Turkey at the 15th International Architecture Biennial

on Monday, 29 August 2016. Posted in ---2016---, August

Related Article: 5th International Çanakkale Biennial Announces Line-Up of Artists


The Pavilion of Turkey at the 15th International Architecture Exhibition, La Biennale di Venezia (28 May-27 November 2016) features the project Darzanà. Curated by Feride Çiçekoğlu, Mehmet Kütükçüoğlu and Ertuğ Uçar, with curatorial collaborators Cemal Emden and Namık Erkal, the exhibition team of Darzanà consists of Hüner Aldemir, Caner Bilgin, Hande Ciğerli, Gökçen Erkılıç, Nazlı Tümerdem and Yiğit Yalgın. The Pavilion of Turkey, coordinated by the Istanbul Foundation for Culture and Arts (İKSV) and co-sponsored by Schüco Turkey and VitrA, is located at the Sale d’Armi, Arsenale.

Darzana, Pavilion of Turkey 15th Architecture Biennial in Venice 2016
Darzanà, Pavilion of Turkey, 15th Architecture Biennial in Venice 2016, Photo: Cemal Emden

Darzanà is a project about frontier infringement and on hybridity. It challenges the increasing confinement within borders of religion, language, race, nationality, ethnicity and gender. The project highlights the common cultural and architectural heritage shared between the arsenals of Istanbul and Venice. For the Biennale Architettura 2016, a last vessel, Baştarda, has been constructed out of abandoned materials found in the old dockyard of Istanbul and transported to Venice to suggest a new connection in Mediterranean.

Darzanà: Two Arsenals, One Vessel

The project title Darzanà means dockyard and it is a hybrid word, like the Turkish word tersane and the Italian word arsenale. These words are derived or distorted from the same root, the Arabic dara’s-sina’a (place of industry). They all originate from the common language that developed in the Mediterranean from the 11th to the 19th century among people such as sailors, travellers, merchants, and warriors. Known as Lingua Franca, this was a shared language when Mediterranean was the main vessel connecting the surrounding cultures. In the same vein, it is possible to talk of a common architectural language and to define it as Architectura Franca.

Despite their very different identities and populations today, Venice and Istanbul once both featured considerable dockyards of similar sizes and production. The common core of these dockyards was the shipsheds called “volti” in Italian and “göz” in Turkish. The shipshed is the building block of a shared architectural heritage; its proportions grow out of the dimensions of boats and of common building technologies. Darzanà links a shipshed of İstanbul with a shipshed of Venice by a vessel. For the project Darzanà, a last vessel, Baştarda was built earlier this year at an abandoned shipshed at the Haliç dockyards in Istanbul.

Similar to Darzanà, Baştarda is also a hybrid word. Derived from bastardo, Baştarda is a cross between a galley and a galleon and is propelled by oars and sails. As a symbol of Mediterranean hybridity, Baştarda creates a bridge between the two shipyards, one left to rot away in the megacity of Istanbul, the other springing to life only at certain times of the year in the museum-city that is Venice.

In Istanbul, Baştarda was constructed beneath a reproduction of the wooden trusses of the hall in Sale d’Armi of Venice shipyard that hosts the Pavilion of Turkey. Measuring 30 metres long and weighing four tons, the vessel was built from more than 500 pieces including seven kilometres of steel cable and abandoned materials found on site including wooden moulds, discarded furniture, signboards and boats. In April, the components were shipped to Sale d’Armi, where Baştarda was re-constructed in May for the Pavilion of Turkey. When La Biennale closes in November 2016, Baştarda will continue her journey and she will eventually become the centrepiece of a museum of arsenal, when the site is opened to public in Istanbul.

Darzanà’s main theme raises the question of whether it is possible to transform borders, fronts and other spaces of conflict into thresholds and spaces of consensus. In this vein, Baştarda becomes a vessel of frontier infringement. She came to Venice, and she will eventually go back to Istanbul, travelling back and forth, just as the languages, the architectural forms, and people of the Mediterranean, have done throughout history. Reporting from Darzanà, one can announce the futility of demarcations on the seas and in between the words.

