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How to  Compose?    

Spa.al dynamics  of  collec.ve  ac.on   15  November  –  31  December  2012  


AIM OF  THE  PROJECT   Under  the  recent  global  developments  related  to  the  growing  urban  protests,  this   exhibi@on  aims  at  bringing  ar@s@c  prac@ces  from  the  two  countries  (The  Netherlands   and  Turkey)  to  point  out  to  the  reac@ons  and  responds  to  the  liberal  democra@c   apparatus  in  rela@on  to  the  poli@cs  of  space.   The  exhibi@on  will  include  various  media  like  installa@on,  photography,  drawings/ pain@ngs  and  video-­‐works,  and  par@cipatory  methods  like  workshops  &  performances   and  socially  engaged  collabora@ve  projects  to  bring  out  mul@ple  approaches  and   voices  together.   By  juxtaposing  the  ar@s@c  perspec@ves  from  two  different  cultures,  we  aimed  at   looking  into  the  changing  dynamics  of  the  Dutch  and  Turkish  socie@es,  poli@cs  and   their  urban  policies  as  well  as  developing  long-­‐term  rela@ons  and  networks  between   diverse  plaNorms,  ar@sts  and  socie@es.      


TARGET GROUP  

The exhibi@on  is  foreseen  as  an  event  rather  than  purely  a  spectacle,  involving  ac@vely   diverse   publics/audiences,   networks,   NGO’s,   officials   from   the   municipal   bodies   and   ac@vists   groups   as   well   as   ar@sts,   students,   academics   and   the   art   lovers,   who   claim   and   demand   social   jus@ce   and   spa@al   equality.   Besides   the   exhibi@on,   there   will   be   workshops,  film  programme,  lectures  and  panels  to  unfold  the  theme  of  the  exhibi@on   in  different  formats  to  appeal  and  aUract  diverse  audiences.    


CONCEPT How  to  Compose?  Spa.al  Dynamics  of  Collec.ve  Ac.on   “Somebody  is  stealing  our  revolu@on.”   The  so-­‐called  “Arab  Spring”  has  struck  a  set  of  reac@ons  and  protests  all  over  the  world   that  exemplified  in  the  Western  world  by  the  recent  “Occupy  Together”  movement.   The  credit  crunch  of  2008  followed  by  the  bank  bailouts  had  crucial  impact  on  the  rise   of  such  reac@ons.  The  adverse  effects  of  the  crisis  have  been  basically  compensated  by   cuts  that  increased  the  pressure  on  the  low-­‐income  ci@zens,  which  in  turn,  pushed  the   limits   to   the   extreme.   Likewise,   in   the   Northern   Europe   and   Britain,   it   resulted   in   eradica@on  of  social  rights  and  considerable  reduc@on  in  the  public  services.   Although   it   is   not   easy   to   capture   the   diverse   demands   and   claims   and   their   outcomes   in  different  countries,  such  protests  undoubtedly  point  out  to  the  power  of  collec@ve   ac@ons   and   their   capacity   of   transforma@on   and   social   change.   The   major   paradigm   that  fostered  the  social  change  has  been  shi_ing.   Globaliza.on  and  Urban  Policies   Although   the   urban   context   and   city   life   has   always   been   a   par@cular   interest   for   ar@sts,   it   has   become   a   central   point   for   ar@s@c   and   theore@cal   research   during   the   last  two  decades,  especially  together  with  the  process  of  re-­‐birth  of  the  ci@es  due  to   the  phenomenon  of  Globaliza@on.      


The massive   global   transforma@ons   from   na@onal   to   trans-­‐na@onal,   analogue   to   digital,  welfare  state  to  neo-­‐liberal  condi@ons  that  we  have  been  going  through,  have   had  an  undeniable  impact  and  unfavorable  consequences  on  urban  development  and   public  spaces.  Two  major  issues  are  at  stake:  urban  poli@cs  and  the  representa@on  of   mul@tude  in  the  ci@es.   Actually,   it   is   ironic   to   talk   about   neo-­‐liberal   urban   policies   now   when   this   global   economic  system  is  going  through  such  a  serious  crisis.  Though  this  crisis  manifested  in   the  economic  sphere  recently,  it  has  been  alarming  in  social  and  urban  structures  for   such  a  long  @me,  exemplified  by  the  protests  and  rio@ng  of  third-­‐genera@on  immigrant   youth   in   Paris   suburbs.   It   has   been   manifes@ng   as   various   social   illnesses   and   severe   socio-­‐economic  divides  in  many  other  ci@es.   When  we  say  neo-­‐liberal  poli@cs,  we  are  not  only  talking  about  the  priva@za@on  of  the   major  public  property  like  energy  supply,  telecommunica@on,  transporta@on  or  social   housing,  which  is  also  subject  to  the  process  of  gentrifica@on,  but  also,  the  rules  and   opera@ons   of   the   free   market   economy   and   corpora@sm   that   is   promoted   by   urban   policies  in  the  development/transforma@on  of  the  ci@es.  According  to  these  policies,   the   decision-­‐making   mechanisms   for   the   urban   development   mainly   depend   on   market   parameters   and   consequently,   the   central   city   is   reserved   for   commercial   concentra@on,  entertainment/tourism  and  business,  which  par@cularly  illustrates  how   ci@es  transform  around  the  culture  of  consump@on.  


We know   that   the   physical   urban   “public”   spaces   are   under   nego@a@on,   however,   when   we   talk   about   “public   sphere”   as   a   no@on   of   poli@cal   forum,   it   needs   to   be   redefined  and  reinvented  from  a  radical  perspec@ve.  Since  the  ‘90’s,  the  concep@on  of   the   bourgeois   public   space   of   Habermas   has   been   revisited   and   cri@cized   while   new   concepts   such   as   “civic   space”   or   “post-­‐public”   (Simon   Sheikh)   were   coined   to   understand   and   define   the   term   “public”   or   “public   space”   in   the   contemporary   context.   Today,  it  is  not  possible  for  us  to  talk  about  a  unified  and  consensualized  public  sphere,   nor  a  single  “public”  united  under  a  “general  will”.  The  fragmented  public  spaces  are   facilitated  by  a  mul@tude  of  publics  with  different  cultural,  ethnic,  religious  and  socio-­‐ economic  backgrounds.  Here  the  ques@on  is  how  to  live  together  and  how  to  organize   the  urban  public  spaces  to  represent  the  mul@tude?   Social  Jus.ce  and  Spa.al  Poli.cs   Alongside   the   growing   discontent   with   the   exis@ng   regimes,   governance   and   ideologies,   urban   public   spaces   became   a   stage   for   the   expression   of   conflict   and   unrest.   For   instance,   the   recent   social   movement   against   corpora@sm   “Occupy   Together”   reclaims   the   streets   as   a   project   for   social   jus@ce   and   spa@al   equality.   Struggles  over  space  are  central  for  any  social  movement  to  challenge  the  status  quo.   However,  we  can  ask:  what  is  the  specific  role  of  spa@al  dynamics  vis-­‐à-­‐vis  the  progress   of  such  a  social  movement?  


In diverse   formats,   ar@sts   have   been   inves@ga@ng   and   ‘tes@ng’   the   recent   socio-­‐ economic   and   poli@cal   transforma@ons   and   their   impact   on   social   jus@ce,   civil   rights   and  spa@al  poli@cs.  Through  their  projects,  ar@sts  research  and  ar@culate  diverse  ways   and   processes   in   which   the   democra@c   apparatus   –   freedom   of   speech,   debate,   demonstra@on  /  protest  and  poli@cal  staging  –  operates.  Furthermore,  how  neo-­‐liberal   urban  policies  accommodate  diverse  claims  by  diverse  publics  on  a  common  ground,   how  urban  public  spaces  incubate  sociality,  and  specifically,  how  they  allow  collec@ve   ac@ons  become  urgent  topics  for  a  growing  number  of  ar@sts.  


Exhibi@on Venue:  Akbank  Art  Center   Akbank   Art   Center   is   a   pres@gious   ins@tu@on   that   supports   the   most   prominent   contemporary  art  ac@vi@es  in  Turkey  since  1993  and  has  hosted  many  highly  acclaimed   events   in   visual   arts,   music,   theater   and   dance.   Akbank   Sanat   has   established   a   permanent  role  in  the  cultural  and  ar@s@c  life  in  İstanbul.   Exhibi@ons,   concerts,   theatre   and   workshop   ac@vi@es,   dance   shows,   panels,   film   screenings   are   some   of   these   main   ac@vi@es   that   Akbank   Art   Center   organizes   in   its   central   building   in   Beyoglu.   Also,   ac@vi@es   such   as   Akbank   Jazz   Fes@val,   Akbank   Chamber  Orchestra,  Akbank  Short  Film  Fes@val,  and  Zeynep  Tanbay  Dance  Project  are   being  presented  to  art-­‐lovers  in  different  spaces  around  Istanbul  and  as  well  as  other   ci@es  in  Turkey.   As   Akbank   Art   Center   has   different   possibili@es   in   terms   of   space   for   workshops   and   other   educa@onal   and   public   ac@vi@es,   all   floors   including   the   cafe   area   will   be   ac@vated  by  ar@s@c  projects  and  programmes.   It  is  located  at  one  of  the  most  vivid  urban  centers  in  Istanbul,  the  Is@klal  Street,  we   would   like   to   enlarge   the   audience   profile   through   two   performa@ve   and   interac@ve   projects   involving   directly   the   passers-­‐by   from   the   street   where   an   average   of   1.500.000  pedestrians  are  passing  daily.      


