M HKA Antwerp hosts Hüseyin Bahri Alptekin exhibition

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

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

The exhibition titled 'Democratic luxury' has been developed as a collaboration between The Museum of Modern Art in Antwerp (M HKA) and RAMPA Gallery, Istanbul, with the displays across both venues together forming a major retrospective of the work of Alptekin. The display at RAMPA runs from 2 September 2015 until 14 November 2015 and the one in Antwerp from 16 October 2015 until 31 January 2016.

“I investigate the beauty and the vulgar and the relationship between them.”

Hüseyin Bahri Alptekin (Izmir, 1957–Istanbul, 2007) was fascinated by the difference between the promise of something and its banal reality. This promise could lie in the name of a cheap hotel offering the experience of a distant place, or in the branding of a mass-produced product unconvincingly simulating luxuriousness or exoticism. Alptekin was an artist that saw the profound effects of global capitalism on the everyday, observing the movement of people and products across geographies, particularly in the period following the collapse of the Soviet Union. He himself was also a traveller, studious of forms of feral capitalism surging from places considered the fringes of western modernity. It is the signifiers and remnants of all this – traces of the burgeoning effects of mobility, trade and image circulation – that Alptekin used as the materials for his art-making, as a means for contemplating what it all represented.

Part of the first generation of Turkish artists considered to be globally active and nationally influential, Hüseyin Bahri Alptekin is considered one of the most significant figures in the established contemporary art scene of Istanbul. The exhibition Democratic luxury is a major retrospective of his practice, bringing together works produced during the two decades either side of the new millennium. Since the early 1990s, Alptekin focused on an artistic production broad in scope, which included photographs, sculptures, installation, neon text, videos and collages. It is ‘plastic art’ reflecting the prosaic material qualities of ‘global junk’ that came with the flow of trans-national free-market capitalism. This dislocation with geography recurs as a thematic strand in much of his practice, analysing how a society’s representations of ‘other’ places conform to our desires and stereotypes. Democratic luxury aims to take us deeper into the thought-processes of the exhibited works through the inclusion of a selection of studies, drawings and notes from the Alptekin archive. The exhibition will also consider his collaborative initiatives with other artists such as the Bunker Research Group, the Barn Research Group or the Sea Elephant Travel Agency which aspired to organise a ‘floating laboratory’ for artists and thinkers to circumnavigate the Black Sea, developing critical discussions and artistic exchange, all-the-while tracing the route taken by the protagonist in Jules Verne’s novel Kéraban the Inflexible (1883).

Curator: Nav Haq

Huseyin Bahri Alptekin, Turk Truck
Hüseyin Bahri Alptekin, Turk Truck, 1995/2013, Courtesy the Estate of Hüseyin Bahri Alptekin, M. D. Morris, Muzeum Sztuki in Lodz and Rampa Istanbul, Photo: Bram Goots

Huseyin Bahri Alptekin with M D Morris, Heterotopia
Hüseyin Bahri Alptekin with M D Morris, Heterotopia, 1995/2013, Courtesy the Estate of Hüseyin Bahri Alptekin, M. D. Morris, Muzeum Sztuki in Lodz and Rampa Istanbul

Nilbar Güres receives Belvedere Contemporary Art Award 2015

on Saturday, 09 January 2016. Posted in ---2015---

Related Article: Galleries from Istanbul at Art Dubai 2016

Nilbar Güreş is the recipient of the fifth edition of the BC21 Art Award, a €20,000-worth prize presented biannually by the Boston Consulting Group and the Belvedere in Vienna. The Jury stated: „Notable for its idiosyncratic approach to a variety of media, Nilbar Güreş’ work distinguishes itself for its engagement with both the humor and politics of identity, sex, and gender. The artist’s collages, photographs, drawings, and objects reveal a playful intelligence with which she confronts normative conventions and stereotypical representations to great effect."