For more information: www.iksv.org / pavilionofturkey.iksv.org

Darzana, Pavilion of Turkey 15th Architecture Biennial in Venice 2016
Darzanà, Pavilion of Turkey, 15th Architecture Biennial in Venice 2016, Photo: Cemal Emden

Aslı Çavuşoğlu’s Red/Red joins MoMA Collection

on Wednesday, 12 October 2016. Posted in ---2016---, October

Related Article: Istanbul Dealers launch Gallery Weekend


istanbul codex imago mundi
Installation view of Aslı Çavuşoğlu’s Red/Red at the 14th Istanbul Biennale, 2015. Photo: Sahir Uğur Eren

Pieces from Aslı Çavuşoğlu’s installation Red/Red (2015), which was made for the 14th Istanbul Biennial, are included in the permanent collection of MoMA - The Museum of Modern Art in New York. The work comprises a series of patterns that the artist drew on worn-out papers and handmade notebooks with an inspiration from Armenian miniatures, and by using a specific red pigment traditionally made from an insect known as the Ararat cochineal and found around the Aras River. The pigment’s extraction technique remains largely in oblivion, known only by a few masters. The whole work was previously on display at Mathaf - Arab Museum of Modern Art for the second time after the biennial, on the occasion of its inclusion into the museum’s collection. Four patterns from the same series that were not exhibited in the biennial will be permanently on view at MoMA.

istanbul codex imago mundi
Installation view of Aslı Çavuşoğlu’s Red/Red at the 14th Istanbul Biennale, 2015. Photo: Sahir Uğur Eren

Anna Laudel Contemporary in Karaköy

on Wednesday, 18 January 2017. Posted in January, ---2017---

Related Article: Meriç Öner New Director of SALT


The gallery opened its doors in December in Istanbul’s Karaköy neighborhood with the exhibition ‘When Did We Stop Playing...’ curated by Isabel Bernheimer from Berlin based Bernheimer Contemporary Gallery. The new, five-storey gallery space is also going to host an Artist in Residency programme. Anna Laudel Contemporary, formerly ART350 gallery, was founded in 2012 by the German textile magnate Anna Laudel.

Meric Öner new director at SALT
Alexander Deubl, Striptychon, 2015, Installation View at 'When did we stop playing...' at Anna Laudel Contemporary, 2016

Tate Aquires works by Huseyin Bahri Alptekin

on Thursday, 19 January 2017. Posted in January, ---2017---

Related Article: Artists from Turkey at Transmediale's 30th Edition


Tate Modern London has acquired five of the artist’s works from his series H-Fact: Hospitality/Hostility from Rampa Gallery as part of their Frieze acquisition fund.

Meric Öner new director at SALT
Hüseyin Bahri Alptekin, H Fact: Hospitality/Hostility, 2003-2007, hotel signs

Project for Turkey's Pavilion at the 57th Venice Biennial Announced

on Thursday, 23 March 2017. Posted in ---2017--- , March

Related Article: Jake & Dinos Chapman at ARTER in Istanbul


In a press conference on 27 February acclaimed conceptual artist Cevdet Erek announced the concept of ÇIN - his project for Turkey's Pavilion at the 57th International Art Exhibition - La Biennale di Venezia.

Cevdet Erek at the Press Conference
Cevdet Erek at the Press Conference for Turkey's Pavilion at the 57th Venice Biennial, Photo: Selcuk Polat, Courtesy of IKSV

At the conference, Cevdet Erek illustrated some methods and concepts that he has experimented with in his series of works since the end of the 2000’s, such as 'Room of Rhythms' and 'Rulers and Rhythms Studies and Sound Ornamentations' among others, with sounds, images and drawings he made during his presentation.

ÇIN, which is created as a site-specific work for the Pavilion of Turkey at this year's edition of the Biennale di Venezia, will be developed during the process and be shaped together with the venue. In his presentation, Cevdet Erek gave examples of the studies conducted for the preparation of the work ÇIN, shared through various media.

CIN Logo

The artist stated:

"Instead of trying to describe a project that is meant to be experienced on-site, and is still in the phase of formation, I propose to imagine a scene together as an exercise: There is a fenced ruin in the distance with a guard inside of it who should not leave during the day. The guard, while walking in silence, notices a visitor who carefully peeks around and the concert of thousands of crickets thanks to the visitor. This duo, who try to talk to each other at a distance, briefly cry out at the same time from the ear pain caused by a violent noise that occurs out of the blue. Then, at night, in another place as the officer tries to suppress the ringing in her ears by opening the window two fingerbreadths and the noise a notch, enters an alarm sound: ‘viyuviyuviyuviyu’. Then she tries to imagine again in the same order by going back to the beginning.”