•  Counterpart 2013:       Stedelijk  Museum  Bureau  Amsterdam  (SMBA),  the  Netherlands   Stedelijk   Museum   Bureau   Amsterdam   (SMBA)   is   a   project   space   of   the   Stedelijk   Museum   Amsterdam,   located   in   the   city   centre.   The   objec@ve   of   SMBA   is   to   present   contemporary  art  from  an  Amsterdam  context  and  therefore  to  create  an  interna@onal   plaNorm   by   organizing   exhibi@ons,   lectures,   debates,   publica@ons   and   residency   programmes.  Jelle  Bouwhuis  is  the  current  curator  of  SMBA.   Apart   from   exhibi@ons,   this   space   is   also   regularly   suited   for   lectures,   debates   and   (book)   presenta@ons.   In   addi@on   to   the   home   base   there   are   other   projects   ini@ated   by   SMBA   scaUered   around   the   city   at   various   loca@ons.   Since   2008   the   Bureau   organizes   the   annual   interna@onal   visi@ng   programme   for   curators   called   Close   Connec)ons.   SMBA   is   also   involved   in   projects   like   the   lecture   series   Now   is   the   Time   (2008/2009),   the   manifesta@on   My   Name   is   Spinoza   (2009)   and   is   also   co-­‐organizer   of   the   regular   BijlmAIR   residency   projects,   the   South   Axis   Ar@st   in   Residence   and,   in   2009,   the   Red   Ar@st   in   Residence   in   the   city   centre.   These   residencies   enable   the   selected   ar@sts   to   reflect  on  various  aspects  relevant  to  the  respec@ve  urban  districts.  


PARTICIPATING ARTISTS   The  selec@on  of  ar@sts  is  in  the  research  phase.  It  is  intended  to  invite  12  -­‐14  ar@sts   from   The   Netherlands   and   Turkey   to   explore   and   ques@on   the   spa@al   dynamics   of   collec@ve  ac@on.   Ar@sts   like   Aernout   Mik,   MaUhijs   de   Bruijne,   Nicoline   van   Harskamp,   Jonas   Staal,   Wouter  Osterholt  &  Elke  Uitentuis,  Christoph  Schaefer,  Oda  Projesi,  Sulukule  PlaNorm   (Nejla   Osserian),   Murat-­‐Fuat   Şahinler,   Emre   Hüner,   Cevdet   Erek,   Nasan   Tur,   X-­‐urban   and   Freee   are   under   considera@on   for   this   exhibi@on   as   their   research   overlaps   with   the  theme  of  the  exhibi@on  and  their  methods  of  working  are  in  line  with  the  aim  of   the  exhibi@on.   Eight   ar@sts   will   be   commissioned   to   produce   new   works  for  the  project,  two  of  which   will   be   collabora@ve   projects   developed   through   workshops   with   the   local   communi@es,  ar@sts,  students,  ac@vist  groups  and  local  authori@es.  As  the  prac@ces  of   MaUhijs  de  Bruijne,  the  ar@st  collec@ve  Wouter  Osterholt  &Elke  Uitentuis  and  Sulukule   PlaNorm   (Nejla   Osserian)   are   based   on   working   ac@vely   with   the   local   communi@es,   two  of  them  will  be  invited  to  develop  new  projects  directly  engaging  with  the  specific   publics.   Furthermore,   Nasan   Tur   and   Jonas   Staal   are   considered   to   develop   performa@ve   and   par@cipatory   projects   that   involve   the   passers-­‐by   in   the   Is@klal   Street.    


MaUhijs de  Bruijne  


Together with   the   ar@st   MaUhijs   de   Bruijne,   Stedelijk   Museum   Bureau   Amsterdam   organised  an  evening  with  presenta@ons  by  ar@sts  and  groups  focusing  on  the  effort  to   create  greater  social  solidarity.  One  of  the  points  of  departure  for  this  evening  is  the   lecture   by   Joost   de   Bloois,   about   precarity,   art   and   poli@cal   ac@vism.   Among   the   ques@ons  De  Bloois  posed  in  the  lecture  was  whether  ar@sts  could  fulfil  a  different  role   in  society.  In  that  new  role  they  would  be  less  oriented  to  individual  crea@ve  behaviour   and   affiliate   more   with   groups   in   our   society   whose   posi@on   can   be   regarded   as   precarious,  and  which,  as  such,  share  a  comparable  social  posi@on  with  that  of  ar@sts.   A   joint   presenta@on   by   Ron   Meyer   of   the   FNV   Bondgenoten   /   Cleaners'   Union;   a   representa@ve  of  the  Domes)c  Workers  Nederland;  ar@st  MaPhijs  de  Bruijne  and  the   designers  of  Detour.  In  part  on  the  ini@a@ve  of  Ron  Meyer,  the  FNV  some@mes  takes  a   new   tack   in   its   campaigns.   This   could   be   seen   last   March   at   the   celebra@on   of   the   successful  cleaners'  strike  of  2010,  with  the  Trash  Museum  at  Utrecht  Central  Sta@on.   For   it   the   FNV   called   in   the   assistance   of   ar@sts   like   MaUhijs   de   Bruijne   and   the   design   bureau  Detour.  Together  with  several  domes@c  workers  they  made  clear  what  this  new   approach  includes.  An  example  of  their  collec@ve  work  is  also  part  of  the  Informality   exhibi@on.    


•  You are  so  nice!  Could  you  work  two  more  hours  today?,  2011     Domes@c  Workers  Nederland  (with  MaUhijs  de  Bruijne  and  Detour  )  


•  You are  so  nice!  Could  you  work  two  more  hours  today?,  2011     Installa@on  


MaUhijs de   Bruijne   and   Domes@c   Workers   Nederland   (Cleaners   Union/FNV   Bondgenoten)   filmed   a   approximately   10   minutes   shadow   play.   The   video   shows   the   invisible  work,  most  of  the  @mes  executed  by  people  from  out  of  the  European  Union.      


•  I will  not  ask  anything  about  you,  you  will  not  ask  anything  about  me,  2011     Domes@c  Workers  (Cleaners  Union/FNV  Bondgenoten)  ,  concept  and  edi@on  by  MaUhijs  de  Bruijne    

Shadow play  -­‐    Could  you  come  today?  


I will  not  ask  anything  about  you,  you  will  not  ask  anything  about  me,  2011  

Domes@c Workers  (Cleaners  Union/FNV  Bondgenoten),  concept  and  edi@on  by  MaUhijs  de  Bruijne   Shadow  play  –  I  have  21  house  keys  


•  I will  not  ask  anything  about  you,  you  will  not  ask  anything  about  me,  2011    

Domes@c  Workers  (Cleaners  Union/FNV  Bondgenoten),  concept  and  edi@on  by  MaUhijs  de  Bruijne   Shadow  play    -­‐  I  have  21  house  keys  


Ma#hijs de   Bruijne’s   mul@media   installa@ons   are   o_en   a   reflec@on   of   anthropological   research,   in   which   encounters   and   exchanges   based   on   the   principle   of   reciprocity   form   the   basis.   He   wants   to   limit   his   own   role   as   much   as   possible   and   uses   sound,   voices   and   series   of   slides   to   create   non-­‐interpre@ve   factual   accounts.   December   2001   and   his   first   working   period   in   Argen@na   can   be   seen   as   a   major   and   radical   turning   point  in  his  method  of  working.  MaUhijs  de  Bruijne  landed  in  the  middle  of  the  social   reality  of  a  bankrupt  state.  He  made  contact  with  the  'cartoneros':  the  poorest  group   of   Buenos   Aires   that   lives   from   collec@ng   and   selling   garbage   and   designed   for   them   a   post   order   website   where   their   objects   and   dreams   are   offered   for   sale.   This   experience  proved  how  tangible  and  personal  poli@cs  can  be  and  confronted  the  ar@st   with  the  Western  dilemma  to  always  be  able  to  come  and  go  again.   Recent  Exhibi.ons     “Liquidacion.org”,   Van   Abbe   Museum,   Eindhoven   (2003)   “Ex-­‐Argen@na”,   Ludwig   Museum,   Cologne   (2004)   “¿Com   volem   ser   governats?”,   MACBA,   Barcelona   (2004)   “o.T.   [City   IV]”,   Galerie   für   Zeitgenössische   Kunst,   Leipzig   (2005)   “Be   what   you   want,   but   stay   where   you   are”,   WiUe   de   With,   RoUerdam   (2005)   “El   Comedor”,   VRIZA,   Amsterdam   (2005)   “La   normalidad   /   Ex-­‐Argen@na”,   Palais   de   Glace,   Buenos   Aires   (2006),      


