Moiz Zilberman merging his Istanbul Galleries

on Monday, 28 October 2013. Posted in Art News, January, ---2014---

Related Article: Baksi Museum awarded the Council of Europe Museum Prize for 2014

Zilberman is merging their sister galleries CDA-Projects and Galeri Zilberman and will operate under the name Galeri Zilberman at their existing venues on the 2nd and 3rd floors of Misir Apartmani in Istanbul.

The galleries will continue to host catalogued exhibitions of their represented artists, as well as incorporate new ideas and projects of guest curators in their program. Galeri Zilberman will also continue offering financial support and visibility to young artists by hosting Genc Yeni Farkli (Young Fresh Different), as well as promoting artistic projects with a 10.000 Euro grant. In its third year, lecture performances, debates and talks shaped around the Grant which will still be organised at Kat1 in Misir Apartmani’s 1st floor.

Canan Tolon Exhibition at Parasol Unit in London

on Monday, 28 October 2013. Posted in Art News, January, ---2014---

Related Article: Burak Delier receives the new Iniva Fund

Parasol unit foundation for contemporary art will present a solo exhibition of works by Turkish-born artist Canan Tolon from 15 January - 16 March 2014. This, her first major exhibition in a London institution, provides in-depth insight into her works from 1986 to the present day. It includes Futur imparfait, 1986–1999, a series of 33 ink-wash and crayon figurative drawings that were recently acquired by the British Museum. At Parasol unit they will be on show all together for the first time in the UK.

Canan Tolon was born in Istanbul and grew up in various European countries. After earning her baccalauréat from the École Française d’Istanbul in Turkey, in 1975, she studied design in Edinburgh and London. In 1980, she received a BA from Middlesex Polytechnic / Architectural Association, London, and that same year moved to the Bay Area of San Francisco to study for a Masters in Architecture at the University of California at Berkeley. After graduating in 1983 she worked for about ten years in several architecture offices while continuing her work in the visual arts. Her paintings and installations have been exhibited internationally. She has works in a number of major public collections, including the British Museum, London; Istanbul Modern; IKSV (Istanbul Foundation for Culture and the Arts); the Nesrin Esirtgen Collection, Istanbul, Turkey; and the di Rosa Collection, Napa, USA.

Canan Tolon lives and works in the San Francisco Bay Area, California, USA and in Istanbul, Turkey.

This exhibition is curated by Ziba Ardalan, Founder/Director of Parasol unit.

Canan Tolon: Sidesteps is accompanied by a comprehensive book, including an artist interview by Ziba Ardalan and essays by Bill Berkson and John Yau, published by Parasol unit foundation for contemporary art. A related programme of educational events at the gallery will include lectures, poetry readings, animation and storytelling workshops.

Canan Tolon, ‘Untitled’, 1999.
Left: Canan Tolon, ‘Untitled’, 1999. Black oil paint on Mylar, Sheet size 36 x 28 cm (14 x 11 in). Courtesy of the artist. Photo: Benjamin Blackwell Canan Tolon Untitled

Right: Canan Tolon, ‘Untitled (polyptych)’, 2001. Rust and pigment on canvas, 267 x 274 cm (105 x 108 in). Collection Pınar and Hakan Ertaç. Photo: Hakan Aydoğan

The Pavilion of Turkey at Biennale Architettura 2014

on Monday, 28 October 2013. Posted in Art News, January, ---2014---

Related Article: Permanent Venue for Turkey at Venice Biennale

The Pavilion of Turkey, which, for the first time, will participate in the 14th International Architecture Exhibition that will run from 7 June through to 23 November 2014, has Murat Tabanlıoğlu appointed as curator and Pelin Derviş as project coordinator. Coordinated by the Istanbul Foundation for Culture and Arts, the Pavilion of Turkey will be located at Arsenale, one of the main venues of the Venice Biennale, for 20 years from 2014 to 2034, thanks to the contributions of 21 supporters that allowed the allotment.

An alumnus of the Vienna Technical University Architecture Department, Murat Tabanlıoğlu had already gained valuable experience through his works with distinguished architects in Vienna when he returned to Turkey in 1990 to found the Tabanlıoğlu Architecture with his father Dr. Hayati Tabanlıoğlu. He designed the Doğan Media Center, a home also to the Milliyet Newspaper. Mr. Tabanlıoğlu teaches architectural studio at various universities, including Bilgi University, and gives lectures both home and abroad. As a jury member, in addition to his international contributions, such as at AIA and WAF, Mr. Tabanlıoğlu served on the Master Jury for the 2013 Cycle of the Aga Khan Award for Architecture.

Pelin Derviş graduated from the Istanbul Technical University in architecture and completed her master’s degree in history of architecture at the same university. After working in her architectural practice on projects of various types and dimensions ranging from urban inventory projects to spatial and object design for 14 years she focused on the cultural production aspect of architecture. Working as an independent editor and curator in Istanbul, architect Pelin Derviş' special fields of interest include the documentation of modern architectural production and the contemporary urban issues of Istanbul.

IKSV has formed a Scientific Committee to provide curator Murat Tabanlıoğlu and project coordinator Pelin Derviş with the necessary academic support and counselling in their project for the biennial. The Scientific Committee comprises academicians who work on architecture and history of architecture, including Istanbul Technical University Faculty of Architecture lecturer Prof. Dr. Arzu Erdem, Istanbul Şehir University Sociology Department lecturer and Director of the Center for Urban Studies Prof. Dr. Murat Güvenç, Aga Khan Award for Architecture former General Secretary and President of the World Architecture Community Prof. Dr. Suha Özkan, and Mardin Artuklu University Dean of Faculty of Architecture Prof. Dr. Uğur Tanyeli.

The 14th International Architecture Exhibition of La Biennale di Venezia, will be curated by Rem Koolhaas, on 7 June - 23 November 2014. The biennale, entitled "Fundamentals", will feature a number of country pavilions in Giardini and Arsenale, besides the main exhibition. The details regarding the Pavilion of Turkey will be announced in the first months of 2014.