Cevdet Erek, who talked about the working process in Istanbul and accompanying short trips, introduced the core project team and stated that the project would allow for new participants and collaborations. The project team includes project coordinator Yelin Bilgin, architect and Gürden Gür, architect, as well as Elif Tunçel, art historian, Ayşe Erek and visual identity designer Yetkin Başarır. A new publication accompanies the exhibition and will be available at the launch of the Pavilion of Turkey at the biennial

The Pavilion of Turkey will be located in the Arsenale at Sale d’Armi where the exhibition takes place. The long-term venue was secured by İKSV for the duration of 20 years from 2014 to 2034 and supported by generous contributions of 21 supporters. The exhibition in the Pavilion of Turkey at La Biennale di Venezia is sponsored by Fiat, and realised with the contribution of Ministry of Culture and Tourism of the Republic of Turkey, under the auspices of the Ministry of Foreign Affairs of the Republic of Turkey and the production support of SAHA Association.

During and after studying architecture at Mimar Sinan University of Fine Arts, Cevdet Erek (b. Istanbul, 1974) worked at various architectural practices as well as in the music band Nekropsi. Upon finishing his MA in Sound Engineering & Design at İTÜ MIAM Center for Advanced Studies in Music, he was an artist in residence at Rijksakademie in Amsterdam from 2005-2006. Erek’s installations and performances were shown at dOCUMENTA (13) (2012); Istanbul Biennial (2003, 2013 and 2015), Sydney Biennial (2016), Sharjah Biennial (2013), Stedelijk Museum (2014), MAXXI (2014 and 2015), Istanbul Modern (2014, 2015 and 2016), Arter (2011), SALT (2012 ve 2015) among others. Major solo exhibitions of his work include 'Alt Üst' (2014) at Spike Island, Bristol and 'Week' at Kunsthalle Basel (2012). Erek published books such as 'SSS – Shore Scene Soundtrack' (2008, BAS), 'Room of Rhythms' (2012, Walther König) and 'Less Empty Maybe” (2015, Revolver/Artist). The artist received the Nam June June Paik Media Art Prize given by Kunststiftung NRW in 2012 for 'SSS – Shore Scene Soundtrack'. His most recent sound/music works include the sound and music direction for Kaan Müjdeci's feature length film 'Sivas' (71st Venice Film Festival - Special Jury Prize, 2014), music and the sound co-design for Emin Alper’s feature length film 'Frenzy' (72nd Venice Film Festival - Special Jury Prize, 2015). Since 2011 Cevdet Erek teaches at ITU and lives in Istanbul.

Fahrelnissa Zeid at Tate Modern

on Thursday, 08 June 2017. Posted in ---2017---

Related Article: Artists from Turkey Featured at 57th Venice Biennial


Fahrelnissa Zeid, Fight Against Abstraction
Fahrelnissa Zeid, Fight Against Abstraction, 1947 Istanbul Modern Collection, Eczacibasi Group Donation, (c) The Raad Zeid Al-Hussein Collection

This summer, Tate Modern will present the UK’s first retrospective of Fahrelnissa Zeid (b. 1901, Istanbul, d. 1991, Amman), reappraising her work in an international context. Zeid was a pioneering artist best known for her large-scale, colourful canvases – some over 5 metres wide – fusing European approaches to abstract art with Byzantine, Islamic and Persian influences.

This major exhibition will bring together paintings, drawings and sculptures spanning over 40 years – from expressionist works made in Istanbul in the early 1940s, to immersive abstract canvases exhibited in London, Paris and New York in the 1950s and 1960s, finishing with her return to portraiture later in life. Celebrating her extraordinary career, Tate Modern will reveal Zeid as an important figure in the international story of abstract art.

Artists from Turkey Featured at Documenta 14

on Thursday, 23 March 2017. Posted in ---2017---

Related Article: Fahrelnissa Zeid at Tate Modern


Documenta 14 includes several works by artists from Turkey in both Athens and Kassel. Banu Cennetoğlu’s work 'Gurbet’s Diary' (27.07.1995–08.10.1997) (2016-7) in Athens is dedicated to Gurbetelli Ersöz, who was a journalist, and the only woman to hold the position of editor at a pro-Kurdish newspaper. After being arrested and tortured, she joined the guerilla, keeping a journal from 1995 until 1997 when she was killed. After its first publication in Germany in 1998, the diary was published in Turkey in 2014, but banned shortly after. The lithographic slabs of 'Gurbet's Diary' contain the pages of the diary, ready to be printed again. Her work 'BEINGSAFEISSCARY' (2017) in Kassel consists of ten aluminum letters borrowed from the Fridericianum and six letters cast in brass after the existing ones, based on graffiti existing on a wall at the National Technical University of Athens.