Aernout Mik  


•  A Survey  –  ShiJing,  SiKng  (for  Spinoza),  2009     Video  installa@on  

A Survey   –   Shi4ing   Si6ng   is   a   preliminary   study   for   a   video   to   be   made   with   en@rely   stage-­‐managed   materials.   Mik   selected   and   examined   raw   documentary   material   from   different   interna@onal   press   bureaus   such   as   ITN/Reuters   and   AP.   They   are   images   of   gatherings  of  groups  of  people,  varying  from  court  si}ngs,  parliamentary  si}ngs,  public   hearings,   spontaneously   organized   representa@ve   associa@ons   of   representa@ons,   local   authori@es,   etc.   In   this   three   channel   work,   Mik   will   be   manoeuvring   between   two   extremes,   from   loose,   open   gatherings   to   more   coercive,   repressive   structures;   showing   individuals  striving  for  power  versus  coopera@ve  ways  of  taking  decisions  and  organizing;   lack  of  free  will  and  being  taken  over  by  collec@ve  tendencies  versus  sincere  considera@on   and   tolerance.   Moments   materialize   in   which   the   one   extreme   appears   to   absorb   the   other,  where  the  situa@on  seems  to  be  ambiguous  and  suddenly  in  the  other  be  able  to   turn  things  around.  The  emo@onal  errors,  compulsiveness  and  dependency  of  people  are   visible,   but   also   clearer   moments   of   reasonableness,   human   equality   and   peace   will   appear.  


•  A Survey  –  ShiJing,  SiKng  (for  Spinoza),  2009     Video  installa@on  


Nicoline van  Harskamp    


• 

Any Other  Business,  Amsterdam,  2009     Scripted  conference  /  mul@-­‐channel  video  installa@on     6  hours  (live)  /  45  mins  (video)  

From a  private  archive  of  recorded  public  debates,  Van  Harskamp  selected  ten  recordings   that  each  have  a  cri@cal  moment  or  ‘plot’  in  them.  She  compiled  the  script  for  the  staging   of  Any  other  Business.   Uniquely   structured   as   an   ordinary   conference,   and   set   in   a   commercial   conven@on   centre,   every   single   item   on   the   program   was   scripted   and   staged.   In   three   different   rooms,  thirty-­‐five  actors  performed  ten  mee@ngs  over  the  course  of  six  hours.     An   intriguing   narra@ve   developed   over   the   course   of   the   a_ernoon,   as   the   speakers   increasingly  struggled  to  suppress  their  urge  to  act  rather  than  talk.  A  debate  on  public   conduct  ended  up  in  a  dog  fight;  an  ac@vist  denounced  nonviolent  tac@cs;  and  when  an   unexpected   event   shook   up   the   conference,   the   self-­‐proclaimed   ‘vanguard   of   the   poli@cally   conscious   class’   was   unable   to   keep   its   calm   or   find   words   for   what   had   happened.  Together,  they  demonstrate  the  physical  forces  and  desires  at  play  in  regular   poli@cal   debates,   and   subtly   present   impossibility   of   limi@ng  poli@cs  to  a  ra@onal  process   of  verbal  interac@on.  


• 

Any Other  Business,  Amsterdam,  2009     Scripted  conference  /  mul@-­‐channel  video  installa@on     6  hours  (live)  /  45  mins  (video)  


• 

Any Other  Business,  Amsterdam,  2009     Scripted  conference  /  mul@-­‐channel  video  installa@on     6  hours  (live)  /  45  mins  (video)  


• 

Any Other  Business,  Amsterdam,  2009     Scripted  conference  /  mul@-­‐channel  video  installa@on     6  hours  (live)  /  45  mins  (video)  


• 

Any Other  Business,  Amsterdam,  2009     Scripted  conference  /  mul@-­‐channel  video  installa@on     6  hours  (live)  /  45  mins  (video)  


• 

The New  La)n,    Bucharest,  2010   Scripted  ar@st  talk  and  video   Romanian,  English  sub@tles,  30  mins  


• 

Tes)ng the  Collec)ve,  Amsterdam,  2008   Installa@on  with  computer  surveys  


• 

The Power  of  Listening,  Amsterdam  /  RoUerdam,  2009   Live  events  and  installa@on  


Jonas Staal  


•  Allegories of  Good  and  Bad  Government,  2011     Installa@on  and  series  of  lectures  and  debates   Four  day  debate,  related  to  an  exhibi@on  and  lecture  series  in  W139,  in  which  four  poli@cians  and  four   ar@sts  lived  and  worked  together  during  four  days  and  three  nights.  In  this  con@nuous  conversa@on,   they   collabora@vely   searched   for   what   could   be   a   shared   agenda   between   both   their   disciplines,   depar@ng   from   the   convic@on   that   art   and   poli@cs   are   intrinsically   connected   through   their   roles   as   co-­‐designers  of  society.   During   the   four   days,   no   audience   was   allowed   to   aUend   the   conversa@on,   which   instead   was   transcribed   in   real   @me   by   municipal   clerks.   The   wriUen   transcrip@on   of   the   conversa@on   could   be   followed  on  a  large  screen  in  the  exhibi@on  space  as  well  as  online  on  the  website.  The  clerks  were   asked  not  to  men@on  any  of  the  partcipants’  names,  which  resulted  in  a  shared  discourse,  in  which  all   par@cipants   took   responsibility   for   what   the   others   said.   This   Gesamtkunstwerk   will   take   the   final   shape  of  a  book,  which  will  form  the  basis  for  future  collabora@on.   The   exhibi@on   in   the   front   space   of   W139   consisted   of   the   visual   presenta@on   of   different   cases,   supplied  by  the  par@cipants,  which  addressed  a  specific  element  of  the  rela@onship  between  art  and   poli@cs.  These  presenta@ons  comprised  poli@cal  programs,  artworks,  and  ar@cles.  Together  they  made   up  the  blueprint  for  the  four  day  conversa@on.   The  project  was  framed  by  a  series  of  three  symposiums  in  which  respec@vely  the  past,  present,  and   future   collabora@ons   between   art   and   poli@cs   were   discussed,   en@tled:   What   Project   Will   Art   and   Poli)cs  Share?  Past-­‐Present-­‐Future    


•  Allegories of  Good  and  Bad  Government,  2010     Installa@on  and  series  of  lectures  and  debates  


•  Allegories of  Good  and  Bad  Government,  2010     Installa@on  and  series  of  lectures  and  debates  


•  The Missing  Link,  2010     Apartheid  Museum,  Johannesburg,  South  Africa   Interven@on   on   the   monument   en@tles   The   Seven   Pillars   of   the   Cons)tu)on,   part   of   the   Apartheid   Museum   in   Johannesburg,   South   Africa.   The   Seven   Pillars   represent   the   cons@tu@onal   values   propagated   in   South   Africa   since   the   aboli@on   of   the   apartheid   regime.   The   monument   and   museum   were   built   by   the   Gold   Reef   Resorts   corpora@on,   which  is  also  responsible  for  the  theme  park  and  casino  next  to  it.   By   placing   the   word   “capitalism”   on   the   wall   surrounding   the   museum,   the   capitalist   system   and   the   constant   social   divisions   that   it   implies   are   interpreted   as   a   sophis@c   con@nua@on   of   apartheid   poli@cs.   Through   the   capitalist   system,   apartheid   is   s@ll   opera@onal   within   South   African   society.   Whereas   during   the   apartheid   regime,   the   separa@on  clearly  ran  along  race  divisions,  in  the  current,  “democra@c”  system,  the  same   actual   separa@on   is   sustained   without   it   being   an   explicit   element   of   the   founda@ons   of   the   country,   i.e.   the   cons@tu@on.   This   interven@on   foregrounds   the   constant   role   of   capitalism  in  both  periods.   At   the   same   @me   the   interven@on   acknowledges   that   contemporary   Western   ar@sthood   is   a  mirror   of   the   privileges   that   are   offered   by   the   capitalist  system,  and  the   type  of  ar)st   that   it   produces.   The   interven@on   ini@ates   a   cri@cal   discourse   concerning   the   capitalist   system  situated  within  the  disaster  of  capitalism  itself,  in  other  words:  through  the  desire   to   break   with   the   presump@on   that   art   would   be   able   to   operate   outside   the   capitalist   system  and  to  confirm  that  art  –  and  the  ar@st  himself  –  is  in  fact  modelled  on  this  system.    


