ÖRGÜTLÜ İKAMET
ORGANIZED HABITATION
GÖZDE İLKİN
Organized Habitation-I, 2018 stitching and painting
on found fabric, 55 x 41 cm
‘Paylaşımı, yaratıcılığı, esrikliği, geçirgenliği ve arzuyu
hareketlendirerek, birbirimizi yeşerteceğiz. Böyle mücadele edeceğiz.’
Umut Yıldırım [1]
Gözde İlkin’in sanatsal pratiği kültürel kodların, politik ve toplumsal ilişkilerin,
cinsiyet rolleri ve iktidar alanlarının sorgulandığı eleştirel bir zemine dayanır.
Kendi perspektifinden yaşadığı dünyayı anlamlandırmak ve hem bir hafıza hem
de kişisel bir arşiv oluşturmak üzere masa örtüsü, çarşaf, perde gibi ev içinde
kullanılmış kumaşlarla çalışan İlkin, varolan desenlerin içine işleme ve dikiş gibi
tekniklerle kendi imgelerini yerleştirir. Kişisel ve toplumsal olanın, özel ve
kamusal alan dinamiklerinin birbirinin içine geçtiği çalışmalarında İlkin, tekinsiz
ve farklı okumalara açık insanlık hallerini de görünür kılar.
Sergiye ismini veren Örgütlü İkamet, doğal ortamlarında hayvanların olduğu
desenli kumaşların üzerine insan figürlerinin yerleştirildiği doğa-hayvan- insan
ilişkilerini resmeder. Kentlerde bazı evlerde duvar halısı olarak da kullanılan bu
kumaşlar, yarattıkları yapay manzara ve doğayla ilişkinin inşasını da kurarlar.
Doğanın yok edilmesi ile kadının toplumsal rollerini birlikte ele alan
ekofeminizme referansla üretilen bu işlerde, insan ve insan olmayanların
arasındaki ilişki biçimleri daha bir arada ve eşit, kimi zaman oyuncul, kimi
zaman sorgulayan düşünce bulutlarını da kapsar. Önceki çalışmalarında aile
fotoğraflarından, aile kavramının ev içi ve farklı kamusal mekanlarda bir
aradalıklarından yola çıkarak işlerini üreten İlkin, Örgütlü İkamet’te bakışını
seçilmiş akrabalıklara, farklı cinsler arasında kurulan bağlara, yaşadığımız
evrenin içinde doğayla kurulabilecek alternatif ilişkilere çevirir.
Sergide ikametin farklı sorunsalları üzerine odaklanan yapıtlar arasında Lekeli
Mülk isimli bir video çalışması da bulunur. Sanatçı Taksim’de yaşadığı evin
hemen yanında Taksim İlkyardım Hastanesi binasının yıkılışını kendi
penceresinden seyrettiği gibi izleyiciyle paylaşırken var olan bir binanın
yıkılışının yarattığı yokluğu ve bu sürece tanıklık etmek zorunda kalışıyla ilgili
hislerini paylaşır. Kentsel dönüşümün mekana dair tüm belleği nasıl şiddetli bir
şekilde yok ettiğine dair bu dönemin izlerini süren çalışmada, iç/ dış alanda
enkazın görüntüsüne ve sesine maruz kalmak ve tüm bunları kendi yaşam alanı
içine almakla ilgili çarpıcı bir gözlem sunar. Gün boyunca evin ve çalışma
alanının içine giren işgalci inşaat ve enkaz sesi, serginin diğer çalışmalarında
sesle ilişki kuran ama sesi olmayan işlerle de bir zıtlık önerir. Şelale, Hışırtı ve
Kulak Misafiri isimli çalışmalarının içine doğadaki seslerin yansımaları sızar.
Sergide yer alan Sus Payı, Yara, Bulgu, Refakatçi II ve Refakatçi V isimli
eserlerdeki figürleri sanatçı kumaşlara çıkardığı pas izi üzerine dikerek yaratır.
