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Say Issue: 12

Kasm 2013-Ocak 2014 Ekim November 2013-January 2014


20 TL 10 EUR
Kapak Cover: XXX
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mtiyaz Sahibi Publisher: Contemporary Istanbul Sanat
Yatrmlar A.. Ynetim Kurulu Bakan / Contemporary
Istanbul Art Investment Inc. Chairman Ali Greli
Sorumlu Mdr Executive Director: Rabia Bakc Greli
Contemporary Istanbul Genel Koordinatr
CI General Coordinator: Hasan Blent Kahraman
Ynetici Editr Executive Editor: Hasan Blent Kahraman
Yayn Ynetmeni Editor in Chief: Zeynep Berik Yazc
Sanat Ynetmeni Art Director: aksoycindoruk
eviri Translation: Ahmet Saraolu, Tue Yapc
Reklam: Beril Grolu
beril@contemporaryistanbul.com
ice@contemporaryistanbul.com
Katkda Bulunanlar Contributers:
Bilgen Cokun, Burcu Fikretolu, Ceren Arkman, idem
Zeytin, Ebru Yetikin, Ece Pazarba, Evrim Altu, Hasan
Blent Kahraman, Iara Boubnova, Merve nsal, Nihan Bora,
Pnar zbek, Roy Halstead, Samed Akman, Seda Nibolu
Yayn Kurulu Editorial Board: Ali Akay, Dr. Emin Mahir Balcolu,
Nuri olakolu, Levent Erden, Jeffi Medina, Paul Mc Millen,
Akn Nala, Michael Schultz, Grgn Taner
APA Uniprint Basm Sanayi ve Ticaret A.. Apa Giz Plaza, Bykdere
Cad. No. 191 Kat.20 34373
Levent, stanbul, Trkiye
ICE Magazine
Mete Cad. Yeni Apt. 10/11 34437 Taksim / stanbul
letiim/Contact: ice@contemporaryistanbul.com
zeynep@contemporaryistanbul.com
Sat ve Abonelik Sales and Subsrcription
T +90 212 244 71 71-205

Seasons have a different meaning for those who live in the city. As it
gets cold, the crowd and the warmth of the city increase. Winter is
the season for arts.
This summer was different from the previous ones. Leaving
Istanbul was also very hard, this summer. September came and the
13rd Istanbul Biennale attracted thousands of visitors to the city
underlining the fact that Istanbul is a significant art hub. And now,
Contemporary Istanbul is another reason for the artworld to meet in
Istanbul, between November 7th-10th.
On the 12th and the Contemporary Istanbul special issue, we make
room for the new surprises that is brought with the fair. The first
timers, the galleries who have become a part of the event itself since
eight years and the new ones who want to step into the international
art scene will meet here. Now, hear the art market, highlights and the
forecast of the year from the galleries
We suggest you to have a look at curator Iara Boubnovas notes
on the contemporary art from Russia before you meet some of the
examples at the fair within the scope of New Horizons.
The new devlepments at CI also gave rise to another stimulating
topic. The new initiation of the fair, Plugin New Media Fair will open
a new space for encounter and experience which will be the meeting
point of technology with art. You can read about new media field
and Plugin in Ceren Arkmans piece. New media artists, trendsetters,
curators tell about their experiences in that field as well as the
influence of technology in arts.
In Berlin studio, Nasan Tur tells about his latest exhibition. An
art collection, also from Berlin; Boros tell us about their recent
acquisitions and perspectives on their collection, in a place which
has been transformed from an old shelter into an exhibition space.
With its new issue, ICE keeps celebrating new ideas

Mevsimler kentte yaayanlar iin daha farkl dnmleri ifade


ediyor. Havalar souduka, kentin kalabal ve ss artyor.
Sanatn mevsimi, k.
Bu yaz dier yazlardan daha farklyd. stanbulu brakmak da
zordu bu yaz. Eyll geldi, 13. stanbul Bienali yine binlerce
izleyiciyi kente ekerek stanbulun nemli bir sanat dura olduu
gereinin altn bir kez daha izdi. 7-10 Kasm tarihlerinde ise
Contemporary Istanbul, sanat dnyasnn yeniden stanbulda
bulumas iin dier bir sebep.
ICEn 12. ve Contemporary Istanbul zel saysnda, fuarla birlikte
gelen yeniliklere yer atk. CIya ilk kez katlanlar, sekiz yldr
etkinliin bir paras olmu galeriler ve ilk yllarnda uluslararas
bir platforma adm atmak isteyenler burada buluacak. Sanat
piyasasn, ne kanlar, yln tahminlerini galerilerden dinleyin
Kratr Iara Boubnovann Rusya gncel sanat zerine
deerlendirmesi ve notlarna, bu yl CIda da Yeni Ufuklar
kapsamnda greceimiz Rusya sanatndan rneklerle
karlamadan nce gz gezdirmenizi neriyoruz.
CIn yenilikleri ICEta bir dier ufuk ac konuya da sebep oldu
Fuarn yeni giriimi Plugin Yeni Medya Fuar, bu yl teknolojinin
sanatla buluma noktas olarak yeni bir karlama ve deneyim
alan aacak. Yeni medya ve Plugin hakknda notlar, Ceren
Arkmann yazsnda. Yeni medya sanatlar, trendsetterlar ve
kratrleri ICEta deneyimlerini aktaryor ve teknolojinin sanata
etkisini deerlendiriyor.
Nasan Tur, Berlindeki atlyesinde, son sergisini anlatyor.
Berlinden bir koleksiyon; Eski bir snaktan dntrdkleri sergi
mekanndaki yeni eserlerini ve koleksiyona bak alarn anlatyor
Boros ifti.
ICE yeni saysnda, yeni fikirleri kutlamaya devam ediyor

Zeynep Berik
Editor in Chief
Yayn Ynetmeni

24

Gemisiz Gelecek iin desenler /


Drawings for Futur Imparfait,1986-1999,
mylar zerine mrekkep ve kalem / ink
wash and crayon on mylar, 36x28 cm. /
14x11 inches

60

4-27 Upcoming Shows and


Events
Gelecek sergi ve etkinlikiler

52-54 Art Scene from Russia


Rusyadan Sanat

Iara Boubnova

28-33 A Bunker for Contemporary



Arts: Boros Collection

ada Sanata Bir Snak:

Boros Koleksiyonu

Interview / Rportaj

Bilgen Cokun

56-57 In Dialogue with Austria



Avusturya ile diyaloglar
Interview with Barbara Baum

ile sylei

34-39 Hermann Nitsch



Interview / Rportaj

Burcu Fikretolu

60-70 Dossier: New Media



Dosya: Yeni Medya
Plug-in by Ceren Arkman

Memo Akten by Ebru Yetikin

Rory Blair, Annette Doms
by Zeynep Berik

Roy Halstead

40-50


Dossier: Time for


Contemporary Istanbul
Dosya: Contemporary
Istanbul Zaman
Zeynep Berik

58-59 Robert Montgomery

Installation shots Kate Elliott for Media Space

94

Glsn Karamustafa, The Monument and the Child [Abide ve ocuk] enstalasyonundan detay, 2010

72-77 Nasan Tur



Interview / Rportaj

Ece Pazarba

90-93

Vicious Circular Breathing


Rafael Lonzano Hammer
idem Zeytin

78-81 Pi Artworks Opens in


London

Trkiye Pavyonu
Pi Artworks Londrada

Interview with Yeim Turanl

ile sylei

82-85 Taking Initatives

nisiyatif Almak

Apartman Projesi & Unknown

76-90 Black, White and Multicolored

Siyah, Beyaz ve ok Renkli

Hasan Blent Kahraman

94-96


A Reminiscened Memory
Yadedilmi Bir Bellek
Glsn Karamustafa
Evrim Altu

98-100

The Last Exhibition of Tanas


Tanastan Son Sergi
Seda Nibolu

102-103 Notes from Frieze



Frieze Notlar

Merve nsal
104-108 Events

Katkda
Bulunanlar
Contributers
Bilgen Cokun
Bilgen Cokun, lives in Istanbul and Berlin, works in
the field of brand experience and communication.
He completed his Ph.D. in intercultural marketing
communication. He is now working as a consultant for
global fashion and life style brands and contributing to
various magazines in the field of art and design. Besides
his position as the academic coordinator and lecturer at
Istanbul Moda Academy, he is a visiting lecturer at the
Mediadesign Hochschule in Munich.
stanbul Ve Berlinde yaayan Bilgen Cokun marka
deneyimi ve iletiim zerine alyor. Doktorasn
kltrleraras pazarlama iletiimi alannda doktorasn
tamamlayan Cokun, global life style ve moda
markalarna danmanlk yapyor, sanat ve tasarm
dergileri iin bamsz yazarlk yapyor. stanbul Moda
Akademisi ve Mnihteki Mediadesign Hochschulede
ders veriyor.
Ceren Arkman
Graduated from Robert College and Marmara University,
Faculty of Economics and Administrative Sciences,
Department of International Relations and Political
Science, and received a masters degree from the
Sabanc University History Department. Professional
academic translator for 14 years, in the field of art and
social sciences. Worked as a Project Coordinator for
Contemporary Istanbul Art Fair in 2008. One of the
managers of Kurye Video Organization, Turkeys sole
archive and platform for video art, since 2006.
Robert Kolej ve Marmara niversitesi ktisadi ve
dari Bilimler Fakltesi Uluslararas likiler ve Siyaset
Bilimi blmn bitirdi, Sabanc niversitesi Tarih
Blmnde yksek lisans programn tamamlad. 14
senedir profesyonel olarak, sanat ve sosyal bilimler
alannda akademik evirmenlik yapmaktadr. 2008
ylnda Contemporary Istanbul ada Sanat Fuar Proje
Koordinatr olarak alt. 2006 ylndan beri, Trkiyenin
tek uluslararas video sanat ariv ve platformu olan
Kurye Video Organizasyonu yneticilerindendir.
idem Zeytin
Born in 1981 in Krefeld, Germany. Received her
bachelors degree in Anadolu University, Faculty
of Communication Sciences, Department of PR &
Advertising, masters degree again in Anadolu University,
Institute of Social Sciences, Department of Science
of Art, on theory and criticism. Writes critical reviews
on plastic and interactive arts. She is one of the board
members of Body-Process Arts Association.
1981 ylnda Almanya, Krefeldte dodu. Lisans eitimini
Anadolu niversitesi letiim Bilimleri Fakltesi Reklamclk
Halkla likiler BoNlmnde, Yksek Lisansn ise Anadolu
niversitesi Sosyal Bilimler Enstits Sanat Bilimi Ana
Bilim Dal Gzel Sanatlar Kuram ve Eletiri Blmnde
gercekletirdi. Gncel ve interaktif sanat zerine eletiri
yazlar kaleme alr. Beden lemsel Sanatlar Dernei
Ynetim Kurulu yelerindendir.
Ebru Yetikin
Ebru Yetiskin is an art critic and a sociologist based in
Istanbul. As a full time lecturer, she teaches sociology
and media in Istanbul Technical University. Yetiskin is a
member of International Association of Art Critics (AICA)
and she is also one of the organizers of Amber Arts and
Technology Festival. Currently, she is working on curating
two new media art exhibitions, Speculative Curves and
Cacophony.
Ebru Yetiskin Istanbulda yaayan bir sanat eletirmeni ve
sosyologtur. stanbul Teknik niversitesinde tam zamanl
retim yesi olarak sosyoloji ve medya derslerini

vermektedir. Yetikin Uluslararas Sanat Eletirmenleri


Dernei yesidir. Ayrca Amber Sanat ve Teknoloji
Festivalinin de dzenleyecileri arasndadr. u anda,
Speklatif Eriler ve Kakofoni balkl iki yeni medya
sanatlar sergisi zerinde almaktadr.
Ece Pazarba
Lives and works in Istanbul and Berlin. Since 2007, she
has been generating public space projects in urban and
rural domains. Since April 2013 she has been continuing
her projects at Olafur Eliasons Institution for Spatial
Experiments. Among her recent projects are; Istanbul
Coordinator for New Museum - New Yorks Ideas City,
curation of Sophia Pompery-Shape of Things at Istanbul,
ARTER Istanbul (2012), and co-curation of Turkish Art
New and Superb (2012) ve Zwlf im Zwlften (2011)
Tanas Berlin (2011- 2012) together with Ren Block. She
continues her artistic projects with CAMP. Contemporary
Amplifier for Multidisciplinary Practices.
stanbul ve Berlinde yayor ve alyor. 2007den beri
hem kent ve hem de krsal ortamlarda eitli kamusal
alan projelerinin, sergilerin ve ses turlarnn kratrln
yapyor. Nisan 2013den beri, almalarna Olafur
Eliassonun ynetmenliindeki Berlindeki Uzamsal
Deneyler Enstitsnde devam ediyor. En son projeleri
arasnda New Museum-New Yorkun Ideas City
projesinin stanbul koordinatrl, 2012de ARTER
stanbulda alan Sophia Pompery - eylerin Sessiz ekli
sergisi kratrl, TANAS- Berlinde Ren Block ile
beraber e-kratrln stlendii Turkish Art New and
Superb (2012) ve Zwlf im Zwlften (2011) sergileri yer
alr. Sanatsal projelerine CAMP.Contemporary Amplifier
for Multidisciplinary Practices altnda devam ediyor.
Evrim Altu
After having received his Bachelors degree in MSFAU
Department of TV, Bilgi University Department of
Performing Arts, Altu Completed the certificate program
on Design Culture and Management in the same
university. Worked for 9. Kanal TV. Worked as culturearts reporter for Radikal Newspaper. One of the founding
members of AICA Turkey. Altu is currently writing for
several publications and is the editor in chief
for Art Unlimited culture newspaper.
MSGS Televizyon Blm, Bilgi niversitesi Sahne
Sanatlar Blmnde Lisans eitiminin ardndan ayn
niversitede Tasarm Ynetimi Sertifika Programn
tamamlad. 9. Kanal TVde alt. Radikal Gazetesinde
kltr-sanat muhabirlii, Birgn gazetesinde kltr-sanat
editrl yapt. AICA Trkiyenin kurucular
arasnda yer ald. Birok yayn iin yaz yazmaya devam
eden Altu, Art Unlimited kltr gazetesi yaz ileri
mdr olarak almalarna devam ediyor.
Hasan Blent Kahraman
Hasan Blent Kahraman is the vice rector in Kadir Has
University who has been in the foundation process of
Sabanc University and worked there. Kahraman, has
held the position as the Ertegn Professor in Princeton
University Near Eastern Studies. He is the advisory
board member of Akbank Sanat, Sabanc Museum and
is the general coordinator of Contemporary Istanbul.
Kahramans book on contemporary art after 1980s will
be published in December 2013.
Kadir Has niversitesi rektr yardmcs olan Prof. Dr.
Hasan Blent Kahraman daha nce Bilkent ve Sabanc
niversitesinde grev yapmtr. Ayrca Sabanc
niversitesinin kuruluunda yer almtr. Princeton
niversitesi Yakn Dou almalar Blmnde
Ertegn Profesrl yapm olan Kahraman, Akbank
Sanat danma kurulu ve Sabanc Mzesi ynetim
kurulu yesidir. Contemporary Istanbulun genel
koordinatrdr. Kahramann 1980 sonras ada
sanat irdeledii kitab Aralk 2013te yaynlanacak.
Iara Boubnova
Iara Boubnova is a curator and art critic, founding
director of the Institute of Contemporary Art in Sofia,
curator at the National Gallery for Foreign Art, lecturer
at the Sofia State University. She has curated numerous
shows such as the 2nd Ural Industrial Biennial

(Yekaterinburg, 2012), the 1st Sofia Contemporary


(2012), the 2nd Moscow Biennial (2007), and Manifesta
4 (Frankfurt, 2002) among many others. She has been
juror, selector and nominator of various awards and is
director of the Bulgarian section of AICA (International
Association of Art Critics).
Kratr ve eletirmen Iara Boubnova, Sofyadaki
ada Sanat Enstitsnn kurucu direktr olup,
Ulusal Yabanc Sanat Galerisinde kratrlk, Sofya
Devlet niversitesinde ise eitmenlik yapmaktadr. 2.
Ural Endstriyel Bienali (Ekaterinburg, 2012), 1. Sofya
Contemporary (2012), 2. Moskova Bienali (2007), ve
Manifesta 4 (Frankfurt, 2002) gibi organizasyonlar
da dhil olmak zere, birok serginin kratrln
yapmtr. eitli dller iin jri yelii ve seici
yelik yapm, aday belirlemitir ve AICA (Uluslararas
Sanat Eletirmenleri Dernei) Bulgaristan blmnn
direktrdr.
Merve nsal
Merve nsal (b.1985, The Hague) is an artist based
in Istanbul. She is currently interested in tracing
artistic production through the lecture format. She
has previously explored this topic through writing,
editing, and visual and verbal collages that employ
automatization and found imagery. She is the cofounder
of m-est.org, an artist-centered online project. She
received her MFA from Parsons The New School for
Design in Photography and Related Media and her BA
from Princeton University in Art and Archaeology.
Merve nsal (1985, Lahey doumlu) Istanbulda
yaayan bir sanat. u sralar konferans trnde
sanatsal retimin izini sryor. Bu konuyu daha nce
yazma, dzenleme, otomasyon ve buluntu imgelerini
kullanan grsel ve szl kolajlarda da ilemiti. Sanat
merkezli online proje m-est.orgun kurucularndan.
Princeton niversitesinde Sanat ve Arkeoloji
blmnden mezun oldu, yksek lisansn Parsons
The New School for Designda Fotoraf ve lgili Medya
zerine yapt.
Nihan Bora
Received her education on journalism. Worked as
an editor or a reporter for numerous magazines and
newspapers. Currently workin in zete.com as an editor.
Writes articles on plastic arts and performing arts for
several art and culture magazines.
Eitimini gazetecilik zerine tamamlad. Birok dergi
ve gazetede editrlk ve muhabirlik yapt. u an zete.
comda editr olarak alyor. Baz kltr-sanat yaynlar
iin plastik sanatlar ve sahne sanatlar zerine makaleler
yazyor.
Roy Halstead
Marketing consultant for a variety of mobile related
startups working in different fields. With ArtNetWorth he
launched the first tamper proof digital tracker for works
of art that can be read directly by smartphones and
tablets. With the aid of this system information on the
works are stored in cloud servers and are used as an anti
forgery mechanism.
Birok farkl alandaki mobil giriime pazarlama
danmanl yapan Roy Halstead ArtNetWorth ile,
sanat eserlerinin akll telefon ve tabletler zerinden takip
edilebilmesini salayan ilk uygulamay gelitirdi. Bu sistem
sayesinde eserler hakkndaki bilgi cloudda saklanarak
eser hrszl nleniyor.
Seda Nibolu
She studied cultural management in Istanbul. Then she
received her MA in UDK Berlin on cultural journalism.
Shes been working as a freelance journalist in Berlin
since 2008. Shes been writing for various publications in
Turkey and Germany and doing radio shows.
1982 doumlu Seda Nibolu, stanbulda kltr ynetimi
ve medya alanndaki almalarnn ardndan UDK
Berlinde kltr gazetecilii mastern tamamlad. 2008
ylndan bu yana yaad Berlinde serbest gazeteci
olarak faaliyet gsteriyor. Trkiye ve Almanyadaki eitli
yaynlar iin kltr-sanat yazlar yazyor, radyo programlar
hazrlyor.

SHOWS / SERGLER
Seyhan Topuz
Proje 4L / October 24-December 27 / 24 Ekim-27 Aralk 2013
Elgiz Mzesinin Sreli Sergi alannda, Seyhun Topuzun 42 yllk sanat hayat boyunca minimalist tavr
ve gen, kare, daire gibi temel geometrik formlarn eitlemelerini kullanarak realize etmi olduu
yaptlarndan bir seki gsterime sunuluyor. Sergide, zgn ifadelerin, samimi, renk ve formlarn yalnl
ile ortaya km soyut biimlerle karlayoruz.
Elgiz Mzesinin Sreli Sergi alannda, Seyhun Topuzun 42 yllk sanat hayat boyunca minimalist tavr
ve gen, kare, daire gibi temel geometrik formlarn eitlemelerini kullanarak realize etmi olduu
yaptlarndan bir seki gsterime sunuluyor. Sergide, zgn ifadelerin, samimi, renk ve formlarn yalnl
ile ortaya km soyut biimlerle karlayoruz.

Krmz Dm/ Red Knot, 2013,


Alminyum/ Aluminium, 200x200x248cm

represented artists

BURCU PERN
ERCAN AKIN
FIRAT ENGN
HAYAL NCEDOAN
HSEYN AKSOYLU
ILGIN SEYMEN
LKER CANKLGL
KEMAL SEYHAN
OLCAY KU
ONUR MANSIZ
SENCER VARDARMAN
YAHYA BACI

The Observatory / Rasathane


Istanbul Modern / November 27-April 27 / 27 Kasm-27 Nisan
With the Observatory selection, stanbul Modern presents a retrospective of the late collective productions of Barbara and Zafer Baran, from 1999 to this
day. Working in a wide spectrum ranging from the smallest parts of life to the depths of the sky, the Barans visualize an idea of integrity, which grays the
borders of nature, science and aesthetic, while enriching the narrative with an experimental approach. Barbara and Zafer Baran bring together the pieces
of the hidden motion in life by chasing after the simplest forms and movements in nature. By looking at a decomposing flower, the traces we leave on the
sky or the earth, or beams of light extending from the moon and the stars, the Barans convey into the photograph the plainest drawings in life without
travelling far, like a journey to our current location. They record the forms they treat with the desire of an amateur observer to understand every layer of
life, and without any interruption, as they are, with all their flaws and charms. The artificial borders drawn by modernism between disciplines become
meaningless; art, nature and science start to speak in one visual language. The Observatory is the place where the endless observations of Barbara and
Zafer Baran meet with experimental photography techniques and art history.
Rasathane sekisiyle stanbul Modern, Barbara ve Zafer Barann 1999dan gnmze son dnem ortak retimlerinden bir retrospektif sunuyor. Yaamn
en kk paralarndan gkyznn derinliklerine uzanan geni bir spektrumda alan Baranlar, anlaty deneysel bir yaklamla zenginletirirken doa,
bilim ve estetiin snrlarn silikletiren bir btnlk fikrini grselletiriyor. Barbara ve Zafer Baran doadaki en basit formlarn ve hareketlerin peine derek,
yaamdaki sakl devinimin paralarn bir araya getiriyor. Uzaklara gitmeden, bulunduumuz noktaya gerekleen bir yolculuk gibi, Baranlar rmekte
olan bir iee, gkyznde ve yeryznde braktmz izlere veya ay ve yldzlardan uzanan k huzmelerine bakarak yaamdaki en yaln izimleri
fotorafa aktaryor. Amatr bir gzlemcinin hayatn her tabakasn anlama isteiyle, hibir mdahalede bulunmadan ele aldklar formlar, olduu gibi, tm
kusur ve gzellikleriyle kaydediyorlar. Baranlarn fotoraflarnda sklkla konu ettii, kaybolmakta olan veya ok eskiden beri orada bulunmasna ramen
gze arpmayan nesnelerde, sradan olann cazibesi ve basitin barndrd karmaa gze arpar. Bu fotoraflara bakldnda botanik eler, corafi
nesneler, uzay cisimleri bir btnn parasdr; bak as deitike birbirine benzer, hatta karrlar. Modernizmin disiplinler arasnda kurduu yapay
snrlar anlamszlar; sanat, doa ve bilim tek bir grsel dilde konumaya balar. Rasathane, Barbara ve Zafer Barann bitmeyen gzlemlerinin deneysel
fotoraflama teknikleri ve sanat tarihiyle bulutuu yerdir.

exhibited artists

BEHRUZ HESCHMAT
DANIEL CANOGAR
DENZ AKGNDZ
KLAUS MOSETTIG

7-10 KASIM/NOVEMBER 2013


11.00-20.00
IKM 107
www.artonistanbul.com

10

Im Cross With You, Im Not Playing / Kstm


Oynamyorum
Rezan Has Museum / November 20-February 30
Rezan Has Mzesi / 20 Kasm-30 ubat
In her exhibition Im Cross With You, Im Not Playing, the photograph artist Naz
Kktentrk starts from a personal story and aims to tell the desperation of destroyed
lives, and the cry of recent past by following the traces of barren people who we
dont see in our lives. In Tarlaba, I wanted to tell more about life, the human, and
the human condition, rather than the buildings. Even beyond Ar Roman, the twice
aggravated tale of a neighborhood she says.
Fotoraf sanats Naz Kktentrkn Kstm Oynamyorum isimli sergisinde
sanat, kiisel bir hikayeden yola karak yok edilen hayatlarn aresizliini,
ksrlam hayatmzda gremediimiz insanlarn izlerini takip ederek yakn gemiin
haykrn anlatmay amalyor. Sanat, Tarlabanda binadan ok hayat, insan,
insan hallerini anlatmak istedim. Ar Romandan da te; iki kere arlatrlm
masaln bir semtin... diyor.

Be A Good Boy, Blossom With Your Pain


yi ocuk Ol, Acnla By
Sanatorium / Until November 24 / 24 Kasma kadar

TH E A RT O F
H O SP I TA LI TY,
TH E H O SP I TALITY
O F A RT

The second personal exhibition of Kemal zen throws a melancholic and keen glance
to the living conditions in a society, in which we are preached and taught to be good
kids. zen presents images that once again touch our personal histories and reminds
us of ourselves in his exhibition Be a Good Boy, Blossom with Your Pain, a quote from
recently passed away poet Ahmet Erhans poem; Zaman Oy, Sesini Sakla. zens
works depicts our lives cornered by social rules, incomplete ambitions, desires that we
had to hide and our crippled childhoods.
Kemal zenin ikinci kiisel sergisi, iyi ocuk olmamzn tlendii ve retildii bir
toplumda yaama hallerine melankolik ve keskin bir bak atyor. zen, yakn zamanda
kaybettiimiz Ahmet Erhann Zaman Oy, Sesini Sakla isimli iirinden alntlayarak
yi ocuk Ol, Acnla By adn verdii sergisinde, bir kez daha kiisel tarihlerimize
dokunacak, baktmzda bizi bize hatrlatacak grntler sunuyor. zenin ileri,
toplumsal kurallarla evrili hayatlarmzn kstrlmln, eksik braklm heveslerimizi,
gizlemek zorunda kaldmz arzular ve sakatlanm ocukluklarmz resmediyor.
T..Y.B., 100 cm., 2012

Entropy / Entropi
Galeri Zilberman / Until January 4
4 Ocaka kadar
The Entropy exhibition, curated by Vassilios Doupas,
features new and current works from artists such as
Christoph Bchel, Maurizio Cattelan, William E. Jones,
Annika Von Hausswolff, Kay Rosen and Frank Selby.
Kratrln Vassilios Doupasn gerekletirdii
Entropi sergisinde Christoph Bchel, Maurizio
Cattelan, William E. Jones, Annika Von Hausswolff, Kay
Rosen ve Frank Selby gibi sanatlarn yeni ve gncel
ileri bulunuyor.

Annika von Hauswolff, The 21st Century Transitional Object (21. Yzyl Geisi
Nesnesi), 2004, C-Print, 120x150 cm., Ed. 4

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A Fall From Grace / D


Daire Gallery / Until December 7
Daire Galeri / 7 Aralka kadar

KEMAL ZEN

Sibel Horada examines the displacement story of a Pegasus sculpture with one of its wings broken, and aims
also to start a discussion on the use of public space from this viewpoint. The research period of Sibel Horada
begins with her participation to the artist residence program, as part of a project called HereTogetherNow
at MataderoMadrid, February 2013. A sculpture covered with cloth, residing for 8 years in Madrids Plaza de
Legazpi catches the attention of Horada. Horada then learns that the sculpture, which seems like of a horse from
the outside, is actually of a Pegasus and one of its wings had been broken after its initial construction. The artist
shared the first findings, interviews, visuals and the audio installation she prepared in January 2013, as part of the
residence project at Matadero. In the researches she conducted in the meantime, she wasnt able to reach the
broken original wing, save for its replicas.
Sibel Horada, D isimli sergisinde, tek kanad krlm bir Pegasus heykelinin yerinden edili hikayesini
irdeliyor ve bu noktadan hareketle kamusal alann kullanm zerine de bir tartma balatmay hedefliyor. Sibel
Horadann aratrma sreci Ocak 2013te, MataderoMadridde HereTogetherNow adl projenin bir paras
olarak sanat rezidans programna katldnda balyor. 8 yldr Madrid, Plaza de Legazpide st kumala
kaplanm bir ekilde duran bir heykel Horadann ilgisini ekiyor. Horada, aratrmaya baladktan sonra
dardan at gibi grnen heykelin aslnda bir pegasus olduunu, ilk yapmndan sonra hasar grp tek kanadnn
krldn reniyor. Sanat aratrmasna ait ilk bulgular, rportajlar, grselleri ve hazrlad ses enstalasyonunu
Ocak 2013de Mataderodaki residence projesi kapsamnda paylat. Bu sre iinde yapt aratrmalarda ise
replikasyonlar dnda, krlm orijinal kanada ulaamad.

23 Ekim - 24 Kasm

Bodies That Matter / Anlamlanan Bedenler


Galeri Man / Until November 16 / 16 Kasma kadar
Curated by Rebecca Heald, Bodies That Matter (Anlamlanan Bedenler) exhibition is held in
collaboration with Delfina Foundation, London. The exhibition is presenting works by Basel
Abbas and Ruanne Abou-Rahme, Jumana Emil Abboud, Bashar Alhroub, Mustafa al Hallaj,
Jeremy Hutchison, Jawad al Malhi and Olivia Plender. The exhibition takes its title from
Judith Butlers 1993 dated book of the same name. It brings together artists contemplating
on the body and structures of power in Palestine, one of the most highly charged political
laboratories of our time.
Rebecca Heald kratrlnde dzenlenen Anlamlanan Bedenler adl sergi, Delfina
Foundation, Londra ibirliinde gerekletiriliyor. Sergide Basel Abbas ve Ruanne AbouRahme, Jumana Emil Abboud, Bashar Alhroub, Mustafa al Hallaj, Jeremy Hutchison, Jawad
al Malhi ve Olivia Plenderin yaptlar yer alyor. Baln Judith Butlern 1993 tarihli ayn
adl kitabndan alan Anlamlanan Bedenler (Bodies That Matter), amzn en ykl siyasi
laboratuvarlarndan biri olan Filistinde beden ve iktidar yaplar zerine dnmekte olan
sanatlar bir araya getiriyor.

Black Album / Kara Albm


Rampa / Until January 4 / 4 Ocaka kadar
Black Album (Kara Albm), Vahap Avars second exhibit at Rampa, will provide an overall look into Avars
work in the last three years. Some surprise works produced in the past years by the artist will also come to light.
The exhibition, entitled Black Album (Kara Albm) focuses on the cycles various systems involve. With the
works he presents in this exhibition, Avar turns to the financial cycles in the liberal economy, and the art historical
cycles regarding the creation of an artist / an artwork. Every example is formed of fragile repetitions of feedback.
Avars artistic gesture finds its place right here, in the decision of preserving or destroying this cycle. In every work,
Avar decides whether hes going to add another link to this process, or break another one.
Vahap Avarn Rampadaki ikinci sergisi olan Kara Albm, Avarn son yl iindeki retimine toplu bir bak
olana sunacak. Sergide, sanatnn gemi yllarda rettii baz srpriz ileri de gn na karacak. Kara
Albm isimli sergi, eitli sistemlerin ierdii dnglere odaklanyor. Avar, bu sergide yer verdii ileriyle liberal
ekonomik sistem iindeki finansal dnglere, bir sanatnn/sanat yaptnn oluumuna dair sanat tarihsel dnglere
bakyor. rneklerin herbiri krlgan bir geribildirim tekrarndan oluuyor. Avarn sanatsal jesti de ite tam burada, bu
dngy koruma veya yok etme kararnda yer alyor. Avar, her yaptta bu sre iine bir halka daha ekleyip ya da
baka bir halkay krp krmayacana karar veriyor.

Negatif II / Negative II, 1990, Fotoraf /


Photograph, 100 x 70 cm
Sanat ve Rampann izniyle / Courtesy
of the artist and Rampa Istanbul

Asmal Mescit Mahallesi Asmal Mescit Sokak No:32/A Beyolu stanbul


www.sanatorium.com.tr / info@sanatorium.com.tr / +90 212 293 67 17

14

15

ABROAD / YURTDII

Dayanita Singh: Go Away Closer


Hayward Gallery
Until December 15 / 15 Aralka kadar

Dayanita Singh, Zeiss Ikon 1996, 2013,


Courtesy the artist and Frith Street Gallery,
London, The artist 2013

Dayanita Singh was always a photographer of unorthodox practices, and now shes introducing the
innovative presentation of her 2D visuals. Singh presents the first exhibit retrospectively opened by
Hayward in England, in a dynamic wooden environment like a mobile museum, and as one of the most
prominent photographers of our time, with a project which can be a turning point for her art life. Dayanita
Singhs unique production which differs from the traditional wall photo prints, receives great attention from
international art enthusiasts. The photograph, which is used as a raw material, for Singh is an end in itself,
rather than a starting point. Singhs mobile museum comprises of large wooden structures which can
be placed and extended with multiple configurations. Every single photograph is arranged, viewed as
slideshows and archived within the structures in a manner that the artist refers to as photo-architecture.
In this exhibition, which, in addition to stories, themes and Singhs extensive archive, includes images from
new photographs and series about fashion, Singh expands the perception of not only the world of sculpture
and architecture, but of fiction and poetry.
Her zaman allmn dnda alm bir fotoraf olan Dayanita Singh, 2D grntlerinin yeniliki sunumu
ile karmzda. Haywardn ngilterede retrospektif olarak at ilk sergiyi, Singh tanabilir bir mze gibi
dinamik bir ahap ortamda ve zamanmzn nde gelen fotoraflarndan biri olarak sanat hayatnda dnm
noktas olabilecek bir projeyle sunuyor. Dayanita Singhin duvarda fotoraf bask geleneinden farkl olarak
benzersiz retimi, uluslararas sanatseverler tarafndan ilgiyle karlanyor. Bir hammadde olarak kullanlan
fotoraf Singh iin bir balang noktas yerine, kendi iinde bir ama. Singhin tanabilir mzesi eitli
konfigrasyonlarda yerletirilir ve alabilir byk ahap yaplardan oluuyor. Fotoraflarn her biri sanatnn
foto-mimarlk olarak adlandrd ekilde sonsuz versiyonda dzenlenebilir, sral grntlenir ve yaplar
iinde arivlenir. Hikayeler, temalar ve Singhin geni arivinin yan sra yeni fotoraflardan moda ile ilgili
dizilerinden grntler de ieren bu sergide Singh sadece heykel ve mimarlk dnyasna ait vizyonu deil,
ayn zamanda kurgu ve iir konusundaki algy da geniletir.