Turkey in the Venice Biennale for the next 20 years On the initiation of the Istanbul Foundation for Culture and Arts and with the gracious support of 21 persons and institutions, Turkey is obtaining a long-term venue in the Venice Biennale, one of the world's leading contemporary art and architecture events. The Istanbul Foundation for Culture and Arts will be coordinating the Pavilion of Turkey that will take part in the Venice Biennale's both International Art Exhibition and Architecture Exhibition, and the commissioner will be IKSV's International Projects Coordinator Tuna Ortaylı.

The supporting persons and institutions that have contributed in providing Turkey with a permanent venue in Venice include Akbank, Mehveş-Dalınç Arıburnu, Nezih Barut, Ali Raif Dinçkök, Vuslat Doğan Sabancı, Füsun-Faruk Eczacıbaşı, Oya-Bülent Eczacıbaşı, Enka Foundation, Nesrin Esirtgen, Eti Gıda San. ve Tic. AŞ, Kadir Has University, Öner Kocabeyoğlu, MAÇAKIZI, Tansa Mermerci Ekşioğlu, Polimeks İnşaat, SAHA Association, Taha Tatlıcı, T. Garanti Bankası AŞ, Vehbi Koç Foundation, Zafer Yıldırım, and Yıldız Holding AŞ.

Murat Tabanlioglu (Curator) and Pelin Dervis (Project Coordinator)
Murat Tabanlioglu (Curator) and Pelin Dervis (Project Coordinator)

Fatma Bucak wins the 13th Illy Present Future prize

on Monday, 28 October 2013. Posted in Art News, January, ---2014---

Related Article: Burak Delier receives new Iniva Fund

Fatma Bucak (Alberto Peola Gallery, Turin) and Caroline Achaintre (Arcade Gallery, London) are both winners of the 13th edition of the illy Present Future Prize

The winners of the 13th edition of the illy Present Future Prize, dedicated to the most creative emerging talents, have been nominated by Carlo Bach, Art Director of illycaffè and Sarah Cosulich Canarutto, Director of Artissima 2013.

The jury panel has awarded Fatma Bucak with the following motivations:

“Fatma Bucak employed twelve elderly men – as both performers and audience – to create a kind of improvised theatre. Using humour – that is reminiscent of Samuel Beckett – her work touches on the complex narratives of place, gender and history in unexpected and refreshing ways.”

Since 2012 the partnership between Artissima and illycaffè has been strengthened by a formula attesting their growing and mutual collaboration. This year the illy Present Future Prize will allow the setting up of an art exhibition scheduled for 2014, in fall, at Castello di Rivoli dedicated to the winners selected by the international jury among twenty-four participants. This decision stresses once more the will shared by Artissima and illycaffè to keep developing in an innovative way the experience made in the international art research.

illy Present Future becomes therefore a further improvement of the exhibition project of Turin art institutions, and bears witness of a direct link between the research of Artissima on the global young art, and the will of Turin museums to be constantly committed to interpret contemporary art in a critic and profitable way.

Curatorial Committee of Present Future – ARTISSIMA 2013

Luigi Fassi (coordinator), Visual Curatore Arti Visive, Steirischer Herbst, Graz
Alex Gartenfeld, Curatore, Moca North Miami, Miami
Krist Gruijthuijsen, Direttore Artistico, Grazer Kunstverein, Graz
Robert Leckie, Curatore, Gasworks, London
Qinyi Lim, Curatrice, Para Site, Hong Kong
Alice Motard, Vice Director and Chief Curator, Raven Row, London

Jury of illy Present Future Prize – ARTISSIMA 2013

Defne Ayas, Director, Witte De With Center of Contemporary Art, Rotterdam
Matthew Higgs, Director, White Columns, New York
Beatrice Merz, Director, Castello di Rivoli, Turin
Joanna Mytkowska, Director, Museum of Modern Art, Warsaw

Fatma Bucak: Blessed are you who come - conversation on the Turkish-Armenian border (2012)
Fatma Bucak, Blessed are you who come - conversation on the Turkish-Armenian border (2012) Image: Courtesy the artist

Turkish Galleries at The Armory Show and Art Dubai

on Saturday, 08 March 2014. Posted in February

Related Article: Contemporary Art From Turkey on Sale at Sotheby's

From 6-9 March 2014 The Armory Show, one of the leading international art fairs took place on Piers 92 & 94 in central Manhattan. This year two Istanbul Galleries exhibited at the fair: Dirimart with Peter Zimmermann, Ekrem Yalcindag, Özlem Günyol & Mustafa Kunt, Ebru Uygun and Bjorn Melhus, and Pi Artworks showing Susan Hefuna.

At Art Dubai, from 19-23 March 2014 Istanbul Gallery Galerist will show works by :mentalKLINIK, Haluk Akakce, Rasim Aksan, Kendell Geers, Idil Ilkin, Serkan Ozkaya Seza Paker, Arslan Sukan, Ali Emir Tapan, Elif Uras and Nil Yalter and Pi Artworks (based in Istanbul and London) will exhibit works by Susan Hefuna.

Dirimart Gallery's booth at The Armory Show, New York
Dirimart Gallery's booth at The Armory Show, New York. Photo: Courtesy Dirimart Gallery

Susan Hefuna, Cityscape Cairo, 2001, Photography
Susan Hefuna, Cityscape Cairo, 2001, Photography

Deutsche Bank Collection acquires work by Şükran Moral

on Saturday, 08 March 2014. Posted in February

Related Article: Marc Qinn's The Sleep of Reason at ARTER

Deutsche Bank Collection has acquired the last edition of Şükran Moral’s photographic work “Despair”. Founded in 1979, the Deutsche Bank Collection’s initial aim was to support young artists from Germany, but as the bank has grown exponentially, the collection has also expanded its acquisition policy to international artists, both emerging and established, from different parts of the world.

Şükran Moral is one of the most important performance artists in Turkey. Her work, which is in major collections including the British Museum, London; Istanbul Museum of Modern Art; ARTER, Istanbul; Deutsche Telekom, Germany, has been exhibited in numerous museum exhibitions and international biennials, including the Venice Biennale and the Istanbul Biennial. Her film “Despair” was recently on view in a two-person exhibition at Galeri Zilberman, alongside prominent Austrian video and performance artist VALIE EXPORT (September –October 2013).