In Nevin Aladağ’s installation / performance 'Music Room' in Athens, items of furniture and household objects turn into resonating bodies that develop their own acoustic properties attributable to their shapes as evocative of the human body. In the process, prevailing notions of functionality, ergonomics, and purity of sound are called into question. Her installation entitled 'Jali​' (2017) in Kassel consists of glazed ceramics. Gülsün Karamustafa’s installation 'The Apartment Building' (2012) and Köken Ergun's two-channel video projection 'I, Soldier' (2005) are part of the collection exhibition of Greece's National Museum of Contemporary Art (EMST) at Fridericianum in collaboration with documenta 14.
The works will be on view in Athens until 18 July and in Kassel until 17 September 2017.

Banu Cennetoğlu, Gurbet’s Diary, 2016
Banu Cennetoğlu, Gurbet’s Diary (27.07.1995–08.10.1997) (2016–17), installation view at documenta 14 Athens 2017

Nevin Aladag, 'Music Room (Athens)',
Nevin Aladag, 'Music Room (Athens)', 2017, installation view at documenta 14 Athens 2017

Banu Cennetoğlu, BEINGSAFEISSCARY (2017)
Banu Cennetoğlu, BEINGSAFEISSCARY (2017), Ten aluminum letters borrowed from the Fridericianum and six letters cast in brass after the existing ones, Based on graffiti existing on a wall at the National Technical University of Athens as of April 6, 2017, 57.5 × 1085 × 1 cm overall Coproduced with Kunstgiesserei St. Gallen, Sitterwerk, Switzerland, installation view at Friedrichsplatz, Kassel, documenta 14. photo: Frieze

Istanbul Galleries in Basel

on Thursday, 23 March 2017. Posted in ---2017---

Related Article: Cevdet Erek at the Pavilion of Turkey in Venice


Turkish galleries Galeri Zilberman and Öktem & Aykut are representing Turkey at Basels art week this year. Öktem & Aykut are showing works by Elif Boyner and Lara Ögel at Liste, while Zilberman Gallery is participating in Volta with works by Alpin Arda Bağcık and Ahmet Elhan.

Lara Ögel, Turquoise II
Lara Ögel, Turquoise II, 2015, video, 11'

Maxxi Museum hosts major survey of Contemporary Art from Turkey

on Tuesday, 10 November 2015. Posted in ---2015--- , November

Related Article: Concept of 3rd Istanbul Design Biennial announced


The show 'Istanbul: Passion, Joy, Fury', which runs from 11 December 2015 until 3 May 2016, 
is part of MAXXI’s exhibition cycle focusing on the cultural realities of the Mediterranean and the relationships between
the Middle East and Europe. It is the final stage of the project’s three phases, which began with a series of meetings and workshops led by curators, artists, historians and architects in both Rome and Istanbul. The results of this period of research — to be presented on a website in conjunction with the exhibition — formed the basis for the display, which aims to present Istanbul’s complicated and dynamic character beginning with an outline of its current cultural status and tracing
back to its historical roots.
As always, the museum aims for an interdisciplinary approach; it will include works from various media, as well as foster an active exchange amongst the artistic and intellectual communities of Turkey and Europe.

Istanbul is an interesting case study. The city has undergone many intense social and cultural upheavals, which came to a climax with the evolving protest movement in 2013 and triggered a climate of social change involving members of the artistic community, as well as intellectuals and local youths. Additionally,
the city is rapidly expanding and developing, which creates space for various new local and international projects. The gezi Park protests of
2013 will serve as the starting point for the exhibition, which evolves around five major themes: ‘Urban Changes’ with a special focus on gentrification, ecology and self-organization; ‘Political conflicts and resistance’ seen through the eyes of independent thinkers reflecting on justice, violence or gender issues; ‘Innovative Production Models’ tied to consumerism and the challenges of the working
class; ‘geopolitical Urgencies’ dealing with the pressing issue of minorities and refugees; and finally ‘Hope’, seen through new socio-political solutions and strategies, along with artistic expressions of joy and growth.

The invited artists and architects: Hamra Abbas, Can Altay & Jeremiah Day, Halil Altındere, Emrah Altınok, Architecture For All (Herkes İçin Mimarlık), Volkan Aslan, Fikret Atay, Atelier Istanbul: Arnavutköy, Vahap Avşar, İmre Azem & Gaye Günay, Osman Bozkurt, Angelika Brudniak & Cynthia Madansky, Hera Büyüktaşçıyan, Antonio Cosentino, Burak Delier, Cem Dinlenmiş, Cevdet Erek, İnci Eviner, Extrastruggle, Nilbar Güreş, Ha Za Vu Zu, Emre Hüner, Ali Kazma, Sinan Logie & Yoann Morvan, Networks of Dispossession, Nejla Osseiran, Ceren Oykut, Pınar Öğrenci, Ahmet Öğüt, Didem Özbek, Şener Özmen, PATTU, Didem Pekün, Zeyno Pekünlü, Mario Rizzi, Sarkis, SO?, Superpool, ŞANALarc, Ali Taptık, Serkan Taycan, Cengiz Tekin, Güneş Terkol, Nasan Tur.