•  The Missing  Link,  2010     Apartheid  Museum,  Johannesburg,  South  Africa  


•  The Missing  Link,  2010     Apartheid  Museum,  Johannesburg,  South  Africa  


•  Be Free!  Or  Else….  ,  2010   Libera@on  day,  5th  of  May    

On 5  May  2010,  Libera@on  Day,  two  airplanes  were  circling  above  the  center  of  Amsterdam   for  the  dura@on  of  four  hours.  Banners,  aUached  behind  the  planes,  featured  the  texts  ‘BE   FREE!’  and  ‘OR  ELSE…’.  The  project  addressed  the  paradoxical  character  of  the  concept  of   freedom.  In  our  current  society,  this  concept  is  increasingly  acquiring  a  fundamentalist   character,  and  can  therefore  best  be  interpreted  as  the  impera@ve  ‘Be  free!’  Addi@onally,   the  work  addressed  the  representa@on  of  freedom:  during  the  last  decade,  the  blue  sky   and  the  two  airplanes  have  lost  their  meaning  as  signs  of  liberty,  and  have  instead  become   associated  with  imminent  threat  and  sudden  erup@ons  of  violence.  


•  Be Free!  Or  Else….  ,  2010   Libera@on  day,  5th  of  May    


•  Be Free!  Or  Else….  ,  2010   Libera@on  day,  5th  of  May    


•  Be Free!  Or  Else….  ,  2010   Libera@on  day,  5th  of  May    


Jonas Staal  studied  monumental  art  in  Enschede  (NL)  and  Boston,  Massachusets  (USA).   His  work  is  on  display  interna@onally  through  interven@ons  in  public  space,  exhibi@ons,   lectures  and  publica@ons.  In  his  work,  Staal  explicitly  engages  with  poli@cal  themes  and   developments,   and   through   an   interpreta@on   reminiscent   of   Beuys   he   approaches   the   concept   of   democracy   (as   democra@sm)   as   a   Gesamtkunstwerk,   in   which   a   co-­‐ authorship   with   poli@cs   is   key.   In   his   essay   “Post-­‐Progaganda”   (Fonds   BKVB,   2009),   he   explained  the  theore@cal  framework  of  this  par@cular  approach,  which  led  to  immediate   collabora@ons  with  various  poli@cal  par@es.  Staal  lives  and  works  in  RoUerdam  (NL).  


Wouter Osterholt  &  Elke  Uitentuis  


•  Model Ci)zens,  Cairo,  Egypt,  2009  

The Model   Ci<zens   –   Con<nuum   project   is   the   result   of   an   ar@st-­‐in-­‐residence   project   taken   up   by   ar@sts   Wouter   osterholt   and   Elke   Uitentuis   in   the   Townhouse   Gallery   in   Cairo.   Intrigued   by   social   changes   taking   place   within   an   urban   se}ng,   Osterholt   and   Uitentuis  created  an  astonishingly  true-­‐to-­‐life  scale-­‐model  of  the  An@khana  district  of   Cairo.     Downtown  Cairo  is  in  the  midst  of  tremendous  changes,  as  businesses,  ins@tu@ons,  and   individuals   are   reloca@ng   to   new   developments   on   the   outskirts   of   the   city.   Now,   some   speculate,   the   government   has   plans   to   transform   An@khana   into   a   more   tourist-­‐ friendly   district.   Model   Ci)zens   proposes   an   alterna@ve   vision   for   the   future   of   the   neighborhood:  One  imagined  by  the  community  itself.   Collabora@ng  with  local  ar@sts,  the  personal  wishes  of  local  residents  were  assimilated   into  the  model.  As  a  result  of  which  the  once  so  realis@c  model  was  gradually  changed   into  an  utopian  Lillipu@an  landscape.    


•  Model Ci)zens,  Cairo,  Egypt,  2009  


•  Model Ci)zens,  Cairo,  Egypt,  2009  


•  Model Ci)zens,  Cairo,  Egypt,  2009  


Christoph Schäfer    


• 

 The  City  is  Our  Factory,  2010   Visual  essay  of  158  drawings  

Schaefer tells  a  rhizoma@c  story  in  six  chapters  of  urban  life  from  the  primordial  sludge   of  ci@es  to  the  Right  to  the  City    movement  in  Hamburg  in  2009.  He  traces  the  concept   of  landscapes  from  Henri  Lefebvre,  from  "The  revolu@on  of  the  Ci@es",  which  the   French  philosopher  saw  looming  in  the  1970s  post-­‐industrial  age,  to  the  theory  that   the  city  itself  is  the  central  produc@on  site.   In  the  urban  fabric  today,  subcultures,  ar@sts,  and  designers  play  an  important  role  as   producers  of  collec@ve  spaces,  as  the  inventors  of  places  of  desire.  In  a  society  where   passion  and  work,  privacy  and  professionalism  are  increasingly  difficult  to  dis@nguish,   the  baUle  for  the  city  is  a  struggle  for  the  means  of  produc@on:  a  struggle  for  the  right   city.   What  alterna@ves  to  the  neoliberal  urbaniza@on  model  can  be  developed?  You  know,   the  model  that  con@nues  producing  black  holes,  financial  crises,  buried  city  archives,   marke@ng  idioms?  A  giant,  singing  Pitbull  in  The  City  is  Our  Factory  has  the  answer:   "Señoras  y  Señores,  the  ci@es  of  the  mul@tude  will  be  places  of  passion,  or  Ladies  and   Gentlemen,  they  will  be  nothing!"  


• 

 The  City  is  Our  Factory,  2010   Visual  essay  of  158  drawings  


Christoph Schäfer  is  an  ar@st  whose  work  is  commiUed  to  issues  of  the  urban  domain   and   comprises   strong   visual,   spa@al,   performa@ve,   theore@cal  and  ac@vist  strategies.  He   engages   in   long   term   projects   within   the   urban   contexts   as   well   as   in   social   movements.   Since  1995,  he  is  part  of  the  Park  Fic@on  Project,  a  self-­‐organized  ini@a@ve  that  brought   together  a  group  of  residents  of  St  Pauli  district  of  Hamburg  into  a  collec@ve  process  of   produc@on   of   desires,   deriving   in   the   delving,   aUaining   and   development   of   a   public   park   at   the   riverbank,   managing   to   break   from   the   grip   of   real   estate   developers   an   expensive  piece  of  land.  Schäfer  par@cipated  in  DOCUMENTA  11  with  this  project.  Other   projects   include   the   research   of   irregular   seUlements   and   gated   communi@es   in   Delhi   and   Bangalore   (developed   as   guest   of   the   Sarai   Media   Lab),   the   installa@on   Auslaufendes  Rot,  an@-­‐monument  for  the  Red  Ruhr  Army  (in  the  context  of  RUHR.2010)   or   the   subcura@on   of   the   congress   Unlikely   Encounters   in   Urban   Space.   His   book   The   City  is  Our  Factory  tells  the  story  of  the  city  in  156  drawings  from  the  Neanderthaler  to   the  Right  to  the  City  -­‐movement  in  Hamburg.  He  is  also  part  of    Es  Regnet  Kaviar  (It’s   Raining   Caviar   -­‐   Ac@on   Network   against   Gentrifica@on),   and   the   neighborhood   organiza@on  NoBNQ.  


Murat-­‐Fuat Şahinler    


•  Quay, Istanbul  Biennial  2001  


•   

Park Kafes  (Park  cages),  2002  -­‐  2004   Installa@on      


•   

Park Kafes  (Park  cages),  2002  –  2004   Installa@on      


•  Bu Da  Geçer  Ya  Hu  –  This  Too  Shall  Pass       Installa@on  

      Murat  and  Fuat  Şahinler  who  designed  the  calligraphic  installa@on  that  reads  What  a   pleasure  and  This  Too  Shall  Pass  on  the  side  façade  of  the  post  office  building  in  the   square,  designed  sea@ng  units  with  the  saying  What  a  Pleasure  and  installed  them  at   several   points   in   the   overtly   beau@ful   and   neglected   Persembe   Pazari   Park   and   on   the   dock  plaNorm  on  its  con@nua@on.  At  the  car  park  the  saying  This  too  shall  pass  in  light   box   leUers,   was   installed   in   between   the   floors   by   reinterpre@ng   this   calligraphy   in   La@n  leUers.  As  the  Persembe  Pazar  iPark  is  situated  across  the  most  picturesque  view   in   Istanbul,   the   historical   peninsula   with   Suleymaniye   Mosque   at   the   top,   it   has   a   sublime  eleva@on  and  sorrow  simultaneously.  What  a  pleasure    refers  to  the  pleasant   experience  in  the  parkas  a  public  space  on  the  coastline  of  the  Golden  Horn,  not  yet   priva@zed,  so  it  can  s@ll  be  enjoyed.  Wri@ng   This  too  shall  pass  on  the  car  park,  the   group  is  referring  to  actually  breaking  down  the  seven  floor  car  park  to  create  a  small   square   at   the   entrance   of   the   Mari@me   Company   for   the   passengers,   at   the   same   @me,  points  to  the  invasion  of  the  overblown  automobile  culture  and  the  Karakoy  area   which  exemplifies  this  condi@on.      