Kumaştaki istenmeyen lekelerle de ilişkiye geçen bu müdahaleler yıkım ve
dönüşüm süreçlerini daha görünür kılar.
Toplumsal cinsiyet rollerini yeniden tartışmaya açan çalışmalarından biri olan ve
iki erkek arasında yaşanan iktidar ve güç gösterisine doğanın ve kuşların göz
alıcı renklerini ekleyen Siper (Sur), doğanın organik işleyişine odaklanan Krallık,
karakterlerinin doğanın içine karıştıkları Dipsiz Düş ve kutup ayılarının yaşam
alanlarının ortasına beklenmedik misafir olarak yerleşen aracın rahatsız edici
varlığıyla Nature escape adlı eser de sergide yer alıyor.
Bu sergiyle sanatçı, 2013 yılından beri farklı tarihlerde yaptığı çalışmalardan bir
seçkiyle birlikte 2018’de Paris’te Cité des Arts atölyesinde kaldığı zaman
boyunca ürettiği işleri bir araya getirir. Bireysel ve toplumsal ilişkilenme
yöntemlerini yeniden düşünürken bitkilerin diğer bitkilerle ilişkilenme biçimi ve
bulundukları coğrafyalarda var olma dinamiklerinden beslenmeyi öneren İlkin,
‘birbirimizi yeşerterek mücadele gücümüzün olacağını’ da ortaya koyar.
Bige Örer
‘We will transmit desire, ecstasy, rage, cooperation and autonomy to make each other blossom fully and so reclaim our lives.’
Umut Yıldırım[1]
Gözde İlkin’s artistic practice is based on a critical foundation that questions cultural codes, political and social relations, gender roles and power domains. With a view to crafting her comprehension of the world from a personal perspective and building up both memory and personal archives, she works with used home textiles like tablecloths, bed sheets and curtains, inserting images into the existing patterns with such techniques as embroidery and stitchery. In her works, İlkin brings into view human conditions that are often uncanny and open to different readings, where the dynamics of personal and social, private and public realms interpenetrate.
With this exhibition, the artist brings together a selection of the works that she has made since 2013, and others produced during her residency in the Turkey Workshop of Cité des Arts, Paris, in 2018. In the title-work, Organized Habitation, she illustrates the relationships between nature, animals and humans by placing human figures on tapestries whose patterns depict animals in their natural environments. Most often seen decorating the homes of rural migrants, these artificial sceneries point to a longing for nature aroused by the nature-deprived urban lifestyle, as well as unfolding the relationship between culture and nature. This series of works is created in reference to ecofeminism, which sees critical connections between historical and contemporary forms of man’s domination of nature and the exploitation of women. It focuses on relational forms between humans and non-humans and proposes a more egalitarian model, while also including ‘thought clouds’ that are playful at times, questioning at others. Having based her previous works on family photos and on coexistences inherent in the concept of family across domestic and public domains, İlkin turns her gaze here to chosen kinships, to bonds forged between different species, and to alternative relationships that we could establish with nature.
The artist places together the destruction of nature and urban transformation – two sides of the same problem. In her video Stained Estate scenes from the demolition of Taksim Emergency Hospital located close to where she lives and shot exactly as she sees it from her window, is accompanied by an articulation of her feelings around the void left by the hospital and having to bear witness to it. This work, tracing our era of urban transformation that is brutally destroying all spatial memory, presents a stunning observation of what it is like to be constantly exposed to the sight and sound of ruination, and having to make them a part of her personal space. The invasive noise of construction, destruction and ruination that infiltrates her home and study all day long creates a contrast with the other works in the exhibition that deal with noise, yet are silent. Sounds in nature leak into such works as Waterfall, Rustle and Overheard.