Kaws, Pass The Blame


Galerie Perrotin
Brian Donnely, better known as Kaws, continues to produce new work by mixing cartoon and
graffiti images. After he burst into the scene by painting graffiti on the streets, bus stops and
phone booths in New York for a long time, Kaws carried on his carrier designing characters for
Disney. Cartoon characters such as 101 Dalmatians, Spongebob Squarepants, and Mickey
Mouse are among his most renowned drawings. Known for the new dimensions he added to
these characters, Kaws, later on, produced a limited number of toys. In his new exhibition Pass
The Blame, Kawss inclination towards entertaining pieces continue. He counts among his
inspirations iconic names of popular culture such as Andy Warhol, Roy Lichtenstein, Frank Stella
and Ellsworth Kelly. Again, he presents popular images and cartoon characters through animation,
drawing and mixed media.Brian Donnely, bilinen ismiyle Kaws, izgi film ve graffiti imajlarn
kartrp yeni iler retmeye devam ediyor. Uzun sre New Yorkta sokaklara, otobs duraklarna,
telefon kulbelerine graffiti yaparak nlenen Kaws, kariyerine Disneyde karakter tasarlayarak
devam etti. En bilinen izimleri arasnda 101 Dalmayal, Spongebob Squarepants, Mickey Mouse
gibi izgi film karakterleri var. Bu karakterlere katt yeni boyutlarla bilinen Kaws, daha sonralar
snrl sayda oyuncaklar retti. Kaws yeni sergisi Pass The Blamede, elenceli ilere ynelmeye
devam ediyor. Popler kltrn ikonik isimleri Andy Warhol, Roy Lichtenstein, Frank Stella ve
Ellsworth Kellyden ilham aldn sylyor. Yine popler imajlar, izgi film karakterlerini animasyon
izim ve kark medya kullanarak sergiliyor.

16

Kaws, Companion (Passing Through), 2010, Fiberglass,


metal structure and paint, 520 x 430 x 185 cm

17

Aye Erkmen: Intervals


Barbican Centre
Until January 5, 2014 / 5 Ocak 2014e kadar

Aye Erkmen: Intervals, Installation shot by Jane


Hobson, 2013, Courtesy of Barbican Art Gallery

Barbican Centre in London is hosting the personal exhibition of Aye Erkmen.


Aye Erkmen produced in Barbican Curve Gallery, a new installation work based
on kinetics and space. In the 90 meter long space encircling the concert hall of
Barbican Gallery, Erkmen presents a dozen of stage curtains, fluctuating softly with
an automatic flight system. An artist talk, a workshop attended by artists and a
round-table meeting will also be held as part of the program organized parallel to the
exhibition.
Londrada bulunan Barbican Centre, Aye Erkmennin kiisel sergisine ev sahiplii
yapyor. Aye Erkmen, Barbican Curve Galeride kinetik ve mekana dayal yeni bir
enstelasyon almas retti. Barbican Galerinin konser salonunun etrafn dnen
90 metre uzunluundaki mekanda Erkmen, otomatik uu sistemiyle hafife alalp
ykselen bir dzine sahne perdesi sergiliyor. Sergiye paralel olarak dzenlenecek
program kapsamnda da, sanat konumas, sanatlarn katlaca bir atlye
almas ve yuvarlak masa toplants dzenlenecek.

Francis Bacon and Henry Moore: Flesh and Bone


Ashmolean
Until January 19 / 19 Ocaka kadar
Two giants of 20th century western art got together for this big exhibition of human figures. Containing images which reveal the fantastic parallelism in
their exceptional work, the exhibition, the exhibition includes Moores sculptures and drawings, along with paintings by Bacon. Although they had different
styles, works of Bacon and Moore were exhibited together in 1960, at the end of World War II. This exhibition also aims to discover certain themes in the
works and provide new insight for these two artists by underlining important effects and experiences shared. The eloquent drawings of shelters in Moores
first exhibition as a war artist he opened back in the early 40s earned him rightful recognition. With the majority of works from 50s and 60s, this is one
of the most intriguing exhibitions that will be held in Ashmolean. It is difficult to picture in this exhibition of Francis Bacon and Henry Moore, the shapelyedged, recumbent mother earth pieces of the sculptor, presented side by side with the painters works which reflect his tortured soul through diseased
animal maws and maimed limbs. But, even though the reaction from modern artists to this big exhibition is completely different, it is obvious that the
driving force for war experienced Picasso, Michelangelo and Rodin to the new directions which adapts to the modern world was the human figure.
20. yzyl bat sanatnn iki devi unutulmaz insan figrlerinden oluan bu byk sergi iin bulutu. Nadir grlen ilerindeki inanlmaz paralellikleri ortaya
karan grntlerin yer ald sergide Baconun resimleri yannda Mooreun heykelleri ve izimleri de yer alyor.
Farkl tarzlarda almalarna ramen Bacon ve Mooreun ileri 1960ta kinci Dnya Sava sonunda bir arada sergilendi. Bu yeni sergi de paylalan
nemli etkileri ve deneyimleri vurgulayarak almalardaki belirli temalar kefetmek, bu iki sanat iin yeni bir bak as getirmeyi amalyor. Mooreun
1940l yllarn balarnda bir sava sanats olarak at ilk sergide yer alan dokunakl barnak izimleri ona hakl bir n getirmitir. 1950lerde ve 1960larda
kalma eserlerin ounluu ile bu sergi Ashmoleanda dzenlenecek en iddial sergilerden biri. Francis Bacon ve Henry Moore ortaklndaki bu sergide,
heykeltran dzgn kenarl uzanm toprak anal ileriyle, ressamn hastalkl hayvan azlar ve sakat organlarndan oluan, ikence eken ruhunu yanstt
ilerini aslnda bir arada hayal etmek zor. Ancak bu byk sergiye modern sanatlarn tepkisi tamamen farkl olsa bile, yine de aka grlyor ki sava
yllarndan deneyimli, Picasso, Michelangelo ve Rodini de modern dnyaya uyum gsteren yeni ynlere insan figr itmiti.

Magritte: The Mystery of the Ordinary, 19261938


MoMA
Until January 12 / 12 Ocaka kadar
Collectively organized by Menil Collection, the Art Institute of Chicago and Museum of Modern Arts, the exhibition comprises images of Ren Magritte,
focusing on the surrealist breakthrough of the 20th century.
Magritte presents in his historical and biographical works, which also carry traces of the war began on 1926 and lasted until 1938 with the eruption of
World War II, strategies and themes from the most creative and experimental era of his productive career. Magritte takes his place among progressive
artists on these years in which the objects represent nameless, and governments represent semiconscious visions with images of transformation and
metamorphosis. With photographs, magazines and commercial works which gathers together almost 80 paintings, collages and object, the exhibition
provides new insight about the identity of the modern painter and surrealist artist Magritte.
Menil Collection, Houston ve Chicago Sanat Enstits ile Modern Sanat Mzesi tarafndan ortaklaa dzenlenen sergide Ren Magrittein 20. yzyln
srrealist atlmna odaklanan olaanst grntler bulunuyor.
Magritte, 1926 ylnda balayan ve kinci Dnya Savann patlak vermesiyle 1938e dek sren savatan da derin izler tayan tarihsel ve biyografik ilerinde
retken kariyerinde en yaratc ve deneysel dneminden stratejiler ve temalar sunuyor. Dnm, bakalam imgeleriyle, nesnelerin isimsiz ve devletlerin
yar uyank vizyonlar temsil ettii bu yllarda Magritte yeniliki sanatlar arasnda yer alr.

18

19

FAIRS / FUARLAR
Artissima
November 8-10 / 8-10 Kasm

NEW ENTRIES 2013, Gea Casolaro, Still here AngelA


Pont Alexandre III, 2009/2013, Courtesy The Gallery
Apart, Roma

The Artissima, which will be organized on November 8-10 in Torino, with the art direction of Sarah
Cosulich Canarutto, has a special place among international fairs. The fair, which was developed
in 2012 for new initiatives and projects and was established on achieving quality while preserving
cultural talents, now has its international scope extended. Drawing attention from professionals and
attracting great interest by the broad participation of public and press, Artissima will be held this year
with the participation of 190 galleries in total; 60 from Italy, and 130 from other countries.
8-10 Kasm tarihleri arasnda Sarah Cosulich Canaruttonun sanat ynetiminde Torinoda yaplacak
olan Artissimann uluslararas fuarlar arasnda zel bir yeri var. 2012 ylnda, yeni giriimler ve projeler
iin gelitirilmi ve kltrel yetenekleri koruyarak kalite zerine kurulu fuarn,uluslararas kapsam
geniletildi. Profesyonellerin ilgisini eken, halkn ve basn mensuplarnn da youn katlmyla youn
ilgi gren Artissima, bu yl talyadan 60, dier lkelerden 130 olmak zere toplam 190 galerinin
katlmyla gercekleecek. Bu galeriler, fuardaki be ana blmde sanat ve eserlerini sanatseverle
buluturacak.

Shanghai Art Fair


November 14-17
14-17 Kasm

BRAHM RS
24.10. - 24.11.2013

With its long history and its high degree of internationalization, Shanghai Art Fair is Asias
most famous shopping place for art. Presenting a magnificent art activity for both domestic
and international collectors, the fair, same as before, will be held at Shanghaimart, on
November 14-17. First held in 1997, the Shanghai Art Fair has been a successful bridge
worldwide, and filled the gap between public and art.
angay Sanat Fuar uzun gemiiyle Asyann en bilinen sanat etkinlii. Yurtii ve
yurtdnda koleksiyonerlere uluslararas bir bak as sunan fuar, daha nce olduu gibi
Shanghaimartte 14-17 Kasm tarihleri arasnda yaplacak. 1.000den fazla sanat galerisi,
50den fazla lke ve blgelerden gelen ajanslar son 12 yl boyunca bu canl sanat fuarna
katlmaya devam ediyor.

Art Basel Miami


December 5-8 / 5-8 Aralk 2013
In 2013 the Art Basel show in Miami Beach will feature 258 leading international galleries, drawn from 31 countries
across North and South America, Europe, Asia, and Africa. The show presents artwork ranging from Modern
masters to the latest contemporary works and includes, for the first time in Miami Beach, a sector dedicated to
editioned works.
8-10 Kasm tarihleri arasnda Sarah Cosulich Canaruttonun sanat ynetiminde Torinoda yaplacak olan
Artissimann uluslararas fuarlar arasnda zel bir yeri var. 2012 ylnda, yeni giriimler ve projeler iin gelitirilmi ve
kltrel yetenekleri koruyarak kalite zerine kurulu fuarn,uluslararas kapsam geniletildi. Profesyonellerin ilgisini
eken, halkn ve basn mensuplarnn da youn katlmyla youn ilgi gren Artissima, bu yl talyadan 60, dier
lkelerden 130 olmak zere toplam 190 galerinin katlmyla gercekleecek. Bu galeriler, fuardaki be ana blmde
sanat ve eserlerini sanatseverle buluturacak.

Sean Scully
Figure (5/20/04), 2004
Copyright of the Artist, Courtesy of
Galerie Lelong, Paris

20

ERCAN YILMAZ
28.11. - 5.1.2014

P: +90 (216) 369 80 50


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www.art350.com

BOOTH: LK705

Badat Caddesi No: 350


ARTIST:
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Ekin Ko
stanbul/Turkey
Brigitte Spiegeler
21

Humboldt
Forum
Manfred Rettig

Humboldtforum
Wettbewerb, Bauliches
Corporate Design
Holzer Kobler
Architekturen Zrich,
Eingangshalle 2
Holzer Kobler
Architekturen Zrich

The Humboldt Forum makes far more than just a museum of the Berlin
Palace. A forward-looking dialogue of world cultures is to take place
here, featuring major exhibitions with overarching themes, readings, film,
theatre, dance and the many other opportunities offered by museums,
the library and the university. The result is a new house of the people
with a vibrant and imaginative programme of events.

Humboldt Forum, Berlin Saraynn bir mzesi olmaktan ok daha fazlas.


Kapsayc temalar olan byk sergiler, okumalar, film, tiyatro, dans
eserleri ve mzeler, ktphane ve niversite tarafndan sunulan birok
almay ieren, ileri grl bir dnya kltrleri diyalou yaanacak
burada. Sonu ise enerjik ve yaratc etkinlik program olan, yeni bir halkn
evi olacak.

The reconstructed palace with its baroque faades will be rebranded in


contemporary style as a showcase for world cultures and for the history
of knowledge in the spirit of the Humboldt brothers. This is to be the
future Humboldt Forum. The Ethnological Museums non-European
collections and the Museum of Asian Art will be moved from Dahlem
into the centre of the capital. This will also ensure greater international
attention for Berlins world-class collections.

Barok cepheleriyle yeniden dzenlenen saray, dnya kltrleri ve bilgi


tarihi iin bir vitrin olacak ekilde, Humboldt kardelerin ruhuyla, ada
stilde yeniden markalandrlacak. Gelecein Humbolt Forumu byle
olacak. Etnoloji Mzesinin Avrupa temelli olmayan koleksiyonlar ve Asya
Sanat Mzesi Dahlemden, bakentin merkezine tanacak. Bu mekn
deiikliinin Berlinin birinci snf koleksiyonlarna ynelik uluslararas ilgiyi
artracana phe yok.

The future Humboldt Forum will be a place where the monuments of


European art and cultural history housed on the nearby Museum Island
can engage in a well-informed and readily comprehensible dialogue with
other world cultures. Supplemented by a series of special exhibitions held
by the Humboldt University in Berlin and the Central and Regional Library
in Berlins World of Languages initiative, a well-judged concentration of
art and culture is created in a prominent urban position a rare event in
any world metropolis.

Gelecein Humboldt Forumu, Avrupa sanatnn abideleri ile yaknlardaki


Mzeler Adasnda muhafaza edilen kltrel tarihin, dier dnya kltrleri
ile iyi bilgilendirilmi ve rahatlkla kavranabilecek bir diyalog kurabilecei
bir mekn olacak. Berlindeki Humboldt niversitesi ve Berlindeki
World of Languages inisiyatifinin Merkez ve Blgesel Ktphaneleri
tarafndan dzenlenecek bir dizi zel sergi ile tamamlanan bu etkinlik,
nemli bir kentsel meknda, iyi tasarlanm bir sanat ve kltr toplamas
gerekletirecek - dnyadaki metropoller iin bile nadir bir olay.

The Humboldt Forum at the Berlin Palace will be a focal point for
Germanys capital. The composition of the content which represents
the real mission of the new structure must therefore be exemplary and
forward-looking.

Berlin Sarayndaki Humboldt Forum, Almanyann bakenti iin bir odak


noktas hline gelecek. Bu yzden, yeni yapnn gerek grevini temsil
eden ieriin kompozisyonu emsal niteliinde ve ileri grl olmaldr.

The commissioning body, the Berlin PalaceHumboldt Forum


Foundation, worked closely with its partners the Prussian Cultural
Heritage FoundationNational Museums in Berlin, the Central and
Regional Library in Berlin and the Humboldt University in Berlin. The plan
is to create a permanent exhibition on the theme of The Historic Heart of
Berlin Identity and Reconstruction. The Foundation is also the point of
contact for sponsors and for societies involved in supporting the Berlin
PalaceHumboldt Forum project.

22

ARMAGGAN
LAN

Kabul kurulu, Berlin SarayHumboldt Forum Vakf, ortaklar Prusya


Kltr Miras Vakf, Berlindeki Ulusal Mzeler, Berlin Merkez ve Blgesel
Ktphaneleri ve Berlindeki Humboldt niversitesi ile yakn ekilde alt.
Plan ise Berlinin Tarihsel Kalbi Kimlik ve Yeniden Dzenleme temasn
kalc bir ekilde tayan bir sergi yaratmak. Vakf, ayn zamanda Berlin
Saray-Humboldt Forum projesini destekleyen sponsorlar ve derneklerin
irtibat noktas niteliinde.

23

Canan Tolon in Parasol Unit


Canan Tolon, Parasol Unitte
Next January, Parasol Unit will host the personal
exhibition of Canan Tolon. Recently added to the
British Museum collection, the artists 33-piece
drawing series, titled Futur Imparfait, will also
debut in the exhibition.

Gemisiz Gelecek iin desenler / Drawings for Futur


Imparfait,1986-1999, mylar zerine mrekkep ve kalem /
ink wash and crayon on mylar, 36x28 cm. / 14x11 inches

simsiz / Untitled, 1990, kark teknik / mixed media, 61x71 cm. / 24x28 inches

Canan Tolons works will be displayed at Parasol Unit, a non-profit


institution in London, in January. The curator of the exhibition, also the
founder of Parasol Unit, Ziba Ardalan, first saw the artists work in the
exhibition she had at Galerie Nev. Impressed by the use of space and
layers in the artists paintings, she also obtained information on her early
works. Then she was thoroughly convinced to have the artists work
displayed at Parasol, in an exhaustive exhibition ranging from her early
works to her late ones.
In the exhibition, Ziba Ardalan will include a wide range of Canan Tolons
works. The first gallery will host the artists early works, in which she
used all sorts of materials in collages and layers. She also grow grass
on some of her works during the exhibition that by the end of show
could turn brown. This process of transformation, maybe decay alludes
to time lapsed which is very important in her work. says the curator,
then indicating that these works reflect on the conflict between reality
and illusion. In the second gallery, we show a series of Glitch paintings
and the amazing sense of space through layering paint. says Ardalan.
She indicates that the use of space and layers on the canvas of Canan
Tolons work points to Piranesis work, by whom the artist also was
taken. In the upstairs gallery, a group of rust works will be displayed, also

24

nmzdeki Ocak aynda, Parasol Unit Canan


Tolonun kiisel sergisine ev sahiplii yapacak.
Sergide, ayn zamanda British Museum
koleksiyonuna katlan, sanatnn 33 iziminden
oluan Futur Imparfait adl serisi de ilk kez
izleyicilerle buluacak.

Canan Tolonun eserleri Ocak aynda Londrada bulunan kar amac


gtmeyen kurum Parasol Unitte sergilenecek. Serginin kratr, ayn
zamanda Parasol Unitin kurucusu Ziba Ardalan, sanatnn eserleriyle
ilk kez Galeri Nevdeki sergisi srasnda karlam. Ardalan, sanatnn
tuvallerindeki yzey ve katmanlarnn kullanmndan etkilenerek erken
dnem ileri zerine de bilgi edinmi. Parasolda, sanatnn erken
dneminden balayarak bugne kadar ilerini sergilemeye karar vermi.
Ziba Ardalan, sergide Canan Tolonun ilerinden geni bir dneme yer
verecek. Serginin ilk blmnde sanatnn, kolaj ve katmanlar halinde
birok malzemeyi bir arada kulland erken dnem ileri yer alyor olacak.
Ayrca, sergi esnasnda baz eserlerinin zerine, serginin sonuna doru
renkleri kahverengiye dnen imenler ekti. Bu dnm, belki de rme,
eserlerinin ok nemli bir paras olan zamansal dnme iaret ediyor.
diyen kratr ayn zamanda bu ilerin gerek ve ilzyon arasndaki
atmay da yansttn belirtiyor. Serginin ikinci blmnde, Glitch
resimlerini ve yine birok katmanla, alan kullanmnn da katmanlatn
gryoruz diyor, Ardalan. Canan Tolonun ilerinde, tuvallerdeki yzey
ve katman kullanmn, sanatnn da etkilendii Piranesinin eserlerine
yakn buluyor. Mekann st katnda, bir grup pas ii gstereceiz. Bu
iler de yine, zamansal bir dnme iaret ediyor. Galerinin daha dar

Time After Time, 2012, Installation view from University of Michigan - Institute for the Humanities / Michigan niversitesi - Institute for the Humanitiesden sergi grnts

referring to time lapsed. She indicates that an installation titled Time


After Time, a black and white work made of many smaller pieces put
together, will be shown in the narrower part of the upstairs gallery. We
hope that the contrast between light and darkness in these works should
be a unique experience for the viewers.
Futur Imparfait will be part of the exhibition and I am so grateful to
British Museum to have made the loan possible. Venetia Porter has
been very supportive. This is a very important, very personal group of
drawing and has an incredible and visceral power. These 33 drawings
were illustrated in a book that Canan published about 15 years ago by
the same title. Anyone interested in the work of Canan and even anyone
interested in visual art should read this book. This work was crucial to the
success of the show and I am so happy and feel privileged that they are
included in Canans exhibition at Parasol.
Recently added to the British Museum collection, Futur Imparfait,
Canan Tolons 33-piece sketch series is also among the works that will
be displayed in the exhibition. Published into a book 15 years ago by the
artist, this work is deemed a must read and see for everyone interested
in visual art says Ardalan.

olan st blmnde Time After Time adnda, birok kk iten oluan


siyah ve beyaz bir enstalasyon gstereceklerini belirtiyor. Buradaki k
ve glge ilikisinin ilikisinin izleyenler iin de farkl bir deneyim olacan
dnyoruz.
Canan Tolonun British Museum koleksiyonuna yeni eklenen, 33
desenden oluan Futur Imparfait* de sergide gsterilecek olan eserler
arasnda. On be yl nce, sanatnn bir kitap haline getirdii bu i iin
herkesin okumas ve grmesi gereken bir i diyor Ardalan.

Eda Kehale Argun

Ebru Yetikin

Georg Scholhammer

CI Dialogues

Derya Ycel

Edelbert Koeb

Jack Pam

Vanessa Muller

Jean Conrad Lemaitre

NEW MEDIA: THE FUTURE OF ART, THE ART


OF THE FUTURE
YEN MEDYA: SANATIN GELECE,
GELECEN SANATI
DIALOG: ART FROM VIENNA
DYALOG: VYANADAN SANAT
NEW HORIZONS: RUSSIA
YEN UFUKLAR: RUSYA

CI Dialogues, the conferences series of Contemporary Istanbul, builds


this years theme on the unity of new technologies with art. For three
days, new media artists, collectors, theoreticians and institution directors
will come together in the program, entitled The Future of Art, The Art
of the Future. Additionally, the program includes; contemporary art
from Russia, this years New Horizons guest country, and Austrian
contemporary art. The program, which will be aired live on Bloomberg
HT, in November 8, will bring together experts on art markets.
CI Dialogues will begin on the opening day of the fair, with the artist
speech by Hermann Nitsch. As part of the new media program, Turkish
academician and an expert on this field, Ebru Yetikin, and artists
Canda iman and Ozan Trkkan will give the first speech. The director
of Art Tactic website, Anders Petterson, directors of online art platforms,
such as ArtNetWorth, Sedition, and ikono.tv; Roy Halstead, Rory Blain
and Jack Pam will review the new forms of art viewing, purchasing and
displaying, progressing with the rise of new technologies. Derya Ycel
and Lanfranco Aceti will converse with Ceren Akman, curator of Plugin,
on new media curating. Owners of one of the most comprehensive
archives on new media, collectors Isabel and Jean Conrad Lemaitre will
talk with author and critic Louisa Buck on their collection.

26

Contemporary Istanbulun konferans serisi CI Dialoues bu yl temasn


yeni teknolojilerin sanatla bulumas zerine kuruyor. Sanatn Gelecei,
Gelecein Sanat balkl programda gn boyunca yeni medya
sanatlar, koleksiyonerleri, teorisyenleri ve kurum direktrleri bir aray
gelecek. Bunun yan sra program dahlinde; CIn bu yl Yeni Ufuklar
konuk lkesi Rusyadan gncel sanat, ayrca Avusturya gncel sanat da
konuulacak. Bloomberg HTnin 8 Kasm gn canl olarak yaynlayaca
program ise sanat piyasas zerine uzman isimleri bir araya getirecek.
CI Dialogues, fuarn n al gn Hermann Nitschin sanat
konumasyla balayacak. Yeni medya program kapsamnda ise;
Trkiyeden bu alanda uzman ve akademisyen Ebru Yetikin, sanatlar
Canda iman, Ozan Trkkkan ilk konumay gerekletirecek. Art
Tactic web sitesi direktr Anders Petterson, ArtNetWorth, Sedition,
ikono.tv gibi online sanat platformlarnn direktrleri; Roy Halstead, Rory
Blain ve Jack Pam de yeni teknolojilerle gelien sanat izleme, alma
ve gsterim biimlerini deerlendirecekler. Derya Ycel ve Lanfranco
Aceti, yeni medya kratrl zerine Plugin direktr Ceren Arkman
ile konuacak. Dnya apnda en geni yeni medya arivine sahip
koleksiynerlerden Isabel ve Jean Conrad Lemaitre ifti, yazar ve
eletirmen Louisa Buck ile koleksiyonlar zerine sohbet edecek.

As part of this years New Horizons, the program welcomes two expert
speakers on regional art to talk about and discuss the contemporary
art on this years guest, Russia. The guests of the program are curator
and author Iara Boubnova and the director of Modern Arts Museum of
Moscow, Vasili Tsereteli.
On Bloomberg HT live broadcast, Christies consultant for Turkey, Eda
Kehale Argun, Vice Chairman of the Management Board in Alarko and
collector Leyla Alaton, and General Coordinator of Contemporary Istanbul
Prof. Dr. Hasan Blent Kahraman will review the situation of art market in
Turkey and worldwide.
In collaboration with Austrian energy company OMV, one of the sponsors
of this years fair, a panel entitled Dialogue: Art from Vienna will be held.
Founding editor of Springerin Magazine Georg Schlhammer, former
director of MUMOK and curator Edelbert Kb and assistant director of
Kunsthalle Wien, Vanessa Muller will attend to the panel as speakers.

Program bu yl Yeni Ufuklar kapsamnda konuk lke Rusyadan gncel


sanat konumak ve tartmak zere blge sanat zerine uzman iki
konumacy arlyor. Kratr ve yazar Iara Boubnova ve Moskova
Modern Sanatlar Mzesi direktr Vasili Tsereteli programn konuklar.
Bloomberg HT canl yaynnda, Christies Trkiye danman Eda Kehale
Argun, Alarko Ynetim Kurulu Bakan Yardmcs ve koleksiyoner
Leyla Alaton ve Contemporary Istanbul Genel Koordinatr Prof. Dr.
Hasan Blent Kahraman Trkiyedeki ve dnyadaki sanat piyasasn
deerlendirecekler.
Bu yl fuarn sponsorlarndan Avusturyal enerji irketi OMV ie ibirlii
kapsamnda Diyalog: Viyanadan Sanat adl panel gerekleecek. Panele;
Springerin Dergisi kurucu editr Georg Schlhammer, MUMOK eski
direktr, ve kratr Edelbert Kb ve Kunsthalle Wienin yardmc direktr
Vanessa Mueller konumac olarak katlacaklar.
Detayl program iin: contemporaryistanbul.com

For the program details: contemporaryistanbul.com/programming

27

A Bunker for
Contemporary Art
Interview: Bilgen Cokun

Tomas Saraceno
Flying Garden / Air-Port City / 32SW 2007
Photo: Nosche

Michael Sailstorfer
Zeit ist keine Autobahn, Frankfurt, 2008
Photo: Nosche

I read in one of your interviews that you started to collect art


with Wolfgang Tillmannss photography already in the 90s. Can
we see the collector-artist relationship as a symbiosis or is there
always a winner party?
A symbiosis is not my ideal, some friction makes a relationship
more exciting. But as a collector I have a responsibility for the work
of an artist.
Christian and Karen Boros, Photo: Wolfgang Stahr

Karen and Christian Boros own one of the most exciting and impressive private contemporary art
collections. The exhibition space which is a former Nazi air raid shelter built in 1942 creates an
exceptional surrounding. The 3,000 square meter bunker was deconstructed and transformed into
an exhibition space by architect Jens Casper. The exhibition rooms in different shape and size create
a unique experience of the artworks exhibited as the remarks of the past seventy years are visible on
the walls. Boros exhibit artworks of established artists such as Olafur Eliasson and Elizabeth Peyton as
well as young artists such as Alicia Kwade and Michael Sailstorfer. I had the chance to see the current
exhibition of Boros Collection during one of their invitations. Today we are talking about their passion
for art, their contemporary art collection, the fast changing art world and how it effects collecting art.
28

What are the most important qualities while deciding to buy an


artwork for you?
A work of art has to be irritating and disturbing, it should challenge
my perception of art and life. Its a gut feeling that makes me want
to have it. I am a visual person and the visual power is important.
Do you face with the dilemma of passion versus investment while
buying an artwork? If yes, how do you solve it?
If you have passion its hard not to follow it.
You changed the part of your private art collection exhibited
in the bunker in September 2012. How do you curate your
exhibition and decide which artworks to share with public?
Our starting point is not a thematic one. The process of selecting
begins a long time beforeit can be a moment when my wife and

I decide to buy works from an artist. We get so absorbed that it is


immediately decided that we will show it in the next exhibition. And
we prefer to show groups of works, so we select the artists whose
works we want to see again and whose approach arises questions
we want to share. For example, for the current exhibition we
choose Alicia Kwade and Klara Lidn whose works we acquired not
long ago. The works tangle very different themes. With Wolfgang
Tillmanns being one of the first artists in the collection we were
curious to see his portraits and still lives again in the context of this
younger generation.
The artworks of Olafur Eliasson who employs optical illusion as
a major theme and works together with architects and engineers
besides the art related creatives, constitute an important part of
your collection. Is it related to your fascination to see science in
the context of art?
OE challenges the way we see and experience life around us, not
only nature but also our everyday surrounding. Its not the scientific
phenomena within nature but the sheer beauty we are forced to
discover.
You exhibit your art collection not in a white cube but in a
former Nazi air raid shelter built in 1942, which changed its

29

Manon & Benjamin Awst & Walther


Latent Measures (Component 17), 2011
Photo: Nosche

function by time: bunker, textile warehouse, warehouse for


imported tropical fruits from Cuba, fetish techno club, an erotic
trade fair and finally an exhibition space. You didnt prefer to
convert this historically meaningful space into a white cube. The
visitors can see the remarks of the time passed in these rooms
on the walls, such as the neon paints and graffiti on the walls.
Do you believe that this serves as a stronger background for the
artwork and brings the artwork to a different light?
First of all, it was important to us to keep the history of the
building, the different layers of the last seventy years that were so
extreme in the city of Berlin. With its claustrophobic, rigid structure
the bunker still makes you experience not only what it must have
been like to find protection here but also the frame of mind behind
the architects. Hopefully, it works as a negative example. We tried
to find a balance between the historical background and the space
for art, keeping some of the original rooms and making some as
neutral as possible. It was an experiment which was strongly
supported by the artists who confirmed that they would help to
install their works. Looking at the installation now some works
become more intense and powerful. Most works are alone in one
room, its a concentration we dont get to experience any more. For
example, the room of Thomas Ruff. Inside you forget about all the
other works in the bunker, you are just there looking at the stars.
Being a collector in the digital age, how did it effect art buying
and presentation of a collection?
Everything is faster, we see more art than ever, we see a collection
without travelling, we buy at an art fair without being there.

30

But its not satisfying. At the end of the day to experience a good
exhibition in real time and space is what makes me happy.
Christies has recently sold a painting of Basquiat for $48 million
at its New York sale. Museums mostly cannot afford the highly
priced art works and therefore it looks like they lost the battle
with the private collectors. Doesnt this situation put the public
view of artwork into danger?
One day every work of art will find its way into the museum
Which upcoming artists do you follow right now?
My wife and I were impressed by the first show of Justin Matherly
at Johann Knig. His sculptures confront us with creatures of
prehistorical sites and raise questions about art production of
ancient communities in relation to our time. The Brazilian artist
Adriano Costa who was shown at abc in Berlin also drew our
attention.
The pace and direction of the artistic production is changing
nowadays constantly. Which city or region do you think has an
emerging and progressive art scene right now? And which are the
upcoming ones?
Our next travels will take us to Brazil and Columbia as we are
curious about the art scene there. Istanbul as the hinge between
East and West will surely be a growing art production. And though
I am not so familiar with the Middle East I believe that we will see
more interesting artists from there. But of course, New York and
Berlin will remain their central position.

ANTONIO COSENTINO
MARMARADAN GDENLER
( B R K A I H K AY E S )
14 KASIM -26 ARALIK 2013

G AY R E T T E P E M A H . H O S O H B E T S K . S E L E N U M PA N O R A M A R E S D E N C E
M A A Z A 1 G AY R E T T E P E - S TA N B U L 0 2 1 2 3 5 6 1 0 5 3 5 5 0 2 1 2 2 7 0 7 0 6 4
PAZAR HAR HER GN 10.00-19.00

Gncel Sanata Bir Snak


Sylei: Bilgen Cokun

Karen ve Christian Boros, en


heyecan verici ve etkileyici gncel
koleksiyonlarndan birine sahip. Sergi
mekn, 1942de bir Nazi hava saldrs
sna olarak ina edilmi. 3000
metrekarelik snak, mimar Jens Casper
tarafndan dekonstrksiyona tabi tutuldu
ve bir sergi meknna dntrld.
Farkl ekil ve boyutlardaki sergi odalar,
sergilenen eserler iin esiz bir deneyim
yaratrken, duvarlarn zerinde de geen
yetmi yln izleri grlebiliyor. Boros
burada, Olafur Eliasson ve Elizabeth
Peyton gibi tannm sanatlara ait
eserlerin yan sra, Alicia Kwade ve
Michael Sailstorfer gibi gen isimlerin
eserlerini de sergiliyor. Dzenledikleri bir
davet srasnda, Boros Koleksiyonuna
ait mevcut sergiyi grme ans buldum.
Ardndan sanata olan tutkular, gncel
sanat koleksiyonlar, hzla deien sanat
dnyas ve bunun sanat koleksiyonerlii
zerine etkilerini konutuk.

Ai Weiwei
Tree, 2009-2010
Photo: Nosche

nceki rportajlarnzdan birinde, koleksiyonerlie 90l yllarda,


Wolfgang Tillmannsa ait fotoraflarla baladnz okudum.
Koleksiyoner-sanat ilikisini bir simbiyoz olarak grebilir miyiz
yoksa her zaman kazanan bir taraf var mdr?
Bir simbiyoz benim iin ideal deil, biraz srtme bir ilikiyi
daha heyecanl hle getiriyor. Fakat bir koleksiyoner olarak, bir
sanatnn ilerine kar bir sorumluluum mevcut.

hayat algma meydan okumaldr. Bir esere sahip olma hissi iime
douyor. Grsel bir insanm, bu yzden grsel g nemli.

Bir sanat eserini almaya karar vermenizi salayan en nemli


zellikler nelerdir?
Bir sanat eseri sinir bozucu ve rahatsz edici olmaldr, sanat ve

Koleksiyonunuzun snakta sergilenen ksmn 2012 Eyllnde


deitirdiniz. Serginizin kratrln nasl yapyorsunuz
ve hangi eserleri insanlarla paylaacanza nasl karar
veriyorsunuz?

32

Bir eser satn alrken tutku ve yatrm kar karya getiren


ikilemi yayor musunuz? Eer yayorsanz, nasl stesinden
geliyorsunuz?
Eer bir tutkunuz varsa, onu takip etmemek zordur.