Hera Buyuktasciyan at Maxxi Museum
HERA BUYUKTASCIYAN, The Dock, detail, wood, mechanism, installation view at Galeri Mana, Istanbul 2014

Vahap Avsar at Maxxi Museum
VAHAP AVSAR, Road to Arguvan, video still, 2013

Gunes Terkol at Maxxi Museum
GUNES TERKOL, Against the Current, Embroidery on fabric, 200x300 cm, 2013

Cengiz Çekil, key figure of Contemporary Art in Turkey, dies at 70

on Tuesday, 10 November 2015. Posted in ---2015--- , November

Related Article: Maxxi Museum hosts major survey of Contemporary Art from Turkey


At the age of 70, Cengiz Cekil passed away. The artist will be remembered for his valuable contributions to the contemporary art. We extend our sincere condolences to his family and the whole art scene.

After receiving his BFA from the Gazi Institute in Ankara, Cengiz Cekil (b. 1945, Bor) continued his studies in Paris. He returned to Turkey in 1976 and got his MFA in Sculpture from Ege University in Izmir. Searching for new visual and formal definitions that could correspond to the dramatic social transformations of the 1970s and 1980s, Cekil became one of the key figures of contemporary art in Turkey. He distanced himself from the aesthetic conventions of academic conservatism of that time and instead made use of cheap everyday materials, such as stationery, hardware items, construction materials, trash and newspapers. His early artistic production mostly reflects the political tensions and dramatic social transformations preceding the coup d’état in 1980. In 1978, Çekil moved from İstanbul to work at the newly founded Faculty of Fine Arts at Ege University in İzmir. The photographic series Visual Tracks (1979) documents the artist's daily journey to work.

His first solo exhibition at Rampa was held in 2010. Curated by Vasıf Kortun, the project comprised works produced between 1974 and 2010.

Selected group exhibitions of the artist include 4th Istanbul Biennial, 1995; Manifesta 5, San Sebastian, Spain, 2004; 11th International İstanbul Biennial, İstanbul, Turkey, 2009; I’m Still Alive: Politics and Everyday Life in Contemporary Drawing MoMA, 2011; NEWTOPIA: The State of Human Rights, Mechelen, Belgium, 2012; Istanbul Eindhoven-SALTVanAbbe: 68-89, SALT, Istanbul, 2012 and Signs Taken in Wonder: Searching for Contemporary Istanbul, MAK Vienna, 2013.

Cengiz Cekil, Rampa Gallery Istanbul
Cengiz Cekil, Courtesy Rampa Gallery Istanbul

Cengiz Cekil, Towards Childhood, Since Childhood, 1974
Cengiz Cekil, Towards Childhood, Since Childhood, 1974 Coca-cola bottles, triple battery (4,5 V), string, tree branch, bulb, cable, electric tape, 34 x 10 x 10 cm. Courtesy Rampa Gallery Istanbul

Cengiz Cekil, Diary 1976
Cengiz Cekil, Diary, 1976, Seal print on diary, and box 14 × 20.5 cm. Courtesy Rampa Gallery Istanbul

Simply titled 'Günce', or 'Diary', Çekil’s work, which was acquired by MoMA in 2011, is a notebook in which Çekil stamped “Bugün de yaşıyorum” (I am still alive today), along with the date, for two months in 1976. The work, a response to the increasing political tension in Turkey between rightists and leftists during the time it was created, also stands as a reference to artists who were feeling trapped in a period when terrorism almost became part of daily life.

Cevdet Erek to represent Turkey at 57th Venice Biennial

on Tuesday, 22 March 2016. Posted in ---2016---, May

Related Article: Elmgreen&Dragset to Curate 15th Istanbul Biennial


A project by artist Cevdet Erek will be presented at the 57th Venice Biennial’s Pavilion of Turkey from 13 May - 26 November 2017.

Cevdet Erek’s installations and performances that focus on sound, space and rhythm were shown in dOCUMENTA (13) (2012), Istanbul Biennial (2003, 2013 and 2015), Sydney Biennial (2016), Sharjah Biennial (2013), Stedelijk Museum (2014), MAXXI (2014 and 2015), Istanbul Modern (2014, 2015 and 2016), Arter (2011), SALT (2012 and 2015) among others. Major solo exhibitions of his work were organised by Spike Island in Bristol (2014) and Kunsthalle Basel (2012). His published books are SSS – Shore Scene Soundtrack (2008, BAS), Room of Rhythms 1 (2012, Walther König) and Less Empty Maybe (2015, Revolver/Artist). His SSS – Shore Scene Soundtrack was the recipient of Nam June Paik Award given by Kunststiftung NRW (2012).