•  Bu Da  Geçer  Ya  Hu  –  This  Too  Shall  Pass       Installa@on  


•  Bu Da  Geçer  Ya  Hu  –  This  Too  Shall  Pass       Installa@on  


•  Bu Da  Geçer  Ya  Hu  –  This  Too  Shall  Pass       Installa@on  


•  Bu Da  Geçer  Ya  Hu  –  This  Too  Shall  Pass       Installa@on  


Fuat Sahinler   (architect)   and   Murat   Sahinler   (ar@st/urban   interior   designer)   o_en   work   together   and   mostly   in   collabora@on   with   other   ar@sts,   architects,   musicians,   thinkers   and   writers.   Sahinler's   work   is   a   result   of   their   daily   prac@ces,   focusing   mostly   on   the   cultural,   socio-­‐economic,   spa@al   and   architectural   'diseases',   'accidents'   and   'wonders'   of   urbanism,   especially   of   Istanbul.   The   axis   of   their   research   is   based   on   the   conflict   between   public   and   private   spaces,   and   fragmenta@on  and  spa@al  con@nuity.  They  do  not  privilege  any  medium  or  material   to   another,   but   they   facilitate   all   types   of   media   and   materials   from   a   mul@-­‐lingual   approach   in   accordance   with   what   the   project   necessitates   and   also   with   the   availabili@es.   Separately  and  together,  they  par@cipated  in  various  workshops  and  exhibi@ons  and   produced  several  projects  on  urbanism  and  public  domain.  Selected  exhibi@ons  are   the   6th   and   7th   Interna@onal   Istanbul   Biennials   (1999   and   2001),   1st   Interna@onal   Beijing  Biennale  (2003),  Beijing,  “Call  Me  Istanbul”,  ZKM,  Karlsruhe  (2004),  “Istanbul   Pedestrian   Exhibi@ons   1   and   2”   (2002   and   2005),   Istanbul,   “Urban   Reviews”(2004),   ifa   gallery,   Berlin   and   StuUgard,   “Dynamics   of   the   Urban   Culture”,   9th   Havana   Biennial   (2006),   Havana,   “Wandering   Lines:   Towards   A   New   Culture   of   Space”,   the   5th   Scape   Biennial   of   Art   in   Public   Space   (2008),   Christchurch   and   “Bridges   to   Istanbul”  (2010),  Centro  Cultural  De  Belem,  Lisbon.  


Nejla Osserian     (Sulukule  PlaNorm)  


•  Canim Sulukule..    /    My  Beloved  Sulukule..            Film,  10  min    

This photo-­‐reportage   witnesses   the   last   2   and   a   half   years   of   Sulukule,   a   gypsy   neighborhood   in   Istanbul   now   completely   demolished   as   part   of   an   urban   transforma@on   project   carried   out   by   the   Fa@h   municipality,   during   the   years   2005-­‐2010.   The   people   of   Sulukule   themselves   wanted   to   have   their   pictures   taken   and  they  posed  for  the  camera  desiring  to  have  one  last  memento  of  their  homeland.   In  the  background  is  the  voice  of  Gulsum  Abla,  whose  house  in  Sulukule  was  under  the   threat   of   demoli@on   at   the   @me,   but   now   also   demolished.   She   tells   us   her   feelings   about  being  a  gypsy,  living  in  poverty  and  discrimina@on.  She  talks  about  the  old  happy   days   of   her   childhood   in   her   beloved   Sulukule.   Her   song   at   the   end   sums   it   up:   ‘I’m   All   Alone’.    


•  Canim Sulukule..    /    My  Beloved  Sulukule..            Film,  10  min    


•  Canim Sulukule..    /    My  Beloved  Sulukule..            Film,  10  min    


•  Canim Sulukule..    /    My  Beloved  Sulukule..            Film,  10  min    


Oda Projesi  


• 

Migra)ng Gardens,  2009    

Migra@ng Gardens  is  a  collabora@ve  project  by  Oda  Projesi  and  Nis  Rømer  reflec@ng  on   the  rela@on  of  micro-­‐scale  farming  and  migra@on.  It  is  an  inves@ga@on  of  why  people   move  from  one  environment  to  another  and  how  they  manifest  themselves  in  the  city   with  their  prac@ces/professions  from  where  they  come  from.  The  collabora@on  of  Oda   Projesi  and  Nis  Rømer  started  with  an  inspira@onal  visit  to  a  Bostan,  (old  vegetable   gardens  of  İstanbul)  situated  along  the  old  walls  of  the  city,  s@ll  lying  in  its  space  of   origin  as  a  way  of  trea@ng  the  land.  The  "bostan  tradi@on"  exists  in  the  city  of  Istanbul   since  the  Byzan@an  Period  and  was  run  by  different  people  men@oned  to  be   “minority”  and  is  now  run  by  the  immigrants  from  the  other  regions  of  Turkey.   The  project  looks  at  the  usage  of  city  space  in  different  terms  and  point  out  to  the   micro  scale  interven@ons.  The  show  was  accompanied  by  a  free  newspaper  with   ar@cles  around  the  Bostan  effect  and  the  situa@on  in  Denmark  both  from  geographical,   NGO’s,  historical  perspec@ve  and  with  interviews  with  the  gardeners  from  İstanbul  and   Copenhagen.  The  exhibi@on  shared  the  documenta@on  of  the  research  while  the  lake   hosted  the  floa@ng  gardens  in  inflated  tractor  tubes,  a  reference  to  the  prac@ce  by   some  refugees  aUemp@ng  to  cross  the  Mediterranean  using  inflated  tubes  as  vessels.  


•  Migra)ng gardens      


•  Migra)ng gardens      


Oda Projesi   is   an   ar@st   collec@ve   based   in   Istanbul,   composed  of  three  members,  Seçil   Yersel,   Özge   Açıkkol   and   Güneş   Savaş,   who   turned   their   collabora@on   into   an   art   project  in  2000.  The  project  members  met  in  1997  and  decided  to  rent  and  share  an   apartment   as   a   studio.   Although   not   intended,   the   apartment   they   rented   in   Galata   eventually   evolved   into   a   mul@-­‐purpose,   private   and   public   place.   Between   2000-­‐2005   the  group  worked  in  the  neighbourhood  and  was  invited  to  many  events  and  projects   abroad  in  the  mean@me.  Due  to  the  gentrifica@on  process  in  the  region,  the  group  had   to   leave   their   place,   so   they   are   now   mobile   and   thinking   about   the   possibili@es   concerning   new   places.   On   each   project,   Oda   Projesi   works   with   different   tools   and   strategies;   working   with   “neighbours”   and   with   people   from   different   disciplines,   producing  posters,  adver@sements,  stories,  postcards,  newspapers,  broadcas@ng  on  a   local  radio  channel,  working  in  a  minibus  …  Istanbul  as  a  city  has  a  great  effect  on  the   project  and  on  the  tac@cs  the  group  produces.  


Emre Hüner  


•   

The New  Horizon,  2011   Installa@on    

Following his  breakthrough  at  the  Manifesta  7  (2008),  Emre  Hüner  presents  The  New   Horizon  at  Stroom  Den  Haag,  his  first  solo  exhibi@on  in  a  European  ins@tute.  In  his   work  Hüner  deals  with  shaUered  dreams  of  modernity  -­‐  of  social  utopia,  historical   progress  and  material  plenty  for  all  -­‐  in  the  form  of  a  re-­‐assembled  universe.    The  New   Horizon  is  shaped  a_er  American  designer  Norman  Bel  Geddes'  imagina@ve  futuris@c   visions  of  social  utopia  in  the  1930s  and  Paul  Virilio's  hypermodern  readings  on  the   transformed  world  percep@on  caused  by  changing  human  modes  of  locomo@on  and   warfare.  It  brings  together  very  recent  work  including  the  film    Juggernaut  (2009)  in  an   exclusive  environment  prepared  by  Diplomacy  in  Reflex  (Can  Altay,  Asli  Kalinoglu,   Nilufer  Kocabas)  in  response  to  his  work,  both  hos@ng  the  pieces  and  forming  an   addi@onal  layer.  