Thomas Scheibitz, Tinte und Zucker, 2007; Carlo Crivelli, 2006, Photo: Nosche

Tematik bir balang noktamz yok. Seme sreci ok ncesinde


balyor. Benim ve karmn bir sanatnn eserlerini almaya karar
vermemiz bile bir balang saylabilir. Esere yle kaplyoruz ki
gelecek sergide bulunmasna o anda karar veriyoruz. Eserleri
gruplar olarak sergilemeyi tercih ettiimiz iin, ilerini tekrar
grmek istediimiz ve yaklamlar, paylamak istediimiz
sorular douran sanatlar seiyoruz. rnein, mevcut sergi
iin eserlerini ksa sre nce edindiimiz Alicia Kwade ve Klara
Lidni tercih ettik. ler ok farkl temalar arasnda dolayor.
Eserlerini koleksiyona kattmz ilk sanatlardan olan Wolfgang
Tillmannsn portrelerini grmeyi ok istiyorduk ve kendisi bu gen
nesil balamnda hlen yaamakta.
Asl temalarndan biri olarak optik illzyonu kullanan ve
sanatlarn yan sra mimar ve mhendislerle alan Olafur
Eliassonun eserleri koleksiyonunuzun nemli bir blmn
oluturuyor. Bunun bilimi sanat balamnda grme meraknz ile
bir ilgisi var m?
Olafur Eliasson etrafmzdaki hayat gr ve deneyimleme
eklimize meydan okuyor; yalnzca doaya deil, gnlk ortamlara
da. Kefetmek zorunda brakldmz ey doa iindeki bilimsel
olgular deil, katksz gzellik.
Koleksiyonunuzu beyaz bir kpn iinde deil, 1942 ylnda ina
edilen ve zaman iinde snak, tekstil deposu, Kbadan ithal
edilen tropik meyveler iin bir depo, feti tekno klb, erotik
ticaret fuar ve son olarak bir sergi mekn ilevlerini gren,
eski bir Nazi hava saldrs snanda sergiliyorsunuz. Tarihsel
bir anlam tayan bu mekn, beyaz bir kbe dntrmek
istemediniz. Ziyaretiler oda duvarlarndaki gemi zamanlara
ait izleri grebiliyorlar; neon boyalar ve duvardaki grafitiler gibi.
Bunun eserler iin daha gl bir arka plan grevi grdn ve
eserlere farkl bir k tuttuunu dnyor musunuz?
ncelikle, binann tarihini, Berlin ehrinin u bir ekilde geirdii
70 yln farkl tabakalarn korumak bizim iin nemliydi.
Klostrofobik, kat yaps ile snak, orada korunabilmenin nasl
bir ey olduunun yan sra, mimarlarn arkasndaki dnce
yapsn da, hlen tecrbe edebilmenizi salyor. Negatif bir rnek
tekil etmesini umuyoruz. Orijinal odalardan bazlarn muhafaza
ederek ve bazlarn olabildiince yansz tutarak, tarihsel arka plan
ve sanat mekn arasnda bir denge bulmaya altk. Eserlerinin
kurulmasna yardm edecei kesinleen sanatlar tarafndan
tamamen desteklenen bir deneydi. Enstalasyona baktmda, baz

Cerith Wyn Evans, Untitled, 2008, Photo: Nosche

eserlerin daha youn ve gl bir hle geldiini gryorum. ou


eser bir odada tek bana duruyor; bu, artk tecrbe etme ans
bulamadmz bir younlama. Thomas Ruff n odasn ele alalm.
Odann iindeyken, snan iinde bulunan dier tm eserleri
unutuyor ve yalnzca orada durup, yldzlar seyrediyorsunuz.
Dijital ada bir koleksiyoner olmak, koleksiyon alm ve
sunumunu nasl etkiledi?
Her ey daha hzl, daha nce olmad kadar fazla eser gryoruz,
seyahat etmeden bir koleksiyonu gezebiliyoruz, bulunmadmz
bir sanat fuarnda alveri yapabiliyoruz. Ama yine de tatmin
edici deil. Ancak her ey gz nnde bulundurulduunda, beni asl
mutlu eden ey, iyi bir sergiyi, gerek zaman ve meknda tecrbe
etmek.
Christies, geenlerde yapt New York mezadnda Basquiata
ait bir tabloyu 40 milyon dolara satt. Yksek fiyatl eserleri
karlayamayan mzeler, kiisel koleksiyon oluturanlarla
girdikleri mcadeleyi kaybetmi gibi duruyorlar. Bu durum, sanat
eserlerinin kamuya akln tehlikeye atmyor mu?
Bir gn, tm sanat eserleri mzelerde sergilenecek...
Ykselen sanatlar arasndan takip ettiiniz isimler hangileri?
Karm ve ben, Justin Matherlynin Johann Knigde dzenledii
ilk sergiden ok etkilendik. Heykelleri, bizi tarih ncesi alanlarn
yaratklar ile kar karya getiriyor ve zamanmz ile balantl
olarak, antik toplumlardaki sanat retimi ile ilgili sorular soruyor.
Eserleri Berlindeki abcde sergilenen Brezilyal sanat Adriano
Costa da dikkatimizi eken isimlerden.
Sanatsal retimin temposu ve yn bugnlerde hzla deiiyor.
Sizce hzla gelien ve ilerleyen sanat ortamlarna sahip olan ehir
veya blgeler hangileri? Ykselen sanat ortamlarnn nerede
olduunu dnyorsunuz?
Gelecekteki seyahatlerimizde Brezilya ve Kolombiyaya urayacaz
ve bu lkelerdeki sanat ortamlarn merak ediyoruz. Dou ve Bat
arasndaki dayanak noktas olarak stanbulun da gelien bir sanat
retim merkezi olaca kesin. Her ne kadar blgeye pek aina
olmasam da, Orta Doudan kan ilgi ekici sanatlar greceimize
de inanyorum. Fakat tabii ki, New York ve Berlin merkezi
pozisyonlarn koruyacaklar.

33

Hermann Nitsch
Interview: Burcu Fikretolu

Herman Nitsch, born in 1938 in Vienna, is one of the most controversial figures in contemporary art. His
large canvases, which remind of flesh and dismembered bodies, his bloody performances are shown in
the most important museums of the World. Art critiques have placed him in an important place in art
history and his supporters follow him with almost a religious devotion. His 50 year career has always
been plagued by strong objections. He has been called blaspehemous, immoral, obscene and was
even arrested for his Orgy Mystery Theater, a performance art group that staged nearly 100 ritualistic
performances from the earlyn 60s tok the late 90s. We discussed with him his personal history, its effects
on his artitic production, his individual projects before and after the Actionists and his performance to
take place at Contemporary Istanbul this year.

34

Do you attach more importance to the process and the execution,


than to the end result presented to the viewer?
Actually, the movement itself, the dramatic process of painting is
very critical. Its usually more important than the result. But, at the
same time, you paint a very nice picture and get a good result. So,
both of them are important. Whats new is the transformation of the
process into a truly artistic activity. In the past, you could watch old
masters while painting. This is a very interesting situation. But, in
this area, where subconscious, psychology, expression and autoanalysis play roles of such importance, this dramatic process turns
into an important and observable structure. Thats why its called
action painting.

Its possible to say that youve surpassed Wiener Aktionismus,


for which youre a founding member. Did you know, from the
start, that you would continue individually at some point?
Ive already been developing my own theater project when I was
18. Back then, I wanted to write a somewhat pioneering play,
develop a drama, equivalent of a religious ceremony. I have nothing
but developing my theater since then. My colleagues aspirations
were also similar in nature. Our common ground was reflecting
true stories to the stage. Action is an example of the sudden
transformation of formal painting into a dynamic, dramatic process.
Due to our common areas of interest, the similarities between the
problems in our lives, we experienced a period where we all worked

35

What are your opinions on politics? Certainly, one cant isolate


oneself from the experience one encountered, but Id like to ask
anyway; how were you affected by the losses and traumas?
After two horrible world wars, I didnt want anything to do with
politics and I still dont. I was always interested in philosophy with
regard to my work. Im opposed to politics, as the shallow structures
of political ideas cause blood and demise. Ive spent my childhood in
the times of war and the horrible post-war period following them.
Back then, I had to give the Hitler salute. I was hearing political
parties, constantly cursing each other through media.
Why did you study graphic design? Isnt this actually a
traditional choice?
I was a bad, failing student. I was expelled from all schools and my
bourgeois family put me into an art vocational school, making use
of my painting abilities. They were pondering on how I was to make
money in there, with my painting abilities. Since then, I wasnt at
all interested with the area of applied graphics. Back then, some
great artists, noticing my ability and my indifference towards
design, supported me greatly.
How was the art scene in Europe, especially in Vienna like when
you first started producing work?
Vienna was very much reactional. There was a gallery in there
run by a priest: St. Stephan Gallery. A gallery which supported an
important painter such as Arnulf Rainer. But, apart from that, they
were extremely conservative. There was the Wiener Gruppe back
then. It was a pioneering group which had been giving new impulse
to the city, and consisting of writers such as Artmann, Achleitner,
Konrad Baier, Oswald Wiener and Rhm. There was a music
band called Die Reihe. They introduced us to musicians such as
Schnberg and Weber, and international contemporary art. But
these would only amount to, maybe 5% of all artistic activities in
the scene. The scene we emerged into was as such.

36

You havent used your own body in your performances, like


Rudolf Schwarzkogler, have you?
Ive also used my body in my performances. Weve all hurt and done
damage to ourselves in some way. Brus was able to continue to
some point, but then he said that he did not want to leave himself
disabled. Its fine to the extent that I use the torture processes for
my art but I dont want to go further. Brus has never hurt himself.
What you see are bandages that should belong to the make-up
section of theater. My passive actors do not suffer more than a
common athlete has to.
Art and blood Artists were fascinated by it way before the
Renaissance but what, do you think, was the trigger for its use
on themes, such as disgust and cruelty?
Blood is the liquid marrow of both life and death. For old artists,
this obscurity, this curiosity was determining. Leonardo and
Michelangelo have risked their lives by participating autopsies.
Why? Because they wanted to know what was inside of us.
Your performances vary from solo to you being accompanied
by, sometimes up to 100 actors. Whats waiting for us in
Contemporary Istanbul?
I will have 10 assistants to help me deal with this wide space. So,
this will be a painting performance. We will pour our hearts out on
the screen in some way, that is to say, we will relax through the use
of our senses.

Fahrelnissa Zeid

Are there limits to your work? Or what does a limit mean to you
when it comes to artistic creation?
To me, art is without limits and everything can become art. This
also goes for immoral elements. The process which continues in my
heart, actualizes right there. I dont want to do any harm to any
animal or human being. This is really important. Im not saying
that a war or a murder cannot be an artwork but I just reject to
create such art.

Tony Cragg

Canan Tolon

Back in the 50s, youve started the Orgien Mysterien Theater.


Where were you presenting your performance back then? At your
castle?
In the 50s, only the outline of the theoretical structure had taken
shape. Ive presented my first action painting pieces in 1960, at
Vienna Technical Museum, where I worked as a graphic designer.
But the basic elements of my theater were already ready in 1958.
Ive put my first action on the stage in 1962. It was a small action,
performed in the workshop of Otto Muehl. Prinzendorf Castle was
purchased much later on, in 1971. The first big Orgien Mysterien
Theater piece was presented here.

YEN SEZONU 10 KASIM PAZAR GN


TRK VE DNYA ADA USTALARI LE AIYORUZ...

Erol Akyava

together. Again, I would like to stress that the most important thing
for me has always been my theater.

You present us scenes where figures cut, tear each other. You rid
bodies of all aesthetic meaning. All this primal ritualistic acts,
do they include the rage, and aggression towards the lost?
At this point, I would like to ask about your relationship with
psychoanalysis. It seems to me that you offer us images on that
edge of the conscious and the unconscious. For instance, what is
released free with all that blood?
Im a playwright, and a playwright faces, along with the tragic and
the horrible, with wounds and death. I want display all this in my
theater. I want to present pain, sickness, wound and death as parts
of life. Im a supporter of life but, with my theater, I want to display
everything that exists.
In short, Id like to talk about Schopenhauer and eastern mysticism.
Its mainly because of eastern mysticism that I almost became
a sequestered person. But then Nietzsche reversed everything
Ive learned from Schopenhauer. The will that should have been
rejected, transformed into the will of power. I dont want to use
the term power, because of the many disasters induced by that
word. But Ive chosen an orgiastic life, overflowing with a desire
to live and in immense speeds. My transition from Nietzsche into
psychoanalysis was quick and some, or even most of my initial
works carry a lot of psychoanalytic treats. For an intense living
experience, I want to reveal, through severe sensual experiences,
everything that is repressed. My theater is actually the theater of
psychoanalysis. My theater also deals a lot with mysticism, like
the Greek theater since Ive arrived to Jung through Freud. The
purpose is to extract the repressed with a dramatic process and
reveal it to the consciousness.
About the blood; all living creatures carry and pump liters of blood
in their bodies, which also affect their health. To some extent, I
want to display the unseen in our bodies, using this blood.

25. BEYAZ ADA VE MODERN


SANAT MZAYEDES
10 Kasm Pazar, Saat 13:30

Sofa Hotel, Hallarts Salonu - stanbul


Eserlerin Sergilenmesi; 6-9 Kasm Saat 10:00-20:00
Maka Residences, stanbul
Hsrev Gerede Caddesi, ehit Mehmet Sokak No:9 B-Kule Kat:13

KATALOG VE YELK BAVURULARI N


0212 290 70 50 | www.beyazart.com | info@beyazart.com

Hermann Nitsch
Sylei: Burcu Fikretolu

1938 ylnda, Viyanada doan Hermann Nitsch, gncel sanatn


en tartmal isimlerinden biri. Et ve uzuvlar sklm vcutlar
anmsayan geni tuvalleri ve kanl performanslar, dnya
zerindeki en nemli mzelerde sergilendi. Sanat eletirmenleri
tarafndan, sanat tarihinde nemli bir yere koyulan Nitsch,
destekileri tarafndan adeta dini bir ballkla takip edilir.
50 yllk kariyeri, sert itirazlarla dolu. Gnahkar, ahlaksz ve
mstehcen olmakla sulanm, hatta 60larn bandan, 90larn
sonuna kadar, neredeyse 100 ritelistik performans sergileyen
bir performans sanat grubu olan Orgien Mysterien Theater
projesi nedeniyle tutukland. Kendisiyle, sanatnn gemiini,
bunun sanat retimine olan etkilerini, Aksiyonistlerden nceki
ve sonraki ahsi projelerini ve bu sene Contemporary Istanbulda
sergileyecei performans konutuk.

Sizin iin izleyiciye sunulan nihai sonutan, nesnedense sre ve


edim mi nemli?
Aslnda hareketin kendisi, resim yapmann dramatik sreci ok
kritiktir. ou kez sre sonutan daha nemlidir. Ama ayn
zamanda ok iyi bir resim yapar, iyi bir sonu elde edersiniz. Yani
ikisi de nemli. Yeni olan, srecin gerekten sanatsal bir etkinlie
dnmesidir. Gemi zamanlarda eski ustalar resim yaparken
izleyebiliyordunuz. Bu ok ilgi ekici bir durum. Ama bilinaltnn,
psikolojinin, davurumun ve oto-analizin bu kadar nemli yer
tuttuu bu alanda dramatik sre nemli ve izlenebilir bir yapya
brnyor. Zaten ad da onun iin aksiyon resmi.
Kurucu yesi olduunuz Wiener Aktionismusu atnz, onun
nne getiniz diyebiliriz. Bir noktada bireysel olarak devam
edeceinizi biliyor muydunuz bandan beri?
Ben daha 18 yandayken kendi tiyatro projemi gelitirmeye
baladm. O zamanlar bir tr nc tiyatro oyunu yazmak, dini
bir trene edeer bir dram gelitirmek istiyordum. Bu vakte
kadar kendi tiyatromu gelitirmek dnda baka hibir ey
yapmadm. Meslektalarm da buna benzer amalar edinmilerdi.
Hepimizin paylat ortak nokta gerek olaylar sahneye
yanstmamzd. Aksiyon, resmin, resim gibi alglanmasnn bir
anda dinamik, dramatik bir srece dnmesinin bir rneidir.
Biz benzer alanlarla ilgilendiimizden, benzer hayat sorunlar ile
yzletiimizden, bir arada altmz belirli bir dnem yaadk.
Tekrar altn izmek istiyorum, benim iin her zaman en nemli ey
kendi tiyatromdu.
1950li yllarda Orgien Mysterien Tiyatrosuna baladnz. O
zamanlar performansnz nerede sahneliyordunuz? atonuzda m?
1950li yllarda aslnda sadece teorik yapnn krokisi ortaya
kmt. lk aksiyon resim rneklerini 1960 ylnda grafiker olarak

38

altm Viyana Teknik Mzesinde sahneledim. Ama tiyatromun


temel unsurlar 1958 ylnda hazrd bile. lk aksiyonumu 1962
ylnda sahneye koydum. Bu Otto Muehlin atlyesinde gerekleen
kk bir aksiyondu. Prinzendorf atosu ok daha sonra, 1971
ylnda alnd. lk byk Orgien Mysterien Tiyatro ii de burada
sahnelenmiti.
Siyaset hakknda ne dnyorunuz? Muhakkak ki insan,
yaad deneyimden soyutlayamaz kendini. Ben yine de sormak
istiyorum, kayplar, travmalar sizi ne kadar etkiledi?
ki korkun dnya savandan sonra siyasetle hi alakam olsun
istemiyordum ve hala da istemiyorum. imle ilgili olarak sadece
felsefe ilgimi ekmitir. Siyasete karym, zira siyasi dnceler
s yaplarndan dolay kan ve felakete neden oluyorlar. Benim
ocukluum sava ve takibindeki korkun sava sonras dnemde
geti. O zamanlar Hitler selamn vermek zorundaydm. Medya
zerinden siyasi partilerin birbirlerine srekli karlkl olarak
kfr ettiklerini duyuyordum.
Siz retmeye baladnz tarihte Avrupa, zellikle Viyana sanat
ortam nasld?
Viyana ok tepkiseldi. Orada bir rahip tarafndan ynetilen bir
galeri vard: St. Stephan galerisi. Arnulf Rainer gibi nemli bir
ressam desteklemi bir galeri. Ama onun dnda korkun derecede
muhafazakarlard. O zamanlar Viyana Grubu [Wiener Gruppe]
vard. ehre yeni bir soluk getiren, Artmann, Achleitner, Konrad
Baier, Oswald Wiener ve Rhmin de aralarnda bulunduu
yazarlardan oluan nc bir topluluktu. Die Reihe diye bir mzik
grubu vard. Onlar bizi Schnberg, Weber gibi mzisyenler ve
uluslararas ada sanat ile tantrdlar. Tm sanatsal faaliyetleri
yzde zerinden hesaplasan bunlar belki %5ine denk gelirdi. Biz
bu tarz bir ortamda ortaya ktk.

nsanlarn kesildii, paraland ve yok edildii sahneler


gsteriyorsunuz bize. Vcutlarn estetik deerleri tamamen
ortadan kalkyor. Bu ayinsel hareketler kayp olana ynelen
kin ve saldrganl m barndryor? Bu noktada Psikanalizle
olan ilikinizi de sormak istiyorum. Bilin ve bilindnn
snrnda olan grntler sunuyorsunuz gibi geliyor bana.
rnein akan onca kanla serbest kalan ne?
Ben bir oyun yazarym ve bir oyun yazar ac, trajik ve korkun
olann yannda yaralar ve lm ile yzleir. Ben tiyatromda tm
bunlar gstermek istiyorum. Acy, hastal, yaray ve lm
hayatn bir paras olarak sunmak istiyorum. Hayat taraftarym
ama tiyatrom ile var olan her eyi gstermek istiyorum.
Schopenhauer ve dounun mistisizminden sz etmek isterim. Ben
zellikle dou mistisizmi sayesinde dnyadan elimi ayam eker
gibi oldum. Sonra Nietzsche, Schopenhauerdan rendiim her
eyi ters yz etti. Reddedilmesi gereken irade, gcn iradesine
dnt. G tabirini kullanmak istemiyorum nk bu kelime o
kadar ok felakete nayak oldu ki. Ama yaama arzusu ile taan,
lgn hzda orjiastik bir hayat setim. Nietzscheden psikanalize
geiim ok ksa zamanda oldu ve balangtaki ilerim, hatta ou
iim, birok psikanalitik zellie sahip. Youn bir hayat tecrbesi
iin, bastrlm her eyi iddetli duyumsal tecrbeler aracl
ile ortaya karmak istiyorum. Benin tiyatrom aslnda psikanaliz
tiyatrosu. Freud zerinden Junga ulatmdan tiyatrom mistisizm
ile de ok ilgilenir, yani Yunan tiyatrosu gibi. Ama bastrlm
olan dramatik bir sre ile darya kartp bilincin nne sermek.
Kan ile ilgili... Tm canllar bedenlerinde salklarn da etkileyen
litrelerce kan tayor ve pompalyor. Bir dereceye kadar bu kan ile
vcudumuzdaki grnmeyeni gstermek istiyorum.
almalarnzda herhangi bir snrdan sz edilebilir mi? Sanatsal
sreten sz ettiimizde snr sizin iin ne ifade ediyor?

Benim kanmca sanat snrszdr ve herey sanat olabilir. Yani


ahlak d olan bir e de. Kalbimde devam eden sre ite tam
orada balyor. Herhangi bir insana veya hayvana zarar vermek
istemiyorum. Bu ok nemli. Bir sava ve cinayetin bir sanat
eseri olamayacan sylemiyorum ama ben yle bir eser yapmay
reddediyorum.
Rudolf Schwarzkoglerin yapt gibi kendi vcudunu
performanslarnda hi kullanmadn deil mi?
Ben kendi vcudumu da performanslarmda kullandm. Hepimiz
bir ekilde kendimizi yaralayp zarar vermiizdir. Brus, ancak
bir yere kadar devam etti. En sonunda kendimi sakat brakmak
istemiyorum dedi. kence srelerini sanatm iin kullandm
srece sorun yok ama daha ileriye gitmek istemiyorum. Brus hibir
zaman kendisine zarar vermedi. O grdnz tiyatronun makyaj
blmne ait olmas gereken bandajlar. Benim pasif aktrlerim
herhangi bir sporcunun ekmek zorunda kald acdan daha fazla
ac ekmiyor.
Sanat ve kan... Sanatlar Rnesansdan ok daha nce bu
konuyla ilgilendiler ama kann irenlik, vahet gibi temalarla
kullanln tetikleyen neydi sizce?
Kan hem hayatn hem de lmn sv z. Eski sanatlar iin bu
bilinmezlik, bu merak belirleyiciydi. Leonardo ve Michealangelo
hayatlarn tehlikeye atarak otopsilere katldlar. Niye? nk
iimizde ne olduunu renmek istiyorlard.
Performanslarnz bazen tek, bazen 100 oyuncuyla gerekleiyor.
Contemporary Istanbulda ne bekliyor bizi?
Bu geni alan ile ba etmemde yardmc olacak on tane ressam
asistanm olacak. Yani bu bir resim performans olacak.
Ekran zerinde dramatik bir ekilde iimizi dkeceiz, yani
duyularmzdan faydalanp rahatlayacaz.

39

This year, the fair will host galleries


such as Malborough, Lelong, Andipa,
Opera Gallery, Galeria Filomena
Soares, Galeria Javier Lopez, Michael
Schultz, Klaus Steinmetz; and Dirimart,
Galerist, Galeri Mana, Galeri Nev,
Pi Artworks, Rampa, and x-ist from
Turkey, along with the works of young
and emerging artists in the prime of
their careers, coming from different
experiences and perspectives.

CI
8th Edition

Time for
Contemporary
Istanbul
Contemporary
Istanbul Zaman

Hayat, Les Parfums De Revolte / Perfumes Of Revolt, 2013


Digital prints on transparent film, burnt and enclosed in plexiglas boxes, 20 x
15 x6 cm, Mark Hachem Gallery

Fuara bu yl Malborough, Lelong,


Andipa, Opera Gallery, Galeria
Filomena Soares, Galeria Javier Lopez,
Michael Schultz, Klaus Steinmetz;
Trkiyeden Dirimart, Galerist, Galeri
Mana, Galeri Nev, Pi Artworks, Rampa,
x-ist gibi galeriler, hem kariyerinde
olgunluk ana erimi hem de
gen ve ykselme noktasndaki farkl
deneyim ve perspektiften sanatlarn
eserlerine yer veriyor.

Sarkis, Davetli Portreler (V. 17),


Invited Portraits (V. 17), 2012
Vitray, floresan lamba, metal yap
/ Stained glass, fluorescent tube,
metal sheet, 100 x 45 cm,
Galeri Mana

In its 8th year, Contemporary stanbul will host


thousands of art enthusiasts, 650 artists, 3000
artworks, and 92 galleries from 21 countries,
presenting numerous innovations. Along with the
galleries attending to fair, Dialog exhibition on
Austrian contemporary art, held by one of the
sponsors of the fair, OMV; New Horizons Section:
Russia; the New Media Fair, Plug-in; CI Dialogues
conference programme; art department from
Armenia; performances, and exhibitions of art
collectives will also be included in the event with an
international selection.
Contemporary Istanbul 8. ylnda birok yenilikle
bu yl binlerce sanatseveri; 650 sanat, 3000
eser, 21 lkeden 92 galeriyi arlayacak. CIda
bu yl fuara katlan galerilerin yan sra; fuar
sponsorlarndan OMVnin Avusturya gncel sanat
zerine gerekletirecei Diyalog sergisi, Yeni
Ufuklar Blm: Rusya, Yeni Medya Fuar Plugin, CI
Dialogues konferans program, Ermenistandan sanat
blm; performanslar ve sanat kolektiflerinin sergileri
uluslararas bir sekiyle yer alacak.

Kendell Geers, Mutus Liber


50, Ink, Resin and Paint on
Found object, 110 cm x 38 cm
x 32 cm, 2008, Galerist

40

Manit Sriwanichpoom, Pink Man Meets Guan Yu

Opening performance by Hermann Nitsch


Hermann Nitsch, one of the pioneers of Viennese Actionism,
surfaced back in the 70s, will deliver the opening performance of
CI. Throughout the fair, Nitsch, together with the artists included
in the performance, will present the 66th of his Malakt series,
in which he brought painting together with art, in a space of 680
square meters. Including the Malakt series, Nitsch has delivered
138 performances to this day, first of which was given at Vienna in
1960, and the last in the August of 2013 at Pinzendorf.
In the eight year of Contemporary Istanbul, a leading event for
the increase of quality and production in the artist field in Turkey,
allows a wide perspective, presented by 92 international galleries.

Al performans Hermann Nitschten


CIn al performans 70li yllarda ortaya kan Viyana
Aksiyonizminin nclerinden Avusturyal sanat Hermann
Nitsch tarafndan yaplacak. 680 metrekarelik bir alanda fuar
boyunca performansa katlan sanatlarla birlikte Nitsch, resim ve
performans bir araya getirdii Malakt serisinin 66.sn burada
gerekletirecek. Nitsch bugne kadar, Malakt serisinin de dahil
olduu 138 performans yapt; bunlardan ilki 1960 ylnda Viyanada
ve sonuncusu 2013 Austosunda Pinzendorf ta gerekleti.
Trkiyede sanatsal alanda retimin ve kalitenin artmasna nclk
eden etkinliklerden Contemporary Istanbul sekizinci ylnda,
uluslararas 92 galerinin sunaca geni bir perspektife yer veriyor.

41

30

CI
8th Edition

This years fair includes the Art from Armenia selection


for the third time. Exhibiting examples from his mainly
figurative selection, Onno Ayvaz will display internationally
recognized Armenian artists this year, such as Ara Mikalyan,
and Vahram Davtiyan. Artists who attended ArtOn this
year, Ercan Akn, lker Canikligil, Klaus Mosttig ve Behrux
Heschmat, will also be included in the fair. Additionally,
ArtOn has developed a project, titled Max5, a new section
providing the art enthusiasts with a chance to acquire
qualified artworks with accessible prices. The projectspecific works by the artists will be sold at a price of 5000
USD or under. In CI, the gallery, after last years solo
exhibition by x-ist artist Ansen Atilla, will display the solo
presentation of Ali Elmac.
Fuarda bu yl nc kez Ermenistandan Sanat sekisine yer
veriliyor. Figratif arlkl sekisinden rnekler sergileyen
Onno Ayvaz; bu yl Ara Mikalyan, Vahram Davtiyan gibi
Ermenistann dnyaca bilinen sanatlarna yer verecek.
ArtOna bu yl katlan sanatlar Ercan Akn, lker Canikligil,
Klaus Mosttig ve Behrux Heschmat, fuarda da yer alacaklar.
ArtOn ayrca; sanatseverlerin ulalabilir fiyatlara nitelikli
sanat eserlerine sahip olmalarn salayaca yeni bir
blm olan Max5 projesini gelitirmi. Sanatlarn projeye
zel rettikleri iler 5000 USD ve altnda fiyatlara sata
sunulacak. CIda, getiimiz yl solo bir alanda projesini
gerekletiren x-ist sanats Ansen Atillann ardndan bu yl
galeri, Ali Elmacnn solo sunumuna yer verecek.

Daron Mouradian 120X100


Oil On Canvas,
Art from Armenia

CONTEMPORARY ISTANBUL
booth IKM 401

ardan zmenolu, ali kotan, tuberk seluk


07.11.2013 - 10.11.2013

ESAT TEKAND
With Plugin New Media Fair, organized for the first time
this year, Contemporary Istanbul celebrates the unity of new
technologies with art. Focusing on the effects of video, new media
and digital technologies on art, Plugin will offer the viewers an
experience comprised of audio and light installations, interactive
and generative art pieces, interior mapping projects, and robotic
designs. The event aims to draw galleries, design and architecture
studios and software and technology firms working in this field
inside the project.
Young and experienced artists, new works, new projects at one
place
Galleries which attend to the fair from different parts of the
world, such as Europe, America, Southern Asia, South America
and Middle East, offer a selection comprised of works deemed
masterpieces, from artists of different periods, such as Botero,
Robert Mapplethorpe, and Lucien Freud, along with the works of
young artists who are in the beginning of their careers. We can
also see that the galleries in Istanbul have been giving more place
to international artists this year. Galerist will debut the works

42

Contemporary Istanbul bu yl ilkini gerekletirecei Plugin


Yeni Medya Fuaryla yeni teknolojilerin sanatla birlikteliini
kutluyor. Video, yeni medya ve dijital teknolojilerin sanattaki
etkilerine odaklanan Plugin, izleyicilere ses ve k enstalasyonlar,
etkileimli ve jeneratif sanat ileri, i mekan mapping projeleri,
robotik tasarmlarn olduu bir deneyim sunacak. Etkinlik;
halerileri, tasarm ve mimari stdyolarn ve bu alanlarda alan
yazlm ve teknoloji firmalarn projenin iine ekmeyi amalyor.
Gen ve deneyimli sanatlar, yeni eserler, yeni projeler bir
arada
Fuara Avrupa, Amerika, Gney Asya, Gney Amerika ve Ortadou
gibi dnyann farkl blgelerinden katlan galeriler Botero, Robert
Mapplethorpe, Lucien Freud gibi farkl dnemlerden sanatlara
ait bayapt olarak kabul edilen eserlerin yan sra kariyerinin
balangcndaki gen sanatlardan oluan bir seki sunuyor.
Bu yl, stanbuldaki galerilerin uluslararas sanatlara daha
fazla yer vermeye baladn grebiliriz. Galerist, Arik Levynin
tasarmlarndan farkl bir izgide olan sanat eserlerini fuarda
ilk kez gsterecek. Galeriye yeni katlan sanatlardan ve fuarda

Otobiyograk Karalamalar I - II Autobiographic Drafts I II


01.11.2013 - 20.11.2013

MTHAT EN

Ihtimaller Possibilities
22.11.2013 - 18.12.2013

CI
8th Edition

Drew Tal incilerle


/ Three Pearls, 2012,
Duraflex Bask
Alminyum / Duraflex
Print on Aluminum,
50 x 40 cm,
Emmanuel Fremin

dil lkin,
simsiz /
Untitled, 2013
Kromojenik
bask, Diasec,
120 x 80 cm,
Galerist

Yiit Yazc, RTU 181213, 2013


Tuval zerine akrilik / Acrylic on canvas,
140 x 130 cm, ArtOn

Aras Seddigh simsiz / Untitled, 2013 Tuval zerine kark


teknik/ Mixed media on canvas, 200 x 254,5 cm, Galeri Nev

Michel Comte, Jeremy Irons, 377, 1990


Arivsel Pigment Bask / Archival Pigment Print, 56x68 cm, Elipsis Gallery

which now differ from Arik Levys designs, at the fair. Another
artist attending to the fair and presenting her works for the first
time is dil lkin, who will be opening her first solo exhibition in
December. According to Eda Berkmen, the director of the gallery,
the development of art in Turkey continues intensely and strongly.
The increase in the numbers of galleries, artists, and production
and art institutions is a state which nurtures all of us. Another
artist who will have her work presented in the fair for the first
time is ala Kseoullar. Treating the issue of migration, the
works of the artist will be on display in CI for the first time after
Vienna Art Fair. Galeri Nev, one of the oldest galleries of Istanbul,
is attending to this years fair with the works of Erdomu, Canan
Tolon, Nermin Er, and Ani elik Arevyan, specially performed for
CI. When commenting on the art scene in Turkey, Dostolu points
a finger at the increasing number of visitors in the 13th Istanbul
Biennial. Visited by a total of 350.000 people, the biennial is an
indicator of the interest towards art.
Elipsis, a supporter and a representative of current photography
in Turkey, will bring together internationally recognized young

44

ilerini ilk kez greceimiz sanatlardan biri de, Aralk aynda


ilk solo sergisini aacak olan dil lkin. Galerinin direktr Eda
Berkmene gre Trkiyedeki sanatn geliimi olduka youn ve
gl bir ekilde devam ediyor. Galeri, sanat says, retim ve
sanat kurumlarnn artmas hepimizi besleyen bir durum. Bu
yl fuarda ileri ilk kez sergilenecek sanatlardan biri de ala
Kseoullar. G meseleleriyle ilgilenen sanatnn ilerini Viyana
Sanat Fuarndan sonra ilk kez CIda greceiz. stanbulun en eski
galerilerinden Galeri Nev fuara bu yl Tayfun Erdomu, Canan
Tolon, Nermin Er, Ani elik Arevyann CI iin gerekletirdikleri
zel ilerle katlyor. Dostolu, Trkiyedeki sanat ortamn
deerlendirirken 13. stanbul Bienalinin artan ziyareti saysna
dikkat ekiyor. Bu yl 350.000 kiinin ziyaret ettii bienal, sanata
olan ilginin gstergesi.
Trkiyede gncel fotorafn destekisi ve temsilcisi Elipsis
uluslararas alanda isimlerini duyurmu gen fotoraf sanatlar
Yusuf Sevinli, Serkan Taycan ve Metehan zcann yan sra,
Isabel Munoz, Michel Comte, Gilbert Garcin gibi sanatlar
da sanatseverlerle buluturuyor. Uluslararas ve Trkiyeden

Kiluanji Kia Henda, Muriege, Luanda Sul, 2010, Mat kat zerine inkjet bask, alminyumla birletirilmi/ Ink jet print on matte paper, mounted on aluminum, 130 x 86 cm

photograph artists, including Yusuf Sevinli, Serkan Taycan and


Metehan zcan, along with Isabel Munoz, Michel Comte, and
Gilbert Garcin, with art lovers. Another gallery representing
international and Turkish artists, Dirimart will present the new
works of numerous artists, including Darren Almond, Franz
Ackermann, Shirin Neshat, Fabian Marcaccio with Yeim Akdeniz,
Ekrem Yalnda, and Ebru Uygun. Murat Akagndz, whose
work we have the chance to encounter in the Biennial and many
other international exhibitions, will present a selection from Canan
Dadelen, Aye Erkmen, Deniz Gl, Sarkis and Pnar Yolaan.
Celebrating its 15th year, Galeri Apel is one of the highlights of the
fair with the works of akir Gkeba, Yldz ermet, and Aslmay
Altay Gney. With artists like Murat Germen, Olgu lkenciler,
Yusuf Ayge, and Dieter Mammel, another gallery which will be
presenting artists from different practices with an international
selection will be C.A.M. Rampa Galeri will offer us the late
productions of artists, such as Nevin Alada, Gl ztekin, Vahap
Avar, CANAN, Nilbar Gre, and Erin Seymen. ArtNext Istanbul,
Contemporary Erbil, Armaggan, Ekavart, Art350, GaleriMiz, Mixer,
Redart, and Arda Sanat are also among the Turkish galleries which
are having their first time in the fair.

sanatlar temsil eden bir dier galeri Dirimart; Darren Almond,


Franz Ackermann, Shirin Neshat, Fabian Marcaccio ile Yeim
Akdeniz, Ekrem Yalnda, Ebru Uygun ve birok sanatnn
yeni ilerini sergileyecek. Bienal ve uluslararas birok sergide
eserleriyle karlatmz Murat Akagndz, Canan Dadelen,
Aye Erkmen, Deniz Gl, Sarkis ve Pnar Yolaandan bir seki
sunacak. Bu yl on beinci yln kutlayan Galeri Apelde akir
Gkeba, Yldz ermet, Aslmay Altay Gneyin ileri fuarn ne
kanlarndan. Murat Germen, Olgu lkenciler, Yusuf Ayge, Dieter
Mammel gibi sanatlarla uluslararas bir sekiyle farkl pratikten
sanatlara yer verecek olan galerilerden biri de C.A.M. olacak.
Rampa Galeride Nevin Alada, Gl ztekin, Vahap Avar,
CANAN, Nilbar Gre, Erin Seymen gibi sanatlarn son dnem
retimlerini grmek mmkn. ArtNext Istanbul, Contemporary
Erbil, Armaggan, Ekavart, Art350, GaleriMiz, Mixer, Redart, Arda
Sanat ise Trkiyeden fuara ilk kez katlan galeriler arasnda.