Şükran Moral, Despair, 2003, Digital c-print
Şükran Moral, Despair, 2003, Digital c-print. Photo: Courtesy the artist and Zilberman Gallery

Marc Quinn's The Sleep of Reason at ARTER

on Saturday, 08 March 2014. Posted in February

Related Article: Tayfun Serttaş first guest of Cité des Arts for 2014

Art Critic and Writer Anna Zizlsperger in conversation with Turkish art theoretician and curator Selen Ansen about "The Sleep of Reason," the current Marc Quinn exhibition at ARTER.

To read the full interview you can download the digital version of exhibist magazine issue 2 here.

Your academic background is in Cinema and Visual Arts and Modern Literature, as well as in Theory and Practice of the Arts. Is it right to say that up until recently you were mostly working as a lecturer/professor, art theorist and writer?

Yes, I have been working as a professor in Aesthetics and Theory of Art and also as an independent writer for a few years—I currently teach at Istanbul Bilgi University in the Masters Programme of Philosophy and Social Thought.

What made you decide to become a curator, and how do you think your academic background influences your work?

I did not, so to speak, decide to become a curator although I’ve been curious about the process of making exhibitions since I started collaborating with artists (as a writer). I had participated in the organisation of a few artistic events in France, but I didn’t make the „jump“ into curating until my experience at ARTER. I owe this to Emre Baykal and to Melih Fereli, who invited me to Berlinde de Bruyckere’s show in 2012 to work with ARTER’s team as a guest curator. My academic background probably has an unavoidable influence on my approach; it’s difficult for me to estimate in which way exactly or to what extent, but I suppose my theoretical ground and subjects of interest play a role in the way I conceive a thread or build a relationship with the artworks. Yet, I also enjoy and feel the need to be „disoriented“ by subjects and practices that I’m not familiar with on a theoretical level.

You have been writing on Francesco Albano, Berlinde de Bruyckere and Marc Quinn recently. Is there an element which connects these artists, and why did you choose to work on them in particular?

In addition to the variety of mediums and materials these artists are using, they all have their own personal approach, their own „aesthetics“ in terms of the perception their works are shaping, their own view(s) on the world that affects them and which they are affecting in return. Along with these differences that distinguish their approaches, I think the most explicit element that connects their art is their common interest for the body, which instead of being solely „represented“ or valorized in one particular dimension, is unfolding the plurality of its realms. Berlinde de Bruyckere, Marc Quinn and Francesco Albano are each disturbing the anthropocentric gaze, restoring the repressed side of life and linking our being with what we would prefer to call the „inhuman“ or „non-human“. The body becomes the site of a collective and individual memory, the trace of past and present desires and wounds, the means for our self-construction and perception of the world. What also connects their respective approaches is, according to me, the way they relate to or interpret an artistic tradition. The „contemporary“ feature of their art is not restricted to the actuality of the themes they deal with or the mediums they use—It is also built into a dialogue with what we usually consider as past and distant. I believe my collaborations with Berlinde de Bruyckere, Francesco Albano and Marc Quinn are the first encounters that have evolved around what I would call „shared affinities“. The presence of the body certainly has importance since one of my own main subjects of research revolves around the formation of corporeality, physicality and the symbolism of flesh throughout the history of art and history of thought.

The exhibition “The Sleep of Reason” at Arter brings together more than 30 works Marc Quinn has produced since the year 2000. Was it a deliberate decision to not show his earlier works?

It was not a deliberate decision—meaning taken from the start as some kind of statement—but rather the result of the selection of works I was talking about, which Marc Quinn and I made in relation to the thread(s) of the show. The Sleep of Reason“ is not conceived as a retrospective, nor does it intend to tell the audience a „story“ from one, single perspective. Rather, it intends to unfold some of the major themes Marc Quinn is exploring (our relationship to nature, body and identity, evolution, history and geography) and to allow a plurality of echoing perspectives. Since Marc Quinn’s works are being shown for the first time in Istanbul, or anywhere in Turkey, it was important for us to present a wide range of his paintings and sculptures to the audience, including some of his seminal ones (such as Self, Zombie Boy or The Complete Marble series). Marc was also willing to show his latest works, including those which connect more specifically with the themes of History and Geography. I’m very glad we have the opportunity to include these works, most of them being exhibited for the first time; they enrich and extend the perspective of the show towards new horizons by linking it with very actual issues.

Which work is your personal highlight of the show?

It’s difficult for me to make a choice, but I would say first of all the Flesh Painting series, which impressed me a lot (visually and conceptually) when I first saw them in Marc’s studio and which are now deploying their uncanny and fascinating presence in dialogue with the other works. To me, besides the impressive physicality of their subject, the Flesh Painting series concretize some of Marc’s major concerns, such as the passage from figuration to abstraction or from materiality to immateriality in order to create an in-between zone where certainties fade away. This can also be sensed in the underwater paintings (Before and After Humans) that are present in the show as well.

Marc Quinn, Flesh Painting (On a Homeopathic Diet), 2013, oil on canvas, 279 x 419 cm. Photo: Todd-White Art Photography
Marc Quinn, Flesh Painting (On a Homeopathic Diet), 2013, oil on canvas, 279 x 419 cm. Photo: Todd-White Art Photography

Were you approached by Arter to curate the show or did you propose it to them?

I was approached by Arter and, more specifically, invited by Emre Baykal. Before we started the project, it was also important for me that Marc agreed to our collaboration.

The exhibition’s title is inspired by Goya’s etching “The Sleep of Reason Produces Monsters”. You left out the second part of the work’s title — Why is that, and can you give us a short explanation of why you chose that title?