Güreş was nominated for the BC21 Art Award 2015 by Sophie Goltz (Stadtkuratorin Hamburg). This year’s selection jury comprised Vasif Kortun (Director SALT, Istanbul), João Ribas (curator, Serralves Museum, Porto), Polly Staple (Director Chisenhale Gallery, London), and Agnes Husslein-Arco (Director of the Belvedere and 21er Haus).

Nilbar Güreş received her BA in Fine Arts from Marmara University and went on to get her MA from the Department of Painting and Graphics at the Academy of Fine Arts in Vienna in 2002. Exploring gender roles and cultural identities through collage, drawing, sculpture, photography, video and performance, the artist tries to identify moments of clarity amongst absurd elements of quotidian life. In Güreş’s collages - which combine drawing, embroidery, appliqué and painting – motifs and symbols from the oriental pictorial tradition are crossed with modern poses and (homo-)erotic scenes to form socio- political narratives. Challenging clichés of women’s social visibility and traditional roles, the artist creates provocative counter-images that address Western fears of Islamic symbols. The artist lives and works in Vienna and Istanbul.
Güreş had artist residencies in Malmö, Auckland, São Paulo and New York, and was awarded the Msgr. Otto Mauer-Award (2014), and the Professor-Hilde-Goldschmidt-Award (2013).
Her work was on show at the 21er Haus in Vienna, alongside works by the other three nominees, Andreas Duscha, Sarah Pichlkostner and Hannes Zebedin in November 2015.

Nilbar Güreş Belvedere Vienna
Nilbar Güreş, Courtesy Belvedere Vienna. Photo: Stephan Joham.

Nilbar Güreş, Promising Hands, 2014
Nilbar Güreş, Promising Hands, 2014, metal construction, fibres, a promise bamboo ring, wool. Courtesy the artist, Galerie Martin Janda and Rampa

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.

Armory Focus: Middle East, North Africa, and the Mediterranean

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Last Masterpiece by Ömer Uluc sold at Antik A.S.

Taking place from 5-8 March, the curated section of The Armory Show on Pier 94 highlights the gallery and artistic landscape of a chosen geographic region. For the sixth Focus edition in 2015, Omar Kholeif, Curator at the Whitechapel Gallery, London, will curate Armory Focus: Middle East, North Africa, and the Mediterranean (“Focus: MENAM”). Examining contemporary cultural and artistic practice from this dynamic part of the world, Focus: MENAM will present an exciting selection of gallery presentations as well as not-for-profit institutions, site-specific projects, and a dedicated symposium. Istanbul based galleries Galerist (Nil Yalter), NON (Lawrence Abu Hamdan, Meriç Algün Ringborg) and Pi Artworks (Susan Hefuna) are part of the section.

Armory Show Focus MENAM 2015

14th Istanbul Biennial - Saltwater: a Theory of Thought Forms

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Asli Cavusoglu participates in the NEW Museum Triennial 2015

The title and framework of the 14th Istanbul Biennial, drafted by Carolyn Christov-Bakargiev with a number of alliances, was announced in September 2014. The biennial, organised by the Istanbul Foundation for Culture and Arts (İKSV), will be open to the public from 5 September to 1 November 2015 and will be a city-wide exhibition held in a variety of different venues.


“Saltwater: a Theory of Thought Forms. The 14th Istanbul Biennial looks for where to draw the line, to withdraw, to draw upon, and to draw out. It does so offshore, on the flat surfaces with our fingertips but also in the depths, underwater, before the enfolded encoding unfolds. This international exhibition of art will present new works by over fifty visual artists and other practitioners, including oceanographers and neuroscientists, in a city-wide project on the Bosphoros that considers different frequencies and patterns of waves, the currents and densities of water, both visible and invisible, that poetically and politically shape and transform the world. 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 flourishing life.” (Christov-Bakargiev)