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The New  Horizon,  2011   Installa@on    


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The New  Horizon,  2011   Installa@on    


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The New  Horizon,  2011   Installa@on    


Born in   Istanbul   at   1977,   Emre  Hüner  is   an   ar@st   producing   drawing,   video   and   spa@al   works   following   different   techniques.   He   now   lives   and   works   in   Amsterdam   as   resident   at   the   Rijksakademie   van   Beeldende   Kunsten   a_er   being   in   Milan   for   eight   years   and   three   years   in   Istanbul.   Central   to   his   oeuvre   are   over   technological,   industrial   progressions   and   the   concept   of   society   of   risk   in   this   respect   and   the   themes   such   as   the   affini@es   of   the   modern   man  with  architecture  and  nature.  Huner  creates  a  common  language  in  his  works  through   using  an  archive  he  formed  out  of  various  sources  such  as  internet,  found  out  pictures  and   books.   In  2008  he  has  par@cipated  in  two  special  projects,  The  Marmara  Pera  Screen,  Yama,  Istanbul   where   he   realized   “Total   Realm”   (2008)   ,   a   public   screen   video   made   of   tableaux   showing   totalitarian   imaginary   and   symbols,   referring   to   the   modernist   utopia   and   to   the   Bidoun   Project,  Creek  Art  Fair,  Dubai  with  “Panop@kon”  (2005).   Hüner  lastly  also  par@cipated  to  “  The  6th  Asia  Pacific  Triennial  of  Contemporary  Art”  Gallery   of  Modern  Art  of  Queensland,  Brisbane  ,  Australia  (2009)  ,  “  The  Genere@onal  :  Younger  then   Jesus”,   New   Museum   ,   New   York   ,   USA   (2009)   ,   at   “Manifesta   7   –   The   Rest   of   Now”   South   Tyrol   Italy   (2008)   ,   to   the   “10th   Interna@onal   Istanbul   Biennial”   Istanbul   (2007)   and   he   published  an  ar@st  book  “Bent  003”  through  BAS  in  Istanbul  (2007)  Istanbul  ,  Turkey.  


Cevdet Erek  


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1st of  May,  2010   Taksim  Square    


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Rulers and  Rhythm  Studies,  2011   Installa@on    

Rulers and  Rhythm  Studies  relates  to  the  ar@cula@on  of  @me  and  space.  His  collec@on   of  rulers,  made  since  2007,  bears  inscrip@ons  of  years  in  La@n  and  Arabic,  as  well  as   "0"   and   "NOW."   A   key   piece   in   this   series   is   Ruler   Coup   (2009),   upon   which   he   has   inscribed  "1923,"  "1960,"  "1971,"  "1980,"  and  "2009,"  which  for  a  Turkish  person  will   stand   out   as   the   dates   of   founda@on   of   the   Turkish   Republic,   the   three   military   interven@ons,  and  the  date  the  piece  was  made.    


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Rulers and  Rhythm  Studies,  2011   Installa@on    


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Shading Monument  for  the  Ar)st,  2009  -­‐  2011   Installa@on    

Shading Monument  for  the  Ar.sts  honours  those  who,  voluntarily  or  not,  have  'le_   their  homelands  to  create  freely  in  the  heroic  struggle  for  art'.  Is  it  possible  to  call  an   act  of  ar@s@c  crea@on  heroic?  Erek  raises  this  ques@on  in  his  work.  The  physical   proper@es  of  the  installa@on  betray  the  subjec@ve  nature  of  this  ques@on:  the  work  is   composed  of  three-­‐dimensional  leUers  which  cast  changing  shadows  on  adjacent   walls,  depending  on  the  amount  and  direc@on  of  light  that  reaches  them.  The  text  is   from  monuments  dedicated  to  the  an@fascist  Interna@onal  Brigades  of  the  Spanish   Civil  War.  Using  the  flee@ng  shadows  of  appropriated  monumental  inscrip@ons  to  pay   tribute  to  ar@sts  brings  us  back  to  the  shi_ing  essence  of  the  very  no@on  of  the   'struggle  for  art'.  


•   

Shading Monument  for  the  Ar)st,  2009  -­‐  2011   Installa@on    


Cevdet Erek  was   born   in   Istanbul   in   1974.   He   studied   architecture   at   the   Mimar   Sinan   University   of   Fine   Arts   between   1992   and   1999.   While   prac@cing   as   an   architect   and   performing   with   the   Istanbul  avant-­‐garde  rock  group  Necropsy,  he  finished  his  master’s  degree  in  sound  engineering  and   design  at  the  Center  for  Advanced  Studied  in  Museum  of  Istanbul  Technical  University  in  2003.  He   then  con@nued  his  doctoral  degree  in  Sound  at  the  Centre  for  Advanced  Studies  in  Music  (MIAM)   of   Istanbul   Technical   University   Istanbul.   During   2005   and   2006,   he   studied   at   the   Rijksakademie   Beeldende  Kunsten  in  Amsterdam.  Erek  received  prizes  such  as  Garan@bank  Award  (2005)  and  the   Uriot  Prize,  Rijksakademie  Beeldende  Kunsten,  Amsterdam  (2006).  Erek’s  work  is  characterized  by  a   marked   use   of   rhythm   and   site   specificity.   He   combines   video,   sound   and   images,   o_en   in   an   aUempt   to   alter   the   viewer’s   percep@on   and   experience   of   a   given   space.   The   result   func@ons   as   a   hypothesis,  probing  the  viewer’s  ins@nc@ve  logic  and  thus  appealing  to  the  senses.  Erek  manages  to   combine   ra@onal   components   such   as   references   to   architecture   and   linear   @me   with   ins@nc@ve   impulses,  thereby  leveling  the  gap  between  two  supposedly  opposing  spheres.  Erek  has  had  several   solo   exhibi@ons   and   par@cipated   in   many   group   exhibi@ons   in   Turkey   and   abroad.   In   2008,   he   published   his   book,   SSS-­‐Theme   and   varia@ons   for   carpet   (Istanbul:   BAS   Ar@st   Books,   2008).   Currently,  he  lives  and  works  in  Istanbul.    


Nasan Tur  


•  Demo-­‐, Cooking-­‐  and  Speaker  Backpack,  2006  

Each backpack   has   a   certain/special   func@on.     They   consist   of   an   omnium   gatherum   of  objects  that    allow  for  the  use  of  each  backpack  in  it's    thought  for  way.  During   the   exhibi@on   the   visitors   have   the     possibility   to   borrow   the   backpacks   und   use   them    in  public.   Where  and  for  what  they  demonstrate  or  sabotage,  for  whom  they  cook  or  whom   they  are  fan  of  is    their  own  decision.  The  work  "backpacks"  only    puts  the  materials   at  their  disposal  and  allows  for  the  necessary  mobility.  


•  Demo-­‐, Cooking-­‐  and  Speaker  Backpack,  2006  


Nasan Tur   was   born   in   Offenbach,   Germany   in   1974,   lives   and   works   in   London   and   Frankfurt.   He   studied   at   the   HfG   Offenbach   and   the   Städelschule   Frankfurt/Main.   Tur   uses   the   mediums   of   photography,   video,   installa@on,   performance   and   interven@on   in   the   public   space   for   the   inves@ga@on  of  social  behavioural  paUerns  and  the  influence  of  poli@cal  ac@ons.  He  o_en  creates  his   work  in  the  form  of  an  art  plaNorm  where  the  viewers  can  take  an  ac@ve  role,  such  as  in  a  recent   work   featured   in   the   10th   Istanbul   Biennial   @tled   'Backpacks'.   Here   visitors   were   invited   to   borrow   specially   composed   mul@-­‐task   backpacks,   that   combined   a   selec@on   of   materials   and   props   for   par@cular   acts.   On   leaving   the   exhibi@on   venue   and   entering   the   public   realm   with   the   backpack   the   par@cipants   could   use   the   items   they   found   in   their   chosen   bag   for   acts   such   as   forming   a   demonstra@on,   making   a   public   announcement,   cooking   on   the   side-­‐walk   etc.,   Tur's   videos   o_en   document  planned  but  unusual  acts  by  himself  or  other  protagonists.     Tur's   work   has   been   included   in   exhibi@ons   such   as   Tac@cs   of   Invisibility,   Thyssen-­‐Bornemisza   Art   Contemporary,   Vienna,   Austria   and   Tanas,   Berlin,   Germany   (2010);   The   Only   One,   Trieste   Contemporanea,   Italy   (2010);   The   Disasters   of   Peace,   Umspannwerk   Berlin-­‐Tiergarten,   Germany   (2010);  Nishiko-­‐Nasan  Tur-­‐Chris  Burden,  Walden  Affairs  Gallery,  Den  Haag,  The  Netherlands  (2010);   Starter,  Arter,  Istanbul,  Turkey  (2010);  Journey’s  with  No  Return,  A  Founda@on,  London,  UK  (2010);   Studies&Theory,  KWADRAT,  Berlin,  Germany  (2010);  Transit:  Istanbul,  Passage  de  Retz,  Paris,  France   (2010);   Nasan   Tur-­‐Frischzelle,   Kunstmuseum   StuUgart,   Germany   (2009);   Playing   The   City,   Schirn   Kunsthalle,  Frankfurt  am  Main,  Germany  (2009);  Collec@on  Dubai,  SMART  Project  Space,  Amsterdam,   The   Netherlands   (2009);   SCAPE   Biennial,   New   Zealand   (2008);   6th   Taipei   Biennial,   Taiwan   (2008);   Becoming   Istanbul,   Deutsches   Architektur   Museum,   Germany   (2008).   Nasan   Tur   lives   and   works   in   London  and  Frankfurt.  