„The Sleep of Reason“ is a title suggested by Marc Quinn; I liked it immediately for its suggestive force and also for the way it pursues, indirectly, Marc’s interpretation of art history. In my point of view, independent from the reference to Goya’s etching, the title reflects and accurately expresses the thread of the show revolving around the notion of threshold. Indeed, in Goya’s etching and title there is already an ambiguity or a transition between a state of consciousness and unconsciousness, between reality and fantasy. Goya’s etching is part of a series entitled Los Caprichos that he made in reaction to the society of his time, which he considered to be unequal and „morally depraved“. The „monsters“ he has depicted contribute in creating the allegorical features and political aspect of his etchings.

With this title, Marc is both indirectly referring to Goya’s original etching and departing from it, especially from its moral content, specific historical context and darkness. Yet, his approach shares several aspects with Goya’s: the wish not to faithfully imitate nature but to remain faithful to its dynamic; showing the reversibility of things; and a concern for History. Marc Quinn’s paintings and sculptures are „contemporary“ in the way that they make use of the production means of their time and in the way that they refer to our „images,“ presenting and materializing a History in movement that also points to the globalized world we now live in. The „monsters“ and „chimeras“ Goya imagined in order to reveal and criticize the decline of values have now lost their „monstrosity“ in terms of the fear and „counter-nature“ aspect that the figure of the monster was traditionally linked with and the extraordinary nature it was believed to embody. Thus, the beings, things, events and phenomena re-presented by Marc Quinn are still spectacular but no longer „monstrous“; they are inspired by life itself, surpassing it without ever leaving it.

How did you go about choosing the works and connecting them together in the show?

Marc Quinn and I selected the works together; it was a long-term process held in regard to the thread of the show, which also took into consideration the spatial characteristics of Arter’s exhibition venue.

What kind of development can you note in his works, comparing those from the 90s to more current pieces?

This diversity that characterises Marc’s art goes hand in hand with a certain continuity in the themes he explores or, for example, in the way he has been connecting art and science since his first works from the 90’s. This continuity can also be seen in the way he stages and questions the increasing role of technology today—not only in the production/reception of an artwork, but also in the way we shape ourselves and mediatise the world. In relation to this, we may say from a formal perspective that the spectacular aspect of Marc Quinn’s works has become stronger with the complex technical processes they result from, the formal and perceptive possibilities these technical means are creating and fullfilling. From a more thematical perspective, instead of making shifts, I think his approach is more about expanding scales and playing with limits. Marc’s latest paintings, drawings and sculptures express his growing interest in human evolution as part of the evolution of the universe and in showing, on a closer scale, his concern for the contemporary world’s changes on a political, cultural and social level.

In May 2013 Quinn had an extensive solo exhibition at the Cini Foundation in Venice, curated by Germano Celant. Did you take that show into consideration beforehand, and how do you feel your concept of showing Marc Quinn at Arter is different to Celant’s approach?

We started preparing Marc’s show at ARTER when the one curated by Germano Celant in Venice was being finalised. I am very glad I could visit it twice and discover the connections Germano Celant and Marc had highlighted. I found the exhibition impressive, especially in the way it built a dialogue between works from different periods, and the way it created an almost „organic“ relationship between the inner and outer spaces of the Cini Foundation. To me, the first difference between the two shows is, apart from the curatorial statements and choices, linked to the site and architectural specificity of each venue. The Cini Foundation provides a horizontal space, which also allows for artworks, especially monumental ones, to be shown outdoors; its insularity and contact with the water element also has great importance since water bears meaning in Marc’s works. In contrast, ARTER’s venue offers a vertical space consisting of four floors and is located on one of the main, most crowded and „strategic“ streets of the city. This urban feature of ARTER’s exhibition venue has had an indirect role in the way we conceived the show as an interaction, a communion and a tension between the inside and the outside. Besides Marc’s latest paintings and sculptures that will be shown for the first time at ARTER, the two exhibitions share some of his older works in common, although they display them in a very different arrangement; it always amazes me to see to what extent an artwork unfolds a new dimension within each new dialogue it engages in.

In your curatorial proposal you state that “Goya takes liberties with the real and the plausible in order to hold out a frightening mirror to his contemporaries”. Would you say Quinn has a similar approach with his works?

I would take out the word „frightening“! It is certainly true that Marc also „takes liberties with the real,“ but he does so in order to, as I was saying before, faithfully present its dynamic, force of transformation and renewal. The mirror element is interesting, since a mirror is supposed to be reflective but can be distorting at the same time; according to me, the models Marc chooses and works with operate as some kind of mirrors when they become artworks. Yet, instead of reflecting an image of the same, they reveal the sameness that is hidden in the core of the different.

Why do you think it’s so important to draw attention to the theme of the “threshold” and „transition“, as stated in your curatorial concept, as well as the categories that shape our understanding of the world?

I suggested the theme of the „threshold“ with regard to the processes and displacements the works are actualizing. It seems to me that we can sense the materialisation of multiple thresholds and transitions in the way Marc Quinn gathers the poles of life, engages the transformation of materials, or blurs the distinction between art and life, nature and culture. The notion of „threshold“ adds a fundamental nuance to the notion of „limit“ that we are accustomed to experiencing and conceiving as a constraint or an impediment. A threshold remains abstract unless it is concretized by what it separates and unites at the same time. It is never given nor static, rather ongoingly created and moving. I think the perceptive experience Marc’s works are inviting us to join also points to the fact that although we are living in a globalised world where things and spaces are connected (and more easily reachable) and identities are easily changeable, we remain nevertheless dependent on historical categories of thought that tend to establish strict borders and boundaries. This can be extended to the way „civilised“ societies produce and exclude the „different“ from what is established and valorised as „normal“ and acceptable.

How do you feel this exhibition relates to Istanbul?

Marc Quinn’s works draws attention to the particular by linking it to the universal, or rather by revealing the universal dimension of a particular (being or event). In that sense, his art transcends geographical borders and contextual, country or site-specific dynamics. But this very universality that his art is achieving also allows our individual and particular experiences to be echoed, revived and to „find home“ on a stage. As an example, his new series of work The Creation of History —which was first inspired by the riots in London—reproduce on tapestries images of protest or destruction from all around the world. The installation can be seen as a new mapping of the world that takes form as established (geographical) borders dissolve. Although Istanbul is not directly „represented“, these images will certainly very much echo—both for a local as well as for an international audience visiting the show—the Gezi protest movement which occured last summer and whose images have been paradoxically „silenced“ by the local media but were internationally broadcasted. Thus, what can be seen as an absence turns into a powerful presence that conveys the experience of individuals and allows it free reign. This mapping is that of a common, collective memory in action, which is ongoingly built and lived in the present, and which forms a common ground for History.