Also participating in the programme of the conference are İKSV Chairman Bülent Eczacıbaşı, General Manager Görgün Taner and Istanbul Biennial Director Bige Örer. Following a welcome by Bige Örer, the exhibition “drafter” Carolyn Christov-Bakargiev announces the title “Saltwater: A Theory of Thought Forms. The 14th Istanbul Biennial” and gives brief information about the conceptual framework of the exhibition. The media conference continues with the screening of Tide Table (2003) by William Kentridge, and an excerpt from Pink Boat (1993 / video 2014) by Füsun Onur, and concludes with a reading in Italian by Nanni Balestrini of his short novel Carbonia (2009-2010, published 2012), also read in English by Christov-Bakargiev and in Turkish by Münevver Çelik from Otonom Publishing. The reading of the full text of Carbonia continues from 9 pm onwards on Wednesday, 10 September with the attendance of the author at Otonom, who recently published the book in Turkish.


For the 14th Istanbul Biennial, Christov-Bakargiev has been seeking the artistic advice of Cevdet Erek, the intellectual rigor of Griselda Pollock, the sensitivity of Pierre Huyghe, the curatorial imagination of Chus Martínez, 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, and the wise uncertainties of William Kentridge. Manifold qualities and agencies come as the process develops. New qualities and alliances that have been recently made include the radical reading of Elvan Zabunyan, The extensive knowledge of the oceans of Emin Özsoy, the narrative possibilities of Aslı Çavuşoğlu, the expanding collections of Emre Hüner, the heartfelt relations of Merve Kılıçer, and the perception of beauty of Russell Storer.

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

14th Istanbul Biennial - Saltwater: a Theory of Thought Forms
Büyük Ada, August 18, 2014. Photo: Francis Alÿs

Last masterpiece by Ömer Uluç sold at Antik A.Ş

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: 14th Istanbul Biennial - Saltwater: a Theory of Thought Forms

‚Ölüdeniz,’ the last masterpiece by leading Turkish painter Ömer Uluç, who died in 2010, was sold for 950,000 Turkish Liras at the 283rd auction of the Antik A.Ş. Auction House held at Antik Palace in November 2014. The opening price for Uluç’s “Ölüdeniz” was 700,000 liras. Depicting the artist’s own life, the piece is one of the biggest (in size) masterpieces in Turkish art, measuring 250 x 880 cm.

Ömer Uluç, Ölüdeniz, 2009

Ömer Uluç, Ölüdeniz, 2009, acrylic on felt, 250x880cm

Asli Cavusoglu participates in the New Museum Triennial 2015

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Nilbar Güres awarded Otto Mauer Preis 2014

A signature initiative of the New Museum, the Triennial is the only recurring international exhibition in New York City devoted to early-career artists from around the world.

It provides an important platform for an emergent generation of artists that is shaping the discourse of contemporary art. The Triennial’s predictive, rather than retrospective, model embodies the institution’s thirty-seven-year commitment to exploring the future of culture through the art of today. The 2015 Triennial is organized by Lauren Cornell, Curator, 2015 Triennial, Museum as Hub, and Digital Projects at the New Museum, and the iconic artist Ryan Trecartin, who was featured in the inaugural 2009 Triennial.

This third iteration of the Triennial is titled “Surround Audience” and will feature fifty-one artists and artist collectives from over twenty-five countries; for many of the participants, this will be their first inclusion in a museum exhibition in the United States.

Cornell and Trecartin have worked together for nearly a decade and they each bring a shared passion for probing the social and psychological effects of digital technology. For Cornell, “Surround Audience” is inspired in part by Trecartin’s own artistic practice, which, as she describes, “vividly manifests a world in which the effects of technology and late capitalism have been absorbed into our bodies and altered our vision of the world.” A tension between the newfound freedoms and threats of today’s society animates and anchors “Surround Audience.”

We are surrounded by a culture replete with impressions of life, be they visual, written, or construed through data. We move through streams of chatter, swipe past pictures of other people’s lives, and frame our own experiences as, all the while, our digital trails are subtly captured, tracked, and stored. This is a culture in which the radical multimedia environments envisioned by pioneering artists like Nam June Paik and Stan VanDerBeek are being lived out every day, albeit with much more complexity and compromise. With these transformations in mind, “Surround Audience” explores how artists are currently depicting subjectivity, unpacking complex systems of power, and claiming sites of artistic agency.