45

What Do The Galleries Say?


Galeriler Ne Diyor?
The galleries in Europe and America will move
their new spaces to Asia.
Avrupa ve Amerikadaki galeriler yeni
mekanlarn Asyaya tayacak.
Rdiger Voss
Galerie Voss, Dsseldorf
We will present in this years CI, the hyperrealist paintings of Frank
Bauer, the photography of Iwajla Klinke, paintings of Davide Le
Rocca from Italy, Kate Waters from Canada and Brazils Harding
Meyer and the photography of Claude Rogge. The galleries in Europe
and America are searching for markets in Asia. The effect of the crisis
was potently felt in the art environments in Germany, though artists
such as Kiefer and Richter were still able to find buyers, but the
situation looks harsh for young artists.
CIda Frank Bauerin hiperrealist resimlerini, Iwajla Klinkein
fotoraflarn, talyadan Davide La Rocca ve Kanadadan Kate
Waters, Brezilyadan Harding Meyerin resimlerini ve Claude Roggein
fotoraflarn sergiliyoruz. Avrupa ve Amerikadaki galeriler Asyada
da bir pazar aray iinde. Almanyadaki sanat ortamnda krizin etkisi
olduka hissedildi fakat Kiefer ve Richter gibi sanatlar yine de alc
buldu, gen sanatlar iin ise durum kolay grnmyor.

Iwajla Klinke, o.T., Serie Pfingstknige, 2012


Fotoraf / Framed photography, 150 x 111 cm, Galeri Voss

We have met with the collector audience in Turkey, and decided to attend to the fair for a second time.
Trkiyedeki koleksiyoner kitlesiyle tantk, fuara ikinci kez katlmaya karar verdik.
Michael Schultz
Galerie Michael Schultz, Berlin
When we first attended to CI, weve met with several collectors and for this reason we have decided to revisit. In this years fair, along with prominent
artists, such as Picasso, Warhol, and Richter, we will also display the works of young artists such as SEO, Andy Denzler and Rmer + Rmer. We think
that the art market will grow by expanding to new and unknown geographies. But the art market in Germany is stable and difficult for young artists.
CIya ilk katldmzda birok koleksiyonerle tantk ve tekrar gelmeye karar verdik. Bu yl fuarda Picasso, Warhol, Richter gibi tannm sanatlarn yan
sra, SEO, Andy Denzler ve Rmer + Rmer gibi gen sanatlar gstereceiz. Sanat piyasasnn yeni ve bilinmedik corafyalara alarak byyeceini
dnyoruz. Almanyadaki sanat piyasas ise stabil ve gen sanatlar iin zor.

46

CI
8th Edition

Istanbul, Johannesburg, Bogota and Abu


Dhabi are the emerging cities of art.
stanbul, Johannesburg, Bogota, Abu Dhabi
sanatn ykselen ehirleri.
Carlos Baste
Senda Gallery, Barcelona / Barselona

Miro, Tapies, Bacon and Plansa, together in


Scully Galeri Lelong.
Miro, Tapies, Bacon ile Plansa, Scully Galeri
Lelongda bir arada.
Francois Dournes
Galerie Lelong, Paris
We have decided to attend CI for the first time because of the
interest we have come across in the fairs weve took part in the
last years, especially from the collector audience from Turkey.
We will present in the fair, works of a familiar face from Turkish
art environment, Ramazan Bayrakolu, along with artists such as
Miro and Tapies, Sean Scully, who will debut his latest effort in CI,
and Jaume Plensa, one of the most important sculptors of late
years.
Son yllarda katldmz fuarlarda Trkiyeden youn bir
koleksiyoner kitlesinin ilgisiyle karlatk ve CIya katlmaya karar
verdik. Fuarda, Trkiyenin tand bir sanat olan Ramazan
Bayrakolunu, ayrca Miro, Tapies gibi sanatlar, yeni iini ilk
kez CIda greceimiz Sean Scully ve son yllarn en nemli
heykeltralarndan Jaume Plensa sergileyeceiz.

Turkey is a developing market. We wanted to get to know the


collectors, institutions and the cultural environment. We will display
the paintings of Chinese painter Gao Xingjan, photography of
Ola Kolehmainen from Finland, and the works of Massimo Vitali
from Italy. There also is a photography selection from Robert
Mapplethorpe. Videos of Cuban artist Glenda Leon and James
Clar are included in Plug-in. I think Johannesburg, Bogota and
Abu Dhabi are artistically emerging cities.
Trkiye gelien bir piyasa. Koleksiyonerleri, kurumlar ve kltrel
ortam tanmak istedik ve fuara katlmaya karar verdik. inli ressam
Gao Xingjann resimlerini, Finlandiyadan Ola Kolehmainenin
fotoraflarn ve talyadan Massimo Vitalinin ilerini gstereceiz.
Robbert Mapplethorpedan da bir fotoraf sekisi bulunuyor.
Pluginde ise Kbal sanat Glenda Leon ve James Clarn videolar
yer alacak. stanbul, Johannesburg, Bogota, Abu Dhabinin sanat
anlamnda ykselen ehirler olduunu dnyorum.

What Do The Galleries Say?


Galeriler Ne Diyor?

The reason for the rise of art in Middle East is the people seeing
art as an escape from the problems of the region.
Ortadouda sanatn ykselmesinin sebebi, insanlarn sanat
blgedeki problemlerden bir ka olarak grmesi.
Noah Moharrem
Arton56, Lebanon / Lbnan
We will participate with the works of the recognized artists of the region, including Fuara,
Tarek Butayhi, Naim Doumit, Bassam Geitani, Hasko Hasko, and Nazir Ismail. People in the
Middle East see art as a way of escape from the problems, and this triggers the emergence
of art markets in the region.
Fuara, Tarek Butayhi, Naim Doumit, Bassam Geitani, Hasko Hasko, Nazir Ismail gibi blgenin
bilinen sanatlaryla katlacaz. Ortadouda insanlar sanat problemlerden uzaklamann bir
yolu olarak gryor, bu sanat piyasasnn blgede gelimesini tetikliyor.

Frat Engin, ktidar, 2013 LED ekran, elektrik sprgersi,


DVD, metal / LED screen, vacuum cleaner, DVD, metal /
100 x 155 x 75 cm, ArtOn

The future of art markets is in Asia and South


America.
Sanat piyasasnn gelecei Asya ve Gney
Amerikada
Michael Gitlitz
Malborough Gallery, New York, London / Londra

Its the right time to be a part of the art


world!
Sanat dnyasnn bir paras olmak iin ok
doru bir zaman!

This our second time in CI. This year we will present works from
Magdalena Abakanowicz, Fernando Botero, Claudio Bravo, Richard Estes,
Jonah Freeman & Justin Lowe, Juan Genovs, Ahmet Gnetekin, Henri
Matisse, Tom Otterness, Pablo Picasso, and Manolo Valds. One of the
reasons behind the expansion of art markets towards Asia and South
America artists and collectors travelling more.
Bu yl ikinci kez katlyoruz CIya. Fuarda Magdalena Abakanowicz,
Fernando Botero, Claudio Bravo, Richard Estes, Jonah Freeman &
Justin Lowe, Juan Genovs, Ahmet Gnetekin, Henri Matisse, Tom
Otterness, Pablo Picasso, Manolo Valdsin eserlerini sergileyeceiz. Sanat
piyasasnn Asya ve Gney Amerikaya doru genilemesinin sebeplerinden
biri, sanatlarn ve koleksiyonerlerin daha fazla seyahat etmeleri.

James Dwyer
Andipa Gallery, London / Londra
We will present works from artists in the start or in the middle of
their career, alongside with works from Marc Quinn, Banksy, Roy
Lichtenstein, Joan Miro, and Matisse. The video installation of
Spotlight Award 2013 Winner William Mackrell will be displayed
in Plug-in. Todays art market is variable and collectors of all
geographies and ages are interested in contemporary art. The new
market is a global market which incorporates Turkey because of its
position and dynamism.
Marc Quinn, Banksy, Roy Lichtenstein, Joan Miro, Matissein yan
sra kariyerinin balang ve ortalarndaki sanatlarn eserlerini
de sergileyeceiz. Pluginde ise 2013 Spotlight dl kazanan
Willam Mackrellin video enstelasyonu yer alacak. gnmzde
sanat piyasas deiken; her corafyadan ve yatan koleksiyonerin
gncel sanatla ilgileniyor. Yeni piyasa, konumu ve dinamizminden
dolay Trkiyenin de iinde bulunduu global bir piyasa.

Juan Genovs
Equidistante , 2013 Tuval zeri akrilik
/ acrylic on canvas , 47 1/4 x 35 3/8 in,
120 x 90 cm, Malborough Gallery

Fabbrica Eos, Italy / talya

Banksy
Kids on Guns, 2003
Spray paint on canvas,
51 x 51 cm, Andipa Gallery

48

We decided to attend the fair for a second time because of the cultural and artistic motivation we observed in Turkey, similar in nature to what weve
experienced in Italy back in the 60s. For 20 years, our gallerys program has been focused on displaying young artists; in CI the works from Manuel
Felisi, Fabio Giampietro, Troilo, Giovanni Sesia, and Robert Gligorov, some of whose work is already available in Elgiz Collection.
Trkiyede 60larda talyada yaadmz kltrel ve sanatsal motivasyonu grdmz iin fuara ikinci kez katlmaya karar verdik. Galerimiz 20
yldr gen sanatlar sergilemeye odakl bir program iziyor; CIda bu yl Manuel Felisi, Fabio Giampietro, Troilo, Giovanni Sesia ve eserleri Elgiz
Koleksiyonunda yer alan Robert Gligorovun ileri grlebilir.

49

We want to build strong institutional


and collector based relationships
between Southern Asia and Turkey.
Gney Asya ve Trkiye arasnda
kurumsal ynden ve koleksiyoner
baznda gl ilikiler kurmak
istiyoruz.

CI
8th Edition

ci

Can Yavuz
Yavuz Fine Arts, Singapore / Singapur
In our first attendance to CI, we want to start a
dialogue between Turkey and Southern Asia, on
the bases of collectors and art institutions. Along
with internationally recognized artists, such as Navin
Rawanchaikul, Jumaldi Alfi, Manit Sriwanichpoom,
Michael Lee and Pinaree Sanpitak, we will also display
works from young artists in the fair. Singapore is not a
distant land in the increasingly globalized art markets.
The interest of local collectors towards international
markets is growing day by day.
CIya ilk katlmmzda Trkiye ve Gney Asya arasnda
hem koleksiyoner hem de sanat kurumlar baznda
bir diyalog balatmak istiyoruz. Fuarda, Gney
Asyadan Navin Rawanchaikul, Jumaldi Alfi, Manit
Sriwanichpoom, Michael Lee ve Pinaree Sanpitak
gibi uluslararas alanda isim yapm sanatlarn yan
sra gen sanatlara da yer vereceiz. Gn getike
globalleen sanat piyasasnda Singapur artk uzak
bir lke deil. Blgedeki koleksiyonerlerin uluslararas
pazarlara ilgisi de giderek ykseliyor.

Navin Rawanchaikul, Taximan 03

contemporary
istanbul

7-10 Kasm / November 2013


stand IKM406

MURAT KSEMEN

In CI, we will display examples of contemporary art from Norway.


CIda Norveten gncel sanatn rneklerini sergileyeceiz.
PINAR DU PRE

Julian Sunyer
Son Espace, Spain and Norway / spanya ve Norve

SARA BARUH

It is our first time in CI. Our decision to attend was influenced by the long running exhibitions of Istanbul Biennial which are improving in quality day
by day, and the increase in the number of the art institutions in Turkey. We also observe the development of art in Istanbul, artistically, curatorially, and
critically. In the fair, we will display exampled from the art of Norway, such as Morten Viskum, Virg, Bjarne Melgaard, Fredrik Vrslev. In addition, the
works of Spanish artist Luis Vidal (1970) and Colombian artist Herikita con K (1986) will also be available.
CIya ilk kez katlyoruz. stanbul Bienalinin uzun soluklu ve kalitesi gn getike artan sergileri, Trkiyedeki sanat kurumlarnn art katlm kararmz
etkiledi. Ayrca stanbuldaki sanatsal, kratryel, eletirel ve kratryel anlamda sanatn gelitiini gryoruz. Fuarda Norve sanatndan rnekler
sunacaz; Morten Viskum, Virg, Bjarne Melgaard, Fredrik Vrslev. Bunun yan sra, spanyol sanat Luis Vidal (1970) ve Kolombiyal sanat Herikita
con Knn(1986) ileri yer alacak.

ZLEM PAKER

Melike Narin
Melike Narin Fine Arts, Hong Kong
Melike Narin Fine Arts was established last year in Hong Kong. In CI, we will present
works from Hong Kongs Tsang Chui and Tao Ulusoy from anlurfa. Our gallery
aims to create a dialogue between two countries and also to address to new and
innovative collectors.
Melike Narin Fine Arts Hong Kongda getiimiz yl kuruldu. CIda Hong
KongdanTsang Chui Mei ve anlurfadan Tao Ulusoyun eserlerini sergileyeceiz.
Galerimiz, iki lke arasnda bir diyalog oluturmay, ayrca gen ve yeniliki
koleksiyonerlere hitap etmeyi amalyor.
ESRA ATIROLU

What Do The Galleries Say?


Galeriler Ne Diyor?
50

JEONG MIN SUH

UUR AKI

Abdi peki Caddesi, Glen Apt. No: 24 Kat 1 D. 4 Nianta - stanbul T: +90 212 247 47 29 F: +90 212 247 95 40
www.g-linart.com

Contemporary Art from Russia


Rusyadan Gncel Sanat
Iara Boubnova

Olga Bozhko, Birch tree 2013, Knitting


21523cm, 2011, Galerie Iragui

Maria Arendt, Updrafts 2013, linen embroidery


145x190cm, 2013, Artreflex Gallery

It is hard to present the Russian art scene in just a few sentences


because of its scale. I think one of its newest characteristics
is its decentralization. Few years back most of the events, the
institutions and the artists were concentrated in Moscow; now we
can talk about at least 6-7 other cities as well. I do not mean visits
from the capital city but projects organized locally in Yekaterinburg,
Nizhniy Novgorod, St Petersburg, Kaliningrad, and Voronezh and
so on. Often the process is motivated by the activities of the State
Center of Contemporary Art in Moscow and its branches in the
other cities. Similar tendencies are manifested concerning the
commercial institutions as well no longer it is only galleries from
Moscow that take part in the art fairs; recently in Yekaterinburg
the new Ural Vision Gallery opened as a partner of the well known
Marina Gisich Gallery in St Petersburg. Of course Moscow is
still the most developed in terms of the art scene infrastructure.
There are events such as the Moscow Biennial, the art fair, and
the recently held Vladey auction by the Regina Gallery; as well
as the numerous private initiatives such as the Garage Center for
Contemporary Culture in the Gorki Park, the Strelka Institute
for Media, Architecture and Design among others. Apart from
its brilliant exhibition projects Garage for instance, is becoming
famous with its publishing program as well as for the massive
gathering and research on the archives of Russian contemporary
art from the last 30 years. The Strelka Institute is offering an
exceptionally good educational program in the field of urbanism
and city culture under the guidance of world stars while providing
stipends to its students. The emergence of Strelka supplements
the activities of the famous since the early 1990ies Institute for the
Problems of Contemporary Art and the Rodchenko Moscow School

52

Alexander Dashevskiy, From the seria Partial


losses, oil on canvas, 120x120cm
2013 Anna Nova Art Gallery

Byk lekli Rusya sanat ortamn yalnzca birka cmleyle


sunabilmek zor. Sanrm bu ortamn en yeni zelliklerinden bir
tanesi merkezden kopuyor olmas. Birka yl nce etkinliklerin,
kurumlarn ve sanatlarn ou Moskovadayken imdi bu
senaryonun iine en az 6-7 ehri daha dhil edebiliyoruz.
Bakentten bu blgelere yaplan ziyaretlerden deil, direkt olarak
Ekaterinburg, Nizhniy Novgorod, St Petersburg, Kaliningrad ve
Voronezh gibi blgelerde, yerel olarak dzenlenen projelerden
sz ediyorum. Sre genel olarak Moskovadaki Ulusal ada
Sanat Merkezi ve bu kurumun dier ehirlerdeki ubelerinde
yaplan aktivitelerle harekete geiriliyor. Ticari kurumlarda
da benzer ynelimler ortaya kmaya balad artk fuarlarda
yalnzca Moskovadaki galeriler yer almyor; getiimiz gnlerde
Ekaterinburgda, St. Petersburgdaki Marina Gisich Gallerynin
orta olarak alan Ural Vision Gallery de buna bir rnek.
Moskova elbette sanat altyaps asndan en gelimi ehir olma
konumunu koruyor. Moskova Bienali, sanat fuar ve yakn zaman
nce, Regina Gallery tarafndan dzenlenen Vladey mzayedesi
gibi etkinliklerin yannda, Gorki Parkndaki Garage ada
Sanat Merkezi ve Strelka Medya, Mimari ve Tasarm Enstits
gibi birok ahsi giriim de mevcut.rnein Garage, muhteem
sergi projelerinin yan sra, yaymclk program ve Rusyadaki
son 30 yln ada sanat arivleri zerine gerekletirdii byk
apl toplama ve aratrmalaryla n kazanyor. Dnyaca nl
isimlerin rehberliinde, stn seviyede bir ehircilik ve ehir
kltr program sunan Strelka Enstits ise rencilerine burs
imkn da salyor. Strelkann ykselii, 90larn bandan beri
nl olan ada Sanat Konular Enstits, Rodchenko Moskova
Fotoraf ve Multimedya Okulu gibi yerlerin, alternatif modern

Oleg Khvostov, Provence View 2013, Oil on canvas, 60x80cm, Al Gallery

for Photography and Multimedia as alternative modern educational


institutions. There are however some disturbing facts as for
instance, the closure of some of the oldest commercial galleries
while one of the most active Moscow locations for contemporary art
The Vinzavod, where they were located, has lost much of its appeal.
The close by center for design Artplay is still at the stage of defining
its own exhibition profile.
Parallel to these newer locations in Moscow are still functioning
also the traditional museums, commercial galleries, private noncommercial exhibition spaces as well as many art clusters, artists
associations, exhibition and educational initiatives hosted in
studios and apartments. The Russian ownership and management
of the ViennaFair on their part are contributing to the development
of the market for Russian art attracting interest with the expert
knowledge of the art scene, the invitation of quality galleries
alongside the established and starting collectors.
Though the institutional development looks quite promising
the Russian artists not only do not feel secure but actually feel
threatened by the obvious effects of the global financial crisis as
well as by the allover cultural policies of the country. More often
now there are cases of censorship of works by artists and curators;
more often there are actual court verdicts that sometimes force
the authors to leave the country. The legislature restricting the
freedom of expression as well as that treating minorities in a
negative way, are causing many active protests among the artists;
these are also threatening their international contacts. The curator
of the newest 5th Moscow Biennial had to write an open letter to
the international art community in order to prevent the boycott
of the event. Catherine de Zegher made an appeal to support the

eitim kurumlar olarak dzenledii etkinlikleri tamamlyor.


Ancak baz rahatsz edici durumlar da yaanmyor deil. En eski
ticari galerilerden bazlarnn kapanmas ve Moskovadaki en aktif
ada sanat meknlarndan biri olan Winzavod ada Sanat
Merkezinin bulunduu yerdeki ekiciliinin ounu kaybetmesi
gibi durumlar, buna rnek verilebilir. Yaknlardaki tasarm merkezi
Artplay ise hlen kendi sergi profilini tanmlama safhasnda.
Moskovada hlen aktif olan bu yeni meknlara paralel olarak,
geleneksel mzeler, ticari galeriler ve ticari olmayan ahsi sergi
meknlarnn yannda, sanat kmelenmeleri (art cluster), sanat
dernekleri ve stdyo ve dairlerde dzenlenen sergi ve eitim amal
giriimler bulunuyor. Ruslarn ynetiminde dzenlenen Viyana
Sanat Fuar da, sanat ortam hakkndaki uzmanlklaryla ilgi
ekme ve hem yerleik, hem de yeni balayan koleksiyonerlerin
galerilerine davet sunulmas gibi faaliyetlerle, Rusya sanat
piyasasnn geliimine katk sayorlar.
Kurumsal gelimeler olduka mit verici grnyor olsa da,
kresel finansal kriz ve lkenin her yndeki kltrel politikalar
Rus sanatlar emniyetsiz hissettirmekle kalmyor, onlar tehdit
de ediyor. Sanat ve kratrlerin sansrlendii olaylarn ve
bazen yazarlar lkeyi terk etmeye zorlayan gerek mahkeme
hkmlerinin says gittike artyor. fade zgrln kstlayan
ve aznlklara olumsuz ekillerde davranan hkmet, sanatlar
tarafndan devaml olarak, aktif ekilde proteste ediliyor.
Hkmetin bu tutumu, sanatlarn uluslararas balantlarn da
kt etkiliyor. 5. Moskova Bienalinin kratr, etkinliin boykot
edilmemesi iin uluslararas sanat camiasna bir ak mektup

53

Olga Tatarintseva, The Shape of Sound 2010, Chamotte glaze


58x370x46cm, Popoff Art Gallery Moscow Berlin

Russian art scene through involvement and presence. This appeal


might still be valid next year as well when in St Petersburg there
will be the next edition of Manifesta. The younger generation of
artists in Russia working now at a time that might be defined as
a period of stabilization of the political processes in the country, is
ever more actively integrated into the international context. These
artists feel less and less the link and the heritage of the generation
of the Moscow conceptualists from the 1970s who existed in cultural
isolation and was very late to receive wide acknowledgement. The
younger generation however has not lived neither through the high
powered wave of the engaged performative art of the 1990s, nor
through the financial comfort born out of the speculative collecting
trend from the first decade of the new century. They are looking
for visual metaphors that give form to the notion of trauma that
is specific for their time. In the controversial politicized space of
the local culture they are asking questions about the interactions
between the political engagement and aesthetical actuality.
For the first time in recent memory though the Russian art scene
is hugely diverse with unclear conceptual future and many exciting
questions hanging in the air. The several active generations of
artists, the variety of approaches and the abundant artistic activity
in the cities away from the two traditional art centers provide for
a new kind of energy in times of narrowing options in the public
sphere. The maturity of the scene is higher than ever especially
when one takes all the players and existing infrastructure in view;
but so is higher than ever the stakes for finding the new own way
for making an impact on the local and international scene alike
at a time when the tensions between the art scene and the public,
including the state, are more intense as well.

54

Tiff Maiofis, Pound Behind the Piano, Acrylic bromoil transfer on canvas,
160x22cm, 2012, Marina Gisich Gallery

yazd. Catherine de Zegher, Rus sanat ortamnn desteklenmesi


iin katlm ve duru sergileme arsnda bulundu. Bu ar,
Manifestann bir sonraki edisyonu gelecek sene St. Petersburgda
baslrken de geerliliini koruyabilir. lkedeki politik srelerde
istikrarn saland bir dneme girilmesi iin alan gen nesil
sanatlar, uluslararas balama ok daha aktif bir ekilde entegre
olmu durumdalar. Bu sanatlar, 70li yllarda, kltrel bir
tecrit iinde yaam ve son zamanlarna kadar kendilerini geni
kitlelere duyuramam olan Moskova kavramsalclarnn nesli ile
olan balantlarn ve bu neslin miraslarn her geen gn daha az
hissediyorlar. Gen nesil ise ne 90larn angaje edimsel sanatnn
yaratt yksek gl dalgay, ne de yeni yzyln ilk on ylnda,
speklatif koleksiyon yapma trendinin dourduu finansal rahatl
tecrbe etti. Kendi zamanlarna has olan travma kavramna ekil
verebilecek grsel metaforlarn aray iindeler. Yerel kltrn
ihtilafl bir ekilde siyasallam mekn iinde, siyasal katlm ve
estetik gereklik arasndaki karlkl etkileim zerine sorular
soruyorlar.
Rus sanat ortam, yakn zaman iinde ilk defa kavramsal gelecein
belirsiz olduu, devasa bir eitlilik yayor ve havada asl kalan
birok heyecan verici soru mevut. Aktif ekilde alan, birka farkl
nesilden sanatlar, yaklamlarn eitlilii ve iki geleneksel sanat
merkezinin dnda kalan ehirlerdeki sanat aktivitelerinin bolluu,
kamusal alandaki seeneklerin azald zamanlarda yeni bir tr
enerji salyor. Ortam, zellikle tm katlmclar ve mevcut altyap
beraber dnldnde, daha nce hi olmad kadar olgun bir
seviyede. Ancak kendine ait ve yerel ve uluslararas evrelerde etki
yaratabilecek bir yol bulmann riskleri de, sanat ortam, halk ve
devlet arasndaki gerginliklerin giderek younlat bu dnemde,
daha nce hi olmad kadar fazla.

OMV
In Dialogue with Austria
Avustuya ile Diyaloglar

OMV, Contemporary Istanbul srasnda fuar alannda


Avusturyadan gncel sanatn rneklerini bir araya
getirdii bir sergi gerekletirecek. OMV Art Projectsin
sanat danman Barbara Baum, irketin kltr
destekledii alanlar ve lkeleri anlatt.

Interview with Barbara Baum ile sylei

OMV will realize an exhibition at the fairground during Contemporary Istanbul


where a selection of contemporary artworks from Austria will be curated. Barbara
Baum, the art advisor of the company tells about the fields where the company
supports the culture.
How long have you been working as the advisor for OMV Art
Projects and how did it start?
OMV Art Projects is part of the cultural sponsoring department of
OMV. The integrated, international oil and gas company OMV focuses
its cultural sponsoring activities on cultural exchange in the area of
contemporary art between the companys core markets in Austria,
Romania, and Turkey. For OMV it makes sense to realize projects in its
core markets and to strengthen the cultural dialogue. What OMV wants
to do is to support some few and also strategically planned but vivid and
growing projects with a benefit for the art scene, our partners and the
company and not to build up a collection.
How does curating a corporate collection and a private or a
museum collection differ and what are the challenges of curating the
OMV collection?
An OMV Art Collection is not planned. We show some representative
artworks at the OMV Headquarters in Vienna, important pieces of Brandl,
Scheibl and Turkish artists like Ahmet Oran or nci Eviner. These artworks
belong to the company. So people know that art becomes more and
more an important issue for OMV and all employees and the artscene is
informed about our art projects.
OMV has been supporting the Turkey section at Vienna Fair and has
supported art from Turkey for the last years in exhibitions and talks.
What are your future plans?
The dialog and cultural exchange between Vienna and Istanbul has
been fostered through several OMV projects already, such as DIYALOG:
Art from Istanbul at the VIENNAFAIR 2011/2012 and through the large
exhibition of Turkish art Signs taken in wonder in the MAK, Museum
of Applied Arts / Contemporary Art, Vienna in 2013. The collaboration
with Contemporary Istanbul takes this dialog now for the first time
to Istanbul. For the future we hope to build up collaborations with
Turkish art institutions to strengthen the cultural exchange in the field of
contemporary art. And we do also have projects in the pipeline in Austria
and Romania. We want to support the younger generation with essential
projects. Art should be for everyone, following our motto:
ART / OMV moves.
Could you also tell us about the exhibition you will be holding at
Contemporary Istanbul? The conceptual frame and the choice of
the works.

56

The exhibition DIYALOG: ART FROM VIENNA presents Vienna based


artists whose work reflects the enormous artistic potential of Austrias
multicultural art capital. The artworks in the exhibition were selected by
a pool of renowned curators made up of art specialists from different
fields. The curators each chose one important, prominent artist from
the older generation and one emerging artist with great promise. These
artists were presented in Istanbul with a representative and characteristic
artwork a key piece that embodies important contemporary aspects
and makes a clear statement: Art as a sign of todays world and society.
The show raises several questions: How does Viennese art position
itself internationally? Is Viennese art different? What forms of expression
concerning content, formality, or aestheticism does it follow? How does
the Viennese artist process the consequences of his/her time? The OMV
special project DIYALOG: ART FROM VIENNA attempts to find answers
to these questions through an exemplary, but extremely individually
defined presentation in the wide field of Viennese art.
What are the determining aspects of the contemporary art from
Austria? Could you tell any specific approaches, trends lately?
The special project includes important perspectives of Austrian painting
and drawing, room and wall installations, objects and photographs,
and invites visitors to actively participate. Themes such as the personal
environment as an experiential space, the reception of art history,
socio-politics and gender are present in the exhibited works. Forms
of abstraction and concepts strongly influenced by intellect encounter
intimate, poetic visual worlds in the exhibit. In the last years we could
observe strong tendencies towards installations and object art, by using
mixed media. Also art in public space becomes more interesting in the
capital Vienna but also on the country. On the other hand academic
painting has a long and strong tradition in Vienna - for the younger
generation it is important to learn intensively before experimenting
painting tendencies come and go, but painting will rise again like about
10 years ago. Important for an artist is to find his way and to develop his
personal unique style and personality like a trademark.

Herbert Brandl, Untitled, oil on canvas,


320x600cm, aluminium frame

Hubert Scheibl, Pardes II, oil canvas, 240 x 440 cm Brigitte Kowanz, What
Why wall light object,
neon and stainless steel,
150 x 150 x 12 cm

OMVnin kltrel sponsorluk departman olan OMV Art Projects


hangi alanlarda faaliyet gsteriyor?
OMV Art Projects, OMVnin kltrel sponsorluk departmannn bir
paras. Entegre, uluslararas petrol ve doalgaz irketi OMV, irketin
ekirdek pazarlar olan Avusturya, Romanya ve Trkiye arasnda,
ada sanat alannda kltrel etkileim salamaya odaklanan kltrel
sponsorluk faaliyetlerinde bulunuyor. OMV, ekirdek pazarlar iinde
projeler gerekletirmenin ve kltrel diyalou glendirmenin anlaml
olduunu dnyor. Burada ama bir koleksiyon oluturmaktansa, sanat
ortamnn, ortaklarmzn ve irketin yarar iin, stratejik olarak belirlenen,
gl ve byyen birka projeyi desteklemek.
Bir irket koleksiyonunun kratrln yapmak ile kiiye veya bir
mzeye ait bir koleksiyonun kratrln yapmak arasnda ne gibi
farklar var? OMV koleksiyonunun kratrln yapmann zorluklar
nelerdi?
OMV bir eser koleksiyonu balatmay planlamyor. Viyanada bulunan
OMV Genel Merkezinde, Brandl, Scheibl ve Ahmet Oran veya nci Eviner
gibi Trk sanatlara ait nemli paralar gibi sembolik eserler sergiliyoruz.
Bu eserler irkete ait. Bylelikle, insanlara, OMVnin sanata verdii nemin
giderek arttn gstermek istiyoruz ve tm alanlar ve sanat evreleri,
sanat projelerimiz hakknda bilgilendiriliyor.
OMV, Viyana Fuarnda Trkiye blmne katkda bulunmakta ve son
yllarda gerekleen sergi ve konumalarda da Trk sanatna destek
gsteriyor. Gelecek planlarnz nelerdir?
Viyana ve stanbul arasndaki diyalog ve kltrel etkileim, VIENNAFAIR
2011/2012 dhilinde gerekletirilen DIYALOG: Art From Istanbul sergisi
ve Viyanadaki Uygulamal Sanatlar / ada Sanat Mzesi MAKta,
2013te gerekletirilen Signs Taken in Wonder adl geni sergi gibi OMV
projeleri ile gelitirildi bile. Contemporary Istanbul ile yaplan i birlii, bu
diyaloun ilk defa stanbula tanmasn salayacak. Gelecekte, ada
sanat alanndaki kltrel etkileimi glendirmek iin Trk sanat kurulular
ile i birlikleri salamak istiyoruz. Avusturya ve Romanyada da zerine
altmz projeler mevcut. Gen nesli, temel projeler ile desteklemek
istiyoruz. ART / OMV Moves olarak, Sanat herkes iin olmal mottosunu
benimsedik.
Contemporary stanbulda dzenleyeceiniz sergiden de
bahsedebilir misiniz? Kavramsal erevesi ve eser seimleri ile ilgili
bilgi verebilir misiniz?

Rita Nowak, The


Heinz Frank, The
danger of fear, c print pedestal problem of
framed, 120x160cm
Brancusi, Installation
with table heads
objects and tapestry

DIYALOG: ART FROM VIENNA adl sergi, Avusturyann ok kltrl


sanat bakentinin devasa sanatsal potansiyelini yanstan eserler sunan,
Viyana temelli sanatlar ieriyor. Sergideki eserler, farkl sanat alanlarnda
uzmanlam, nl kratrlerinden oluan bir ekip tarafndan seildi.
Her kratr, biri eski nesilden, nemli ve tannm bir sanat, dieri de
byk umut vadeden, gen bir sanat olmak zere iki sanat seti.
Bu sanatlarn stanbulda sergiledii eserler sembolik ve karakteristik
nitelikteydi ada boyutlar bnyesinde toplayan bu anahtar zellik,
net bir beyanda bulunuyordu: Sanat, bugnn dnyas ve toplumunun
bir iaretidir. Sergi, kafalarda baz soru iaretleri dourdu: Viyana sanat,
kendisini uluslararas boyutta nasl konumlandryor? Viyana sanat farkl
m? erik, biimcilik veya estetizm asndan takip ettii ifade biimleri
neler? Viyana sanats, zamannn akbetini nasl iliyor? OMV zel projesi
DIYALOG: ART FROM VIENNA, bu sorulara Viyana sanatnn geni
alannda yaplan, rnek niteliinde, ancak son derece bireysel olarak
tanmlanm bir sunum ile cevap bulmaya alyor. OMV, Avusturya ve
Trkiyeden sanat ve sanatlarn bir araya getirmeyi ve bir arada alan,
gelecei ve gelecein vizyonlarn beraberce gelitiren insanlardan oluan,
snr tesi bir a oluturmay amalyor.
Avusturyada gncel sanatn belirleyen unsurlar neler?
Bize yakn zamanda gelien belirli baz yaklamlar ve trendlerden
bahseder misiniz?
zel proje, Avusturya resmi ve izimi, oda ve duvar enstalasyonlar,
nesne ve fotoraflar ile ilgili nemli perspektifler ieriyor ve ziyaretileri
aktif olarak katlm gstermeye davet ediyor. Sergilenen eserler arasnda
deneysel bir mekn olarak kiisel evre, sanat tarihi almlamas,
sosyopolitik ve cinsiyet gibi temalar mevcut. Soyutlama biimleri ve
zekdan youn bir ekilde etkilenen konseptler, sergide samimi ve iirsel
grsel dnyalar ile karlayor. Son yllarda, karma iletiim ortamlar
kullanarak yaplan enstalasyonlar ve nesne sanatna ynelik gl
ynelimler gzlemledik. Ayrca kamusal alanda yaplan sanat, bakent
Viyanada olduu gibi, lkenin genelinde de daha fazla ilgi ekmeye
balad. Dier yandan, Viyanada kkl ve gl bir akademik resim
gelenei mevcut. Gen nesillerin, deney yapmadan nce youn bir
eitimden gemeleri nemli resim eilimleri gelip geer, fakat resim,
tpk yaklak 10 yl nce olduu gibi yeniden ykselecek. Bir sanat iin
kendine has bir stil ve kiilik bulmak ve gelitirmek, yani adeta bir marka
oluturmak, ok nemli.