Selen Ansen, curator of The Sleep of Reason at Arter
Left: Selen Ansen, Curator of Marc Quinn - The Sleep of Reason at Arter
Right: Marc Quinn, The Creation of History, 2012, jacquard tapestry, 250 x 160 cm. Photo: Marc Quinn Studio

Are you planning to work on more curatorial projects in the future and if so, which would be of interest?

Yes, I’m starting to work for the show of a Turkish contemporary artist, but it’s too soon for me to talk about it more precisely. On the other hand, I’m also more and more interested into sound and silence related artworks (not only musical) and the sensory or perceptive experiences they create. Most of all, I believe projects are nourished or inspired by life experiences, by encounters with artworks, or by an artist’s „world“; therefore I am willing to be as open as possible to these.

The Sleep of Reason is on view at ARTER until 27 April 2014.

Marc Quinn, Map of where you can't see the stars, Atlantic, August 25 2013, Stuart Hall Sculpture
Left: Marc Quinn, Map of Where You Can't See the Stars, Atlantic, August 25 2013, oil on canvas, diameter: 200 cm. Photo: Jack Hems
Right: Marc Quinn, Stuart Penn, 2000, marble, 166 x 99 x 54 cm. Photo: Prudence Cuming Associates. Courtesy of Marc Quinn Studio

Basak Senova curates Helsinki Photography Biennial

on Saturday, 08 March 2014. Posted in February

Related Article: Permanent Venue for Turkey at Venice Biennale

Helsinki Photography Biennial is a series of events on photo/lens-based contemporary art, organized every two years in spring by Union of Artist Photographers in Finland. The next biennial is held from 27 March to 14 May, 2014.

In 2014, the biennial aims to examine causal relations regarding ecological issues. The biennial will be curated by Basak Senova, a curator and designer based in Istanbul. Basak Senova’s curatorial framework addresses fallacies of ecological knowledge and fosters collaborative connections between ecological data and photography-based archives. Throughout the course of this process, archives will be the essential tool of the biennial. Furthermore, Branko Franceschi and Basak Senova also co-curate a special section which focuses on cultural and ideological critique.

Participating artists from Turkey are Barbaros Kayan and Serkan Taycan.

In addition, HPB14 has invited Mustarinda Association (Finland) to develop the theme of the 2014 biennial. Mustarinda Association has initiated four research-based artistic processes to critically examine the development of images of nature, focusing on archives, architecture, forests and energy. The results will be exhibited as a part of HPB14. Within these processes, theoretical work is tied to bodily experience through workshops carried out in the Mustarinda House, located next to an old-growth forest in central Finland.

HPB14 is produced by Union of Artist Photographers/Photographic Gallery Hippolyte in collaboration with The Finnish Museum of Photography.

HPB14 is generously supported by: Alfred Kordelin Foundation, British Council, Embassy of Denmark, Embassy of Sweden, Finnish Cultural Foundation, Frame Visual Art Finland, Ministry of Education and Culture, SAHA, Istanbul & The Swedish Cultural Foundation in Finland.

Basak Senova, Curator of Helsinki Photography Biennial 2014
Basak Senova, Curator of Helsinki Photography Biennial 2014. Photo: Courtesy HbP
Barbaros Kayan, from the series Occupy Taksim, 2013
Barbaros Kayan, from the series Occupy Taksim, 2013. Photo: Courtesy HbP

Halil Altindere at MOMA PS1

on Thursday, 01 May 2014. Posted in May, ---2014---

Related Article: Demsa Collection hires Zaha Hadid

MoMA PS1 shows the first museum presentation of Halil Altindere's work in the United States. The exhibition titled Halil Altindere: Wonderland is organized by Klaus Biesenbach, Director MoMA PS1, and Chief Curator at Large, The Museum of Modern Art, with Mia Locks, Curatorial Associate, MoMA PS1.

Since the mid-1990s, Halil Altindere (Turkish, b. 1971) has emerged as one of the most prominent contemporary artists in Turkey with a multifaceted practice that ranges from video, sculpture, photography, installation, and performance to collaborative editorial and curatorial projects. His work examines the systems of power deeply embedded in Turkish culture with poignant reflections on broader questions of belief, belonging, alienation, and resistance.

Wonderland (2013) documents the anger and frustration of a group of youths from the Sulukule neighborhood of Istanbul, a historic area home to Romani communities since the Byzantine Empire that has been increasingly demolished since 2006 as part of an “urban renewal” development project. Presented in the style of music video, Wonderland captures the young men of the hip-hop group Tahribad-ı isyan, rapping about inequality and gentrification as they are simultaneously confronted by the police.

Altindere’s work will be on show until 11 May.

Halil Altindere, Wonderland
Halil Altindere, Wonderland, February 2013, video still. Photo: Courtesy the artist and Pilot

Andy Warhol in Istanbul at Pera Museum

on Friday, 02 May 2014. Posted in May, ---2014---

Related Article: Rampa at Frieze New York

To be exhibited in Turkey for the first time, silk screen series and prints by Andy Warhol will be on view in a show titled Pop Art For Everyone at Pera Museum in Istanbul this summer. The exhibition is composed of selected works of Andy Warhol from the Zoya Museum Private Collection in Slovakia, Modra. Iconic works such as Campbell’s Soup, Cowboys and Indians, Endangered Species, and Flowers will be accompanied by portraits of well-known important figures. The works will be on show until 20 July.