While issues around social media provide a point of departure for the exhibition, it is not the platforms themselves that are the exhibition’s primary focus, but rather the ways their associated effects intersect with life. Among the many narratives and ideas emerging from the works, there are three recurring lines of inquiry: First, how representations of the body and persona have evolved in an image-laden culture in which surveillance is widely dispersed and editorializing one’s life in public is the norm; second, if it might be possible to opt out of or reframe the pressures of increasingly corporatized and invasive spaces; and third, how artists are striving to embed their works in the world around them through incursions into media and activism.

The exhibition encompasses a variety of artistic practices, including sound, dance, comedy, poetry, installation, sculpture, painting, video, and one online talk show. If there is any aesthetic link between these diverse works it is in their energetic mutability of form. Together, these works speak to a newfound elasticity in our understanding of what mediums constitute contemporary art. Here, paintings evolve out of 3-D models, digital images erupt into sculpture, and sound becomes action. This is a group of works that attests to how form is continuously converted across word, image, and medium.

New Museum Triennial 2015

Nilbar Güres awarded Otto Mauer Preis 2014

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Last masterpiece by Ömer Uluç sold at Antik A.Ş

Nilbar Güreş received the 2014 Otto Mauer Prize of 11.000 Euros, one of the most prestigious awards in the arts in Austria. The prize was presented to the artist on 9 December 2014 at a reception at the Erzbischöflicher Palais, Vienna.

The Jury was impressed by the confident work of the artist and pointed out her different cultural backgrounds as an advantage. They stated „Güreş has a strong personality and connects cultures through her work, encourages discourse and initiates communication processes.“

Nilbar Güres was born in 1977 in Istanbul and lives and works in Vienna and Istanbul. Her works include collages, videos, performances, photographs and objects. An exhibition with works by the artist will be on display at JesuitenFoyer in Vienna from 14 December until 1 February.

Nilbar Güres wins Otto Mauer Preis 2014
Nilbar Güreş, The Living Room from the ÇIRÇIR SERIES, 2010. Photo: Courtesy Galerie Martin Janda, Vienna/ Rampa istanbul

Nilbar Güres wins Otto Mauer Preis 2014
Nilbar Güreş. Photo: Courtesy the artist.

Work by Bedri Rahmi Eyüboğlu on sale

on Thursday, 05 March 2015. Posted in March, ---2015---

Related Article: Istanbul Galleries at Art Dubai 2015

With an opening price of 800.000 TL, Antik A.Ş. will auction a work by the late Bedri Rahmi Eyüboğlu titled „Istanbul“ from the collection of the artist’s family on 7 March in Istanbul.

The auction will also feature works by Ali Avni Çelebi, Mübin Orhon, Fahrel Nisa Zeid, Nejat Melih Devrim, Hakkı Anlı, Albert Bitran, Abidin Dino and Avni Arbaş.

Bedri Rahmi Eyüboğlu, 'İstanbul,' 1955, oil on canvas, 195 x 335 cm

Bedri Rahmi Eyüboğlu, 'İstanbul,' 1955, oil on canvas, 195 x 335 cm

Ediboylu in front of the artwork. Photo: Archive of the artist's family

Ediboylu in front of the artwork. Photo: Archive of the artist's family

The Pavilion of Turkey presents Respiro by SARKIS

on Thursday, 05 March 2015. Posted in March, ---2015---

Related Article: Artists from Turkey at 56th Venice Biennale

Respiro, an installation by the influential conceptual artist Sarkis, is presented in the Pavilion of Turkey at the 56th International Art Exhibition, la Biennale di Venezia.

