joins the Contemporary Istanbul team as director of its 10th edition. From 2007 to 2014 Koch worked at artnet, responsible for galleries in Berlin and London.
The fair has also named a new artistic advisor: international curator, art critic and historian Marc-Olivier Wahler. The founder and director of Chalet Society, Wahler also co-founded CAN Centre d’art Neuchâtel, Switzerland and worked at the Swiss Institute in NewYork,as wel las at Palais de Tokyo in Paris, where he was the founding editor of Palais/ Magazine.
Established in 2006 as the first contemporary art fair in Turkey, Contemporary Istanbul exhibited 108 galleries from 23 countries in its 2014 edition, bringing in 80,000 visitors.

Silvia Koch

Silvia Koch Photo: Courtesy of Contemporary Istanbul

Marc-Olivier Wahler

Marc-Olivier Wahler Photo: Courtesy of Contemporary Istanbul

Ahmet Polat named 'Photographer of the Netherlands' 2015

on Sunday, 03 May 2015. Posted in May, ---2015---

Related Article: Hussein Chalayan installation acquired by Istanbul Modern


Fotoweek presents Ahmet Polat as the third ‘Photographer of the Netherlands’ (Fotograaf des Vaderlands), making him the face of Dutch photography for 2015. In line with this year’s Fotoweek theme ‘Look! My Street,’ Polat literally ventures into the neighbourhoods of Dutch cities and villages to document the street and its occupants in their everyday surroundings. As he collects the residents' stories, he transforms the street into the public stage it actually always was. His photo series will be presented at FOTODOK, international space for documentary photography, in Utrecht during Fotoweek 2015.

Ahmet Polat is a Turkish/Dutch documentary and fashion photographer. Polat's photos balance on the edge between documentary, street and fashion photography. In his work, he engages in long-term research, dealing with recurring themes such as (collective) identity, the tension between the individual and the collective, and the influence of the past on the present–always centred around the human. Due to this process, his photos convey a lot of energy, regardless of their form (documentary or fashion) or assignment.

Ahmet Polat

Ahmet Polat Photo: Bas de Meijer

Ahmet Polat

Ahmet Polat, 'Look! My Street' series for FOTODOK 2015

Ahmet Polat

Ahmet Polat, 'Look! My Street' series for FOTODOK 2015

Sarkis and Hera Büyüktaşçıyan at the Armenian Pavilion in Venice

on Wednesday, 13 May 2015. Posted in May, ---2015---

Related Article: The Pavilion of Turkey to Represent Respiro by Sarkis


To commemorate the 100th anniversary of mass killings and expulsion of Armenians from their historic homeland at the hand of the Ottoman Empire, Armenia is devoting its pavilion at the 2015 Venice Biennial — situated on the Island of San Lazzaro — to artists whose work carries the memory of their origins. Curated by Adelina Cüberyan von Fürstenberg, the pavilion explores what she has called the notion of “armenity,” which encapsulates concepts of “displacement and territory, justice and reconciliation, ethos and resilience.”

Featured artists include Haig Aivazian (Lebanon), Nigol Bezjian (Syria/USA), Anna Boghiguian (Egypt/Canada), Hera Büyüktaşçıyan (Turkey), Silvina Der-Meguerditchian (Argentina/ Germany), Rene Gabri & Ayreen Anastas (Iran/Palestine/USA), Mekhitar Garabedian (Belgium), Aikaterini Gegisian (Greece), Yervant Gianikian & Angela Ricci Lucchi (Italy), Aram Jibilian (USA), Nina Katchadourian (USA/ Finland), Melik Ohanian (France), Mikayel Ohanjanyan (Armenia/ Italy), Rosana Palazyan (Brasil), Sarkis (Turkey/France), and Hrair Sarkissian (Syria/UK).

Hera Büyüktaşçıyan, Letters from Lost Paradise, 2015

Hera Büyüktaşçıyan, Letters from Lost Paradise, 2015, Mechanism, bronze, wood. 64 x 100 x 85-90 cm (front), 110-115 cm (back).
Installation view, Mekhitarist Monastery of San Lazzaro degli Armeni, Venice. Courtesy the artist.
Photo: Piero Demo

Hera Büyüktaşçıyan, Letters from Lost Paradise, 2015

Hera Büyüktaşçıyan, The Keepers, installation detail, 2015
, 12 casted hands in wax and bronze, 19 x 9 cm
Installation view, Mekhitarist Monastery of San Lazzaro degli Armeni, Venice. Courtesy the artist.
Photo: Piero Demo

Sarkis, Installation view, Mekhitarist Monastery of San Lazzaro degli Armeni, Venice