Andy Warhol at Pera Museum
Andy Warhol, Flowers, 1970, Portfolio of ten works, Ed. 108/250, Silkscreen, 91.4 x 91.4 cm
Photo: ©2014 The Andy Warhol Foundation for the Visual Arts, Inc./ Artists Rights Society (ARS), New York

14th Istanbul Biennial will be drafted by Carolyn Christov-Bakargiev

on Tuesday, 10 June 2014. Posted in June, July, ---2014---

Related Article: Pavilion of Turkey at Biennale Architettura 2014

The 14th Istanbul Biennial (5 September-1 November 2015), organised by the Istanbul Foundation for Culture and Arts, will be drafted by Carolyn Christov-Bakargiev with a number of alliances. She will seek the artistic advice of Cevdet Erek, the intellectual rigor of Griselda Pollock, the sensitivity of Pierre Huyghe, the curatorial imagination of Chus Martinez, the mindfulness of Marcos Lutyens, the acute gaze of Füsun Onur, the political philosophies of Anna Boghiguian, the youthful enthusiasm of Arlette Quynh-Anh Tran, the wise uncertainties of William Kentridge and manifold qualities and agencies to come as the process develops.

Christov-Bakargiev stated,“while thanking the Istanbul Foundation for Culture and Arts and its advisory board for entrusting me with the preparations of the forthcoming biennial, I take this opportunity to pay my condolences to the miners and their families who are suffering for the deaths in Soma last week. It is sad to announce an exhibition at such a time, and yet with and through art, we mourn, commemorate, denounce, try to heal, and we commit ourselves to the possibility of joy and vitality, leaping from form to life.”

According to Christov-Bakargiev, “the 14th Istanbul Biennial will embark looking for where to draw the line, to withdraw, to draw upon, and to draw out. It will do so offshore, on the flat surfaces with our fingertips but also in the depths, underwater, before the enfolded encoding unfolds.”

Carolyn Christov-Bakargiev is an author, an organizer of events and exhibitions, and a researcher of artistic practices, the histories of art and the politics of aesthetics. She is the Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University (2013-15). She received the Leverhulme Professorship from the University of Leeds for 2014. In 2013, she was the Menschel Visiting Professor in Art at The Cooper Union, New York, as well as the Pernod Ricard Visiting Professor in the philosophy of art and naturecultures at the Goethe - Universität Frankfurt am Main / Institut für Philosophie She has lectured widely on the relationship between the arts and the sciences, including most recently at Harvard University (2014). From 2009 to 2012, she was the artistic director of dOCUMENTA (13) which took place in 2012 in Kassel, Germany as well as in Kabul, Afghanistan; Alexandria and Cairo, Egypt; and Banff, Canada. Previously, Christov-Bakargiev was the artistic director of the 16th Biennale of Sydney (Revolutions-Forms That Turn, 2008) and chief curator at the Castello di Rivoli Museum of Contemporary Art (2002-8, interim director in 2009). She was senior curator at P.S.1 Contemporary Art Center, a MoMA affiliate in New York, from 1999 to 2001. Other group exhibitions she has organized include The Moderns, Turin (2003), Faces in the Crowd, London and Turin (2004), Citta’ Natura (1997), and Molteplici Culture (1992). Her books include William Kentridge (1998), Arte Povera (1999), and for dOCUMENTA (13) the 100 Notes-100 Thoughts series as well as The Logbook and The Book of Books (2011-12).

The Istanbul Biennial advisory board members include Adriano Pedrosa, Başak Şenova, İnci Eviner, Iwona Blazwick, and Ute Meta Bauer.

The 14th Istanbul Biennial is organised by the Istanbul Foundation for Culture and Arts and sponsored by Koç Holding and other supporters, international funders, and funding bodies to be announced.

The conceptual framework of the 14th Istanbul Biennial will be announced at a press meeting to be held in fall 2014. The preview of the biennial will be on 3-4 September 2015.

Istanbul Biennial

Carloyn Christov-Bakargiev
Carloyn Christov-Bakargiev, Photo: Jason Simon, 2013, Courtesy of Mildred's Lane

Moving Image expands to Istanbul

on Tuesday, 10 June 2014. Posted in June, July, ---2014---

Related Article: 14th Istanbul Biennial will be drafted by Carolyn Christov-Bakargiev

Moving Image, founded in 2011, is an art fair dedicated to video art and experimental film. Moving Image Istanbul is the first in a series of new locations for the flagship fairs in New York and London, designed to bring video art to a wider audience and help participating galleries explore emerging markets around the globe. Taking place in the Kuleli Building of the Haliç Congress Center in Istanbul, September 25-28, 2014 the fair will run alongside another new high end art fair in town - ArtInternational.

Moving Image co-founders Murat Orozobekov and Edward Winkleman explained, “With this expansion to the very exciting and burgeoning art market in Istanbul, the gateway between Europe and the Middle East, Moving Image seeks to broaden the international scope of its mission to connect more of the collectors, curators, and dealers supporting contemporary artists working in moving-image-based media.”

Kathleen Forde, Artistic Director of Borusan Contemporary Istanbul and a member of the Moving Image Curatorial Advisory Committee, elaborated on the choice of Istanbul, "As a longtime fan and advisor for the Moving Image Art Fair in New York, I am thrilled to hear that it will be launched in Istanbul this year. The Istanbul art scene has had a definitive international boom in recent years which appears only to be continuing to gain momentum. Moving Image has always been forward thinking across the board from concept, to timing, to location and of course in the work it presents it is in line with their progressive paradigms to be coming to Istanbul at this time. Perfect timing, as always! I am really looking forward to seeing the fair in this special context."

Highlights of the 2014 Istanbul fair include several world premieres, including videos by Şener Özmen (PİLOT Gallery, Istanbul); Jonathan Monaghan (Curator's Office, Washington DC); Shaun Gladwell (Mark Moore Gallery, Culver City); and Nancy Atakan & Volkan Aslan (5533, Istanbul). Single-channel videos at the fair include works by Nino Cais (Central Galeria de Arte, Sao Paulo); Chen Tianzhuo (Vanguard Gallery, Shanghai), and Mounir Fatmi (Galerie Analix Forever, Paris). Among the historical films in the fair are works by David Wojnarowicz (P•P•O•W, New York) and Leslie Thornton (Winkleman Gallery, New York). Several large installations include works by Wolfgang Staehle (Postmasters, New York); Hans Op de Beeck (Marianne Boesky Gallery, New York); Basim Magdy (artSümer, Istanbul); and Sue de Beer (Marianne Boesky Gallery, New York).