Xurban Â


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Evacua)on #1  :  The  Sacred  Evacua)on,  2010   Installa@on    

Xurban_collec@ve’s Evacua.on  Series,  begun  in  2010,  explores  the  idea  of  global  social   spaces   as   they   relate   to   the   ques@on   of   distributed   localiza@on.   Each   instance   examines  the  par@cular  typology  of  a  specific  built  environment.  In  short,  Evacua@on   Series  specifically  inves@gates  office  spaces,  houses,  mar@al  arts  and  religious  centers   according  to  their  common  denominators  across  na@onalized  territories.  Based  on  this   research,   the   project   involves   designing,   building,   and   furnishing   par@cular   social   spaces.  These  spaces  are  incomplete  and  func@on  as  a  form  of  evacua@on  of  some  of   their   culturally   recognizable   ar@facts   and   objects,   revealing   the   ‘bare   space,’   its   poten@al  and  limita@ons  for  democra@c  par@cipa@on.   The  first  installment  of  this  series  at  T-­‐B  A21  in  Vienna  is  based  on  modern  concep@ons   of   mescids.   The   Turkish   mescid—originally   from   the   Arabic   word   masjid   (mosque)— designates   smaller   prayer   rooms   that   are   usually   installed   in   haphazard   ways   in   ‘modern’   buildings.   They   can   be   found   in   shopping   malls,   business   centers,   schools,   hospitals,  and  apartments  in  almost  every  city  around  the  world.  Most  of  these  spaces   do   not   exist   in   the   original   architectural   plans,   but   are   carved   out   from   garages,   basements,   warehouses,   or   empty   apartments   and   storage   spaces.   Their   spa@al   configura@ons   differ   from   the   architecture   of   the   tradi@onal   mosque,   which   is   conceived  and  designed  as  a  monumental  building.  


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Evacua)on #1  :  The  Sacred  Evacua)on,  2010   Installa@on    


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Evacua)on #1  :  The  Sacred  Evacua)on,  2010   Installa@on    


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Sea of  Marble,  2010      

Sea of  Marble:  A  Naviga)onal  Convergence  project  is  conceived  in  three  parts.   First,   xurban_collec@ve’s   exhibi@on   is   based   on   the   visual   research   in   ci@es   including   Athens,   Marseille,   Istanbul,   Izmir   and   New   York.   Second,   a   symposium   took   place   on   December   4th,   2010   at   Antrepo   No:5,   an   old   warehouse   in   Istanbul   port.   Par@cipants   of   this   symposium   include   Ursula   Biemann   (Zürich)   and   Shuruq   A.   M.   Harb   (Ramallah),   TJ   Demos   (London),   John   Palmesino   (London),   Vyjayanthi   Rao   (New   York),   Alex   Villar   (New   York)   and   Relli   De   Vries   (Tel   Aviv).   xurban_collec@ve   and   their   project   partners   took   the   role   of   moderators  and  respondents  for  each  presenta@on  along  with  Aslihan  Demirtas   (New  York).  The  third  part  of  the  project  is  a  book  and  the  website  which  gather   and   archive   the   project’s   visual   materials,   presenta@ons   and   discussions   in   a   unified  format.  


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Sea of  Marble,  2010    


xurban members  are  stalkers  of  the  urban  landscape,  looking  for  what  is  desolate,  neglected,   ruined  and  derelict  in  the  metropolis  as  the  sign  of  the  @mes.  They  live  in  Ankara/Istanbul/New   York,  and  their  work  incorporates  photography,  video,  computer  graphics,  installa@on  and   interac@ve  digital  media.  They  sign  their  collabora@ve  projects  as  a  collec@ve  and  claim  that   collec@ve  work  overcomes  and  excludes  the  problem  of  the  ar@st’s  iden@ty  from  the  prac@ce  of   art.  In  past  years,  their  work  has  been  exhibited  in  Istanbul  ,  the  US  and  Germany,  and  at  the   Venice  Biennial  and  the  Istanbul  Biennial.  For  the  8th  Istanbul  Biennial  they  set  up  a  mission  to   acquire  a  defunct  fuel  tank  from  Southeastern  Anatolia  and  transport  it  from  Istanbul  to  the   region  and  back,  documen@ng  the  phases  of  the  transna@onal  transport  of  oil  using   photography,  video,  and  sound  recordings.  


Freee


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Adver)sing For  All;  Or  For  Nobody  At  All;  Reclaim  Public  Opinion,  2009   Billboard  Installa@on    


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Protest Drives  History,  2008   Poster  Installa@on    


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Protest Drives  History,  2008   Poster  Installa@on    


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Protest is  Beau)ful,  2008      


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How to  be  Hospitable,  2008   Digital  Print    


Freee is  a  collec@ve  made  up  of  three  ar@sts,  Dave  Beech,  Andy  HewiU  and  Mel   Jordan,  who  work  together  on  slogans,  billboards  and  publica@ons  that  challenge  the   commercial  and  bureaucra@c  coloniza@on  of  the  public  sphere  of  opinion  forma@on.   Freee  occupies  the  public  sphere  with  works  that  take  sides,  speak  their  mind  and   divide  opinion.   Dave  Beech,  born  Warrington  1965,  studied  Fine  Art  at  Leicester  Polytechnic  and  the   Royal  College  of  Art.  Beech  is  a  member  of  the  art  collec@ve  Freee,  writer  and  lecturer   at  Chelsea  College  of  Art.  He  is  also  a  regular  writer  for  Art  Monthly  and  other  art   magazines.  He  co-­‐authored  the  book  The  Philis)ne  Controversy,  Verso  (2002)  with   John  Roberts.   Andy  HewiP,  born  Hull  1966,  studied  Design  at  Staffordshire  Polytechnic  and  the   Royal  College  of  Art.  HewiU  is  a  member  of  the  art  collec@ve  Freee  and  lecturer  at   University  of  Wolverhampton.  He  is  currently  undertaking  a  PhD  in  Fine  Art  at  Chelsea   College  of  Art.  He  has  co-­‐authored  the  forthcoming  book  Futurology,  New  Art  Gallery   Walsall  (2008)  with  Mel  Jordan.   Mel  Jordan,  born  London  1966,  studied  Fine  Art  at  Leicester  Polytechnic  and   Birmingham  Polytechnic.  Jordan  is  a  member  of  the  art  collec@ve  Freee  and  teaches   at  Loughborough  University.  She  co-­‐edited  the  book  Art  and  Theory  aJer  Socialism,   Intellect  (2009)  with  Malcolm  Miles  and  she  has  co-­‐authored  the  forthcoming  book   Futurology,  New  Art  Gallery  Walsall  (2009)  with  Andy  HewiU.  


Freee’s recent  projects  include:  Nought  to  Sixty,  at  the  ICA,  London;  Terms  Of  Use,   Centro  Cultural,  Montehermoso,  Vitoria,  Spain,  curated  by  Lisa  Rosendahl;  How  To   Be  Hospitable,  solo  exhibi.on  at  the  Collec.ve  Gallery,  Edinburgh;  How  To  Make  A   Difference,  solo  exhibi.on  at  Interna.onal  Project  Space,  Birmingham  and  Protest  is   Beau.ful,  solo  exhibi.on  at  1000000mph  Gallery,  London.  Past  projects  include:   Gavin  Wade’s  Strategic  Ques.ons:  31.  What  Are  Aesthe.cs?  at  the  Venice  Biennale   2005,  B+B’s  Real  Estate  at  the  ICA  London  2005,  and  the  Guangzhou  Triennale   curated  by  Hou  Hanru  in  China  2005.      


FILM SCREENING  PROGRAM  


A selec@on  of  documentary  and  feature  films  will  be  weekly  screened,  layering  the  concept  of   the  exhibi@on  by  providing  an  overarching  perspec@ve  to  the  crisis  of  global  capitalism.  