Cevdet Erek studied Architecture at Mimar Sinan University. He has been a member of the music band Nekropsi. He received his graduate degree in Sound Engineering & Design from Istanbul Technical University - MIAM (Center for Advanced Studies in Music). He was an artist in residence at Rijksakademie in Amsterdam in 2005-2006. He currently lives in Istanbul and continues to work at Istanbul Technical University.

The Advisory Board consists of artist Ali Kazma, curator at Arter, Başak Doğa Temür; Suna and İnan Kıraç Foundation Culture and Art Enterprises General Manager Özalp Birol, curator and Art Advisor at Istanbul Modern Museum Paolo Colombo, and Prof. Dr. Zeynep İnankur from Mimar Sinan Fine Arts University, Department of Western and Contemporary Art.

Cevdet Erek
Cevdet Erek

Galleries from Turkey at viennacontemporary 2016

on Wednesday, 10 August 2016. Posted in ---2016---, August

Related Article: Turkey's Concept for London Design Biennial Revealed


Turkish galleries Galeri Zilberman and SANATORIUM are going to be present at this year’s edition of viennacontemporary taking place from 22-25 September. Sanatorium will bring works by Sevil Tunaboylu, Erol Eskici and Yağız Özgen, while Zilberman Gallery will participating with Alpin Arda Bağcık, Guido Casaretto, Antonio Cosentino, Ahmet Elhan, Walid Siti and Eşref Yıldırım.

Walid Siti, Deconstructed Pyramid I, 2013
Walid Siti, Deconstructed Pyramid I, 2013, straw, wood and acrylic on MDF, 59x59x37 cm. Zilberman Gallery Istanbul/Berlin

Following the success of the first edition of viennacontemporary in 2015 in the spectacular ambience of the Marx Halle, the largest art fair in the region will once again convene more than 100 Austrian, Eastern European, and international galleries in a showcase of emerging and established contemporary art. The presence of important international collectors and the continuously growing reputation of viennacontemporary have encouraged many galleries to participate in Vienna’s art fair once again in 2016. Moreover, new young and exciting galleries from Austria, the focus regions, and the Western hemisphere have also chosen to join the fair.

Eşref Yıldırım, Nezihe Muhiddin, 2014
Eşref Yıldırım, Nezihe Muhiddin, 2014, mixed media on canvas, 194x148 cm. Zilberman Gallery Istanbul/Berlin

Under the artistic direction of Christina Steinbrecher-Pfandt and executive management of Renger van den Heuvel, viennacontemporary stands for continuity and a high-caliber exhibition program. More and more art collectors and experts are making their way to Vienna, which has established itself – not least thanks to the success of viennacontemporary – as an international marketplace for contemporary art in both the domestic and international art scenes.

Following the focus countries of the past years– Georgia, Kazakhstan, Ukraine, and Belarus (2012), Georgia and Poland (2013), Azerbaijan (2014), and Bulgaria (2015), this year’s showcase explores a region in Southeastern Europe: ex-Yugoslavia and Albania. Focus: Ex-Yugoslavia and Albania is curated by the Albanian curator and writer Adela Demetja.


Walid Siti, Deconstructed Pyramid I, 2013
Yağız Özgen, Water Lilies (284 Stripes), 2016, acrylic on canvas, 180x142cm. Sanatorium Gallery Istanbul. Photo: CHROMA

Jake & Dinos Chapman at ARTER in Istanbul

on Thursday, 23 March 2017. Posted in ---2017--- , March

Related Article: Istanbul Galleries at Art Dubai and Art Basel Hong Kong


On view from 10 February to 7 May 2017, Arter presents the first solo exhibition of Jake & Dinos Chapman in Turkey titled 'In the Realm of the Senseless'. Curated by Nick Hackworth, the exhibition brings together a number of works from iconic series including 'Hell', 'The Chapman Family Collection' and 'One Day You Will No Longer Be Loved', alongside new and rarely seen works. The show presents an overview of the Chapmans' virulently pessimistic art and thought. Deploying humour and a perverse semiotics to undercut and satirise many of the unthinking beliefs that animate contemporary culture, the Chapmans' is amongst the most challenging of contemporary art practices.