Among the special events sponsored by Moving Image Istanbul are "Bring Your own Beamer" (BYOB) at Pera Museum, a one-night exhibition/performance by unrepresented, emerging Turkish film and video artists who will take over the fifth floor gallery hall of Pera Musuem in an improvised installation. Curated by Fatma Çolakoğlu and Ulya Soley, BYOB at Pera Museum runs 7-10pm, Saturday, 27 September, 2014. Also Mari Spirito, Founding Director of Protocinema, will host a screening and conversation with emerging artist Atalay Yavuz, who works with readily available materials. This events will take place at Moving Image on Saturday, 27 September, 4-5.30pm.

Moving Image New York 2014
Moving Image New York 2014. Photo: Etienne Frossard

Participating artists / Galleries & Non-Profit Institutions [as of September 1, 2014]

Nancy Atakan / Pi Artworks (Istanbul, Turkey)
Nancy Atakan & Volkan Aslan / 5533 (Istanbul, Turkey)
Nino Cais / Central Galeria de Arte (Sao Paulo, Brazil)
Rob Carter / Morgan Lehman Gallery (New York, NY)
Chen Tianzhuo / Vanguard Gallery (Shanghai, China)
Sue de Beer / Marianne Boesky Gallery (New York, NY)
Sirma Doruk / Mixer (Istanbul, Turkey)
Chris Doyle / Catharine Clark Gallery (San Francisco, CA)
Mounir Fatmi / Galerie Analix Forever (Paris, France)
Shaun Gladwell / Mark Moore Gallery (Culver City, CA)
Florian Japps / Rockelmann & (Berlin, Germany)
Gizem Karakaş / Moving Image Presents (New York, NY)
Gulnara Kasmalieva and Muratbek Djumaliev / Winkleman Gallery (New York)
Elena Kovylina / Galerie Analix Forever (Paris, France)
Dinh Q. Le / Shoshana Wayne Gallery (Los Angeles, CA)
HeeWon Lee / Galerie Dix9 (Paris, France)
Rollin Leonard / TRANSFER (Brooklyn, NY)
Basim Magdy / artSümer (Istanbul, Turkey)
Jonathan Monaghan / Curator's Office (Washington DC)
Hans Op de Beeck / Marianne Boesky Gallery (New York, NY)
Serkan Özkaya / Postmasters (New York, NY)
Şener Özmen / PİLOT (Istanbul, Turkey)
Bongsu Park / Rosenfeld Porcini (London, UK)
Zeyno Pekünlü / Sanatorium (Istanbul, Turkey)
Wolfgang Staehle / Postmasters (New York, NY)
Kurt Stallaert / Pavleye Art & Culture (Prague, Czech Republic)
Leslie Thornton / Winkleman Gallery (New York, NY)
Allard van Hoorn / Galerie Esther Donatz (Munich, Germany)
Susanne Wagner / Galerie Jo van de Loo (Munich, Germany)
David Wojnarowicz / P·P·O·W (New York, NY)

The Pavilion of Turkey at Biennale Architettura 2014

on Tuesday, 10 June 2014. Posted in June, July, ---2014---

Related Article: Moving Image expands to Istanbul

On 5 June 2014, Turkey inaugurated its debut exhibition, Places of Memory, at its long-term pavilion at Arsenale, one of the two main venues of the 14th International Architecture Exhibition, la Biennale di Venezia. On the initiation of the Istanbul Foundation for Culture and Arts (İKSV) and with the contribution of 21 supporters, Turkey obtains a long-term venue, from 2014 to 2034, at the Biennale di Venezia, one of world's leading contemporary art and architecture exhibitions.

Murat Tabanlıoğlu curated the project together with project coordinator Pelin Derviş and a team of exhibitors, Alper Derinboğaz, Metehan Özcan, Candaş Şişman, Ali Taptık and Serkan Taycan.

Rather than conducting a historical account of modern epoch in Turkey, presenting an exhaustive catalogue, or trying to capture its unique local attributes, Places of Memory at this year’s Biennale Architettura in Venice attempts to explore the main theme of the biennial via perceptions and experiences.

According to Murat Tabanlıoğlu, the project idea departs from three areas of Istanbul: The first comprises Taksim, where the curator was born and grew up. Taksim is also an important square, with a constantly changing appearance because of partial and inconsistent interventions. The Atatürk Cultural Center, situated on the narrower end of the square, is a symbol of modern architecture in Turkey. Murat’s father, Hayati Tabanlıoğlu, was the architect. This first area spreads out across a wider zone, and continues downhill from the square to the coast, passes along the warehouses designed by Sedad Hakkı Eldem, an important representative of 20th century architecture in Turkey, reaching Salıpazarı harbor. Like many other areas in Istanbul, this area, too, is undergoing transformation. The GalataPort project (a master plan proposal, 2001) developed by Tabanlıoğlu Architects for the area, and the Istanbul Museum of Modern Art, which they transformed from a warehouse into a museum (2004), were among projects that triggered change in this area. The second area is Bâb-ı Âli, where Tabanlıoğlu spent his youth. Starting in Sirkeci, the area used to host the headquarters of important newspapers and printing houses in Turkey along two sides of the Cağaloğlu slope, he used to pass through this world every day since he studied in a high school in the same area. The final one is Büyükdere Boulevard and its environs. This area, once lined with fields and orchards, later with light industry buildings, today is in juxtaposition with the CBD, featuring high-rise buildings especially between Levent-Maslak axes that connect main transportation routes of the city.

A detailed discussion of these places that acted as thresholds during different stages of Tabanlıoğlu’s life—or in a sense, his memory—seeded the first layers of the conceptual framework. The focus in the exhibition is not necessarily on these places, but rather on the concept of place itself, incorporated with the subjective vision of every exhibitor in the team. The works interact with each other via different approaches based on different scales and mediums.