'In Respiro, I will be reaching out beyond geopolitics, to a more expansive context of a million plus years, going back to the creation of the universe and the beginning of time, back to the first-ever rainbow—the very first magical breaking point of light. Instead of binding ourselves to specific instances within the histories of politics, religion, philosophy, and the arts, we will be embracing contemporaneity of both the present and the distant past in our continued attempt to defy stagnation.'—Sarkis, 10 February 2015

The installation will be on exhibit at the biennale from 9 May through 22 November 2015. Organised by the Istanbul Foundation for Culture and Arts (İKSV), the Pavilion of Turkey is curated by Defne Ayas and is located at Sale d’Armi, Arsenale, in the main venue of the biennale.

A graduate of Mimar Sinan University of Fine Arts, Sarkis had his first exhibition at the Istanbul Art Gallery in 1960. Throughout his career, Sarkis has worked with various mediums and has been, since the end of the 1960s, an icon of installation art in particular. His works have been shown worldwide in important art institutions, museums, and galleries, including the Centre Georges Pompidou, Paris; the Guggenheim Museum, New York; the Musée d’Art Moderne de la Ville de Paris; the Kunst-und-Ausstellungshalle, Bonn, Germany; the Louvre, Paris; the Bode Museum, Berlin; and Kunsthalle Düsseldorf, Germany. Sarkis was also part of When Attitudes Become Form: Works - Concepts - Processes - Situation - Information (Kunsthalle Bern, 1969), Documenta VI and VII (Kassel, 1977 and 1982), and the biennials of Sydney, Shanghai, São Paulo, Moscow, and Istanbul. Recently, Sarkis has had solo shows at Galeri Manâ (Istanbul, 2013), Arter (Istanbul, 2013), the Museum Boijmans Van Beuningen (Rotterdam, 2012); Galerie Nathalie Obadia (Paris, 2011 and 2014), MAMCO, Museum of Contemporary Art (Geneva, 2011), Centre Pompidou (Paris, 2010), and the Istanbul Modern (2009). He has been living and working in Paris since 1964.

The curator of the pavilion, Defne Ayas, has been the director and curator at Witte de With Center for Contemporary Art in Rotterdam, the Netherlands, since 2012. Prior to coming to Witte de With, Ayas was the founding co-director of Arthub Asia in Shanghai (2007-) and founding co-curator of the Blind Dates Project, an artistic platform dedicated to tackling what remains of the people, places, and cultures that were once part of the Ottoman Empire. Since 2005 she has been a curator at Performa, the biennial of performance art in New York. In September 2012, Ayas co-curated the 11th edition of the Baltic Triennial of International Art, to great acclaim. Ayas was the education and new media programs coordinator at the New Museum of Contemporary Art in New York before attending the De Appel curatorial program in Amsterdam. She received an MA from the Interactive Telecommunications Program at New York University in 2003, and a BA in Foreign Affairs from the University of Virginia in 1999.

The Advisory Board consists of the artist Ali Kazma, Burcu Pelvanoğlu, associate professor of Art History at Mimar Sinan University of Fine Arts; Cristiana Perrella, independent curator and art critic; Lewis Johnson, Associate Professor in history and theory of art and visual culture, Bahçeşehir University; and Zerrin İren Boynudelik, Yıldız Technical University art and design faculty member.

The 56th International Art Exhibition, la Biennale di Venezia will run from 9 May through 22 November 2015 and will be curated by Okwui Enwezor.

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: Kirsten de Graaf

Opening of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: Kirsten de Graaf

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: André Morin

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: André Morin

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: André Morin

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: André Morin

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: André Morin

Installation View of 'Respiro' by Sarkis at the 56th Venice Biennial 2015. Photo: André Morin

Alberto Giacometti at Pera Museum

on Thursday, 05 March 2015. Posted in March, ---2015---

Related Article: Artists from Turkey at 56th Venice Biennale

Pera Museum is hosting the first major exhibition of sculptor and painter Alberto Giacometti in Turkey taking a retrospective approach. Organized in collaboration with the Giacometti Foundation, Paris, this exhibition explores Giacometti’s prolific life, most of which the artist led in his studio in Montparnasse, through the works of his early period as well his late work, including one unfinished piece.