Jake and Dinos Chapman, Unhappy Feet, 2010 at Arter
Jake and Dinos Chapman, Unhappy Feet, 2010 Fibreglass, plastic and mixed media in steel vitrine 216 x 171 x 171 cm © Jake and Dinos Chapman Courtesy of the artists and White Cube(detail)

The exhibition begins on the ground floor in spectacular fashion by uniting more works than have ever been shown together before from the Hell series, including the major piece, 'The Sum of All Evil'. Absurd, surreal and painstakingly detailed, the dioramas comprise of thousands of model Nazi soldiers engaged in scenes of orgiastic violence alongside other figures familiar from the Chapmans' visual universe, such as Hitler and Ronald McDonald. Since 2000 when the original 'Hell' work was completed (it subsequently was burnt in a fire in a London art storage facility), the series has been controversial, being serially misread both as profoundly engaged war art and as a disgraceful trivialization of violence. As the artists point out it takes a certain degree of hysteria and myopia to attach such ponderous meanings to the work itself. Two other large works from the series, 'Unhappy Feet' and 'Altered Towers', complete the floor.

Jake and Dinos Chapman at Arter
Exhibition view of 'In the Realm of the Senseless', Arter, 2017. Photo: exhibist

Arter's first floor amounts to a pastiche of the idea of retrospective shows with its centrepiece 'SHITROSPECTIVE' and the duo's first ever neon work, a new iteration of the brothers' first collaborative piece 'We Are Artists', made in 1991. Demonstrating the artists' stated desire to create work of 'zero cultural value' and their tactic of repeatedly recycling the same content, 'SHITROSPECTIVE' comprises of miniature versions of key works from their career, 'Fuckfaces', 'Sex', 'Übermensch' and 'Little Death Machine' – replicated in cardboard and mounted on pedestals. Known as one of the iconic works of the Chapmans, 'Insult to Injury' from the series of 'The Disasters of War' is hosted on the first floor of the exhibition. The show also includes a collection of archival works from 1971–2013, including some rare Chapman juvenilia.

Taking its cue from the Chapmans' recent show 'Come and See' at The Serpentine Gallery, London, the curation of the top floor of the exhibition takes aim at the idealised 'white cube' gallery space and elegant, well-mannered exhibitions. Resembling a show put together from a ransacked storage room the floor will be chaotic and over-stuffed, filled with myriad 2-D and sculptural works.

MOCAK acquires works by Gülin Hayat Topdemir and Guido Casaretto

on Thursday, 23 March 2017. Posted in ---2017--- , March

Related Article: Inci Eviner receives the 2017 Sharjah Biennial Prize


Gülin Hayat Topdemir, Bride
Gülin Hayat Topdemir, Bride, 2015, oil on canvas, 157 x 99,8 cm. Courtesy the artist and Zilberman Gallery

Gülin Hayat Topdemir’s work 'Bride' (2015) has been acquired by Museum of Contemporary Art in Kraków, Poland.

Gülin Hayat Topdemir’s paintings delve into the subconscious to narrate the dark side of human nature, which is also reflected in her choice of colors and technique. By using the technique of chiaroscuro, she masterfully constructs an atmosphere in which her stories unravel. In her recent body of work, the artist-model assumes different roles, suggesting alternative possibilities for the constructed self.

Gülin Hayat Topdemir (1976, Istanbul) lives and works in Istanbul. She completed her undergraduate and graduate degrees at Mimar Sinan University, Faculty of Fine Arts, Department of Painting. Her solo solo shows are: Salon Rouge (Zilberman Gallery, 2015), Black Box (Zilberman Gallery, 2013), Every Young Girl’s Dream? (Zilberman Gallery (previously as Cda-Projects), Istanbul, 2010), and Complexion (Zilberman Gallery (previously as Cda-Projects), Istanbul, 2008). Some of the group shows she participated in: Figure Out: Turkish Contemporary Art (Art Sawa, Dubai, 2012), Group Exhibition (Casa Dell’Arte, Bodrum, 2009; Istanbul, 2008), Kooperatif (Karşı Sanat, Istanbul, 2002) and Todays Artists Exhibition (Atatürk Cultural Center, Istanbul, 1997). Recipient of Nuri Iyem Painting Award-Selection Committee Special Price in 2007, her works are part of collection at 21C Museum (Kentucky, ABD) and private collections in Europe, Middle East and Turkey.