Mark Boulos  


All That  is  Solid  Melts  into  Air,  2008   All   That   Is   Solid   Melts   Into   Air   highlights   the   distance   between   global   capital   specula@on  and  its  local  effects.  The  work  consists  of  two  videos  projected  which   confront   the   viewing   audience   with   conflic@ng   yet   inextricably   emeshed   forces.   One  screen  presents  frenzied  stock  traders  at  the  Chicago  Mercan@le  Exchange— the  largest  commodi@es  exchange  in  the  world—specula@ng  on  the  futures  of  oil;   the   other   shows   documentary   footage   of   guerrilla   fighters   from   the   Movement   for   the   Emancipa@on   of   the   Niger   Delta   (MEND)   preparing   for   baUle   against   oil   companies  that  extract  and  export  oil  from  their  land.  


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All That  is  Solid  Melts  into  Air,  2008   Video  


Imre Azem  


Ecumenopolis, 2011    

Ecumenopolis aims  for  a  holis@c  approach  to  Istanbul,  ques@oning  not  only   the   transforma@on,   but   the   dynamics   behind   it   as   well.   From   demolished   shantytowns  to  the  tops  of  skyscrapers,  from  the  depths  of  Marmaray  to  the   alterna@ve   routes   of   the   3rd   bridge,   from   real   estate   investors   to   urban   opposi@on,  the  film  will  take  us  on  a  long  journey  in  this  city  without  limits.   We  will  speak  with  experts,  academics,  writers,  investors,  city-­‐dwellers,  and   community   leaders;   and   we   will   take   a   look   at   the   city   on   a   macro   level   through   animated   maps   and   graphics.   Perhaps   you   will   rediscover   the   city   that   you   live   in   and   we   hope   that   you   will   not   sit   back   and   watch   this   transforma@on  but  ques@on  it.  In  the  end  this  is  what  democracy  requires  of   us.  


•  Ekümenopolis, 2011   Documentary  


Helena Norberg  -­‐  Hodge  Steven   Gorelick,  and  John  Page  


The Economics  of  Happiness,  2011     The   film   features   many   voices   from   six   con@nents   calling   for   systemic   economic   change.   The   documentary   describes   a   world   moving   simultaneously   in   two   opposing   direc@ons.  While  government  and  big  business  con@nue  to  promote  globaliza@on  and   the   consolida@on   of   corporate   power,   people   around   the   world   are   resis@ng   those   policies  and  working  to  forge  a  very  different  future.  Communi@es  are  coming  together   to   re-­‐build   more   human   scale,   ecological   economies   based   on   a   new   paradigm:   an   economics  of  localiza@on  


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The Economics  of  Happiness,  2011   Video  


Paula van  der  Oest  


The Domino  Effect,  2012  (In  the  Post  Produc<on  Process)   If   global   economy   came   to   a   sudden   stop   what   would   be   the   effect   on   families   worldwide?   People   in   different   countries   or   con@nents   might   not   seem   to   be   interrelated   but   there   is   more   than   meets   the   eye   and   we   might   be   more   connected  than  we  some@mes  like  to  think  


Allan Sekula  and  Noel  Burch  


The Forgo#en  Space,  2010     The   ForgoUen   Space   follows   container   cargo   aboard   ships,   barges,   trains   and   trucks,   listening  to  workers,  engineers,  planners,  poli@cians,  and  those  marginalized  by  the  global   transport   system.   We   visit   displaced   farmers   and   villagers   in   Holland   and   Belgium,   underpaid   truck   drivers   in   Los   Angeles,   seafarers   aboard   mega-­‐ships   shuUling   between   Asia  and  Europe,  and  factory  workers  in  China,  whose  low  wages  are  the  fragile  key  to  the   whole  puzzle.  And  in  Bilbao,  we  discover  the  most  sophis@cated  expression  of  the  belief   that  the  mari@me  economy,  and  the  sea  itself,  is  somehow  obsolete.   A   range   of   materials   is   used:   descrip@ve   documentary,   interviews,   archive   s@lls   and   footage,   clips   from   old   movies.   Sekula   and   Burch   do   not   present   the   problems   of   globalisa@on   as   an   inevitable   truth,   but   as   a   puzzle;   a   mystery   that   gradually   becomes   clearer  as  the  film  moves  on,  but  for  which  they  merely  hint  at  a  solu@on.  The  result  is  an   essayis@c,  visual  documentary  about  one  of  the  most  important  processes  that  affects  us   today.     The  ForgoUen  Space  is  based  on  Sekula’s  Fish  Story,  seeking  to  understand  and  describe   the  contemporary  mari@me  world  in  rela@on  to  the  complex  symbolic  legacy  of  the  sea.  


The makers   came   up   with   the   idea   for   The   ForgoUen   Space   following   the   construc@on   of  the  Betuwe  route,  a  dedicated  freight  railway  line  that  runs  from  RoUerdam  to  the   German  border.  The  ini@al  commissioning  party  for  the  work  was  the  Municipality  of   Lingewaal.  SKOR  |  Founda@on  for  Art  and  Public  Domain  subsequently  came  up  with   the  ini@a@ve  of  a  film  produc@on  with  Allan  Sekula  and  Noël  Burch.     The   film   was   produced   by   Doc   Eye   with   WILDart   Film   as   co-­‐producer.   Other   co-­‐ financiers  are  the  Austrian  Film  Ins@tute,  Eurimage,  the  VPRO  and  CoBO.  


PANEL DISCUSSIONS  AND  LECTURES   There   will   be   workshops,   lectures   and   panel   discussions   on   the   topics   of   urban   policies,   collec@ve   ac@ons   and   social-­‐spa@al   jus@ce,   which   are   urgent   topics   considering   the   incredible   pace   of   urban   development   in   Istanbul.   As   it   is   a   burning   issue   related   to   daily   lives   and   rhythms   of   the   majority   of   the   popula@on   living   in   Istanbul,  these  events  are  planned  to  func@on  as  public  forums.   Through  these  ac@vi@es,  it  is  intended  to  open  up  the  event  in  different  levels  so  that   various   layers   of   social   strata   can   involve   ac@vely.   The   main   goal   of   the   educa@onal   ac@vi@es  is  to  raise  consciousness  and  influence  the  percep@on  and  experience  of  the   publics/audiences  on  the  issues  related  to  public  domain,  democracy,  ci@zenship  and   spa@al   jus@ce   from   a   radical   point   of   view.   Hence,   they   can   take   a   poli@cal   stand   concerning   the   development   plans   of   their   neighborhoods,   the   city   and   society   at   large.   In  order  to  create  a  debate  plaNorm  that  puts  across  and  ar@culates  the  conflicts  and   contrasts   between   different   posi@ons   and   perspec@ves,   the   panels   are   planned   accordingly   to   bring   together   official,   academic,   ac@vist   and   ar@s@c   standpoints.   In   addi@on   to   the   ar@st   talks   with   the   par@cipa@ng   ar@sts,   2   speakers   from   the   Netherlands,   such   as   Ernst   van   den   Hemel   (Philosopher   /   Ac@vist),   Arnold   Reijndorp   (Urban  Historian  /  Academician)  or  Merijn  Oudenampsen  (Poli@cal  Sociologist)  and  2   speakers  from  Turkey  such  as  Pelin  Tan  (Urban  Sociologist),  Deniz  Incedayi  (Chair  of  the  


Chamber of   Architects,   Istanbul)   and   Hade   Türkmen   (Ac@vist)   are   considered   to   give   lectures,  take  part  in  the  panels  and  make  workshops  with  different  NGO  and  ac@vist   plaNorms  on  the  recent  urban  policies  and  reac@ons  to  it.   Ernst   van   den   Hemel   is   part   of   the   ar@s@c   collec@ve   that   runs   De   Schijnheilig,   a   squaUed,  independent  cultural  center  in  the  heart  of  Amsterdam.   Merijn  Oudenampsen  is  animator  of  the  cri@cal  plaNorm  Flexmens.org.  He  has  been   involved   in   organising   poli@cal   projects   and   debates   around   flexibility   and   precarity,   such  as  the  PrecairForum  in  2005,  and  a  Mayday  symposium  at  de  Balie  in  2006.  At  the   moment   he   is   wri@ng   his   thesis   on   crea@ve   city   branding,   entrepreneurialism   and   gentrifica@on  in  Amsterdam.   Hade   Türkmen   is   a   researcher   at   Urban   Policy   Planning   Department   at   Middle   East   University  and  a  member  of  IMECE-­‐Urbanism  Movement.  She  regularly  writes  ar@cles   about  urban  policies  for  Birgun  Newspaper.     Deniz   İncedayı   is   the   Chair   of   the   Chamber   of   Architects,   Istanbul   and   the   head   of   the   Architecture  Department  at  Mimar  Sinan  Fine  Art  University.  


CATALOGUE An   exhibi@on   catalogue   will   be   published   as   a   part   of   the   project.   In   the   catalogue   besides  the  introduc@on  of  the  conceptual  framework  and  ar@st  projects,  there  will  be   commissioned   papers   from   selected   thinkers/writers,   spa@al   planners,   poli@cians,   ac@vists  and  academicians.    

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