Places of Memory, Pavilion of Turkey
Places of Memory, Pavilion of Turkey, 14th Venice International Architecture Biennale, 2014
Installation Photo: Vladimiro Speranzoni

Places of Memory, Pavilion of Turkey
Places of Memory, Pavilion of Turkey, 14th Venice International Architecture Biennale, 2014
Installation Photo: Italo Rondinella

Places of Memory, Pavilion of Turkey
Places of Memory, Pavilion of Turkey, 14th Venice International Architecture Biennale, 2014
Installation Photo: Italo Rondinella

Art International Announces Participating Galleries For 2014

on Tuesday, 10 June 2014. Posted in July, ---2014---

Related Article: Moving Image expands to Istanbul

ArtInternational Istanbul 2014 will feature 80 galleries from 24 countries. Several East Asian galleries attend the fair for the first time, including Edouard Malingue and Pearl Lam from Hong Kong and Lehmann Maupin who added a Hong Kong location to their New York gallery in 2013. Turkish galleries Dirimart, Galeri Nev, Rodeo and Sanatorium will participate for the first time, joining participants in 2013: NON, Galeri Mana, Pi Artworks, Pilot, Rampa, artSümer, x-ist and Galeri Zilberman.

Circle Culture Gallery / Clemens Behr & Galerie Raum mit Licht / Caroline Heider
Left: Circle Culture Gallery / Clemens Behr
Right: Galerie Raum mit Licht / Caroline Heider

Galerie Lelong / Ramazan Bayrakoğlu
Galerie Lelong / Ramazan Bayrakoğlu

Deweer Gallery, Tony Cragg

Participating Galleries 2014

Martine Aboucaya, Paris
ADN Galería, Barcelona
Akinci, Amsterdam
Louise Alexander Gallery, Sardinia
Galleri Andersson/Sandström, Stockholm
Andipa, London
ArtSümer, Istanbul
Assar Art Gallery, Tehran
Athr Gallery, Jeddah
Helene Bailly Gallery, Paris
Barbarian, Zurich
Berloni, London
Boccanera, Milan
Charim Galerie, Vienna
Circle Culture Gallery, Berlin
Erika Deak Gallery, Budapest
Deweer Gallery, Otegem
Dirimart, Istanbul
Galerie Dominique Fiat, Paris
Galleria Marie-Laure Fleisch, Rome
Galerie Forsblom, Helsinki
Gazelli Art House, London & Baku
Giacomo Guidi Arte Contemporanea, Rome
Hada Contemporary, London
Leila Heller Gallery, New York
Cecilia Hillström Gallery, Stockholm
Galerie Eva Hober, Paris
Hosfelt Gallery, San Francisco
Pippy Houldsworth Gallery, London
Paul Kasmin Gallery, New York
Kerlin Gallery, Dublin
Tina Kim Gallery, New York
Galerie Kornfeld, Berlin
Galerie Krinzinger, Vienna
Kuckei + Kuckei, Berlin
Kukje Gallery, Seoul
Galerie Dix9 Helene Lacharmoise, Paris
Pearl Lam Galleries, Hong Kong, Shanghai & Singapore
Yvon Lambert, Paris
Galerie Lelong, Paris
Lisabird Contemporary, Vienna
Lisson Gallery, London & New York
Galería Javier López, Madrid
Galleri Charlotte Lund, Stockholm
Edouard Malingue Gallery, Hong Kong
Galeri Manâ, Istanbul
Galerie Gabrielle Maubrie, Paris
Lehmann Maupin, New York & Hong Kong
Mario Mauroner Contemporary Art Salzburg -Vienna, Vienna
Galeri Nev, Istanbul
NON, Istanbul
Officine dell’Immagine, Milan
Pace, New York, London, Beijing & Hong Kong
Paradise Row, London
Galerie Paris-Beijing, Paris, Brussels & Beijing
Pi Artworks, Istanbul & London
PİlOT, Istanbul
Rosenfeld Porcini, London
Galerie Jérôme Poggi, Paris
RAMPA, Istanbul
Repetto Ltd., Milan
Galerie Raum mit Licht, Vienna
Rodeo, Istanbul
Galleria S.A.L.E.S., Rome
Sanatorium, Istanbul
Sariev Contemporary, Plovdiv
Scheublein + Bak, Zurich
Specta, Copenhagen
Tornabuoni Art Paris, Paris & Milan
Un-Spaced, Paris
Galerija Vartai, Vilnius
Galerie Nadja Vilenne, Liege
Waterside contemporary, London
Weingrüll, Karlsruhe
x-ist, Istanbul
Galeri Zilberman, Istanbul
418 Contemporary Art Gallery, Bucharest

Turkish Artists at Manifesta 10

on Tuesday, 10 June 2014. Posted in July, ---2014---

Related Article: The Pavilion of Turkey at Biennale Architettura 2014

As part of Manifesta 10, Unlooped—Kino, a film program devised by Nathalie Hoyos and Rainald Schumacher from Office for Art (Berlin), offers a unique survey of time-based media, film, and video, by contemporary artists from the early Seventies until today.

One of the themes of this program is 'New Horizons,' which opens the perspective to the growing relevance of art scenes from the prior peripheries and the use of all technical possibilities of the medium including animation and virtual reality.

It shows works from Bilge and Haro Cumbusyan Collection, Zurich, Tansa Mermerci Eksioglu Collection, Istanbul and the Sandretto Re Rebaudengo Collection, Turin. Among the artists are Halil Altindere, Fikret Atay, Asli Çavuşoğlu, Cevdet Erek and Nilbar Güres.

Manifesta runs from 28 June until 31 October 2014.

Asli Çavuşoğlu, Stendhal Syndrome, 2005
Asli Çavuşoğlu, Stendhal Syndrome, 2005. Photo: Courtesy the artist and Galeri NON.

Cevdet Erek
Studio, 2005
Cevdet Erek, Studio, 2005. Photo: Courtesy the artist and Galeri Mor Charpentier

Nilbar Güres
Unknown Sports, 2009
Nilbar Güres, Unknown Sports, 2009. Photo: Courtesy the artist and Rampa

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