57

Robert
Montgomery
MY WORK IS JUST MADE BY SOMEONE
WHO EXPECTED TO GROW UP IN A NEW
PARADISE THAT WASNT DELIVERED.
ESERLERM YALNIZCA, HBR ZAMAN
VAAT EDLMEM BR YEN CENNETTE
BYYECEN ZANNEDEN BR
TARAFINDAN YAPILIYOR.
The Slow Disappearance of Meaning and Truth, 2009, Steel, acrylic, neon lights,
carnival lights, fluorescent lights, 40 x 77 in. (101.6 x 195.6 cm)

These are the times that we live things in snapshots. And


your works make us stop and read while a twitter text is 140
characters long. What made you start using the text as image, as
a work of art?
What made me do that is the first 2 paragraphs of The Society of
The Spectacle by Guy Debord, which says, In societies dominated
by modern conditions of production, life is presented as an immense
accumulation of spectacles. Everything that was directly lived has
receded into a representation. The images detached from every
aspect of life merge into a common stream in which the unity of
that life can no longer be recovered. Fragmented views of reality
regroup themselves into a new unity as a separate pseudo world
that can only be looked at. The specialization of images of the
world evolves into a world of autonomized images where even the
deceivers are deceived. The spectacle is a concrete inversion of life,
an autonomous movement of the nonliving. I was 19 when I read
that and I thought it might be a good time to make art that thinks
before it makes pictures.
What is the difference between your work and the conceptual
works back in the 70s where we also used to see a lot of text
and messages?
My art is later, by someone who was born in the 70s and expected I
would grow up in the future the hippie dream promised us. So my
work is just made by someone who expected to grow up in a new
paradise that wasnt delivered. So my work is exactly the same kind
of work but made later, so its angrier, and its sadder.
How do you define your work? Sculpture, poem, installation?
Poem first, sculpture second, installation last. Installation just
before the show opens.
Your works are very poetic and they are actually poems. How did
you start writing and which poets and artists influenced you?
I just started writing poems in my bedroom when I was a teenager
but I could never really get them finished, and then I realized I had
an art degree I was studying for, and then the poems distracted
me from the paintings I was supposed to be making so in the end I
just panicked and did some drawings of the poems and people liked
them and I got good grades and then I realized being an artist was
the perfect vocation for a poet who couldnt finish anything.
Are your writing desk, library and computer your studio, since

58

Bazen enstantanelerle yaadmz zamanlar olur. Bir Twitter


metni 140 karakter uzunluunda iken, sizin eserleriniz bizi
durup okumaya tevik ediyor. Metni bir grnt, bir sanat eseri
olarak kullanmaya ne sebeple baladnz?
Bunu yapmam salayan ey, Guy Debordun Gsteri Toplumu
(Society of the Spectacle) adl kitabnn ilk iki paragrafyd:
Modern retim koullarnn hkim olduu toplumlarn tm yaam
devasa bir gsteri birikimi olarak grnr. Dolaysyla yaanm
olan her ey yerini bir temsile brakarak uzaklamtr. Yaamn
her bir grnmnden kopmu olan imajlar, bu yaamn birliini
yeniden kurmann mmkn olmad ortak bir akta kaynarlar.
Ksm olarak gz nnde bulundurulan gereklik, ayr bir sahtednya olarak, salt seyrin nesnesi olarak, kendi genel birliinde
sergilenir. Dnyasal imajlardaki uzmanlama, aldatc eyin
hakikatle yz yze gelmekten kand zerklemi imaj leminde
kendini tamamlanm bulur. Genel anlamda gsteri, yaamn
somut ters yz edilii olarak, canl olmayann zerk devinimidir.1
Bunu okuduumda 19 yandaydm ve resim yapmadan nce
dnen sanat yapmak iin iyi bir zaman olacan dndm.
Sizin eserleriniz ile 70lerdeki bolca metin ve mesaj ieren
kavramsal eserler arasndaki fark nedir?
Benim sanatm daha ge; 70lerde doan ve hippi ryasnn bize
vadettii gelecekte byyeceimizi zanneden birinin imzasn
tayor. Yani eserlerim yalnzca, hibir zaman verilmemi bir yeni
cennette byyeceini zanneden biri tarafndan yapld. Yani
eserlerim, o zamann eserleri ile ayn trde, ancak onlardan daha
sonra yapld, bu yzden daha kzgn ve zgnler.
Eserlerinizi nasl tanmlyorsunuz? Heykel, iir, enstalasyon?
lk olarak iir, ikinci olarak heykel, son olarak ise enstalasyon olarak
tanmlyorum. Enstalasyon sergi almadan hemen nce yaplyor.
Eserleriniz ok iirsel ve aslen iir niteliindeler. Yazmaya nasl
baladnz ve sizi etkileyen air ve sanatlar kimler oldu?
iir yazmaya genken, yatak odamda baladm fakat hibir zaman
tamamlayamyordum, sonra birden bir sanat diplomas almak
iin altm ve iirlerin, beni yapmam gereken resimlerden
alkoyduunu fark ettim. En sonunda iirlerimin izimlerini
yaptm. nsanlar bunlar sevdi ve iyi notlar aldm. Sonra da bir
sanat olmann, hibir eyi tamamlayamayan bir air iin en iyi
meslek olduuna karar verdim.

your works are based on texts and in-situ installations?


Yeah my desk, library, computer, and smart phone are my studio
but my works are not based on texts and in-situ installations, my
work comes from 40 years of repressed hippie anger loss and pain.
My work is just really gushing anger against everyone who wasnt
brave enough to make the hippie dream a reality when we all knew
it was the best call. Its an already-defeated panegyric wolf howl
against Reaganomics.
Your work sometimes might be invisible, as it is sometimes
printed on a billboard while it can be a neon work as well.
However, it generally looks like an advertisement copy
especially when today, advertisement copies are like poems...
How do you feel about this commercial versus art versus
commercial space and artistic space?
Apollinaire said in his poem Zone, written in 1913, Billboards sing
aloud, and thats all you are left with as poetry this morning and
this century. For prose, you have the tabloids. In the 20th Century
we got rich but did not remember the implicit value of education
just as a thing in itself. By the 1950s we just wanted to get in
to good colleges so we could buy nicer cars than our fathers had
and in the end we all got the cheap refrigerators and the tabloid
newspapers we deserved. Apollinaire died in 1918 from wounds he
got as a soldier in the first world war. He never even really saw the
20th Century, but I think I he had a pretty psychic premonition of
it. He guessed the next 100 years pretty good.

Eserleriniz metin ve meknda yaplan enstalasyonlar temel


alyor. Yazm masanz, ktphaneniz ve bilgisayarnz
stdyonuzda m bulunduruyorsunuz?
Evet masam, ktphanem, bilgisayarm ve akll telefonum
stdyomda duruyor ama ilerim metinler ve meknda yaplan
enstalasyonlar deil, bir hippinin 40 yldr bastrd fke,
kayp ve aclarn temel alyor. Eserlerim, aslnda hepimizin
bunu gerekletirmenin en iyi karar olduunu bildii hippi
ryasn gerekletirecek kadar cesur olmayan herkese kar fke
pskrtyor. Reaganomics e kar batan malup methiyeler dzen
bir kurt ulumas.
Eserlerin bazen grnmez, bazen bir billboarda basl, bazen
de bir neon almas olabiliyor. Ancak, zellikle de reklam
metinlerinin iirleri andrd gnmzde, genel olarak reklam
metinlerine benziyorlar. Reklam ve sanat, reklam mekn
ve sanatsal mekn arasndaki bu mcadele ile ilgili neler
dnyorsun?
Apollinaire, 1913 ylnda yazd Blge (Zone) iirinde yle der:
Bar bar baran el ilanlarn, kataloglar, afileri okuyorsun. te
bu sabah iir, nesir iin de gazeteler var. 20. Yzylda zengin
olduk ancak eitime ikin olan deeri hatrlamadk. 50li yllara
gelindiinde ise yalnzca, babamzn sahip olduundan daha gzel
arabalar alabilmek iin iyi niversitelere girmek istiyorduk, sonunda
ise elimizde, hak ettiimiz ucuz buzdolaplar ve tabloit gazeteler
kald. Apollinaire, 1918 ylnda, Birinci Dnya Savanda savarken
ald yaralar nedeniyle ld. 20. Yzyl neredeyse hi grmedi ama
onun hakknda ruhani bir ngrde bulunduunu dnyorum.
Gelecek 100 yl iinde yaanacaklar gayet iyi tahmin etti.
Kitabn Ayrnt Yaynlar tarafndan, 1996 ylnda yaplan basmndan
alntlanmtr. Franszcadan orijinal eviri Ayen Ekmeki Okan Takent
tarafndan yaplmtr.

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Dossier / Dosya: New Media / Yeni Medya

Plug-in

New Media New Fair / Yeni Medya Yeni Fuar


Ceren Arkman

Directly applicable to our period, fast, innovative,


exciting. Ambiguous while broad in limits, open
to discussion and above all these, pointing to the
unknown; new media. Ceren Arkman, director of
the new media event Plugin, a new initiative from
CI, draws up the trends of new media art, latest
developments and the highlights in Plugin.

Matt Pyke Portrait Photography by Shaun Bloodworth

Installation shots Kate Elliott for Media Space

We increasingly encounter video works along with light and audio installations, interactive and generative works, kinetic and robotic designs, all kinds
of new technologies and code based works that fall in the new media category taking the most space in artistic events and galleries.Digital works sit
on the border between art, design and technology and refuse to fit into one of these categories. The creation process of the art piece in digital works
is also considerably complicated. The artist works closely with architects, software developers, etc. To what extent is the final work art, technology
or design usually remains questionable, along with whom the actual artist is. To provide an example, Londons Science Museum has opened a New
Media space a month or so ago. Prominent names of digital art and design in England have been invited for the first presentation to be held at this
place. Not to create works to be included in an exhibition, but to collectively build one sole work. Keri Elmsly, one of the leading names of this field,
was included in the production of the work. Keri also brings together an exhibition for the first year of Plugin.
Sanat etkinliklerinde ve galerilerde yeni medya alan iinde kalan video ileri, k ve ses enstalasyonlar, interaktif ve jeneratif iler, kinetik ve robotik
tasarmlar, her tr yeni teknoloji ve kod tabanl ilerle giderek daha fazla karlayoruz. Dijital iler sanat, tasarm ve teknoloji arasndaki snrda duruyor
ve bu kategorilerden birinin iine smay reddediyor. Dijital ilerde sanat eserinin yaratm sreci de olduka komplike. Sanat mimarlarla, yazlmclarla,
vs. birlikte alyor. Sonuta ortaya kan iin ne kadar sanat, ne kadar teknoloji, ne kadar tasarm olduu ou zaman tartmal kalyor, asl sanatnn
kim olduu da. rnek vermek gerekirse; bir ay kadar nce Londrada Science Museum bir Yeni Medya alan at. Burada sergilenecek ilk i iin
dijital sanat ve tasarm konusunda ngilterenin nde gelen isimleri davet edildi. Bir serginin paras olacak ileri yapmalar iin deil, tek bir ii birlikte
kurgulamalar iin. in prodksiyonunda ise bu alann en iyi isimlerinden Keri Elmsly vard. Keri Pluginin ilk senesi iin de bir sergi hazrlyor.

60

Birebir amza uyan, hzl, yeniliki, heyecan


verici. Snrlar geni olduu kadar belirsiz,
tartmaya ak ve tm bunlarn tesinde,
bilinmeyene iaret eden bir alan, yeni medya. CIn
yeni giriimi yeni medya etkinlii Pluginin direktr
Ceren Arkman yeni medya sanatndaki trendleri,
son gelimeleri ve Pluginde ne kanlar yazd.

From Presence, Universal Everything & You Universal Everything.

Universal Everything & You


The role of the producer, especially in big scale new media works
is important. This not being established is one of the major reasons
why our country is not producing big scale works, and most
attempts towards these are carbon copies of their abroad originals.
The work was led by Matt Pyke. His studio, named Universal
Everything, was deemed many times as one of the 10 leading
studios of England. He creates code based generative works but he
doesnt usually write the code himself. We will have the chance to
see his works as well within Plugin.

Universal Everything & You


zellikle byk lekli yeni medya ilerinde prodktrn rol
nemli. Bunun lkemizde daha oturmam olmas byk lekli
ilerin kmamasnn, bu yndeki denemelerin ounun da yurt
d rneklerin karbon kopyalar olmasnn nedenlerinden biri bu.
in banda Matt Pyke vard. Universal Everything adl stdyosu
defalarca ngilterenin ilk on stdyosu arasnda gsterildi. Kod
tabanl generetif iler yapyor ama ou zaman kodu kendi
yazmyor. Plugin kapsamnda onun ilerini de grme ansmz
olacak.

Matt Pyke collaborated with an architect for a work in Science


Museum and got screens which form two nestled circles made. With
the applications he developed, you can input specific parameters,
make a design and instantly upload the images to the screens
within the inner circle. The work you create commingles with
images from many other viewers and people kilometers away, who
have merely downloaded the application. These images interfuse
with each other and moves with the background music. That is the
reason behind the name Universal Everything & You.

Matt Pyke, Science Museumdaki i iin bir mimarla alm ve iie


iki daire oluturan ekranlar tasarlatm. Gelitirdii aplikasyonla
belirli parametreleri girip bir tasarm yapyorsunuz ve grselleri
annda i dairedeki ekranlara atabiliyorsunuz. Yaptnz i dier
pek ok izleyicinin ve km.lerce uzakta sadece aplikasyonu indirmi
insanlarn grntleriyle karyor. Bu grntler belirli bir algoritma
iinde birbirlerine karyor ve arka plandaki mzikle hareket ediyor.
Bu nedenle iin ad Universal Everything&You.
D ember zerinde ise alan mzikle hareket eden renk ve ktan
olumu objeler gryorsunuz bata. Biraz dikkat edince bunlarn
insan olduunu fark ediyorsunuz. Bu i iin LA Dance Project bir
koreografi hazrlam, danslarn hareketleri kaydedilmi, sonra
bu danslarn bedenleri srekli deien kod tabanl elbiselere
dntrlm. Bu yazlm arkasndaki ekipte dikkat eken isim
interaktif ilerde ok baarl bir yazlmc olan Andreas Mller.
Nanika adl irketiyle hem sanat ileri retiyor hem de mteriler
iin yazlm temelli projeler hazrlyor. Bu alandaki bir ok isim gibi
kurumsal ilerinin bazlar ortak hafzada daha fazla yere sahip.

In the outer circle, you initially see objects composed of color and
light, moving with the background music. Looking a little closer, you
notice that these are actually humans. LA Dance Project prepared
the choreography for this project, recorded the movements of the
dancers and finally, the bodies of these dancers were transformed
into ever changing, code based garments. The eye catching name in
the team behind this software is Andreas Mller, a very successful
software developer in interactive works. He creates artworks with

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Dossier / Dosya: New Media / Yeni Medya

his firm Nanika, and designs software based projects for the clients.
Like many of the names in this field, some commercial works take
more space in the common memory. Like the holographic fashion
show they designed for Diesel. In the fair, you will have the chance
to see one of Andreas works. The composer of the music surely plays
an important role in the finalized work. In conclusion, the owner of
the signature under this work is not actually clear; is it the producer,
the software developer, the choreographer, or the architect? Or is it
me, the one who downloaded the app to her phone? Grid Festival),
we have full command of the inner dynamics of this world. We
believe that, when we combine that experience with the background
of Contemporary stanbul on art market and fair organization, we
can create a platform of such nature in a short time.

Diesel iin yaptklar holografik moda ovu. Fuarda Andreasn


da bir iini grme ans yakalayacaksnz. Elbette son kan ite
mziin bestecisinin de nemli pay var. Vardmz son noktada, bu
iin sahibi kim ok da net deil: prodktr m, yazlmc m, koreograf
m, mimar m? Yoksa telefonuna aplikasyonu indiren ben miyim?

Mustafa Hulusi, Extasis displayed on a laptop digital limited edition


Mustafa Hulusi, courtesy of www.seditionart.com

Matt Pyke, Presence 2.1 displayed on TV, digital limited edition


Matt Pyke, courtesy of www.seditionart.com
Yoko Ono, Painting To Shake Hands on iPad, digital limited edition
Yoko Ono, courtesy of www.seditionart.com

Open Source Movement and New Media Collecting


The open source movement, making things even more complicated. Prominent software for this field is published on the
internet, open to everyone, by many designers and developers. In the digital world, the rules run differently; rather than keeping
their techniques and processes for themselves, artists make them available for everyone, granting everyone the opportunity to
become an artist.
In short, in terms of production and viewing processes, new media is not similar to the art practices we are familiar with. Internet
access, smart devices and applications seriously increase the number of the forms of viewing and spreading speed of these
works. And when this is the case, collecting art in this field does not work in traditional, familiar ways.
Ak Kaynak Hareketi ve Yeni Medya Koleksiyonerlii
i daha da karmaklatran ak kaynak hareketi. Bu alanda ok nemli yeri olan yazlmlarn ou tasarmc ve yazlmclar
tarafndan internette herkesin kullanmna ak ekilde yaynlanyor. Dijital dnyada kurallar farkl iliyor; sanatlar tekniklerini ve
srelerini kendilerine saklamak yerine herkese ayor, herkesin sanat olmas iin imkan salyor. zetle yeni medya hem
retim hem de izlenme sreleri asndan bildiimiz sanat pratiklerine benzemiyor. nternet ulam, akll cihazlar ve aplikasyonlar
bu ilerin izlenme ekillerini ve yaylma hzn ciddi anlamda artryor. Tabi byle olunca bu alanda koleksiyonerlik de bildiimiz
ekillerde almyor.
62

Also included in the scope of Plugin, Sedition is very popular all


around the world, especially in England. They sell digital works
online and you can download these works to your computer or your
smart devices. They have reached sales amounts of considerable
numbers. They have released Matt Pykes Transfiguration, limited to
1000 copies. I have checked it minutes ago and there was only one
copy left. The founders of Sedition are Harry Blain of Blain/Southern
and the former CEO of Saatchi Online, Robert L. Norton. This alone
is a good sign on the direction to which art collecting is headed.
The director of the legendary gallery of the 2000s, Rory Blain is
directing Sedition at the moment and as part of CI Dialogues, he
will be in the fair to talk about the new collector and the new
art enthusiast. He will be accompanied by Jack Pam, the director
of ikono.tv, an innovative art channel which can be watched on
satellite in the Middle East and most of Europe. ikono.tv are trying
to establish a new art enthusiasm concept, and they will soon start
to sell the videos they air on television on iTunes as open editions,
for 1 Euro per piece. These works will also be downloadable to
your devices, just like MP3s. In the long term, this approach can
represent a revolution in the art world.

Plugin kapsamnda da greceiniz Sedition u an dnyann her


yannda, zellikle de ngilterede ok popler. nternet zerinden
dijital iler satyorlar. Bu ileri bilgisayarnza ve akll cihazlarnza
ykleyebiliyorsunuz. ok ciddi at rakamlarna ulatlar. Matt
Pyken Transfiguration iini 1000 kopya olarak sata sundular. Az
nce baktmsa sadece tek kopya kalmt. Seditionn kurucular
Blain/Southerndan Harry Blain ve Saatchi Onlinen eski CEOsu
Robert L. Norton. Sadece bu bile sanat koleksiyonerliinin nereye
gittiine dair iyi bir iaret. 2000lerin efsanevi galerisi Hunch of
Venisonn direktr Rory Blain u an Seditionn direktrlini
yapyor ve CI Dialogues kapsamnda yeni koleksiyoner ve yeni
sanat izleyicisi hakknda konumak iin fuarda olacak. Ona
konumada Ortadou ve Avrupann byk ksmnda uydudan
izlenilebilen yeniliki sanat kanal ikono.tvnin direktr Jack
Pam elik edecek. ikono.tv hem yeni bir sanat izleyicilii kavram
oturtmaya alyor hem de yakn zamanda televizyonda
yaynlad videolar ak edisyon olarak tanesi 1 Euroya itunes
zerinden satmaya balayacak. Bu ileri ayn mp3 gibi cihazlarnza
indireceksiniz. Bu yaklam uzun vadede sanat dnyas iin devrim
niteliinde olabilir.

Completely different from all known art branches in terms of


production, viewing processes and forms of collecting, new media
and digital art bring along with them new practices of displaying.
These works vanish next to sculptures and canvases, displayed in
the well-lit environment of commercial fairs with walls of white,
or get stuck into isolated black cubes. Plugin was primarily based
on the idea of the necessity of specially and distinctively designed
spaces for the exhibition of the works of this nature. Compared to
other organizations, Plugin defines its scope much wider. We have
widened our participant profile within this field width and the
creation processes of the field. Plugin aims to draw in this work not
only the commercial galleries and art initiatives, but architecture
and design studios operating in this field, even game developers
and technology and software companies providing the technical
basis for digital art and design.

retim ve izlenme sreleri ve koleksiyonerlik ekilleri gibi farkl


alardan bildiimiz sanat dallarndan tamamen farkl olan yeni
meda ve dijital sanat sergilenme asndan da yeni pratikleri
beraberinde getiriyor. Bu iler ticari fuarlarn bol kl, beyaz duvarl
ortamnda heykel ve tuvallerin yannda kaybolup gidiyor ya da
izole siyah kplerin iine sktrlyor. Plugin ncelikle bu ilerin
sergilenmesi iin zel alanlarn ve farkl mekan tasarmlarnn
gerekli olduu fikrinden yola kt; alann, dier organizasyonlara
gre daha geni tanmlyor. Katlmc profilini de bu alan genilii ve
alann retim sreleri dahilinde geniletiyor. Sadece ticari galeriler
ve sanat insiyatiflerini deil, ayn zamanda bu alanda faaliyet
gsteren mimarlk ve tasarm stdyolarn, oyun gelitiricilerini,
dijital sanat ve tasarmn teknik altyapsn salayan teknoloji ve
yazlm irketlerini de bu iin iine ekmeyi hedefliyor.

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Dossier / Dosya: New Media / Yeni Medya

Ars Electronica and Transmediale or grand seminars, such as


Resonate or Offf are events necessary to go in order to follow the
newest and the best works in these fields. But these fields do not
attract the collectors or managing audiences who could order big
scale works. There is a need for a platform, which is able to perceive
the inner dynamics of digital art and design, while bringing these
works together with collectors and investors.

Ars Electronica, Transmediale gibi byk festivaller ya da Resonate,


Offf gibi byk seminerler bu alanlarda en yeni ve en iyi ileri takip
etmek iin gidilmesi gereken yerler. Ama bu alanlar koleksiyoner
ya da byk iler smarlayabilecek ynetici kitleyi ekmiyor. Hem
dijital sanatn ve tasarmn i dinamiklerini anlayacak hem de bu
ileri koleksiyoner ve yatrmclarla bir araya getirecek bir platform
ihtiyac var.

Through many video, digital art and design festivals we organized


in the last 10 years as Grid stanbul, we have first-hand information
regarding the needs of new media in terms of creation processes
and exhibition. Moreover, as the only team who organize the
abovementioned types of events in stanbul (Offf stanbul and
Grid Festival), we have full command of the inner dynamics of this
world. We believe that, when we combine that experience with
the background of Contemporary stanbul on art market and fair
organization, we can create a platform of such nature in a short time.

Grid stanbul olarak 10 senedir dzenlediimiz ok sayda video,


dijital sanat ve tasarm festivali sayesinde yeni medyann retim
sreleri ve sergilemeye ynelik ihtiyalarna dair birinci el
bilgi sahibiyiz. Dahas yukarda bahsettiimiz trde etkinlikleri
stanbulda dzenleyen (Offf stanbul ve Grid Festival) tek ekip
olarak bu dnyann i dinamiklerine hakimiz. Bunu Contemporary
stanbulun sanat piyasasna ve fuar organizasyonuna dair
birikimi ile birletirdiimizde, bu tarz bir platformu ksa srede
yaratabileceimize inanyoruz.

To the New Collector


Yeni Koleksiyonere

Interview / Rportaj: Zeynep Berik

Shepard Fairey, Peaceguard


displayed on iPad
Shepard Fairey, courtesy of
www.seditionart.com

64

Sedition... Enables collectors to purchase works by some of the worlds


most renowned contemporary artists, at an accessible price. The idea for
Sedition first arose back in the 1990s, but only recently has technology
reached a point where the concept could be realized - developments
in screen resolution and internet bandwidth/access have been the key
drivers.

Yeni koleksiyoner... Eski koleksiyoner ile ayn kii, en azndan birou


yle. Seditiondaki koleksiyonerlerin ou, galeriler ve mzayede evleri
araclyla alm yapman kiiler. Koleksiyonlarnda en gncel medyann
sergilenmesini istiyorlar.

The new collector... is actually the old collector - or at least a large


number of them. Many of the collectors on Sedition are experienced art
buyers - people who are accustomed to buying through galleries and
auction houses. They want to ensure the latest media is represented in
their collections.

Deien ey... nsanlarn sanatlar ve eserlerini kefetme biimleri.


nternet, koleksiyonerlerin eserleri aramasn, grntlemesini ve fiyatlar
karlatrmasn salyor. Geleneksel medya ilerinde bile bir eserin ilk
defa bir ekranda gsterilmesi yaygnlat.

Rory Blain

TRENDS IN NEW MEDIA ART AN THE NEW


COLLECTOR FROM RORY BLAIN, THE DIRECTOR OF
AN ONLINE NEW MEDIA PLATFORM.
ONLINE YEN MEDYA PLATFORMU SEDITIONIN
DREKTR RORY BLAINDEN YEN MEDYA
TRENDLER VE YEN KOLEKSYONER.

Sedition... Koleksiyonerlerin, dnyann en nl ada sanatlara ait


eserleri, uygun fiyata satn almalarn salyor. Sedition kurma fikri 90l
yllarda dodu, ancak konseptin gerekletirebilmesine imkn salayacak,
teknoloji artlar yakn zamanda olutu. Bu konuda ekran znrl,
Internet bant genilii ve eriimi gibi alanlardaki gelimeler anahtar
niteliinde oldu.

Tracey Emin, Love is What You Want displayed on iPhone


Tracey Emin, courtesy of www.seditionart.com

Trendler... Sanat yaratm asndan, sanatlarn elinde, yaratm iinde


deney yapmalarn salayan birok ara var; en son teknolojiler, 3D bask,
uygulamalar, programlama, sosyal medya ve internet. Yeni medya sanat,
geni kitlelerce kabul edilmeye balanmadan nce sanatn snrlarnda
bulunuyordu, ancak imdi, teknoloji gnlk hayatmzn her yerinde
hazr bulunuyorken, birok sanatnn pratiinin byk bir paras. Yeni
medyann etkisiyle, sanatnn eserin tek sahibi olmas durumundan
deiti ve eserler tek ynl bir deneyim olmaktan kt. Kitleler artk
eserin yaratm srecine katlabiliyor veya yaratlan bir eseri gelitirmeye
devam edebiliyorlar. Sanat eserleri, interaktif enstalasyonlara veya Yoko

What has changed is ... how people first discover artists and their
works - the internet has been an incredible tool for this, allowing a
collector to search out works, compare prices, view images - even for
traditional media works its quite common now for the first view of an
artwork to be on a screen.
Trends... In terms of art creation, artists now have new tools to
experiment within art production including all the latest technologies in
robotics, 3D printing, apps, programming, social media and the internet.
New media art has always sat on the fringes of the art world before
gaining wider acceptance, but is now becoming a major part of many
artists practices as technologies become ubiquitous in our everyday life.
With the influence of new media, there has been a shift away from the
artist as the sole author of the work, where works are no longer a one-

65

Dossier / Dosya: New Media / Yeni Medya

way experience. Audiences can now participate in creation process, or


continue to the development of a piece after its initial creation. Artworks
are taking the form of interactive installations or user-generated projects
like Yoko Onos #Smilesfilm project where audiences are asked to submit
photos of their smiles to Instagram from around the world using the
hashtag, or Matt Pykes 1000 Hands installation now on at the Science
Museum in London.
The role of the artist The participatory culture brings up questions about
the role of the artist today in bringing people together and inspiring them
through creation. Young artists, or the post-internet generation who grew
up with smart phones and iPads in their hands are creating works using
the internet and employing social media as a means to share work. An
example would be the artists presented by Hans Ulrich Obrists 89+
project, which presents a new generation of artists born after 1989.
Todays artists are inspired by the aesthetics of the internet either
through nostalgia of low-fi or obsolete technologies, glitch, pixellation,
gifs, or the selfie. This generation is socially networked and express
themselves through the mediums that are familiar to them. We will
continue to see the increasing influence of technology in the creative
practices of a younger generation of artists.
Rory Blains recommendations
http://1000hands.universaleverything.com/detail/5316
http://www.smilesfilm.com/

Ononun, dnyann her yerinden insanlardan glmsemelerinin fotorafn


Instagrama, ayn adl etiket ile yklemeleri istenen #Smilesfilm projesi
veya Matt Pyken; ziyaretilerin, bir uygulama indirerek, sergi iindeki 360
derecelik ekranda grntlenecek izimler yapmasn salayan ve u an
Londradaki Bilim Mzesinde grlebilen 1000 Hands enstalasyonu gibi,
kullanclarn katlmlarnn olduu projelere dnyorlar.
Sanatnn rol Katlm kltr, bugnk sanatnn insanlar bir araya
getirme ve onlar yaratm ile etkileme rolyle ilgili soru iaretleri yaratyor.
Gen sanatlar veya ellerinde akll telefonlar ve iPadlerle bym olan
internet sonras nesil, interneti kullanarak eserleri yaratyor ve eserin
paylam iin de sosyal medyadan yararlanyor. Hans Ulrich Obristin,
1989den sonra doan yeni bir sanat neslinin sunan 89+ projesi
dhilinde eserleri sergilenen sanatlar buna rnek.
Bu sanatlarn etkilendikleri alanlar low-fin nostaljisi veya artk
kullanlmayan teknolojiler, glitch, pikselasyon, GIFler veya kendi
fotoraflar (selfie) zerinden, internet estetii. Bu nesil sosyal alarla
birbirine bal ve kendilerini en iyi ekilde ifade etmek iin, kendilerine
tandk gelen medyalar kullanyor. Daha gen nesil sanatlarn
pratiklerinde teknolojinin artan etkisini grmeye devam edeceiz.
Rory Blainin nerileri:
http://1000hands.universaleverything.com/detail/5316
http://www.smilesfilm.com/

Forms Formlar
Memo Akten & Quayola

Interview / Rportaj: Ebru Yetikin

Forms is an ongoing collaboration between visuals artists Memo Akten and


Quayola, a series of studies on human motion, and its reverberations through space
and time. It is inspired by the works of Eadweard Muybridge, Harold Edgerton,
tienne-Jules Marey as well as similarly inspired modernist cubist works such as
Marcel Duchamps Nude Descending a Staircase No.2. Rather than focusing on
observable trajectories, it explores techniques of extrapolation to sculpt abstract
forms, visualizing unseen relationships power, balance, grace and conflict
between the body and its surroundings. The project investigates athletes; pushing
their bodies to their extreme capabilities, their movements shaped by an evolutionary
process targeting a winning performance.

Audio-visual installation / Ses ve grnt


enstalasyonu, 1ch HD projection, 1ch HD LCD, 2ch
sound / ses, 02:00 min / dk

66

Audio-visual installation / Ses ve grnt enstalasyonu


1ch HD projection, 1ch HD LCD, 2ch sound / ses, 02:00 min / dk

Formlar, insan hareketleri ile bunlarn zaman ve mekan ierisindeki etkileri zerine bir
dizi aratrmadan oluan bir alma olup grsel sanatlar Memo Akten ile Quayola
arasnda sregelen bir ibirliidir. Bu alma Eadweard Muybridge, Harold Edgerton,
tienne-Jules Mareynin eserleri ile Marcel Duchampn Nude Descending a
Staircase No.2 isimli eseri gibi benzer modernist kbist eserlerden ilham almaktadr.
Beden ile evresi arasndaki grnmeyen ilikileri (g, denge, zarafet, atma)
grselletirerek gzlemlenebilir yrngelerden ziyade soyut heykel formlarnn d
deerlendirme (ekstrapolasyon) tekniklerini incelemektedir. Bu proje, bedenlerini
yeteneklerinin son raddesine kadar zorlayan, kazanmaya ynelik bir performans
hedefleyen evrimsel bir srele ekillenen hareketleriyle atletleri ele alr.

Audio-visual installation / Ses ve grnt enstalasyonu


1ch HD projection, 1ch HD LCD, 2ch sound / ses, 02:00 min / dk

Audio-visual installation / Ses ve grnt enstalasyonu


1ch HD projection, 1ch HD LCD, 2ch sound / ses, 02:00 min / dk

Between documentary filmmaking and art


I think its a really nice analogy between this work and a
documentary filmmaking in there. When you are making a
documentary, you know the area you want to explore but not the
message you want to give. The whole point is that you want to
research and explore and find out more.

Belgesel yapmcl ve sanat arasnda...


Bu eser ile belgesel yapmcl arasnda gerekten de ho bir
benzerlik olduunu dnyorum. Bir belgesel yaparken incelemek
istediiniz alan bilseniz de vermek istediiniz mesaj bilmezsiniz.
Btn mesele aratrmak, kefetmek ve daha fazla bulguya
ulamak istemenizdir.

Unfamiliar Familarity
We wanted to visualize the motion from the very start, with one
sentence. In this new world we design and create the movements in
that universe, and we visualize it.
I really like the phrase unfamiliar familiarity. When you face
that, your brain latches on to what is familiar and amplifies it
cos thats the thread that connects you to it. Thats a great way of
pulling people in to focus on that. When you are looking at a sports
footage, you are not looking at the motion but all kinds of things
around it. In a way, we taking that essence and amplifying it.

Allmadk Benzerlik
En bandan beri tek bir cmleyle devinimi grselletirmek istedik.
Bu yeni dnyada o evrendeki hareketleri tasarlyor, yaratyor
ve grselletiriyoruz. Allmadk benzerlik terimini gerekten
ok seviyorum. Bununla karlatnda beyniniz alldk olan
kavrayp geniletir nk bu, onunla sizin aranzda iliki kuran
bir ba gibidir. nsanlarn buna odaklanmasn salamak iin
harika bir yoldur. Spor ekimlerini seyrederken harekete deil de
evresindeki her trl eye bakarsnz. Bir bakma o z alr ve
oaltrz.