Sarkis, Installation view, Mekhitarist Monastery of San Lazzaro degli Armeni, Venice. Photo: Piero Demo

Sarkis, Danseuse dorée en haut du toit, 2012

Sarkis, Atlas de Mammuthus Intermedius, 2014
, Bones from the site of Romain-la-Roche (160,000 years B.C.). Resin, natural glue, gold leaf, 38 x 25 x 15 cm. Restored by Olivier Bracq according to the Japanese technique of restoration Kintsugi, dating back to the 15th century
Installation view, Mekhitarist Monastery of San Lazzaro degli Armeni, Venice Collection Musées de Montbéliard. Photo: Piero Demo

Hussein Chalayan Installation Acquired by Istanbul Modern

on Friday, 01 May 2015. Posted in May, ---2015---

Related Article: CI announces New Director and New Artistic Advisor


Chalayan’s work ‘Imminence of Desire’ examines Istanbul’s place within a cultural and historical context. Over thousands of years, Istanbul has had over 150 names, each of which reflects a particular culture’s attachment to the city. These diverse cultures have at one time or another made claim to the city’s identity and asserted their own idea of what the city represents.

Husseyin Chalayan

Husseyin Chalayan, Imminence of Desire, 2011, installation with sound

ZED Grant Project Exhibition at MACBA

on Saturday, 02 May 2015. Posted in May, ---2015---

Related Article: Ahmet Polat named 'Photographer of the Netherlands' 2015


Through the support of Istanbul- based Galeri Zilberman’s ‘Zed Grant’ — a €10,000 fund awarded annually to promote artistic research and production — 'Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine' opened at MACBA (Barcelona Contemporary Art Museum) on 19 February 2015.

The result of three years of research conducted by Rasha Salti and Kristine Khouri, the exhibition is accompanied by a book documenting their process. 'Past Disquiet' will be open to the public until June 2015.

Past Disquiet exhibition view at MACBA
'Past Disquiet. Narratives and ghosts from the International Art Exhibition for Palestine, 1978' exhibiton view, 2015. Photo: La Fotogràfica

'Past Disquiet' is an archival and documentary exhibition that excavates the history of and around 'The International Art Exhibition for Palestine' (Beirut, 1978). It proposes a speculative history of politically engaged artistic and museographic practices in the milieu of the international anti-imperialist solidarity movement of the 1970s.

'The International Art Exhibition for Palestine' was inaugurated in Beirut (Lebanon), in March 1978, and was intended as the seed collection for a museum in exile. Inspired from 'The International Resistance Museum for Salvador Allende,' the museum took the form of an itinerant exhibition that was meant to tour until it could repatriate to Palestine. Organized by the Palestine Liberation Organization (PLO), comprising almost 200 works, donated by 200 artists from nearly 30 countries, the exhibition remains one of the most ambitious, in scale and scope, to have ever been showcased in the Arab world until this day. Tragically, during the Israeli siege of Beirut in 1982, sustained heavy shelling destroyed the building where the works were stored as well as the exhibition’s archival and documentary traces.

Past Disquiet exhibition view at MACBA
'Past Disquiet. Narratives and ghosts from the International Art Exhibition for Palestine, 1978' exhibiton view, 2015. Photo: La Fotogràfica

The research to reconstruct its narrative and traces began with a copy of the exhibition catalogue that lists contributing artists and acknowledges people and institutions whose support made it possible. 'Past Disquiet' weaves testimonies and recollections – narratives subjected to the trappings of memory – with documents found in private and institutional archives to incarnate a forgotten yet very recent history. The outcome of the research reveals a universe of networks between artists and activists, welded by solidarity and political affinities, as well as artist-run associations and collectives that produced interventions in public spaces, exhibitions, biennials and museums (conceived as itinerant exhibitions) incarnating the commitment to a political cause and superseding the art market to embody independent [sovereign] counter-cultural representations of ideals.

In recording memories of artists, critics and cultural organizers, 'Past Disquiet' draws unsuspected cartographies across time and geography, where the stories of The International Resistance Museum for Salvador Allende, the Artists of the World Against Apartheid, Art for the People of Nicaragua, the Salon de la Jeune Peinture, the International Brigades of Anti-Fascist Painters, the Japan Afro-Asian Latin American Artists Association and the 1974 and 1976 Arab Biennials intersect with The International Art Exhibition for Palestine.

Past Disquiet exhibition view at MACBA

Past Disquietexhibition view at MACBA

'Past Disquiet. Narratives and ghosts from the International Art Exhibition for Palestine, 1978' exhibiton views, 2015. Photo: La Fotogràfica