The figures in Hush Money, The Scar, The Symptom, The Attendant II and The Attendant V that are on display in the exhibition are created with the contours that İlkin draws by stitching around patches of rust applied to textiles. These interventions, which bring to mind stains on fabrics, render the process of destruction and transformation visible.
A work on gender roles and their relationship to nature, Rampart portrays a spectacle of power involving two men on a colourful ornamented backdrop of nature and birds. The exhibition also includes the works, namely Kingdom on the organic workings of nature, Fathomless Dream where characters unite with nature, and Nature Escape, which features the unsettling presence of a construction vehicle in the midst of a natural environment populated by polar bears.
Throughout her works, İlkin proposes that we can learn from and be nurtured by plants’ way of forming mutual relationships with each other and their dynamics of existence in the geographies they inhabit. She believes that we can ‘reclaim our lives by making each other blossom’.
Bige Örer
[1] ‘Rust’, Umut Yıldırım, the 15th Istanbul Biennial catalogue vol. 2, Stories, ed. Elmgreen & Dragset, 501.
[1] ‘Rust’, Umut Yıldırım, the 15th Istanbul Biennial catalogue vol. 2, Stories, ed. Elmgreen & Dragset, 501.
GALERIE PARIS BEIJING
Paris - Haut-Marais
62, Rue De Turbigo - 75003 Paris, France
( M° Arts Et Métiers / Temple )
------------------------------------------------------------------------------------------ CRUISE OF ENDLESS CONFESSION GÖZDE ILKIN 31.01 - 01.03.2019 Gallery Françoise Heitsch Installation view: Cruise of Endless Confessions 2016, embroidery, video and sound arrangement on fabric
Where, at which time begins the place the voice cannot reach Which past is to be erased
for this place to cease to exist
The fear, which her heart thought of suspiciously, has eaten itself
I stutter, you tell the friendly noises well-disposed of the finger prints Moments, which
occur in dreams once they are lined up
For I would be cold going outside, if I had to plunge into the water once again.
The works shown in the exhibition attempt to communicate – through the language of images
and the medium of video art – what happens to our memory, if it is systematically manipulated.
The sound video, which gave the exhibition its name, is screen onto fabric. It reveals a mental landscape, which cannot ever be reached. It is an essay on memory and loss.
The other works displayed here are: Darstellung dessen was man nicht sieht, Illusion, Flüstern, Winkel der Abweichung, and Falle [Representation of that which cannot be seen, Illusion, Whispering, Angle of Divergence, and Trap]. These works stand for the individual and the collective memory.
The video die unendlichen Tauchgeständnisse [infinite diving objects], which lasts 12 minutes and 15 seconds (link: https://vimeo.com/184913398), is the central work of the exhibition.
It is a space, in which time exists between the past and the future, yet remains fully constraint and entrapped. The figures, which are sewn directly onto the fabric, do not reach their full and final meaning until the video is projected onto it. It is this dialogue that gives back memory to the figures. The mental landscape is the space that stands for oblivion and loss.
Already the titles of the works are programmatic for the exhibition. In relation to this, the work Darstellung dessen was man nicht sieht can be highlighted. The work uses vegetable dye. Similar to the plant kingdom, where the co-existence of diverse plants is possible, here, too, a collective existence is depicted, which is enriched through the diversity of the individual.
Die Falle depicts flies and insects, which had been outsmarted by a plant. Here, however, with this juxtaposition, it remains unclear who trapped whom.
Art like an alphabet in order to give form to the quest for meaning, such is the everyday world of Gözde Ilkin, who lives in Istanbul.