Sports and its transformation


Its a project about sport but its also not. We are interested in
physics, in natural phenomena more than sports. But the thing
we care about is the specific motion. Idea of taking sports is an
interesting layer for me, almost a challenge since we have an
experimental approach to it as a social study. You take something
that is so familiar, so iconic, so banal and transform it into a
beautiful creation like a sculpture.

Spor ve dnm
Bu sporla ilgili bir proje olduu kadar deildir de. Fizie, doal
olgulara spordan daha fazla alaka duyarz. Fakat asl nem
verdiimiz ey spesifik harekettir. Konu olarak sporu semek
benim iin ilgin bir katman oluturduu gibi ayn zamanda da
sporu toplumsal bir aratrma olarak deneysel bir yaklamla
ele aldmzdan dolay bizim iin bir zorluk da tekil ediyor. Son
derece alldk, ikonik ve banal bir eyi alp heykel gibi gzel bir
oluuma dntryorsunuz.

67

Dossier / Dosya: New Media / Yeni Medya

A number of international art organizations, such as rhizome.org, have


supported new media art for many years, and the number of museums
and galleries all over the world displaying this art continuously increases.

What Comes Next After New Media?


Yeni Medyadan Sonra Ne Var?

rhizome.org gibi birka uluslararas sanat kurumu uzun yllar boyunca


yeni medya sanatn destekledi, ayrca dnyann birok yerinde saylar
giderek artan mze ve galeriler de bu sanat sergiliyor.

The first digital art auction up to this present was held at Phillips, in
October 2013. Paddles On!, with the collaboration of Tumblr and curator
Lindsay Howard, presented works from 18 artists, who use digital
technologies to create the next generation of contemporary art.
Ekim 2013te bugne kadar dzenlenen ilk dijital sanat mzayedesi
Phillipste gerekleti. Tumblr ve kratr Lindsay Howardn ibirliiyle
Paddles On! ada sanatn gelecek neslini yaratmak iin dijital
teknolojileri kullanan 18 sanatnn eserlerini sergiledi.

Interview / Rportaj: Zeynep Berik

Notes of Annette Doms, managing director of UNPAINTED Media Fair which is debuting at
Munich in January 2014, on the art of today and the future.
2014 Ocak aynda Mnihte ilki gerekleecek olan UNPAINTED Medya Fuarnn kurucu
direktr Annnette Domsun bugnn ve gelecein sanatna dair notlar.

Annette Doms

Courtesy of DAM Gallery

copyright Miguel Chevalier Hermes

The future of the new media art market New media art is the art of
today. A world without computers will be unknown to the collectors
of the future; so, collecting new media art will not be perceived as
an unusual habit.
Yeni medya sanat piyasasnn gelecei Yeni medya sanatn imdiki
zamann sanat. Gelecein koleksiyonerleri, bilgisayarlarn olmad
bir dnyay hi tanmam olacaklar; bu nedenle de yeni medya
sanatna ait eserlerin koleksiyonunu yapmak srad bir ey olarak
alglanmayacak.
Network art, tablet art, smartphone art, virtual realities Exciting,
isnt it? People show strange respect to new media art.
Net sanat, tablet sanat, akll telefon sanat, sanal gereklikler
Heyecan verici deil mi ama? nsanlar yeni medya sanatna kar
tuhaf bir sayg gsteriyorlar.
Unpainted New media art still needs an extensive explanation. The
concept of the fair was included in an exhaustive program, which
gives a substantial amount of informational regarding new media
art. This program aims to reach not only to the experts of the art
world, but people who are not professionally interested with art.
Unpainted Yeni medya sanat halen daha geni bir aklamaya
ihtiya duyuyor. Fuarn konsepti yeni medya sanat konusunda
byk lde bilgi veren geni bir programa dahil edildi. Bu program
yalnzca sanat dnyasnn uzmanlarn deil sanatla profesyonel
anlamda ilikisi olmayan kiileri de hedefliyor.
In Unpainted, artists who dont have access to the gallery can apply
for a specially designed section titled Lab3.0. In this section, artists
will have the chance to gain a supported position from both the
newly-opened, and the famous galleries nearby. Galleries will also
have the chance to discover some new talent.
Unpaintedda Galeriye eriimi olmayan sanatlar Lab3.0 isimli
zel olarak dzenlenmi bir blm iin bavuruda bulunabiliyor. Bu
blmde sanatlar, hem yeni alan hem de nl katlmc galerilere
yakn bir konumda, destek gren bir mevki edinebilmek iin frsat
sahibi olacaklar. Galeriler bu sanatlar kefedebilir.
Post-new media, after new media.
Yeni medyadan sonra Post-yeni medya.
Courtesy DAM, Sommerer & Mignonneau, The Value of Art, Unruhige

68

Labau, f5x5x5 Saint-denis


Photo Natalia Kolesova

69

Dossier / Dosya: New Media / Yeni Medya

Can The Screen in


Your Pocket Rule
The Arts?
Cebinizdeki
Ekran Sanata
Hkmedebilir mi?
Roy Halstead

Evan Roth, Offlineart, courtesy of XPO Gallery

How is the art world influenced by the changing technology. A notoriously


unchanging sector ensconced within the security of a niche market that
has resisted change over the years.

Gelien teknoloji sanat dnyasn nasl etkiler? Herkesin bildii gibi ni bir
piyasann gvenli ortamna yerlemi, yllar gese de deiime direnen bir
sektr.

Can the opportunities of generating business through the internet in the


art sector be greater than the reasons that have delayed it? The answer
is yes. Tech ventures have already moved into the sector offering multiple
opportunities in which mobile devices have chimed in, reaching out to
a large number of users. We distinguish those that have enhanced their
services through the web and those that were purposely built because
there was a hole in the market or an opportunity to seize. The Art Loss
Register and Artsy can be two valid examples to explain the difference,
whilst the former can be identified as a company that has augmented its
scope of work thanks to the web the latter is a child/product of the .com
age. Both business give an insight of the works.

Sanat sektrnde internet araclyla i alan yaratma frsatlar bunun


geciktirici sebeplerinden daha fazla olabilir mi? Bu sorunun yant
evet. Teknoloji giriimcileri halihazrda mobil aygtlarn da dahil olduu,
geni kulanc kitlelerine ulaabilen ok sayda frsat sunarak sektre
girmi bulunuyorlar. Hizmetlerini internet araclyla arttrm olanlarla
tasarlayarak kurmu olanlar arasnda ayrm yapyoruz nk piyasada bir
boluk veya yakalanacak bir frsat vard. The Art Loss Register ile Artsy bu
fark aklamak iin iki iyi rnek olabilir. Bunlarn ilki i kapsamn internet
sayesinde arttrm bir irket olarak tanmlanabilir; dieri ise .com ann
bir ocuk rndr. Her iki i giriimi de eserlere ilikin bilgi veriyor.

Kickstarter in 2011 raised more than a 100 m in pledges for 27.000 art
related projects, a clear sign that the tech scene is looking into the art
market with great interest. It is a case of a real bottom- up revolution,
the web is emancipating people and the do it yourself approach is
breaking all previous frameworks. How we relate with our curiosity, fears
and concerns. Our smartphone has become a pocket sized oracle
shedding light on doubts. Questions that can be answered with no
delay, opinions which can be consulted, provide feedback for a broader
community of people are only a few elements that prove the reality of
things.
My personal experience working in both the tech scene and the
art sector has made me aware of the resistance to change and the
opportunities that nurture this very fear. With ArtNetWorth in Milan weve
been working in attempting to deliver some form of transparency within
the sector with the aid of mobile devices and web. By assembling a
tamper proof label that can be read by smartphones weve worked in
building a catalogue of works that get marked both into our database
and physically with our digital label. The opportunities and potential
partnerships that have arisen prove that theres room for more work and
development and that the sooner the art sector embraces this inevitable
change the quicker it will start producing a beneficial result for all parties
involved.

70

Kickstarter 2011 ylnda 27.000 sanatla ilgili proje iin toplamda 100
milyondan fazla ba toplad. Bu da teknoloji sahnesinin sanat piyasasna
ilgiyle yaklatnn ak bir gstergesi saylabilir. Bu gerek bir tabandan
zirveye devrim vakas; internet insanlar zgrletiriyor ve kendi bana
yap yaklam btn eski sistemleri ykyor. Bizim kendi merak, korku
ve endielerimizle kurduumuz balantlar ykyor. Akll telefonumuz
phelerimize k tutan cep boyu bir khine dnt. Vakit kaybetmeden
yantlanabilecek sorular, danlabilecek fikirler, daha geni bir insan
topluluu iin geri bildirim salama imkan birtakm eylerin gerekliini
kantlayan sadece birka e saylabilir.
Hem teknoloji sahnesinde hem de sanat sektrndeki kiisel i
tecrbelerim benim bu korkuyu besleyen deiime ve frsatlara kar
gsterilen direniin farkna varmam salad. Bir sredir Milanoda bulunan
ArtNetWorth ile birlikte mobil aygtlarn ve internetin yardmyla sektrde
bir tr effaflk salama giriimi zerinde alyoruz. Akll telefonlarn
okuyabilecei kurcalamaya dayankl bir etiket monte ederek hem bizim
veritabanmzda hem de dijital etiketimizle fiziksel olarak iaretlenen
eserlerden bir katalog oluturmaya altk. Ortaya kan frsatlar ile
potansiyel ortaklklar kantlyor ki daha fazla almaya ve gelimeye imkan
var. Ayrca, sanat sektr bu kanlmaz deiime ne kadar abuk kucak
aarsa btn taraflarn faydalanabilecei bir sonu retmeye de o kadar
abuk balayacaktr.

EKAV LAN

Nasan Tur
Interview: Ece Pazarba

We met with Nasan Tur at his


studio in Kreuzberg/Berlin,
Kunstraum Bethanien, originally
built in 1847 as a hospital,
and housing artist workshops
today. We talked about his
latest exhibitions, his workshop
practice and his sense of art.

Your work has a general sense of humor. But its not exactly in
the sense that its taking everything lightly. Its a humor that
you use together with the severity of the problems. I would like
to begin from the end also the chronologically latest exhibition
you took part in- and the latest. Lets start with your work in
the The Unanswered Question - Stage 2 exhibit, open until the
first week of November, and curated by Rene Block. Can you tell
us a bit about the creation process of Countdown?
For Countdown, I worked with professionals for calculating the human
lifespan. After a number of verbal and physical tests, they averagely
calculated how much time Ive left statistically. And I made a counter
out of it, counting down to zero, and placed it in a golden box. When the
counter hits zero, when my time is over, the work, in fact, also finishes.
If a collector acquires this work of yours, does it mean that hes,
in fact, purchasing your lifespan?
If collectors come into question, I do the same work for their lifespan. I
find it interesting that collectors purchase this, because its completely
based on the purchaser. Its not just like a self-portrait, its like a watch,
but its an object reminding you of the time youve left. Of course, it
actually is a reference to the appreciation of the artwork after the
passing of the artist. But it also carries a side of black humor to show
it in the last big exhibition of Rene. When I first talked with Rene and
suggested the idea, he really liked it. Although it seems like a tasteless
joke, everything has an end, and who knows, this might even be our last
conversation. In the end, it reminds us a reality.
Is the ironic language in your work connected with your general
perspective on life? For example, in Countdown, you call
attention to the shelf life of the collector, as much as to the
meaning, and the shelf life of the work and the shelf life of the
artist. Arent all these actually the approaches that question
the value dynamics of art, the artist and her work? This irony

can also be felt in your latest personal exhibition at the Blain


Southern (Berlin) Gallery. It is obvious that you present works
in which you question the conditions a commercial gallery is in
Ive really put a lot of thought about the place where I can present
Kapital. Presenting it in a museum would not be efficient as this.
Presenting it in a gallery is directly opposes their own system. I was
really lucky about that. A todays gallery should be in a state that it
is able to be sensitive and self-criticizing about these issues. But you
can rarely find a commercial gallery like that. The difference between
presenting the work in a gallery or in a museum is also important in
terms of reaching out to different audiences. Because the place you
choose to present the work affects both its content, and its manner of
perception. Both conditions allow you to reach different people and
make different audiences think.
In this context, you presented the word Kapital with 41,000
different variations, handwritten by you, in a commercial gallery.
Can you tell us about this work?
Kapital concerns itself with the artists requirement of creating the
unique work, which is deemed genius and sought by everyone. This
work treats the exact opposite of that. Even though every Kapital
I wrote is unique in itself, their numbers amount to a total of 41,000,
despite the signature of the artist under them. When you purchase this
work, not only that you acquire a unique work, but you also possess a
piece with 40,999 other variations.
Which also is a glance on editions
Yes, but while dealing with this issue, it also points out, in
another platform, to the creation process of this unique piece
youre executing. You consistently have to produce as a human
being, let alone as an artist. This work is purely your handicraft,
made on Tibetan paper with ink, a material which does not
tolerate errors. Why was this choice of material important to you?
Tibetan paper is handmade. The idea is about the valuable production
Nasan Tur, Variationen von Kapital, 2013, indian ink and Tibetan paper, framed 42.2 x 62.2 cm each

72

73

Nasan Tur, Cloud no. 1 - 7 March, 2011 Ras Lanuf, Libya, 2012, c-print, 135 x 180cm

process. Instead of a mass produced product, its an artisanal work;


handmade, torn by hand into desired dimensions, and has the variations
of the work Kapital individually written on it with Indian ink. But,
while writing that, you had a digital partner instead of analogue
production. A computer program produced and chose the variations
of the words. It actually was the source of this manual process. It
produced for me words that phonetically read the German word Kapital,
regardless of how they are written.
You have videos in parallel with this work.
Yes, Ive worked with 65 bankers for that. Every one of them
individually read the words floating on the prompter in front of them
for 30 minutes. Laboriously, and with difficulty, but just as they are It
was an interesting process for me and an easy collaboration. Because
the issue of Kapital was clear as day for them. Kapital is already
an important and a natural part of their lives. In Magic, theres a
magician whos able to change the course of events with a natural
gift. We dont actually see and know in our daily lives what exactly
is going on. We just see how we get manipulated every day. We just
have ideas regarding what might happen. Its like we can only see with
the interference of a magician. We can only perceive whats going on
around us only through media. A magician converting a 1 dollar bill to
100 dollars, disappearing news reports, sticks turning the Israeli flag to
a Palestinian flag, then turning it back
Isnt your piece Clouds in the exhibition all about that?
Exactly. My reaction to this kind of news is to close my eyes in a
childlike fashion. You know, when you dont want to remember the
fights youve had with your girlfriend or your family and just stare into
the sky and try to forget. We see thousands of photographs of moments
of terror and Im having a hard time dealing with that. What I did on
Clouds is to take the images of violence, war, protests, etc. and see only
the beauty in them.
On the other hand, youre distracting yourself from these events.
Yes, there are those terrorist attacks happening but you choose
to focus on clouds.
Its more like erasing. I erase all those contradictions and leave only the
clouds.
Doesnt the word erasing reference something which existed in
the past?
Yes, remnants of these events are present in the image, even if I erase
the frame of this work. Such as the smoke from the flames of rebellion
commingling with the clouds in the sky. Also the pixels and the texture
of the newsprint paper is still there. This actually shows my weakness.

74

You work and strive for something, maybe trying to fix the things around
you. But youre not sure. Theres thing which Im not sure of in all of my
works. I continue my production through this state of unsureness.
And you also present a different version of Demonstration Kit.
Yes, Demonstration Kit is a work which prepares you for a
demonstration in the shortest time spent in front of a vending
machine. You put 2 Euros in the machine and immediately acquire a
demonstration kit made out of the cheapest fabric, board and paint. Ive
also displayed this work on supermarkets as part of an exhibition.
This also is a work which, again, treats the issue of being another
works edition.
Yes, because this also depicts the matter of being or not being a work
of art. Is this thing which is sold at a supermarket and doesnt carry my
signature a work of art? I wanted Demo Kit to be displayed on outdoors
as much as possible. The logic behind it is actually it being shaped like a
fire extinguisher. It always stands ready behind the door and you grab it
while there is an emergency and go out to the street.
How is it different from the Demo Kit Deluxe that youve made
for this exhibition?
In Demo Kit Deluxe, Ive made every kit with unique and the most
expensive materials. I used silk for the banner, and used silver and
golden colored paints. It still has the same function as the Demo Kit.
You can unwrap the kit and use it. I also question activism a little bit. At
what point do you become an activist? In Turkey, at what phase did the
people go out to the streets, even though they were afraid? Similarly in
Egypt, after what point have the people, who would not normally go out
to the street and protest, in fact done so? I question it with the context
of art. Did the people purchase this because of its functionality or
because its a beautiful, glittering product? Its one of the tricky works.
These also seem like demo kits for rich and not so rich people. Is
there also a segregation of classes?
This can be questioned. Maybe, but then we need to question what kind
of rich people went out to streets to protest.
Finally, what are your future projects?
Firstly, I will take part in a group exhibition focusing on wall paintings
in a range from 70s to our day, in Berlins Hamburger Bahnhof, at the
end of November. Apart from this, I will open personal exhibitions at
Blain Southern in London, Moen 44 in Denmark, Kunstraum Innsbruck
in Austria, Poznan and Paris. And I will spend next year at the Villa
Massimo residency in Rome.

Nasan Tur
Sylei: Ece Pazarba

Nasan Turla 1847de hastane olarak ina edilmi, gnmzde ise sanat atlyelerine ev sahiplii
yapan Kunstraum Bethanien Kreuzberg/Berlindeki stdyosunda bulutuk. Sanatnn en son sergileri,
atlyesindeki ileri ve sanata bak zerine sohbet ettik.

lerinde genel bir mizah duygusu var. Ama bu her eyi ok da


hafife alan bir yaklam deil. Problemlerin arlyla birlikte
kullandn bir mizah. Konumamza sondan hem kronolojik
olarak inde yer aldn en son sergiden ve sonlardan
bahsederek balamak istiyorum. Berlinde, Kasm aynn ilk
haftasna kadar ak olan Rene Blockun kratrln yapm
olduu The Unanswered Question. skele 2 sergisindeki iinle
balayalm. Countdownu oluum srecini biraz anlatr msn?
Countdownda insan hayatnn sresini hesaplayan profesyonellerle
altm. Bir dizi szl ve fiziksel testten sonra istatistiklere gre,
ortalama olarak ne kadar zamanm kaldn hesapladlar. Ben de
bunu sfra doru giden bir saya haline getirip altn bir kutunun
iine yerletirdim. Saya sfrlandnda, yani benim zamanm
bittiinde, aslnda i de sona eriyor.
Bir koleksiyoner bu iini satn aldnda bir anlamda senin yaam
srecini mi satn alm oluyor?
Koleksiyonerler sz konusu olduunda ayn ii onlarn yaam
sresine gre yapyorum. Koleksiyonerlerin bunu satn almasn
ilgin buluyorum nk tamamen alan kiiye bal. Sadece otoporte
deil, bir saat gibi, ama ne kadar zamannn kaldn hatrlatan
bir obje. Aslnda sanat lnce fiyat artan, deerlenen sanat
eseri konusuna da bir gnderme. Bir yandan Renenin son byk
sergisinde bunu gstermen de biraz kara mizah gibi sanki. Rene ile
konutuumuzda ve sergiye bunu nerdiimde ok houna gitti. Her
ne kadar kt bir aka gibi grnse de her eyin bir sonu var, kim
bilir belki bu da bizim son konumamz olabilir. Sonuta bir gerei
hatrlatyor bize.
lerinde var olan bu ironik dil aslnda hayata genel bak
anla m ilgili? Mesela Countdownda iin anlam, iin raf
mr, sanatnn raf mrne olduu kadar koleksiyonerin de
raf mrne dikkat ekiyorsun. Aslnda tm bunlar sanatn ve
sanatnn deer dinamikleri ve retiminin deer dinamiklerini
sorgulayan yaklamlar deil mi? Blain Southern (Berlin)
Galerisindeki son kiisel serginden de bu ironik durum
hissediliyor. Ticari bir galerinin iinde bulunduu durumu
sorguladn iler sundun orada
Kapitali nerede gsterebilirdim diye ok dndm. Bir mzede
gstermek bu kadar etkili olmazd. Bir galeride gstermek tam
da kendi sistemlerine kar bir ey. O konuda ok anslydm.
Gnmzde bir galerinin kendini bu konulara hassas klma ve
kendini eletirebilme durumuna gelmesi lazm. Bunu yapabilecein
ticari bir galeri nadiren bulabilirsin. Ayrca farkl insan kitlelerine
ulamak asndan ii bir mzede mi, yoksa galeride mi gsterdiin
de ok nemli. nk nerede gsterdiin hem iin ieriini, hem
de alglan biimini etkiliyor. Her iki koulda farkl insanlara
ulayorsun ve farkl kitlelerin dnmesini salyorsun.
Bu balamda kendi elinle 41.000 farkl varyasyonlarn yazdn
Kapital kelimesinini bir ticari galeride gstermi oldun. Biraz
bu iten bahsedebilir misin?

76

Kapital, sanatnn bir deha olarak kabul grd, herkesin arad


o esiz zel eseri yaratyor olmas gerektiiyle ilgili. Bu i tamamen
bunun zttn iliyor. Yazdm her Kapital varyasyonunun bir ei
olmasa da, sanat tarafndan imzalanm olmasna ramen, 41.000
adete kadar kyor saylar. Bu ii satn aldnzda hem esiz bir i
alyorsunuz, dier yandan 40.999 tane varyasyonu olan bir esere de
sahip oluyorsunuz.
Edisyon konusuna da bir bak.
Evet, ama bir dier yandan bu konuyla ilgilenirken baka bir
dzlemde de yapmakta olduun bu esiz eserinin retim srecine
de iaret ediyor. Sanat olmak bir yana, bir insan olarak da srekli
retmen gerekiyor.
Bu ileri elle, yanl kabul etmeyen bir malzeme olan mrekkep
ile tibet kad zerine yaptn. Bu seimin iin iin nemi nedir?
Tibet kad el yapm bir kat. Tm fikir deerli retim sreci
zerine. Bir seri retim yerine zanaatkar gibi elle yaplm, elle
istenilen boyuta yrtlarak getirilmi, hint mrekkebiyle teker teker
Kapital kelimseinin varyasyonlar yazlm bir i.
Ancak bunu yazarken tam da analog retimin tersine, dijital bir
partnerin vard.
Kelimelerin varyasyonlarn bir bilgisayar program retti ve
seti. Tm elle yaplan bu srecin bilgi kayna bir bilgisayar
oldu aslnda. Nasl yazlrsa yazlsn, okunduunda fonetik olarak
Almanca Kapital kelimelerini retti benim iin.
Bu ie paralel videolarn var.
Evet, onun iin 65 bankacyla beraber altm. Hepsi teker
teker, 30 dk boyunca nlerindeki bir prompterdan teker teker bu
kelimeleri okudular. Terleyerek, zorlanarak ama olduklar gibi. Bu
benim iin ilgin bir sreti ve ok kolay bir ibirlii oldu. Onlar
iin Kapital konusu ok netti nk. Zaten onlarn hayatlarnn
nemli ve doal bir paras Kapital. Magicte doal bir yetenekle
olaylar deitiren bir sihirbaz var. Aslnda gndelik yaamda
tam olarak neyin olduunu bilmiyoruz, grmyoruz. Sadece her
gn nasl manipule edildiimizi gryoruz. Sadece ne olabilecei
hakknda fikrimiz var. Sanki sadece bir sihirbazn mdahalesiyle
grebiliyoruz. Etrafmzda olup bitenleri sadece medya araclyla
alglayabiliyoruz. Bir sihirbazn 1 USDlik banknotu 100USDye
evirmesi, yok edilen gazete haberleri, srail bayran Filistin
bayrana, daha sonra tekrar srail bayrana dntren
ubuklar...
Sergideki Clouds iin tam da bunula ilgili deil mi?
Kesinlikle. Bu haberlere ocuksu bir reaksiyonla sadece gzlerimi
kapatyorum. Hani sanki kz arkadan ya da ailenle tartmalar
hatrlamak istemezsin, sadece ge bakp unutmaya alrsn.
Gazetelerde dehet anlarnn fotoraflarnn binlercesini gryoruz
ve ben bununla ba etmekte zorlanyorum. Cloudsda yaptm ey,
bu iddet dolu, sava, protesto ve benzeri eylerin gazetelerdeki
imajlarn alp; sadece o imajdaki gzellii grmek.

Countdown, digital countdown display in seconds, 18 digits, variable dimensions, 2011

Bir yandan da dikkatini baka bir yne eviriyorsun. Evet, orada


o terorist saldrlar var ama sen bulutlara odaklanmay tercih
ediyorsun.
Daha ok silmek gibi. Tm o elikileri silip sadece bulutlar
brakyorum.
Silmek kelimesi de daha nce var olan bir eye referans
vermiyor mu?
Evet, zaten bu iin erevesini silsem bile halen olayn kalntlar
imajda kalyor. Yaklm bakaldr atelerinin dumanlar gkteki
bulutlarla karyor mesela. Ayrca gazete kadnn pikselleri
ve dokusu da orada. Bu zayflm da gsteriyor. Bir eyler iin
urayorsun, alp abalyorsun, belki etrafndaki eyleri
dzeltmeye alyorsun. Ama emin deilsin. Tm ilerimde emin
olmadm eyler var. Bu emin olmama hali zerinden retimimi
srdryorum.
Bir de Demonstration Kitin baka bir versiyonunu
gsteriyorsun.
Evet, Demonstration Kit otomat makinesinden alabilecein en
ksa zamanda seni protestoya hazrlayan bir i. Makinaya 2
Euro atp, en ucuz kumatan, tahtadan, boyadan yaplm bir
demostrasyon kitine hemen ulaabiliyorsun. Bu ii daha nce bir
sergi kapsamnda spermarketlere de koymutum.
Bu tekrar bir iin edisyonu olma konusuyla da ilgilenen bir i.
Evet nk bir yandan bu bir sanat eseri olup olmama durumunu
da dile getiriyor. Spermarkette satlan ve imzam tamayan bu
ey bir sanat eseri midir? Demo Kitin ben mmkn olduu kadar
d mekanlarda olmasn istedim. Mant aslnda tam bir yangn
sndrme tp gibi olmas. O her zaman hazr bir ekilde kapnn

Nasan Tur, Demo Kits Deluxe, 2009, precious metals, spray paint cans
and satine

arkasnda durur ve acil onu alr ve sokaa karsn.


Bu sergi iin yaptn Demo Kit Deluxetan fark ne?
Demo Kit Deluxeda her bir kiti esiz ve en pahal malzemelerle
oluturdum. Bez afii ipekten yaptm, gm ve altn rengi
boyalar kullandm. Halen Demo Kit ile ayn fonksiyona sahip.
Kitin ambalajn bozabilir ve kullanabilirsin. Biraz aktivizmi
de sorguluyorum. Hangi noktada aktivist oluyorsun. Trkiyede
insanlar korksa bile hangi aamada sokaa kt? Ayn ekilde
Msrda normalde kmayacak insanlar, hangi noktadan sonra
sokaa kt? Burada sanat balam iinde sorguluyorum. nsanlar
bunu fonkisiyonu iin mi yoksa gzellii ve parldayan bir ey
olduu iin mi aldlar? Bu da biraz tuzak ilerden birisi.
Bu i biraz da, zengin ve o kadar zengin olmayan insanlarn demo
kiteleri gibi duruyor. Bir snf ayrm da m var?
Bu sorgulanabilir. Belki, ama o zaman ne tr zengin insanlarn
sokaa kp protesto ettiklerini de sorgulamak lazm.
nnde ne gibi projeler var?
lk nce Berlinde Kasm sonunda Hamburger Bahnhof da
70lerden gnmze uzanan, duvar resimleri zerine odaklanan
bir grup sergisinde yer alacam. Bunun dnda Londradaki
Blain Southernda, Danimarkada Moen 44de, Avusturyada
Kunstraum Innsbruck ve Poznanda ve Pariste birer kiisel sergim
olacak. nmzdeki seneyi ise Romada Villa Massimo misafirlik
programnda geireceim.

77

Pi Artworkss
House Warming in London
Pi Artworks, founded in 1998 in Istanbul, opened its new gallery space in London. The
founder of the gallery, which opened its doors with the exhibition House Warming on
October 15th, Yeim Turanl says that I would like to create some cross-fertilisation, as it
were, and exchange between Turkey and the wider world through my artists.

What has changed in Turkey in terms of the gallery scene since


you started?
Back in 1998 there was almost no contemporary art scene in
Istanbul, it was in its nascent stages and Pi Artworks was one of
the first commercial galleries to open at the time. Then I acquainted
myself with emerging and contemporary artists through studio
visits, and began my current roster with just one artist. I worked
closely with them to manage their career, and by 2004 had built up
to four artists, with a full roster in 2007. I built up my selection of
artists very slowly, as I wanted it to be an organic process in which
each artist has a strong, long-term relationship with Pi Artworks.
It is important to me that the artists have a strong connection with
the gallery. Originally, Pi Artworks also comprised an art school,
in which the artists taught the revenue we created went straight
back into the gallery to cover our running costs. By 2007, however,
I felt confident that the art market in Istanbul could support the
gallery, and we closed down the art school side and focused solely
on running the gallery. I have never looked back. Another change I
have seen over the years is the demographic of the collector base in
Turkey. Whereas before collectors were aged mostly 55 and above,

78

with a taste for more classical art, todays young collectors are often
under the age of 25 and have a real appetite for emerging, inventive
and challenging art it is really refreshing and encourages me as a
gallerist.
Why did you decide to open a branch abroad of the gallery?
As the two great cosmopolitan capitals of the world, New York and
London have thriving art scenes. I felt it was important to provide
my artists and through that, art from Turkey a platform in
such a capital in which to expand and introduce their work to
international audiences. Several of my collectors also have bases in
London, so it felt like a natural next step. It is so important to me to
provide the links for people to discover some of the wonderful talent
we have coming out of Turkey, where we have a thriving, talented
and creative arts scene that is still, sadly, so under-publicized
outside of our borders.
Abroad, Turkey at galleries representing artists. You are the
first in this sense has a mission. How do you see interest in
contemporary art in Turkey?

This ties in with my answer above to give you an idea of how


much perceptions have changed, back before 2007, if I approached
an international gallery to suggest an exchange program, the
answer almost always came back as a no people just didnt see
Turkish art as something worth investing in, or they didnt know
enough about it. Now, especially with Istanbuls recent position as
European Capital of Culture, we have received a real boost and the
appeal of Contemporary Turkish art has been rapidly increasing.
They are artists who address global issues but use the geography
that they live in I think this makes them easy to access as the
issues are understood by people everywhere, yet they have a
unique aesthetic to them that is rooted in their homeland. Now,
if I approach galleries for such exchanges, there is very much a
willingness to interact.
Will there be new artists who will participate at Pi Artworks in
London? Will it be the same as the line continues to the gallery?
It is important for me that I always maintain at least half of my
artist roster as being artists who are based in Turkey. However,
the gallery does have an international outlook, and already we

have added names such as Egyptian/German Susan Hefuna and


Bangladeshi Rana Begum Lipi to the gallery. I am extremely keen
to open up the gallery roster to new emerging artists as well as
other international names, and look forward to exploring the arts
scene in London. We will always keep working with artists from
Turkey and thats what have made Pi what it is today. I would like
to create some cross-fertilisation, as it were, and exchange between
Turkey and the wider world through my artists.
What will the first exhibition House Warming be like?
It will act as a sneak peek of the solo exhibitions that I will be
presenting in London over the coming 12 months. It is a chance for
Pi to showcase some of our strongest artists and introduce London
audiences to art from Turkey, so this will act as a bit of a flavour of
what the gallery will be introducing here. We will then delve more
in depth for each artists work through solo presentations and allow
for audiences to discover the full variety of each artists oeuvre.

79

Pi Artworksten
Londrada House Warming
1998de stanbulda kurulan Pi Artworksn imdi Londrada da yeni bir mekan var. House
Warming adl sergiyle 15 Ekimde kaplarn aan galerinin kurucusu Yeim Turanl, bir
apraz reme yaratmak ve sanatlarm vastas ile Trkiye ve dier lkeler arasnda bir
deiim balatmak istiyorum diyor.

Baladnzdan beri, Trkiyede galeri ortamnda ve galerilerde


neler deiti?
1998de stanbuldaki ada sanat ortam yok denecek kadar
azd. Olgunlama dnemindeydi ve Pi Artworks, o tarihlerde
alan ilk ticari galerilerdendi. Pi Artworks kurmamla stdyolar
ziyaret ederek gen ada sanatlarla tantm ve beraber
altm sanatlarn imdiki listesinin balangcn, yalnzca
bir isimle yaptm. Kariyerlerinin ynetimi iin onlarla yakn bir
ekilde altm ve 2004 ylnda listemdeki sanatlarn saysn
drde karmken, 2007de tam bir isim listesi oluturdum. Her
sanatnn Pi Artworks ile gl, uzun dnemli ilikiler kurabildii,
organik bir sre olmasn istediim iin, eserler arasndan
yaptm sekiyi ok yava bir ekilde oluturdum. Sanatlarn
galeri ile gl bir ilikisinin olmas benim iin nemli.
Aslen, Pi Artworks dhilinde, sanatlarn ders verdii bir
sanat okulu da bulunuyordu elde ettiimiz gelir de, iletme
giderlerimizin karlanmas iin direkt olarak galeriye gidiyordu.
Ancak 2007 ylna gelindiinde, stanbuldaki sanat piyasasnn
galeriyi ayakta tutabileceine inanmaya baladm ve sanat okulunu
kapatarak, yalnzca galerinin iletimine odaklandk. Bundan asla
piman olmadm. Yllar iinde grdm deiikliklerden biri de,
Trkiyedeki koleksiyoner tabannn demografisi oldu. nceden,
koleksiyonerler genellikle 55 ve st yalarda, klasik sanat arlkl
zevkleri olan kiilerken, bugnn gen koleksiyonerleri genellikle
25 ya altndalar ve gelimekte olan, zgn ve iddial sanata byk
ilgi gsteriyorlar. Bu insan ferahlatan bir yenilik ve bir galerici
olarak beni cesaretlendiriyor.
Galeriye bir yurtd ubesi amaya nasl karar verdiniz?
Dnyann iki harika kozmopolit bakenti olan New York ve Londra,
ok baarl sanat ortamlarna sahipler. Sanatlarma ve onlar
aracl ile Trkiyeden sanata eserlerini uluslararas kitleler ile
paylaabilecekleri ve geniletebilecekleri bir bakent ierisinde bir
platform salamann nemli olduunu dnyorum.
Koleksiyonerlerimin birounun Londrada da mekanlar mevcut,
bu yzden buras bir sonraki adm iin doal bir seim oldu.
Trkiyenin gelien, baarl ve yetenekli, ancak ne yazk ki lke
snrlar dnda hlen yeterince tantlamayan sanat ortamndan
kan, harika eserleri insanlarn kefetmelerini salayacak
balantlar salamak benim iin ok nemli.
Yurtdndaki galerilerde Trkiyeyi temsil eden sanatlar
bulunuyor. Bu anlamda bir grev ilk defa sizin tarafnzdan

80

benimsendi. Trkiyede ada sanata olan ilgiyi nasl


buluyorsunuz?
Alglarn ne kadar deitii ile ilgili bir rnek vereyim; 2007
ylndan nce, bir deiim program teklif etmek iin bir
uluslararas galeriye gittiimde, neredeyse her seferinde hayr
cevabn aldm. nsanlar Trkiyeden sanat yatrm yaplacak bir
ey olarak grmyorlard veya bunun hakknda yeterince bilgi
sahibi deillerdi. imdi ise, zellikle de stanbulun Avrupa Kltr
Bakenti olarak iln edilmesinden sonra, ciddi bir ykseli ile
karlatk ve buraya ilgi artmaya devam ediyor. Bu sanatlar
yaadklar corafyay kullanarak kresel sorunlar ele alyorlar. Bu
sorunlarn dnyadaki herkes tarafndan anlalabilmesinin onlara
eriimi kolaylatrdn dnyorum, fakat kk anavatanlarna
dayanan, esiz bir estetie de sahipler. imdilerde, galerilere bu tip
deiim teklifleri ile gittiim zaman, karlkl etkileim iin byk
bir istekle karlayorum.
Londradaki Pi Artworkse katlacak yeni sanatlar olacak m?
u anki isimler ile benzer seimler mi yaplacak?
Galeri bnyesinde alan isimlerin en az yarsnn her zaman
iin Trkiye temelli sanatlardan oluuyor olmas benim iin
nemli. Ancak galerinin uluslararas bir bak da mevcut ve galeri
bnyesine Msrl/Alman Susan Hefuna ve Bangladeli Rana Begum
Lipi gibi isimleri dhil ettik bile. Galeri bnyesine ykselite
olan yeni sanatlarn yannda, dier uluslararas sanatlar da
dhil etmeye her zaman istekliyim ve Londradaki sanat ortamn
kefetmek iin sabrszlanyorum. Son derece gurur duyduum ve
Piyi bugn olduu yere getiren Trkiyeden sanatlarla almaya
her zaman devam edeceiz, ancak deyim yerindeyse bir apraz
reme yaratmak ve sanatlarm vastas ile Trkiye ve dier
lkeler arasnda bir deiim balatmak istiyorum.
House Warming adl ilk sergi nasl olacak?
Londrada, gelecek 12 ay iinde dzenleyeceim solo sergilere bir
hzl bak niteliinde olacak. Pi olarak, altmz sanatlar
arasndan en iddial olanlar tantma ve Londradaki kitleleri
onlarla tantrma imkn salayacak; yani bu sergi, galerinin
buraya getirecei eyler iin bir tadmlk grevi grecek. Gelecekte
dzenleyeceimiz solo sergiler ile her sanatnn eserlerine daha
derin bir bak sunacaz ve kitlelerin her sanatnn rettii tm
eserlerdeki eitlilii kefetmelerini salayacaz.