Guido Casaretto, Michael-4/ Roman Centurion texture David-3 / Street Vendor2 texture
Guido Casaretto, Michael-4/ Roman Centurion texture David-3 / Street Vendor2 texture, 2015, charcoal/resin sculpture, Measurement: 1: 50 x 64 x 31 cm; 2: 49 x 63,5 x 36 cm. Courtesy the artist and Zilberman Gallery

Guido Casaretto’s work 'Michael-4/ Roman Centurion texture David-3 / Street Vendor2 texture' (2015) has been acquired by Museum of Contemporary Art in Kraków, Poland.

Dealing with ways of perceiving nature and reproducing it with digital means, Casaretto focuses on the phenomenon of sensation. Engaged with electronic information, various materials and art-historical references, his works overlap the different sensations with regard to the physical quality of the material and the types of perception within the concept of art history.

The interaction triggered by the physical approach goes deep down into the multidimensional sensation through the materials used by the artist such as concrete, skin, soil and epoxy. The former works of Casaretto, comprised of realistic manifestation of nature created in digital environment, are reversed by these new series of works through the manual intervention of the artist to the machine production. The works define the uniqueness of the handmade and invite the viewers to experience the sensation.

Guido Casaretto (1981) lives and works in Istanbul. One of the founders of Sanatorium, some of his solo shows are: Synesthesia (Zilberman Gallery, 2015), Extrasystemic Correlations (Zilberman Gallery, 2012), Default (Sanatorium, Istanbul, 2011); and some of his group shows are: Urban Justice (CerModern, Ankara, 2015), Venice Biennial Italian Pavillion (Venice, 2011), and Teatro Comunale (Italy, 2000). His works are included in many important private collections in Europe and Middle East.

Contemporary Istanbul Announces Gallery List 2017

on Tuesday, 08 August 2017. Posted in ---2017--- , August

Related Article: Sanatorium Gallery in Vienna


Contemporary Istanbul 2017


Contemporary Istanbul (CI) art fair announced the preliminary exhibitors list for the upcoming 12th edition of the fair. CI brings together leading contemporary art galleries from Turkey and around the world, giving a regional and international focus to the dynamic contemporary art scene that has developed in Istanbul in recent decades.

Participating galleries:


44A, Istanbul
55Bellechasse, Paris & Miami
Ab Anbar, Tahran
Ab Gallery, Seul
Acaf, Şangay
Alan Istanbul, İstanbul
Andakulova, Dubai
Anna Laudel Gallery, İstanbul
Archeus Post-modern, Londra
Aria Art Gallery, Floransa
Art On Istanbul, İstanbul
Bernheimer Contemporary, Berlin
Bozlu Art Project, İstanbul
C.A.M, İstanbul
C24, New York
Cep Gallery, İstanbul
Dastan's Basement, Tahran
Dix 9, Paris
Dirimart, İstanbul
Eastwards Prospectus, Bükreş
Flowers Gallery, Londra
Gaia Gallery, İstanbul
Galeri Miz, İstanbul
Galeri Nev, İstanbul
Galeria Continua, San Gimignano & Beijing
Galerist, İstanbul
Galeri̇ 77, İstanbul
Galeri Baraz, İstanbul
Galeri Binyil, İstanbul
Galeri Siyah Beyaz, Ankara
Gallery 1957, Akra
Gama Gallery, İstanbul
Gazelli Art House, Londra & Bakü
Heavenlymade, İzmir
Inda Gallery, Budapeşte
Isabel Croxatto, Santiago
JoanGaspar, Barselona
Karavil Contemporary, Londra
Krank Art Gallery, İstanbul
Kristen Hjellegjerde, Londra
Leila Heller, New York & Dubai
Licht Feld, Basel
Liquid Art System, Capri & İstanbul
Magic Beans, Berlin
Mark Hachem, Paris & Beyrut
Marlborough, New York
Maximilian William, Londra
Merkur, İstanbul
Mixer Gallery, İstanbul
N2 Gallery, Barselona
Nicodim Gallery, Bükreş & Los Angeles
NK Gallery, Anvers
Olcay Art, İstanbul
Öktem & Aykut, İstanbul
Parasite Gallery, Tel Aviv
Pg Art Gallery, İstanbul
Pi Artworks, İstanbul & Londra
Pilevneli Gallery, İstanbul
Piramid Sanat, İstanbul
Plan B, Cluj, Berlin
Project Artbeat, Ti̇blis
Red Art Galeri, İstanbul
Sanatorium, İstanbul
Shirin Gallery, Tahran & New York
Smac Gallery, Cape Town
Sophia Contemporary, Londra
Triangle Gallery, Tel Aviv
Victor Lope, Barselona
Victoria Miro, Londra
Vigo Gallery, Londra
Villa Del Arte, Barcelona
X-ist, İstanbul
Zilberman Gallery, İstanbul & Berlin

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