 
Exhibition view, Françoise Heitsch Gallery, Munich
http://francoiseheitsch.de/ ---------
THE EVENT OF A THREAD: THE GLOBAL
NARRATIVES IN TEXTILES
22 February – 7 July 2019 ISTANBUL MODERN MUSEUM |
Exhibition view: Istanbul ModernArtistsBelkıs Balpınar, Ulla von Brandenburg, Hussein Chalayan, Burhan Doğançay, Noa Eshkol, Andreas Exner, Bedri Rahmi Eyüboğlu, Uli Fischer, Şakir Gökçebağ, Zille Homma Hamid, Heide Hinrichs, Olaf Holzapfel, Gözde İlkin, Christa Jeitner, Elisa van Joolen & Vincent Vulsma, Gülsün Karamustafa, Servet Koçyiğit, Eva Meyer & Eran Schaerf, Karen Michelsen Castañón, İrfan Önürmen, Judith Raum, Sabire Susuz, Franz Erhard Walther and Bauhaus Space, Harald Schmidt Archive, Ziya Tacir
CuratorsSusanne Weiß, Inka Gressel (ifa, Institut für Auslandsbeziehungen); Öykü Özsoy (Istanbul Modern)Curatorial TeamÜmit Mesci, Deniz Pehlivaner
“The Event of a Thread” brings together 25 international contemporary artists, who use textile to create aesthetic and cultural narratives through objects, installations and video works. The title of the exhibition is a quotation from On Weaving (1965), the reference book by Anni Albers, one of the most important artists from the Bauhaus textile workshops. Albers believed that socio-cultural and economic activities impacted textiles, and stated that “Just as it is possible to go from any place to any other, so also, starting from a defined and specialized field, can one arrive at a realization of ever-extending relationships. Thus tangential subjects come into view.” According to Albers, one could discover “the event of a thread” at the root of each development. In the exhibition, weaving threads are utilized as a metaphor, which facilitate the interaction of weaving styles, stories and production techniques from different cultures, and mediate the development of new connections between them.
Organized in collaboration with the Institute for Foreign Cultural Relations (ifa, Institut für Auslandsbeziehungen), one of the oldest art institutions in Germany, the exhibition is curated by Susanne Weiss and Inka Gressel on the invitation of ifa and aims to build on the original selection by creating new connections in each institution the exhibition travels to, with the assistance of curators at each institution and the addition of new works from local artists. “The Event of a Thread” features a variety of stories ranging from the tradition of quipu used by ancient Andean cultures in South America to the textile techniques from the indigenous people of Wichí in Argentine and from Bedri Rahmi Eyüboğlu’s revival and adoption of the long-forgotten tradition of yazma (originally used for hand-painted kerchief) to Burhan Doğançay’s tapestries created at the Aubusson workshops. The exhibition focuses on the historical, social and cultural meanings of fabrics, investigates the various uses of textile as a tool of expression and presents different artistic positions that interact with one another within the exhibition space.One of the two special areas in the exhibition has been dedicated to Bedri Rahmi Eyüboğlu (1911-1975), the first artist to develop a synthesis between painting and embroidery, textiles and yazma traditions in Turkey. A selection of Eyüboğlu’s yazma in addition to a selection of his never-before-seen fabric-printing block plates are presented in the “The Event of a Thread” exhibition. The other special area in the exhibition has been dedicated to Bauhaus. In this special area, there is a large installation dedicated to Bauhaus, the art school that influenced art and design education around the world upon its establishment by Walter Gropius in Germany, in 1919. Starting in Dresden, “The Event of a Thread” exhibition travelled to Kuwait before making its way to Istanbul. The touring exhibition demonstrates the variety of opportunities provided by textiles as a multifaceted tool of expression in addition to its purpose as a surface produced via the systematic integration of yarn layers, warps and wefts. Social, cultural and historical narratives are untied from threads of fabric and rearranged for us to create new connections between them.