81

Taking Initiatives
nisiyatif Almak
Interview / Sylei: Zeynep Berik

Selda Asal, Photograph by /


Fotoraf: Samed Akman

Joana Kohen and Lara Ogel, Photograph by / Fotoraf: Samed Akman

Lets start from the most recent one Could you tell me about
Unknown?

J.K: I have been thinking about such a space like Unknown for 4-5
years. For this reason, I considered the year 2012 as the right time.
I had some savings, I talked to Lara and we got it started. The aim
of the project was to gather people who nourish each other. I dont
think Id be sufficient on my own, I dont think nobody would be. In
this space, were all artists and curators of each other. Nobody is
more or less than each other.
L.O: Unknown is a project and we are a collective made up of 5
artists. 3 new artists join us every year. This is not a public gallery
space because its our working space. Entrance is rendered by
appointment. A little introvert and living on its own name are
adjectives that we use a lot for describing Unknown.
J.K. : For example I made a special list for my exhibition. I only
invited my own friends. Laras show was public, though.
What kind of conflicts occur while working and producing
together? How does it affect your practice?
J.K: Were listening to the same music and chatting on the same
topics in a 150 square meter space. We expect the people who join
us to enjoy this kind of a production process. I studied contemporary
art, I try to understand everything a little. Everyone has his own
practice, we learn a lot from each other. Ive been talking to mer
(Austoslu), we want to make statues but we havent been able to
yet. For instance, were sharing this desire of ours. The utmost aim
is information exchange. Its very important for us, were 5 people
but each of us has different production and sharing forms. Lara
and I are both artists, were old friends and both women. This is the
starting point where we approach our production.

82

We came together with


Joana Kohen and Lara Ogel,
the founders of the young
initiative Unknown, and Selda
Asal, the founder of one of the
first independent art spaces
Apartment Porject. We talked
about the today and 20 year
ago of the independent art
projects.
Gen inisiyatif Unknownun
kurucular Joana Kohenle
Lara Ogel ve ilk bamsz sanat
mekanlarndan Apartman
Projesinin kurucusu Selda
Asal ile bir araya geldik.
stanbuldaki bamsz sanat
oluumlarnn 20 yl ncesini
ve bugnn konutuk.

En yeniden balayalm... Unkownu anlatr msnz?


J.K: Unknown gibi bir yer 4-5 senedir aklmdayd. Bunun iin
2012 ylnda doru zaman olduunu dndm. Biriktirdiim
bi para vard, Larayla konutum ve baladk. Projenin amac,
birbirini besleyen insanlar bir araya getirmekti. Tek bama bir
eylere yetebileceimi dnmyorum, kimsenin yetebileceini
dnmyorum. Ben mekanda hepimiz birbirimizin kratr ve
sanatyz. Kimsenin arts eksisi yok.
L.O: Unknown bir atlye ve biz 5 sanatdan oluan bir kolektifiz.
Her yl 3 kii katlyor aramza. Buras halka ak bir sergi mekan
deil nk alma alanmz. Randevuyla giri yaplabiliyor.
Biraz ie kapal ve kendi yamzda kavrulmak Unknownu ifade
ederken ok kullandmz bir kavram.
J.K. :rnein ben sergimde zel bir liste yaptm. Sadece kendi
arkadalarm ardm. Larann sergisi ise herkese akt.
Birlikte alp retirken ne gibi atmalar kyor? Pratiinizi
nasl etkiliyor?
J.K: 150 metreklareki alanda ayn mzii dinleyip ayn sohbeti
yapyoruz. Bize katlanlarn da bu ekilde bir retimden keyif
almas gibi bir beklentimiz var. Ben gncel sanat okudum, her
eyden biraz anlamaya alyorum. Herkesin kendi pratii
var, birbirimizden ok ey reniyoruz. merle (Austoslu)
konuuyorduk, heykel yapmak istiyoruz, ama hi yapmadk. Bunu
paylayoruz, rnein. En byk ama, bilgi alverii. Bizim
iin ok nemli biz 5 kiiyiz ama 5 kiinin iinde farkl retim ve
paylam biimleri var. Lara ile hem iki sanatyz, eski dostlarz ve
kadnz. Byle bir yerden yaklayoruz yaptklarmza.
Selda, peki Apartman Projesinin balad dnemi anlatr msn?

Unknown

Selda, could you tell us about the times you started Apartment
Project?
S.A.: There were communes in the regions where I lived in
Germany and Austria in the 80s. Artists were living in little
communes. Upon returning Turkey, I wondered if I could establish
a similar neighborhood here. I wanted it to include dancers, artists,
authors. At that time, you could buy places in Beyolu, they were
cheap and nobody believed that the neighborhood was going to
change. Everyone was afraid of going to Galata and the Tunnel
region. There was a party held by Komet in 88, in the Tunnel
neihgborhood We wanted to go to the party but we decided not to,
cause we were afraid. I bought my workshop in the Tunnel in 92.
I was the only woman in that street, I let everyone know because
I was a little afraid. I reinvigorated there within a little time.
Nevzat Sayn, Glsn Karamusta, Ahmet Aaolu, pek Duben
and I started. I started with the intention of setting up a commune;
since it did not happen, there may be only 5 artists left from that
period
I studied musicology, I was producing art. We were trying to find
answers to some questions together with the disciplines. Everyone
used to bring informations and their own means; disciplines were
not independent from each other in the 90s. Artists only become
friends with artists nowadays. Orhan Pamuk used to be our friend
those days. Emre Koyuncu, Zeynep Gnsr There were not
many art spaces at that time, Biennial was new, there was the
Biennial held by Vasf Kortun in 93. We started our first project as
Apartment Project in 99. I named it as Ayakkab Dkkan (Shoe
Shop) with a rather romantic point of view. I invited everyone to the
exhibition Hseyin Alptekin, Glsn Karamustafa, Selim Birsel,
Vasf Kortun, Haldun Dostolu...
J.K.: Nowadays everyone is limited to their own media. I was
influenced by beat. The documentary titled Black Generation

Apartment Project / Apartman Projesi, Berlin

S.A.: 80lerde Almanya ve Avusturya civarnda yaadm yerlerde


komnler vard. Sanatlar kk adacklar iinde yayordu.
Trkiyeye dndkten sonra benzer bir mahalle kurabilir miyim
diye dndm. inde danslar olsun, sanatlar olsun, yazarlar
olsun istedim. O zaman Beyolundaki yerleri alabiliyordun,
ucuzdu ama kimse inanmyordu buralarn deiebileceine.
Herkes korkuyordu, Galataya ve imdiki Tnel tarafna gitmeye.
Kometin bir partisi vard 88de, Tnelde Gitmek istiyorduk
ama gitmemeye karar verdik, korktuk nk. 92de Tneldeki
atlyemi aldm. Sokaktaki tek kadndm, biraz da korktuum
iin herkese haber verdim. Ksa zamanda oray biraz harekete
geirdim. Nevzat Sayn, Glsn Karamusta, Ahmet Aaolu, pek
Duben ve ben baladk. Bir komn kurmak zerine balamtm,
bu gerekleemeyince o dnemden 5 kii kald u an belki, sanat
olarak devam eden
Mzikoloji okumutum, sanat yapyordum. Disiplinlerle birlikte
baz sorularn cevaplarn bulmaya alyorduk. Herkes, bilgisini
ve aracn getiriyordu, 90l yllarda disiplinler birbirinden ayr
deildi. Sanatlar sadece sanatlarla arkada imdi. Eskiden
Orhan Pamuk da bizim arkadamzd. Emre Koyuncu, Zeynep
Gnsr O dnemde ok sanat mekan yoktu, Bienal yeniydi,
93te Vasf Kortunun yapt Bienal vard. Apartman Projesi olarak
99da ilk projeye baladk. Ayakkab Dkkan koydum adn, ok
romantik bir bak asyla. Herkesi ardm sergiye... Hseyin
Alptekin, Glsn Karamustafa, Selim Birsel, Vasf Kortun, Haldun
Dostolu...
J.K.: imdi herkes kendi mecrasna skk. Ben beatten
etkilendim. Black Generation belgeseli yle der: Ben direktrm,
bandim de var, aktrlk de yapyorum Bu kimseyi rahatsz
etmiyor. imdi farkl bir ey yaptnda yetkinliini dnyorlar.
S. A.: O zaman Safran vard, dans edilirdi orada. Ben tm
gazetecileri tanrdm. Sanatlar da oradayd, mzisyenler de

83

Unknown

Unknown

says that: Im a director, I have a band and Im also an actor


It disturbs no one. Now when you do something different, they
question your competence.
S. A.: Back then there was Safran, it was a dancing space. I used to
know all the journalists. The artists were there, the musicians were
there. Everyone used to enjoy this togetherness. We used to gather
in Beyolu.
J.K.:There were one or two venues, you used to go to the same
venues all the time.
S.A.: Im telling the young artists. Get out of here, dont you have
any poets, men of letters? I go to the concerts of MIAM for instance.
I survey what kind of a production they offer. Back then there were
the gatherings of Bilar. Gatherings of Tuesday. Actually, the milieu
was quite intellectual.
L.O.: There is nothing such as producing together these days. I
have friends who are film producers, authors. However, everybody
is busy with their own jobs and meetings all day long.
J.K.: They are individualistic these days.
S.A.: Firstly, we were making an effort to understand the issues
of the time. We organized a show titled D Satn Alma Dkkan
(The Shop to Buy Dreams) when the war in Afghanistan broke out.
The Susurluk Incident broke out after 97. Suddenly I thought.
We prepared a display window in Apartment, everyone used to
put everything in the window and go to their own workshop. We
were lucky back then, we used to visit the companies and receive
support. Once we received a 27 display monitor.
J.K. Now you cant even receive support.

84

Apartment Project / Apartman Projesi, Berlin

oradayd. Herkes karlayabiliyordu da bunu. Beyolunda


toplanyorduk.
J.K.: Bir veya iki mekan vard belki, hep ayn yerlere gidiyordunuz.
S.A.: Ben gen sanatlara sylyorum. kn uradan, yok mu
sizin airiniz, edebiyatnz? MIAMn bir konseri varsa gidiyorum
rnein. Nasl bir retim yapyorlar diye bakyorum. O zaman
da Bilarn toplantlar vard. Sal toplantlar vard. Etraf ok
entellekteldi aslnda.
L.O.: Beraber retmek diye bir ey yok imdi. Film yapan
arkadam var, yazar arkadam var. Ama herkesin btn gn ii
ve toplants var.
J.K.: Bireyseller artk.
S.A.: lk bata zamann meselelerini anlamaya alyorduk.
Afganistan sava baladnda D Satn Alma Dkkan diye bir
sergi yaptk. 97 sonras, Susurluk Olay kt. Bir anda dndm.
Apartmanda vitrin yaptk, her eyi camlara koyup herkes kendi
atlyesine gidiyordu. O zaman ok anslydk, irketlere gidip
anlatyorduk, destek alyorduk. Bir keresinde 27 ekran aldk.
J.K. imdi o da yok.
S.A.: u anda daha ok anlyor insanlar aslnda. Mutfak
projesi yaptk. eitli kratrler geldi, yemek yaptk. Mutfak
malzemelerinden mzik yaptk. Dnya meselelerine her disiplin
kendi tarafndan cevaplyordu. Daha sonra retim ve workshop
alanlar amaya baladk.
Unknown da byle bir yer hayaliyle kuruldu demitiniz...
J.K.: Byle bir yerin hayaliyle bydm Ama bireysellik sonuna

S.A.: Actually, people understand more now. We had a kitchen


project. Various curators came, we cooked. We played music using
kitchenware. Every discipline used to answer the worldly issues
from its own point of view. After that, we started to open up
production and workshop spaces.
You said that Unknown was established with the dream of
establishing such a space
J.K.: I grew up with the dream of such a space However,
individualism wont continue till the end. Actually, now everybody
has the strength to become a name on its own but I dont believe
that it will make people develop enough. When I chat with you
Selda, I think look, she has experienced those days, maybe we still
have a chance. In my opinion, the four of us now sitting at this
table is the most important thing. Your alternatives increase when
you share. Nevertheless, your time, poets, dancers, musicians
Everyones being together. Now you cant gather those people
together. You should call and invite them to a party.
L.O.: Weve tried to organize a poetry reading night so many times
so far. But we havent been able to. Tell your friend, tell your
curator. The problem is everyones so busy.
J.K.: We dont have internet connection in the workshop, so that
everyone wont get lost in their own worlds. However, people dont
come since there is no internet access. They say that they cant
conduct research without internet.

kadar gitmeyecek. imdi aslnda herkes kendi bana bir isim


olabilecek gte ama bunun kiileri yeterince gelitirebileceine
inanmyorum. Selda, sohbet ettiimiz zaman senin sylediklerin
iin bak o bunlar yaam, belki hala ansmz var , diyorum.
Bence en nemlisi u anda drdmzn bu masada oturuyor
olmas. Paylatnda, seeneklerin artyor. Yine de sizin dneminiz,
airler, danslar, mzisyenler... Herkesin birlikte olmas. u anda
bu insanlar bir araya getiremiyorsun. Arayp ancak parti yapman
gerekiyor.
L.O.: Ka kez iir okuma gecesi yapmaya altk. Olmad.
Arkadana syle, kratre syle. Herkes bir kere ok dolu.
J.K.: Atlyeye internet koymadk, herkes kendi dnyasnda
kaybolmasn diye. Bu sefer de insanlar gelmiyor. nternet yoksa
aratrma yapamayz orada diyorlar.
Bir atlye, bir bilgisayardan da ibaret olabiliyor. Berlindeki
Apartman Projesini anlatr msn Selda? Orada birlikte yayor,
retiyor ve sergiliyorsunuz...
S.A.: Berlinde bir retim alan oluturduk aslnda. Birlikte
piiriyorlar, yiyorlar, kalyorlar Birlikte retim modelleri zerine
dnyoruz.

A workshop might only be made up of a computer. Could you


tell about Apartment Project in Berlin, Selda? There you live,
produce and exhibit together
S.A.: Actually we formed a production space in Berlin. They cook, eat
and stay together We reflect on the production models together.

The interview will continue on the next issue.


Rportajn devam sonraki sayda yaymlanacaktr.

85

Black, White and


Multicolored
Siyah, Beyaz ve
ok Renkli
Hasan Blent Kahraman

To be held at Akbank Sanat, between


November 8-December 8 , the exhibition
is created in a period of 20 years, and with
the selection of works, shaped within
the personal efforts and expressions of
unrelated artists.
Taner Ceylan, Gen Osman, 70x87, litography / litografi, 2000

The works in the exhibition are based on various perceptions of a long


period of time. On another ground, it sheds light upon the expressions,
which are born and lost, in progress and interrupted within a period of
20 years. Standing before us are works, covering history from end to
end. Besides, this 20 years is a period, in which the visual perception
and ideology in Turkey has completely changed, renewed and became
contemporary. With this attribute, the exhibition forms a strong theme.
Theres an extremely critical relationship in Turkey, formed between
the cultural texture and visuality. This is a result of the modernization in
Turkey. It is generally presumed that modernization in Turkey preceded
modern visuality, which was articulated to it later on. This is wrong.
History functioned inversely. First the visuality became modernized,
and with the new ground it broke, the modernization of perception and
consciousness began. Therefore, everything that belongs to the history of
visuality brings us to the history of society and consciousness.
It is clear that this exhibition serves a similar function. In this context, what
does the prints in the exhibition, the oldest being dated 1994 and the
newest, 2012, say to us?
The first answer for a question in such nature is related to the panorama
works create. Beginning with Sadi Diren of a much older generation, and
continuing with todays prominent names of the 90s, this adventure,
when carefully studied, accounts to a great diversity above all. This
diversity is an opportunity, provided by periods and expressions. In
accordance with the contemporizationin the 90s, a visuality searching
for itself is a reflection of the modern tones, which came out of the
modern consciousness. This tone is not detached from the reality it
expresses. It is intertwined with it. If looked carefully, there are very few
works that directly go into the discussion of object or landscape. This
visuality is rather developed through individualities and certain humane
dramatizations. Meanwhile, an effort directed to the extensive abstraction
of the object is being presented.

It can be observed in 2000s that this image has changed. Now, a


harsh objectivity is taking the abstracted and occasionally alienating
objects place. It is also possible to call it objectism. The object is not an
entity which the artist sees it through the human no more. It is a reality
which directly belongs to itself. That is why its opening itself towards it.
Moreover, the object doesnt have to be a natural element which can only
be found in nature. Any made thing is considered to be in that category
and evaluated and approached accordingly. And it can be stated that a
wider world is thusly shaping.
This development has a much more interesting dimension when
examined within a 20 year history: the line from the human to the
object is putting another phenomenon into effect. While, in the previous
period, he was wandering on the surface of the harsh and almost nonconciliatory tragic works and almost a natural extension of seeing this
object through the human, the artist, when gravitated directly towards the
object, does not avoid leaving himself exposed to irony with the freedom
he experiences. On the contrary, on his late works, the state of the
object, sometimes exaggerated, sometimes distorted, and sometimes
abstracted of its context, externalizes itself as an irony mediation in itself.
Covering a history of 20 years, Akbank Sanats effort embraces a wide
diversity. Diversity is one of the important conditions that works depict all
together. It is also possible to call it pluralism. It really is one of the most
important phenomena this exhibition depicts and brings forward. Busy
with preparing its consciousness, which, for years, provided basis rather
to painting, as of 1990s the Turkish visuality was reaching to an extremely
rich diversity of choices, while experiencing certain natural depressions at
the level of expression. This meant that pluralism was to encapsulate the
visual surface in every sense. Now, when this exhibition is examined by
tone, style, manner, and problematic, the level and the dimensions of the
diversity in question can easily be observed.

Erda Aksel, M-arch M-arch, 59-x74, litography / litografi, 2013

86

87

pek Duben, Kosova, 70x50cm, serigraphy/ serigrafi, 2009

Akbank Sanatta 8 Kasm-8 Aralk tarihleri arasnda gerekleecek sergi, 20 yllk bir sre
iinde ve birbiriyle ilikisi olmayan sanatlarn bireysel aba ve ifadeleri iinde ortaya
km yaptlardan seilerek meydana getirildi.
Sergideki eserler uzun bir zamann zamann eitli duyularna dayanyor.
Bir baka yzyle de 20 yllk bir sre iinde doan ve kaybolan, sren ve
kesilen ifadelere k tutuyor. Karmzda bir tarihi boydan boya kat eden
yaptlar var. Kald ki, bu 20 yl Trkiyede grsel algnn ve ideolojinin
tamamen deitii, yenilendii ve adalat bir dnemdir. Sergi bu
niteliiyle de gl bir izlek oluturuyor.
Trkiyedeki kltrel dokunun grsellikle son derecede kritik bir ilikisi
sz konusudur. Bu Trkiyedeki modernlemenin bir sonucudur.
Genellikle sanlr ki, Trkiyede nce modernleme balam modern
grsellik ona eklemlenmitir. Bu yanltr. Tarih tersine ilemitir. nce
grsellik modernlemi, onun at rda alg ve bilin modernlemeye
balamtr. Dolaysyla grselliin tarihine ait olan her ey bizi toplumun ve
bilincin tarihine gtrr.
Bu serginin de benzeri bir ileve sahip olduu ok ak. Sergide yer alan
ve en eskisi 1994 ylna en yenisi 2012 ylna kaytl olan basklar bize ne
sylyor, bu balamda?
Byle bir sorunun ilk yant yaptlarn oluturduu panoramayla ilgilidir.
ok daha eski kuaktan Sadi Direnle balayan, 1990l yllarda bugn
hepsi birer deer olmu isimlerle devam eden bu serven dikkatle
irdelendiinde her eyden nce byk bir eitlilie tekabl ediyor. Bu
eitlilik dnemlerin ve ifadelerin salad bir olanaktr. 1990larda
adalama dorultusunda kendisini arayan bir grsellik modern bilincin
iinden km modern sluplarn bir yansmasdr. Bu slup ifade ettii
gereklikten kopuk deildir. Onunla i iedir. Dikkat edilirse dorudan
doruya nesnenin veya peyzajn tartmasna giren ok az yapt vardr.
Daha ziyade bireylikler ve insani baz dramatizasyonlar stnden gelitirilir
bu grsellik. O arada nesnenin geni lde soyutlanmasna dnk bir
aba da sahnededir.
2000lerde bu grntnn deitii gzlemlenebilir. Artk soyutlanan
ve bazen de kendisinden uzaklatrlan nesnenin yerini ok sert bir

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nesnellik alyor. Buna nesnecilik demek de mmkndr. Nesne artk


sanatnn insann iinden grd bir varlk deil. Dorudan doruya
kendisine ait olan bir gereklik. Bu nedenle de kendisini ona doru
ayor. stelik nesnenin sadece doada bulunan, doal bir eleman
olmas da gerekmiyor. Herhangi bir yaplm ey de o kategoride grlp,
deerlendirilip, ele alnyor. ylelikle de ortaya ok daha geni bir dnyann
ktndan sz edilebilir.
Bu gelimenin 20 yllk bir tarih iinde baknca ok daha ilgin bir boyutu
var: insandan nesneye giden izgi hzla baka bir olguyu daha devreye
sokuyor. Daha nceki dnemde ok sert ve neredeyse hi dn
verilmez bir trajik yaptlarn yzeyinde dolarken ve bu nesneyi insann
iinden grmenin neredeyse doal bir uzantsyken, dorudan nesneye
yneldii zaman sanat yaad zgrlkle kendisini ironiye amaktan
da kanmyor. Aksine, son dnem yaptlarnda nesnenin bazen abartl,
bazen arptlm, bazen balamndan soyutlanm durumu bizatihi bir
ironi dolaym olarak kendisini da vuruyor.
Akbank Sanatn 20 yllk bir tarihi kuatan bu abas byk bir eitlilii
kucaklyor. Yaptlarn bir arada dile getirdii nemli koullardan biri de bu:
eitlilik. Buna oulculuk demek de kabildir. Gerekten de bu serginin
dile getirdii ve nce kard en nemli olgulardan biri budur. Yllarca
daha ziyade resme zemin olan bilincini hazrlamakla megul Trk grsellii
ifade dzeyinde doal baz daralmalar yaarken 1990ardan balayarak
son derecede zengin bir tercih eitliliine erimekteydi. Bu oulculuun
grsel yzeyi her anlamda kapsamas demekti. imdi bu sergide yer alan
slup, tarz, tutum, sorunsal diye bakldnda sz konusu eitliliin dzeyi
ve lleri rahatlkla gzlemlenebiliyor.

Vicious Circular
Breathing
idem Zeytin

Borusan Contemporary is hosting one of the most successful


exhibitions of the year. Curated by Kathleen Ford, the artist behind
Vicious Circular Breathing is Rafael Lozano-Hemmer.
Voice Array, Subsculpture 13, 2011. Photo / Fotoraf: Antimodular Research

Comprised of interactive installations, the bases of the exhibition are


the visitors and their actions. But these actions keep one step ahead
movement based experience designs, which remain predominant in the
interactive works, and prosper from elements which convey personal
awareness to the level of consciousness, such as voice, breathing,
touching and participation. The distribution of works and the experience
design to the exhibition space is also considerably important.
On the entrance, a work titled Surface Tension greets us. A giant eye,
looking directly at you, pries into your movements and directly into your
being throughout the time youre answering to it. The awareness of the
eye about your existence and its looks gravitating towards you, creates
an uncanny pressure, while the axis of its glance arouses a Panopticonlike effect. Influenced from The Solar Anus, a text by Georges Bataille,
the work refers to the computerized surveillance techniques, legitimized
under the Patriot Act of the United States. On the other hand, this
technical and cold state of surveillance, creates a contradictory condition
with the deepening glances of and eye of flesh and bone, directly looking
at you. The prying eye transforms into a state of limitation, incarceration,
ranging from our interpersonal communications in society, to the
surveillance techniques of authorities.
We move along. The work titled Voice Array, transforms your voice when

90

you speak into the diaphone, into flashes of light, while recording your
voice and starts pushing the earlier recording aside with its repetitions.
In the work Pulse Index, which basically serves the same purpose, the
interaction is made through your fingerprint and your heartbeats and
fingerprint get archived right next to the previous records. But with
each new record, your giant finger print slowly wanes along with the
others, disappearing pixel by pixel. In both arrangements, your identity
and perception of existence, soaring with the conspicuous visibility of
voice and your fingerprint, two of the most determinative elements of
your identity, slowly vanishes with your voice merging into other voices,
and your fingerprint and heartbeats merging into the previous records.
With the installations following the giant prying eye emphasizing your
existence at the entrance of the exhibition, the sense of transforming into
a work, neutralized with the whole, becomes a burden on your soul.
The arrangement, which the exhibition is named after, Vicious Circular
Breathing takes its place on the fourth floor and is composed of a pair of
automatic doors, two emergency exits, an airtight system of blowers and
tubes, a valve manifold system and 61 paper bags attached to breathing
tubes. You encounter a living, breathing system. Paper bags contracting
and expanding so long as the circulation of air continues and all those air
funnels may arouse the feeling of being in a science fiction movie.

When you step inside the work, which also is a part of the experience,
every breath you take in the room, which interacts with the pressure
created by the space your body takes, gets included in a vicious
circle. Breaths of trillions of people in a gigantic galaxy, point out to our
impermanence as an unending vicious circle. In this unending vicious
circle, we disappear with every breath we take.
The artists work, which carries us to the opposite point of the state of
feeling small within the whole appears before us in the shape of a giant
sun. Be careful, if you get too close to the sun, you may cause great solar
flares on its surface. After your little breaths, which disappear within life,
you hang in the air between some place in your will which causes solar
flares.
We move away from the solar flares and arrive at some kind of production
line. In the work, which copies and archives your belongings when
you put one in the entrance, your belongings get placed next to the
belongings of other visitors and recorded. Carrying references to our
identities in the memory constructed on the production line, objects take
their place alone and in an ambiguous fate.
In the last sequence, we encounter works which question the roots of the
individual through her/his relationship with the space and with the whole

she/he belongs to. Hands pointing to your current location in the area,
interactive mirrors who visualize your location in the exhibition space and
a branch which continues its search, maybe for the water of life, while
carrying the tree trunk it belongs to like an archetypal shadow
Vicious Circular Breathing transforms into an exhibition which questions
the place of our existence in the collective structure by exposing all of
our vital functions from our moving bodies, resonance of our voice, our
heartbeats, to our breaths and our touches. In the exhibition, which, while
were moving by ourselves, heightens the tension between the effectual
power of our will and our existence, vanishing within collective structures,
we find ourselves within a vicious circle, whose beginning and end is
unseen, its place unperceived to us, and in which we are not sure of
where we come from and what we are going to transform to.
While this state of incarceration reminds us the questions, which we
may never find answers to, regarding our existence and what it identifies
with, it also carries with it the acceptance of our helplessness against
this condition. Flowing from the whole to the part, and from the part, to
the whole, this exhibition is a must-see for comprehending where our
existence is placed within the collective structure and how we perceive
the state of living in the vicious circle of life.

91

Borusan Contemporary yln en baarl sergilerinden birine ev


sahiplii yapyor. Kratrln Kathleen Fordenin yapt sergi,
Vicious Circular Breathing, sanats Rafael Lozano-Hemmer.

Pulse Index, 2010. Installation / Yerletirme. Photo/ Fotoraf: Kate Russel

Etkileimli enstalasyonlardan oluan serginin yaptalar ziyaretiler ve


ziyaretilerin aksiyonlar. Fakat bu aksiyonlar etkileimli ilerde arlkl olan
hareket odakl deneyim tasarmlarndan bir adm teye geerek kiinin
bireysel farkndaln bilin dzeyine tayacak ses, nefes, dokunu ve
katlm gibi elerle zenginleiyor. Eserlerin ve deneyim tasarmnn sergi
alanna dalm da olduka etkili.
Girite bizleri Surface Tension adl eser karlyor. Dorudan size bakan
dev bir gz kendisiyle muhatap olduunuz sre iinde hareketinizi ve
dorudan varlnz gzetliyor. Gzn varlnza dair farkndal ve size
ynelen baklar, bulunduunuz alan iinde zerinizde tekinsiz bir bask
yaratrken baknn izdii aksla bir nevi Panoptikon etkisi uyandryor.
George Bataillen The Solar Anus adl metninden esinlenilerek retilmi
olan alma, Amerika Birleik Devletlerinde Vatanseverlik Yasas altnda
merulam bilgisayarl gzetleme tekniklerine atfta bulunuyor. Dier
yandan bu teknik ve souk gzetlenme hali, eti kemii olan ve dorudan
size bakan gzn derinleen baklaryla elikili bir durum yaratyor.
Bakan gz, toplum iinde bireyleraras iletiimlerimizden otoritelerin
gzlem tekniklerine uzanan bir snrlanma, hapsolma haline dnyor.
lerlemeye devam ediyoruz. Diyafona konutuunuzda sesleri otomatik
olarak k parltlar haline getiren Voice Array adl eser etkileyici bir k
grnts yaratrken sesinizi kayt altna alarak tekrarlaryla nceki kaytlar

92

Flatsun, 2011 Installation / Yerletirme Photo / Fotoraf: Antimodular Research

arka plana itmeye balyor. Yaklak olarak ayn hedefe hizmet eden,
parmak izinizle etkileime geirdiiniz Pulse Index adl almada ise kalp
atlarnz ve parmak iziniz sizden nceki kaytlarn yanna arivleniyor.
Fakat her yeni gelen kaytla dev parmak iziniz dierleriyle birlikte klerek
piksel piksel kayboluyor. ki dzenlemede de kimliinize ait en belirleyici
elerden olan sesiniz ve parmak izinizin arpc bir ekilde grnrlk
kazanmasyla ycelen kimliiniz ve varlk algnz; sesinizin dier sesler
arasnda, parmak izinizin ve kalp atlarnzn sizden ncekilerin kaytlarnn
arasna karmasyla birlikte silikleerek kayboluyor. Serginin giriinde
bakyla varlnza vurgu yapan bakan dev gzn ardndan takip eden
enstalasyonlarla btnde etkisizleen bir paraya dnme hissi ruhunuzu
arlatryor.
Sergiye adn veren drdnc katta konulanm Vicious Circular
Breathing adl dzenleme bir ift otomatik kap, iki acil k, hava
szdrmaz bir krk ve tp sistemi, bir manifold(k borusu) valf sistemi
ve nefes tplerine bal 61 adet kese kdndan oluuyor. Nefes alp
veren, yaayan bir sistemle karlayorsunuz. Havann sirklasyonu
devam ettike daralan ve genileyen kese katlar ve onca hava kanal bir
bilim kurgu filminde olduunuz hissini uyandrabilir.
Eserin bir paras olan iine girdiinizde bedeninizin kaplad alann
yaratt basnla etkileime geen odada alp verdiiniz her nefes ksr

bir dngye dhil oluyor. Kocaman bir galaksinin iinde trilyonlarca


insann nefes alp verileri bitmeyen ksr bir dng olarak geiciliimize
iaret ediyor. Bu bitmeyen ksr dng iinde aldmz her nefesle birlikte
kayboluyoruz.
Sanatnn bizleri btnde kck hissetme halinin tam tersi bir
noktaya tayan eseri ise dev bir gne eklinde karmzda beliriyor.
Dikkat edin eer gnee yaklarsanz yzeyinde byk gne
patlamalarna yol aabilirsiniz. Hayatn iinde kaybolan kk nefes
alverilerinizin ardndan gnein zerinde patlamalara sebep olan
iradeniz arasnda bir yerde havada asl kalyorsunuz.
Gne patlamalarndan uzaklap bir eit retim bandnn bana
geliyoruz. Giri ksmndan kendinize ait bir nesneyi koyduunuzda
kopyasn kararak arivleyen almada size ait objeler dier ziyaretilere
ait objelerin yannda yerlerini alarak kayt altna alnyor. retim bandnda
ina edilen bellekte kimliimize dair referanslar tayan objeler,
tanmadmz kiilere ait objelerle kurduklar dolayl ilikiye ramen yalnz
ve akbetleri belirsiz bir ekilde yerlerini alyor.

klan etkileimli aynalar ve belki de ab- hayat ararken ait olduu aa


gvdesini arketipik bir glge gibi yannda tayarak arayna devam eden
bir aa dal
Vicious Circular Breathing, hareket eden bedenimizinden, sesimizin
tnsna, kalp atlarmzdan nefesimize ve dokunuumuza kadar
yaamsal btn ilevlerimizi ifa ederek varlmzn kolektif yap iindeki
yerini sorgulayan bir sergi. Tek bamza hareket ederken irademizin
etki yaratabilen gc ile kolektif yaplar iinde silikleen varlmz
arasnda gerilimi artran sergide kendimizi gerekten ban ve sonunu
gremediimiz, nerede durduumuzu alglayamadmz, nereden
geldiimizden ve veya dnceimizden emin olamadmz ksr bir
dngnn iine hapsolmu buluyoruz.
Bu hapsolma hali belki asla net bir cevap bulamayacamz varlmza ve
ilikilendiklerine dair sorularmz bize hatrlatrken, bu durum karsndaki
aresizliimizin kabuln de beraberinde getiriyor. Btnden paraya,
paradan btne akan bu sergide varlnzn kolektif yap iinde nerede
durduunu ve yaamn ksr dngs iinde yaama halini nasl
algladnz kavramak iin mutlaka gidilmesi gereken bir sergi.