Curated by Giacometti Foundation’s Director Catherine Grenier, the exhibition offers a chronological and thematic itinerary covering the two definitive periods of Alberto Giacometti’s life –before and after the Second World War- and touches upon his friendships with the leading artists and intellectuals of his period in Paris.

Devoted to Giacometti’s early works, the first part of the exhibition demonstrates the influence of Giovanni Giacometti, the father of the artist and a Swiss Post-Impressionist painter himself, on Giacometti’s output during these years and his role in his son’s development. The exhibition also illustrates Alberto Giacometti’s relations with Post-Cubist artists and the Surrealist movement between 1922 and 1935, one of the important sculptures series he created during his first years in Paris, and the critical role he played in the art scene of the period.

The second part of the exhibition brings together the artist’s key works from his mature period, most of which were made between 1950 and 1960, a time when the artist had altered his perception of the world and depicted reality not as it was but as he saw it. This was also the period when he focused on the human figure. As in his paintings, Giacometti worked nonstop on his sculptures, either from nature or from memory, trying to capture the universal facial expressions.

In the 60s, Giacometti paid homage to Paris, the city where he lived, by drawing its streets, cafés, and more private places like his studio and the apartment of his wife, Annette. These drawings would make up his last book, Paris sans fin (Paris Without End). A wide selection of lithographs from these drawings accompanies the exhibition, along with archival material (letters, sketches, publications) and a selection of photographs.

Istanbul Galleries at Art Dubai 2015

on Thursday, 05 March 2015. Posted in March, ---2015---

Related Article: Work by Bedri Rahmi Eyüboğlu on sale

Taking place from 18-21 March, this year's Art Dubai hosts Istanbul based galleries Sanatorium with works by Ahmet Doğu İpek and Pi Artworks with Susan Hefuna and Gulay Semercioğlu.

Taking place each year in March, Art Dubai presents a select yet diverse line-up of around 90 galleries from the UAE and around the world, across three programmes: Contemporary; Modern, devoted to masters from the Middle East, Africa and South Asia; and Marker, a curated section of artspaces that focuses each year on a particular theme or geography.

Art Dubai’s extensive not-for-profit programme includes a dynamic roster of commissioned projects, film and radio programmes; artists’ and curators’ residencies; educational initiatives for children through to professionals, including the year-round art school Campus Art Dubai; an annual exhibition of works by winners of The Abraaj Group Art Prize; and the critically-acclaimed Global Art Forum.

Over the last eight years, Art Dubai has become a cornerstone of the region’s booming contemporary art community. Recognised as one of the most globalised meeting points in the art world today, Art Dubai places an emphasis on maintaining its intimate, human scale while foregrounding quality and diversity.

Art Dubai is held in partnership with The Abraaj Group and is sponsored by Emaar and Julius Baer. Madinat Jumeirah is home to the event. Mashreq Private Banking is the exclusive partner of Art Dubai Modern. The Dubai Culture and Arts Authority is a strategic partner of Art Dubai, and supports the fair’s year-round education programme.

Ahmet Doğu İpek, Building Porn XII, 2014, watercolour on paper, 132x122cm. Photo: Courtesy of Sanatorium Gallery

Ahmet Doğu İpek, Building Porn XII, 2014, watercolour on paper, 132x122cm. Photo: Courtesy of Sanatorium Gallery

Susan Hefuna, Building series, 2014, bronze, black patina

Susan Hefuna, Building series, 2014, bronze, black patina. Photo: Courtesy the artist and Pi Artworks

Artists from Turkey at 56th Venice Biennale

on Friday, 06 March 2015. Posted in March, ---2015---

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

Running from 9 May until 22 November 2015, the main exhibition of the 56th Biennale di Venezia titled 'All the World’s Futures,' curated by Okwui Enwezor, includes works by Meriç Algün Ringborg and Kutluğ Ataman. The exhibition is held at the Giardini della Biennale and at the Arsenale.
Ataman shows his 2011 video installation, Sakıp Sabancı, while Ringborg made an installation specifically for the biennial, titled 'Souvenirs for the Landlocked'.