Son blmde ise bireyin kklerini, meknla olan ilikisi ve ait olduu
btnle ilikisi zerinden sorgulayan almalarla karlayoruz. Mekan
iindeki yerinize iaret eden eller, sergi alanndaki konumunuzu grnr

93

Glsn Karamustafa, an installation shot from A Promised Exhibition / Vadedilmi Bir Sergiden fotoraf, SALT Beyolu, 2013,
Photo / Fotoraf: Cem Berk Ekinil

Glsn Karamustafa, Etiquette [Adab- Muaeret], 2011

A Reminisced Memory
Ydedilmi Bir Bellek
Evrim Altu

Glsn Karamustafas exhibition at SALT Galata and Beyolu is an example of mass


exposure, which succeeds in bringing together, with its most permanent examples,
the traces left by the artist to the geography she lives in and the ones injected by that
geography into the artists memory, and preventing the works from overwhelming each
other. The exhibition carries with it the chance to look into the global memory regarding
an idea and act which has crept into Karamustafas life, Gesamtkunstwerk.

94

Displayed at SALT Beyolu (and at SALT Galata, with two video


arrangements) until January, with the title of Vadedilmi Bir Sergi (A
Promised Exhibition), Glsn Karamustafas exhibition stands out by
presenting, again with a cacophonic harmony peculiar to this city, the
tragedy of a past, prospering with the artist escorting the visitor with
an audio guide, and spreading layer to layer just like Istanbul, as if to
three levels (Turkey, Ottoman Empire, Byzantium). Its not a summerlike,
commercial or an entertaining exhibition; its A Promised Exhibition.
But it looks like stanbuls historical peninsula at the most. The works get
smeared on ones nasal passage more like a bitter syrup coated with
sugar. To speak by SALTs press release, being the most exhaustive art
map event, both international and for Turkey, organized in the name of
the artist, the exhibition leaves in front of us how Turkey, in the case of
stanbul, after numerous obtainments, has lost its cultural and political
memory, with all sorts of aesthetic certificates, transformed into todays
documents, making art history with their residues alone. In this sense,
giving us the opportunity to reminisce on the cultural identity of the past,
from which today was produced, especially on the sense of arabesque
(which, according to editor, art columnist, and critic Mine Haydarolu,
evolved into the Hip-Hop culture) and leaving it to the viewers orientation
with the disorganization of a comparative critique, the exhibition
begins with the group of paintings by the same name, greeting us at
the top of the three floors (1998-2004) on which the exhibition is held.
Accompanied by Karamustafas calm, stored up, tired but rightful voice,
its not actually possible to easily forget the directionlessness on the
figures of these works and the dreamy, Byzantium-flavored sour reverie
of their eyes. With her painting practice, which some encountered in
the exhibition space for the first time, as much as with her works, which
pulpify with the objects and imagery she acquired from Istanbul, the
city she nurtured on and used as an organic and inorganic palette, and
most of which were awarded or presented to the viewer on numerous
occasions and events, Karamustafa, having us wish to be accompanied
by her voice through her every work, is telling us with a kind tone that art
production is independent of form. In the sense that it brings together
extremely fulfilling examples of work, the exhibition, in fact, properly
satisfies its didactic duties. The event provides an important opportunity

Glsn Karamustafa, Vaat Edilmi Resimler


serisinden, 2004

by presenting us the cultic ex-kitsch/prepared object works of


Karamustafa, such as Venus in the Jar (Kavanozdaki Vens) (1988),
Double Truth (ifte Hakikat) (1987), and Panther Seat (Panter
Oturak) dated 2007, as much as her ex-notion / cultural critique and art
practice analysis intensive works, such as Fragmenting the Fragments
(Fragmanlar Fragmanlamak) (1999) and The Presentation of an
Early Representation. In the exhibition, which carries critical clues and
heaps of information and inventory for the ones who are interested in
understanding and learning the Turkish contemporary art history, and
young people overcome with the idea of a career in fine arts, it can
surely be regarded as an error not to cite among the milestones the
works such as Mystical Transport (Mistik Nakliye) (1992, 3rd Biennial
of Istanbul), Notebook (Okul Defteri) (1993) and My Roses My
Apprehensions (Gllerim Tahayyllerim) (1998). Also within this scope,
finding, by courtesy of SALT, the opportunity to view Karamustafas
Prison Time Paintings, in which she speaks in praise of the privacy and
the intimacy of civil memory, is just a few of the most meaningful gifts
of the exhibition. Succeeding in documenting the testimony she bore to
stanbul, by acquainting herself with the grade level, independent of any
race, language, ideology, and ism, Karamustafas exhibition also houses
works, which, on this sense, are not to be missed, such as Emigree
(Muhacir) (2003), Apartment (Apartman) (2013), Chronography
(Kronografya) (1994), Double Jesus and Dual Antelope (ifte sa ve
kili Antilop) (1984), The Monument and The Child (Ant ve ocuk)
(2011), Tailors Needlework (Terzi Dikii) (2005) or Buy One Get One
Free (Bir Alana Bir Bedava), her art project regarding the portraits
of Ottoman Sultans, prepared in collaboration with Gallery BM back in
the 90s. Glsn Karamustafas exhibition at SALT Galata and Beyolu
is an example of mass exposure, which succeeds in bringing together,
with its most permanent examples, the traces left by the artist to the
geography she lives in and the ones injected by that geography into the
artists memory, and preventing the works from overwhelming each other.
The exhibition carries with it the chance to look into the global memory
regarding an idea and act which has crept into Karamustafas life,
Gesamtkunstwerk.

95

Glsn Karamustafa, an installation shot from A Promised Exhibition / Vadedilmi Bir Sergiden
fotoraf, SALT Beyolu, 2013, Photo / Fotoraf: Cem Berk Ekinil

Glsn Karamustafa, Kavanozda Vens, 1988

Glsn Karamustafann SALT Galata ve Beyolu sergisi, bir sanatnn yaad corafya
btnne brakt ve o corafyann da sanat belleine zerk ettii izleri en kalc
rnekleriyle buluturmay baaran, ileri birbirine bodurmayan bir toplu tehir rnei.
Sergi beraberinde, Karamustafann hayatna szm Gesamtkunstwerk fikri ve eylemine
dair kresel bir bellek yoklamas frsatn da veriyor.
SALT Beyolunda (ve iki video dzenlemesi ile SALT Galatada) Ocak
ayna dein Vadedilmi Bir Sergi bal ile izlenen Glsn Karamustafa
sergisi, sanatnn izleyiciye sesli rehberlikle refakati ile zenginleen,
stanbul gibi katman katman, sanki kata (Trkiye, Osmanl, Bizans)
yaylan bir gemiin trajikliini, yine bu kente zg kakofonik bir uyumla
ortaya koymas asndan dikkat ekiyor. Bir yazlk, pozitif, tecimsel veya
elencelik sergi deil, Vadedilmi Bir Sergi. Ama en ok da stanbulun
tarihi yarmadasna benziyor. ler, daha ok ekere bulanm ac bir
urup gibi insann genzine bulayor. SALTn kamuoyuna nermesiyle
konuursak, sanat adna bugne dein dzenlenen en kapsaml
Trkiye ve uluslar aras sanat haritas etkinlii olan sergi stanbul zelinde,
Trkiyenin kltrel ve siyasal belleini nasl st ste bulup bulup
kaybettiini, bugn artk belgelemi, tortusuyla sanat tarihine mal olmu
trl biimde estetik vesikalarla nmze brakyor. Bu adan, vaat
etmekten te, bize bugn reten gemiin kltrel kimliini, zellikle
(editr ve sanat yazar, eletirmen Mine Haydarolunun deyiiyle HipHop kltrne evrilen) arabesk duygusunu ydetme imkn veren ve
bunu da karlatrmal bir tenkit danklyla izleyicinin oryantasyonuna
brakan sergi, izlendii katn en st ksmnda bizi karlayan (19982004) ayn adl resim bei ile balyor. Karamustafann sakin, diyecek
eyi ok birikmi, yorgun ama hakl sesiyle, bu yaptlarn figrlerindeki
ynszl ve gzlerindeki hlyal, Bizans lezzetli buruk dalgnl, daha
sonra unutmanz pek mmkn olamyor. Keke tm yaptlarda bize
sesiyle rehberlik etse dedirten Karamustafa, organik ve inorganik bir
palet olarak beslenip kulland stanbuldan edindii nesne ve imgelerle
hamurlam ve pek ou daha nce izleyici karsna trl etkinlikler
vesilesiyle km ya da dllendirilmi ileriyle olduu kadar, sergi
meknnda kimini ilk kez buluturduu resim pratii ile de, sanat retiminin
biimden bamsz olduunu bizlere nazik bir slpla sylyor. Sergi

96

aslen son derece doyurucu i rneklerini buluturmas bakmndan da


reticilik vazifesini hakkyla yerine getiriyor. Etkinlik, Karamustafann
gerek Kavanozdaki Vens (1988), gerek ifte Hakikat (1987) ve
gerekse 2007 tarihli Panter Oturak gibi kitsch-hazr nesne kl klt
ileriyle olduu kadar, kendisinin Fragmanlar Fragmanlamak (1999) ve
Erken Bir Temsiliyetin Sunumu gibi daha kavram kl-kltrel eletiri ve
sanat pratii analizi youn almalarn da bizlerle buluturarak nemli bir
imkn salyor. zellikle Trk ada sanat tarihini anlamak ve renmek
isteyenlerle, gzel sanatlar alannda kariyer hevesine kaplan genler
iin ok nemli ipular, hatta yumak yumak bilgi ve dkmler tayan
sergideki dier kilometre ta iler arasnda, elbette Mistik Nakliye
(1992 3. st. Bienali), Okul Defteri (1993) ve Gllerim Tahayyllerim
(1998) gibi ileri de anmamak, byk bir eksiklik saylabilir. Bu kapsamda
ayrca, Karamustafann sivil bellein mahremiyeti ve samimiyetine
vgler dzd ve SALT sayesinde ilk defa izleme imkn bulduumuz
Hapishane Dnemi Resimleri ise, serginin en anlaml armaanlarndan
yalnzca birka. stanbula tankln hibir rk, dil, ideoloji ve izme baml
kalmakszn, hemzeminden bilgilenmek suretiyle belgelemeyi baaran
Karamustafann sergisinde bu ynyle es geilmemesi gereken teki iler
arasnda ise, Muhacir (2003), Apartman (2013), Kronografya (1994),
ifte sa ve kili Antilop (1984), Ant ve ocuk (2011) Terzi Dikii
(2005) veya promosyon kltrne gndermede bulunduu, 1990larda
Galeri BM ile hazrlad Osmanl Padiahlar portreleri sanat projesi Bir
Alana Biri Bedava saylabiliyor. Glsn Karamustafann SALT Galata ve
Beyolu sergisi, bir sanatnn yaad corafya btnne brakt ve
o corafyann da sanat belleine zerk ettii izleri en kalc rnekleriyle
buluturmay baaran, ileri birbirine bodurmayan bir toplu tehir rnei.
Sergi beraberinde, Karamustafann hayatna szm Gesamtkunstwerk
fikri ve eylemine dair kresel bir bellek yoklamas frsatn da veriyor.

The Last Exhibition of Tanas


Tanastan Son Sergi

Dan Perjovschi,
Lawrence Weiner,
exhibition view TANAS,
2013
TANAS / Jens Ziehe

Seda Nibolu

The Unanswered Question.skele2 exhibition is a reference to the


past, an examination of today, and a goodbye at the same time. Its a
goodbye, because TANAS, the independent project space, which was
opened in 2008 as a neighbor and a partner to the Edition Block in Berlin
Heidestrasse, to represent Turkish art, closes its doors on November 3.
Having hosted the first solo exhibitions of artists such as Halil Altndere,
Vahap Avar, Ali Kazma, and presented young artists living in Germany,
such as Nasan Tur and Nevin Alada, to wide audiences for the first
time, TANAS, while saying goodbye to its viewers, circles back to the
point where the relationship between Ren Block and Turkish art first
started. skele was the name of the exhibition, which was held 20 years
ago, at ifa Galleries in Bonn and Stuttgart. Block, with the curation of
Beral Madra, for the first time, presented the young Turkish art to foreign
audiences in this exhibition. But the interesting thing was that the names
he presented and the artist discourses back then were evenly alien to
the art audiences in Istanbul. After skele, came Orient/ation, the 4th
Istanbul Biennial, dated 1995 and curated by Block. The contemporary
art scene in Istanbul in that period was slowly getting into action. The
infrastructural problems or the difficulty of finding financial sources are
still debatable but at least there was progress in terms art collectors, the
viewer and supporting institutes. And Block remained as one of the key
actors through the passing period. Today, with skele 2, Block finishes
the journey set out with skele. With an exhibition that is an open ended
manifesto like the former, constitutes a statement and like TANAS itself,
stable, hardened, willingly leaving certain questions unanswered by
avoiding turning into an academic institute.
Pieces of a historical puzzle
The contributors are not limited to the representatives of Turkish art.
Broadening the limits of local art since the beginning and enabling its
curators to work freely, TANAS adopts the citizen of the world ideal,
which it is a representative of, by evaluating Turkish art through its
position worldwide. Its not a thematic wholeness that brings the works
presented in the exhibition together, but a temporal continuity and

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The Unanswered Question.skele2 ayn anda hem gemie bir referans,


hem bugnn muhasebesi hem de bir veda. Veda, nk 2008 ylnda
Berlin Heidestrassede Edition Blockun komusu ve partneri olarak
Trk sanatn temsil etmek zere alan bamsz proje mekan TANAS
kaplarn 3 Kasmda kapatyor. Halil Altndere, Vahap Avar, Ali Kazma
gibi isimlerin ilk solo sergilerini gerekletiren; Nasan Tur ve Nevin
Alada gibi Almanyada yaayan gen sanatlar ilk kez byk kitlelerle
buluturan TANAS izleyicisiyle vedalarken yneticisi Ren Blockun Trk
sanatyla ilikisinin ilk balad yere dnp daireyi tamamlyor. 20 sene
nce Berlin, Bonn ve Stuttgarttaki ifa Galerilerinde gerekleen serginin
adyd skele. Block, Beral Madrann kratrlnde gen Trk sanatn ilk
kez burada yurtdna takdim etmiti. Ama iin ilginci o dnem sunduu
isimler ve sanatsal sylemlerin stanbuldaki sanat izleyicisine de ayn
oranda yabanc olmasyd. skelenin ardndan Blockun kratrln
yapt 1995 tarihli 4. stanbul Bienali Orient/ation geldi. stanbuldaki
ada sanat ortam o dnemde yava yava hareketlenmeye balamt.
Altyapsal sorunlar ya da finansal kaynak bulma zorluu tartlr ama
en azndan sanat koleksiyonerleri, izleyici ve destek veren enstitler
asndan gelime olumlu yndeydi. Ve aradan geen tm bu dnem
ierisinde Block ba aktrlerden biri olarak kald. skele ile kt yolculua
bugn skele2 ile nokta koyuyor Block. lki gibi ucu ak bir manifesto, bir
sylem nitelii tayan, TANASn kendisi gibi sabit, katlam, akademik
bir enstit olmaktan kanp bilerek isteyerek kimi sorular yantsz brakan
bir sergi ile...
Tarihi bir puzzlen paralar
Katlmclar sadece Trk sanatnn temsilcileri deil. Bandan bu yana
yerel sanatn snrlarn genileten ve kratrlerine bu konuda serbestlik
tanyan TANAS, 20 yln Trk sanatn dnya ierisindeki konumu
zerinden deerlendirerek temsilcisi olduu dnya vatanda idealine
sahip kyor. Sergide yer alan ileri bir araya getiren tematik bir btnlk
deil, zamansal bir devamllk ve etkilendikleri corafyalar ve olaylar
arasndaki balantlar. Bu da skele2ye kendiliinden bir retrospektif
karakteri kazandryor. Eserler tek balarna ok salam sylemler

the connections between both the geographies and events they were
influenced of. This grants skele2 a character, which is retrospective
by itself. While the works carry solid statements on their own, taking
a step backmakes them look like pieces of a historical and an artistic
puzzle. The exhibition includes artists, such as Aye Erken and Glsn
Karamustafa, who participate in skele for the first time, along with the
guests of 4th stanbul Biennial, including Rosa Barba, Olaf Metzel and
Rosemarie Trockel. Along with young artists, who, following that period,
came into our lives, such as ener zmen, Cengiz Tekin, and Nasan
Tur, several artists, including Andrea Faciu and Anri Sala, whom Block
work together in Balkanic projects, also represent the continuation of the
process. Aye Erkmen greets us with her work The Answer, referencing
the name of the exhibition, a question mark made out of steel pipes. In
Stiletto, a work by Nevin Alada of the younger generation, we see
metal plates carrying the heel marks of a dance performance. These
plates carry traces of the moment like a negative photograph, the traces
left by women on the male dominant society. In Adel Abidins video,
Ping Pong, which was presented in Istanbul in the past, the ones who
are leaving traces are men. A struggle between two male players injures
a womans body. Alicja Kwade, one of the youngest contributors in the
exhibition, questions our place against time and space by manipulating
the functions of daily objects like clocks and lamps. While Sunah Choi
wants us to look differently at whats always under our eyes, with the new
connections she established between natural and manmade objects. In
his video, Red Carpet, Cengiz Tekin alienates us also to spatial reality
by snorting at the absurdity of ceremonies, with a red carpet rolling out to
a lake. There many works in the exhibition which reference the artworks
of the past, history and artists own histories. We witness the days Jonas
Mekas, one of the pioneers of the American avant-garde cinema who
escaped from Nazis and the Red Army during World War II, spent with
his brother at the Displaced Persons Camp in Kassel. One of the most
interesting works in the exhibition is a desert scene section from Christian
Jankowskis The Eye of Dubai. With his eyes closed, in reference to
Joseph Beuyss I Like America and America Likes Me, Jankowski tells

barndrrken bir adm geriye ekildiinde tarihi ve sanatsal bir puzzlen


paralar gibi grlyorlar. skele2ye katlanlar arasnda Aye Erkmen ve
Glsn Karamustafa gibi ilk skeleye katlan sanatlar da var, 4. stanbul
Bienalinin Rosa Barba, Olaf Metzel, Rosemarie Trockel gibi konuklar da.
O dnemi takiben hayatmza giren ener zmen, Cengiz Tekin, Nasan
Tur gibi gen sanatlarn yannda Blockun Balkan projelerinde birlikte
alt Andrea Faciu ve Anri Sala gibi bir ok sanat da srecin devamn
temsil ediyorlar.
Aye Erkmen serginin ismine gnderme yapan The Answern elik
borulardan soru iareti ile girite karlyor bizi. Gen kuaktan Nevin
Aladan Stilettosunda bir dans performansndan kalma topuk izlerini
zerlerinde tayan metal plakalar gryoruz. Fotoraf negatifi gibi
ann izlerini tayor bu plakalar, kadnlarn erkek egemen toplumda
brakt izler. Adel Abidinin daha nce stanbula konuk olan Ping
Pong videosunda izleri brakan bu sefer erkekler. ki erkek oyuncunun
arasndaki mcadele bir kadnn vcudunu yaralyor. Serginin en gen
katlmclarndan Alicja Kwade saat veya lamba gibi gndelik objelerin
ilevlerini maniple ederek zaman ve mekana kar konumumuzu
sorguluyor. Sunah Choi ise doa ve insan yapm nesneler arasnda
kurduu yeni balantlarla hep gzmzn nnde olana farkl ekilde
bakmamz istiyor. Cengiz Tekin Red Carpet videosunda bir gle uzanan
krmz hal ile seremonilerin absrdlne burun kvrarak mekansal
gereklie de yabanclatryor bizi.
Sergide gemiin sanat eserlerine, tarihe ve sanatlarn kendi tarihlerine
atfta bulunan ok sayda i de var. 2. Dnya Sava srasnda Nazilerden
ve Kzl Ordundan kaan Amerikan avantgarde sinemasnn nclerinden
Jonas Mekasn kardeiyle birlikte Kasseldeki Yersiz nsanlar Kampnda
geirdii gnlerine ahit oluyoruz. skelenin en ilgin ilerinden birisiyse
Christian Jankowskinin The Eye of Dubaisinden bir l sahnesi kesidi.
Jankowski, Joseph Beuysun I like America and America likes mesine
gndermeyle gzleri bal ekilde bir ahine Beuys ve kr kurdunun
hikayesini anatyor. Sarkis, Le Crie de Sainte Sophiede Munchun
lkn hayvan derisinden bir tefe yalboya ile aktaryor. Andrea Faciu

99

Aye Erkmen,
The Answer,
exhibition view
TANAS, 2013,
TANAS /
Jens Ziehe

the story of Beuys and the coyote to a hawk. Sarkis, in Le Crie de Sainte
Sophie, conveys, using oil paint, Munchs Scream to a tambourine
made out of animal hide. The jukebox of Andrea Faciu and Florin Bobus
Cradle Count carries to the atmosphere the voices of children, who
grew up as orphans in Romania. A substantial percentage of the works
are new and created for this exhibition. In fact, Olaf Metzels aluminum
print, titled Taksim, carries the Gezi protests into the exhibition space in
the form of a crumpled up newspaper.
The end of an era
As shown by the aesthetic and discursive diversity of skele2, Block
has never repeated himself since the beginning. Began in Berlin, his
journey then evolved into his interest on New York and Fluxus in the
60s, countries which were outside of the art centers in the 90s, and
Turkey and the Balkans after the 90s. The ultimate point for this process,
which branched out from his series of artist monographies, published
by Yap Kredi Publishing, to Starter exhibition he displayed at ARTER
two years ago, was TANAS. Considering the point of origin, the decision
of closing the project space is not so surprising. TANAS was founded,
from the start, as a non-commercial project, unwilling to institutionalize
and Block believes that it has achieved its task. The application of the
closing decision he reached a year ago is also connected with the
periphery of the space. Continuous construction works in the industrial
area of Heidestrasse had been a problem for enthusiasts, who had a
time finding the place. But Block has never even considered moving
away from the building, in which he hosted 22 exhibitions. According
to Block, its manager, the building secretly resembled an Istanbul art
center when it was initially opened. Nowhere in that period, except for
Istanbul Modern, was dedicated to contemporary Turkish art. But today,
Block believes that art spaces such as ARTER or SALT have taken over
some of the tasks of TANAS. His first project in mind is analyzing and
archiving the past 5 years and all of his projects on Turkey. When all of
his old projects taken into account, this amounts to a total of 50 years.
Block lets us know in advance that his organization of the archive will
make way to a new exhibition next year. Its certain that the absence of
TANAS will be felt as a meeting point for Turkish art which developed
in different geographies. But Blocks hopes lie with the creation of new
initiatives after the closing. TANAS has left as with many questions so
far: Art for which audience? Istanbul or Berlin? Where does an abroad
representative carry Turkish art? At what rate is it possible to get rid of
the identity issues? The question he posed with skele2, maybe never to be
answered, is in the center of all activities of Ren Block from the beginning.
As he stated in an interview he gave to Maria Eichhorn, its the same issue
as the one posed by Serbian artist Raa Todosijevic: What is art?

100

ve Florin Bobunun Cradle Countnn jukebox Romanyada ailesiz


bym ocuklarn seslerini atmosfere tayor. lerden nemli bir
ksm yeni ve sergi iin oluturulmu. Hatta Olaf Metzelin Taksim isimli
alminyum basks Gezi olaylarn buruturulmu devasa bir gazete kad
halinde sergi alanna tayor.
Bir dnemin sonu
skele2nin estetik ve sylemsel eitliliinin de gz nne serdii
ekilde Block bandan bu yana kendini hi tekrarlamad. Berlinde
balayan yolculuu 60larda New York ve Fluxus ilgisine, 80lerde
sanat merkezlerinin dnda kalan lkelere ve 90 sonrasnda Trkiye ve
Balkanlara evrildi. Yap Kredi Yaynlarndan kan sanat monografileri
serisinden ARTERde iki sene nce gerekletirdii Starter sergisine
dallanp budaklanan bu srecin nihai noktas TANASt. Proje mekann
sonlandrma kararysa, yola k noktas dnldnde ok da artc
deil. TANAS bandan bu yana ticaret amac gtmeyen, enstitlemek
istemeyen geici bir proje olarak kurulmutu ve Block bugn artk
mekann grevini tamamlandna inanyor. Bir sene nce verdii kapatma
kararn uygulama zaman, mekann evresi ile de ilintili. Endstri blgesi
Heidestrassede sregiden inaat almalar ilgililerin TANASn yolunu
bulmasn zorlatrmaya balam. Block ise 22 sergi gerekletirdii
mekandan baka bir yere tanmay asla dnmemi.
TANAS ilk aldnda yneticisi Blocka gre gizli bir stanbul sanat
merkezini andryordu. O dnemde stanbul Modern hari kendini ada
Trk sanatna adam bir mekan yoktu. Ama bugn ARTER ya da SALT
gibi sanat mekanlarnn TANASn grevlerinin bir ksmn devraldna
inanyor Block. Bundan sonra hayata geirecei ilk projesi geen be
yl ve Trkiye ile ilgili tm projelerini analiz edip arivlemek. Tm eski
projeleri ile bir araya geldiinde 50 sene anlamna geliyor bu. Block,
arive dzen getirmesinin nmzdeki sene baka bir serginin yolunu
aacann haberini imdiden veriyor. Farkl corafyalarda gelien Trk
sanatnn bir buluma noktas olarak TANASn eksikliinin hissedilecei
muhakkak. Ama Blockun midi kapanma sonras yeni inisiyatiflerin
olumas ynnde. TANAS bugne kadar ok soru ile babaa brakmt
bizi: Hangi seyirci iin sanat?, stanbul mu Berlin mi?, Yurtdnda bir
temsilci Trk sanatn nereye tar?, Kimlik sorunundan kurtulmak ne
oranda mmkn? skele2 ile belki asla cevaplanmamak zere ortaya att
soru ise bandan bu yana Ren Blockun tm faaliyetlerinin merkezinde.
Maria Eichhorn ile yapt bir rportajnda syledii gibi Srp sanat Raa
Todosijeviin ortaya att sorunun ayns bu: Sanat nedir?

CI
LAN

101

Notes from Frieze Friezeden Notlar


Merve nsal

Lili Reynaud - Dewar, Photograph Polly Braden, Courtesy Frieze

Of the high-profile sales was a Oscar Murillo, 27-year-old Colombian


artist, whose work sold for 120,000 USD at David Zwirner.

Yksek profil satlar arasnda, eserleri 120,000 Dolar fiyata David Zwirnere
satlan, 27 yandaki Kolombiyal sanat Oscar Murillo da yer alyor.

As always, 303 Gallery from New York had a selection of works of


minimal yet somehow glitzy aesthetics, including a Doug Aitken and
Jeppe Heim.

New Yorktaki 303 Gallery, her zamanki gibi minimal ancak bir
ekilde gsterili estetikler barndran ve Doug Aitken ve Jeppe
Heim gibi isimlere ait eserlerden oluan bir seki ile karmzdayd.

Salon 94, another New York gallery, had some of the most striking threedimensional works, that represented perhaps the recent New York-Berlin
aesthetic of household objects or furniture-gone-bad. Unmonumental
in size and material, the three-dimensional works were juxtaposed with
banner-like works that complemented the familiar, somehow personal
gist of the booth.

Baka bir New York galerisi olan Salon 94 ise fuardaki boyutlu iler
arasnda en arpc olanlara sahipti. Seki, yakn dnem New York-Berlin
estetiine ait olan rm ev eyalar ve mobilyalar temsil ediyor. Boyut
ve materyal bakmndan heybetli olmayan bu boyutlu eserler, standn
tandk ve nedense kiisel gelen ana fikrini tamamlayan, afi benzeri iler
ile yan yana dizilmilerdi.

Bernadette Corporations advertisement-like aesthetic was another


highlight, taking over one of Greene Naftalis outward-facing walls.
Reminding the viewers where they are and what they are looking at,
this banner is an appropriate rendition of the collectives work in the
specific context.

Bernadette Corporationn, Greene Naftalinin da bakan duvarlarn


benimseyen, reklamvari estetii de ilgi eken ayrntlar arasndayd.
zleyicilere ne olduklarn ve neye baktklarn hatrlatan afi,
kolektifin spesifik bir balama ait olan ilerini uygun bir ekilde
yorumluyor.

team (gallery inc.), with a video of P Diddy (Diddy/Lakes) (2013) brings


the celebrity element into the fair, which reportedly was amiss at this
years VIP opening.

Fuara P Diddynin bir videosu (Diddy/Lakes) (2013) ile katlan team


(gallery inc.), fuara, bu yln VIP alna ters dt belirtilen, bir hret
gesi katt.

Amalia Picas Catachresis #45 (leg of the sofa, leg of the table, teeth
of the saw, head of the screw) (2013), a, literally, twisted saw, was
again pointing to the household staple aesthetic, shown at Johann
Knig Gallery.

Amaila Picann, kelimenin gerek anlam ile bklm bir testere


olan, Kaydrmaca #45 (kanepenin aya, masann aya, testerenin
dii, vidann ba) (Catachresis #45 (leg of the sofa, leg of the table,
teeth of the saw, head of the screw) (2013) adl eseri, Johann Knig
Galleryde sergilenen hane unsurlarna iaret eden eserlerden bir
bakasyd.

With a much better, spacious architecture than the last few years,
Frieze London has again made a selection of galleries that is
supported by the curated sections of Frame and Focus.

nceki yllara nazaran ok daha iyi ve geni olan mimarisi ile Frieze
Londra, dzenlenen Frame ve Focus blmleri ile desteklenen bir
galeri sekisi ile bir kez daha karmzda.

Rineke Dijkstras striking new portraits arrested the viewers on their way
from somewhere to somewhere else with the intensity of the artists
compositions and the subjects unflinching gaze.

The Art Newspaper reported a 1994 clay work by Richard Long sold
to an undisclosed Middle-Eastern collector for an estimated 80,000
USD (from Frieze Masters.) The artist, who has been working with other
galleries for the last thirty years, has returned to Lisson Gallery this year.
Each one of Longs works is destroyed after one re-iteration, to be reproduced on site again.

The Art Newspaper, Richard Longa ait 1994 tarihli bir kil almasnn,
ismi aklanmayan Orta Doulu bir koleksiyonere, 80,000 dolara satldn
duyurdu (Frieze Mastersdan). Son 30 yldr dier galeriler ile almakta
olan sanat, bu sene Lisson Gallerye geri dnd. Longun tm eserleri
bir kez sergilendikten sonra, meknda tekrar retilmesi iin yok ediliyor.

Scott Kings playful prints were a moment of comic, simple relief, in


juxtaposition to the heftier works that were omnipresent especially
in the vicinity of the main entrance.

Rodeo Gallery from Istanbul was among the four galleries from
which Frieze/Outset Fund acquired works for the Tate Collection.
Each year, two curators who are not from the Tate, acquire works
from the fair for the museum. This years curators Beatrix Ruf,
director of Kunsthalle Zrich, and Tobias Ostrander, the chief
curator of the Prez Art Museum Miami, with 150,000 GBP to spend,
selected James Richardss Not Blacking Out, Just Turning the
Lights Off (2011) video installation in an effort to select younger and
relatively less-recognized.

102

stanbuldaki Rodeo Galeri, Frieze/Outset Fonunun Tate


Koleksiyonu iin eser edindii drt galeriden biriydi. Her yl, Tateten
olmayan iki kratr fuardan, mzede sergilenmesi iin eser edinirler.
Bu yln kratrleri Kunsthalle Zrichin ynetmeni Beatrix Ruf ve
Prez Art Museum Miami ba kratr Tobias Ostrander, seimlerini
daha gen ve ksmen daha az sanatlardan yana kullandlar
ve ellerindeki 150,000 ngiliz sterlini fon ile James Richardsn
Baylmyorum, Yalnzca Iklar Kapatyorum (Not Blacking Out,
Just Turning the Lights Off) (2011) isim video enstalasyonunu
edinmeyi tercih ettiler.

Ian Hamilton Finlays not-so-subtle Four Guillotine Blades (1987), while


photographed a lot, represented the weaker, over-the-top political
aesthetic at the fair, perhaps left outside Regents Park.
Sandra Gamarras oil paintings of newspapers from 2013 is a smallscale, personal intervention that treads the boundary between the
personal and the politicalif there could be such a distinction
reminding the viewers of the small-scale importance and of course the
privacy of such gestures.

Rineke Dijkstrann arpc yeni portreleri, sanatnn yaratt


kompozisyonlarn younluu ve znelerin korkusuz baklar ile bir yerden
baka bir yere gitmekte olan izleyicileri hapsetti.
Scott Kingin elenceli basklar, fuarn her yanna, zellikle de ana
giriin etrafna arln koymu olan ar ilerin yannda komik,
basit bir ferahlama salyordu.
Ian Hamilton Finlayin, o kadar da st kapal olmayan eseri Drt Giyotin
Ba (Four Guillotine Blades) (1987), ok fotoraflanmasna ramen,
fuarn Regents Park dnda kalan tarafnn zayf, ar politik estetiini
temsil ediyordu.
2013 ylndaki gazetelerin yal boya tablolarn yaparak, kiisel
ve politik arasndaki snr byle bir ayrm yaplabilirse- ileyen
ve seyircilere bu gibi jestlerin kk lekli nemini ve tabii ki,
mahremiyetini hatrlatan Sandra Gamarrann bu almas, kk
lekli ve kiisel bir mdahale niteliinde.

103

CI Events
CI Frieze Reception / Resepsiyonu
London / Londra

Izak Uziyel-Ali Greli-Acoris Andipa (Andipa Gallery)

Stephanie Bailey (Art Forum)-Joao Laia (Frieze)Sarah Perks (Cornerhouse Visual Art Center)

104

Aya Mousawi (The Moving Museum)-Hma Kabak

Simon Sakhai (The Moving Museum)-Will Lawrie (Lawrie Shabibi Gallery)

Hasan Blent Kahraman-Yasemin Kahraman-Izak Uziyel

Yeim Turanl (Pi Artworks)-Omar Kholeif(Ibraaz Publishing)-Nigel Rubenstein


(Brunswick Arts)

Ali Greli-Yeim Turanl (Pi Artworks)

Ben Rawlingston (Brunswick Arts)-Garreth Harris (The Artnewspaper)

105

Contemporary Art Talks / ada Sanat Bulumalar

zmir - 03 October Ekim 2013

Adana - 08 October Ekim 2013

Ankara - 26 September Eyll 2013


106

Bursa - 10 October Ekim 2013


107

FIAC October 22 Ekim

Maria & Yahi Baraz - Hasan Blent Kahraman

Susanne Van Hagen (Art Club


Tokyo) - Ali Greli

Daniel Stork - Metin lktekin - Michael Cohn (Fine Art Projects)

David Lepoujade (Kratr) - Catherine Mac Gerry - Ali Akay - Seza Paker

108

Ali Greli - Nazy Nazhand (BLOUIN ARTINFO) - Jerome Neutres (Ulusal Mzeler
Birlii Grand Palais)

Selen Evcit - Jerome Neutres (Ulusal Mzeler Birlii Grand Palais)

Michael Kohn - Nicholas Cohn (Fine Art Projects)