Meriç Algün Ringborg (b.1983, Istanbul) lives and works in Stockholm, Sweden. She received her BA in Visual Arts and Visual Communication Design from Sabanci University, Istanbul (2007) and her MFA from Royal Institute of Art, Stockholm (2012). In her work, she employs a variety of media including printed matter, photography, sound and installation; mainly focusing on the themes of nationality, borders, translation, bureaucracy and home.

Kutluğ Ataman (b. 1961, Istanbul) is an acclaimed film-maker and contemporary artist. Ataman's works examine the ways in which people and communities create and rewrite their identities through self-expression, blurring the line between reality and fiction. More recently his works have focused on history and geography as man-made constructs.

Meric Algün Ringborg. Kutlug Ataman

Left: Meriç Algün Ringborg. Photo: Photo: Märta Thisner
Right: Kutluğ Ataman. Photo: Okan Bayülgen

Sakip Sabanci by Kutlug Ataman

Kutluğ Ataman, Sakıp Sabancı, 2011, video installation. Photo: Courtesy of the Artist and Sakıp Sabancı Museum

Meric Algun Ringborg, Souvenirs for the Landlocked, 2015

Meric Algun Ringborg, Souvenirs for the Landlocked, 2015, mixed media installation, 210× 720 × 600 cm. Photo: Alessandra Chemollo. Courtesy of la Biennale di Venezia

Here is the full list of the 136 participating artists and collectives as published by the Biennial:

1. ABBOUD, Jumana Emil
b. 1971 Palestine, lives and works in Jerusalem

b. 1971 Algeria, lives and works in London

3. ABONNENC, Mathieu Kleyebe
b. 1977 France, lives and works in Metz

founded 2010 Syria, based in Syria

5. ACHOUR, Boris
b. 1966 France, lives and works in Paris

6. ADKINS, Terry
b. 1953 - d. 2014, United States

7. AFIF, Saâdane
b. 1970 France, lives and works in Berlin

8. AKERMAN, Chantal
b. 1950 Belgium, lives and works in Paris

b. 1957 Ghana, lives and works in London

b. 1981 Nigeria, lives and works in Lagos and Berlin

11. AL SOLH, Mounira
b. 1978 Lebanon, lives and works in Beirut and Amsterdam

b. 1983 Turkey, lives and works in Stockholm

13. ALLORA, Jennifer & CALZADILLA, Guillermo
b. 1974 United States, b. 1971 Cuba, live and work in San Juan

14. ATAMAN, Kutlug
b. 1961 Turkey, lives and works in London

15. BAJEVIC, Maja
b. 1967 Bosnia, lives and works in Paris and Sarajevo

16. BALLESTEROS, Ernesto
b. 1963 Argentina, lives and works in Buenos Aires

17. BALOJI, Sammy
b. 1978 Democratic Republic of Congo, lives and works in Lubumbashi and Brussels

18. BARBA, Rosa
b. 1972 Italy, lives and works in Berlin

19. BASELITZ, Georg
b. 1938 Germany, lives and works in Munich

20. BASUALDO, Eduardo
b. 1977 Argentina, lives and works in Buenos Aires

21. BAUER, Petra
b. 1970 Sweden, lives and works in Stockholm

22. BESHTY, Walead
b. 1976 United Kingdom, lives and works in Los Angeles

23. BHABHA, Huma
b. 1962 Pakistan, lives and works in Poughkeepsie

24. BOLTANSKI, Christian
b. 1944 France, lives and works in Paris

25. BONVICINI, Monica
b. 1965 Italy, lives and works in Berlin

26. BOYCE, Sonia
b. 1962 United Kingdom, lives and works in London

27. BOYD, Daniel
b. 1982 Australia, lives and works in Sydney

28. BREY, Ricardo
b. 1955 Cuba, lives and works in Gent

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

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