Av: Tarih boyunca medeniyetlerin gerçek yüzü / Hunt: Real face of civilization throughouthistory, 2011, Paint and stitching on curtain, 266 x 136 cmAdak / Oblation, 2018, Painting and stitching and patchwork on found fabric 40 x 57 cmUnutuş/ Oblivion, 2018, Painting and stitching and patchwork on found fabric, 39 x 56 cm
www.istanbulmodern.org
DANCING WITH WITCHES
A DIGITAL
EXHIBITION, MUSEUM WITHOUT WALLS
BRITISH COUNCIL
Curator: Mine Kaplangı
Artists: Roger Ackling, Robert Sargent Austin, Sir Peter Blake, William Blake, Gerald Leslie Brockhurst, Fatma Bucak, Canan, Istanbul Queer Art Collective, Alan Davie, Anya Gallaccio, Nilbar Güreş, Aubrey Hammond, Gözde İlkin, Michael Landy, David Nash, Grayson Perry, Paula Rego, Erinç Seymen, Madame Yevonde, Lynette Yiadom-Boakye, Pınar Yolaçan
Under the Radar: 5533
October 30, 2018 / January 25, 2019
ISCP NYC
5533 collaboration with Volkan Aslan and Nancy Atakan, Thanks for Coming, 2011, digital print and neon. Courtesy of the artists.
Opening Reception:
Tuesday, October 30,
6–8pm
October 30, 2018–January 25, 2019
Istanbul-based independent art space 5533 explores the current artistic and social atmosphere in Turkey September 24, 2018 ISCP has hosted an annual institution-in-residence since 2011. This kind of residency was initiated to support cultural exchange by bringing an international perspective to a local context.
This year, ISCP has invited 5533, an Istanbul-based independent space founded in 2007. 5533 will be in residence at ISCP from October 30, 2018 through January 25, 2019 and will present an exhibition and a series of public programs during this time. #undertheradar Co-founded in 2007 by Nancy Atakan and Volkan Aslan, 5533 aims to establish, within the Istanbul art context, a space to bring together people from different locations, disciplines, occupations, and backgrounds to create alternative models in the art context. They initiate 5533 collaboration with Volkan Aslan and Nancy Atakan, Thanks for contemporary art projects based on art-related research Coming, 2011, digital print and neon. Courtesy of the artists. critical reflection, dialogue, collaboration, interaction, discussion, and sharing. Having selected a modus operandi that gives freedom for experimentation without fear of failure, 5533 functions without an official status, sponsors, or long-term plans. For the three months that 5533 is in residence at ISCP, Aslan and Atakan will initiate an on-site project involving several components, that will simulate 5533’s Istanbul space. Much of the project will reflect on the past, while highlighting the current artistic and social atmosphere in Turkey. With the looming specter of censorship, 5533 always aims to remain under the radar.
The exhibition, titled Under the Radar: 5533 at ISCP, will feature 5533’s archives, a selection of 5533-produced videos and several new commissions throughout the duration of their residency. In addition, two historical photographs from 1938 and 1960 will be presented, pointing to the current political situation in Turkey and the past as well. A nearby area will be used as a rotating project space, with three different presentations. The first will be an exhibition by Gözde Ilkin, followed by a collaborative exhibition by Nancy Atakan and Merve Ünsal and lastly, a solo presentation by Burak Arıkan. The exhibition will be augmented by public programs throughout the Fall including artist talks and lectures. These will include the Sen ve Ben 5533 Project (You and I 5533 Project) designed by Merve Ünsal and Nancy Atakan, that will bring together the New York Turkish community with ISCP residents to realize projects, collaborations, or events that promote sharing, interaction, discussion and dialogue within 5533 at ISCP. 5533 public program schedule at ISCP: November 6, 2018, 6:30–8pm: Lecture on 5533 by Nancy Atakan and Volkan Aslan moderated by Istanbulbased curator and director of Protocinema, Mari Spirito December 18, 2018, 6:30–8pm: Sen ve Ben Evening January 22, 2019, 6:30–8pm: Sen ve Ben Evening with ISCP resident, Fatma Bucak Institutional Residents and Exhibiting Artist Biographical Information: Burak Arıkan is a New York and Istanbul based artist working with complex networks. He reshapes social, economic, and political issues into network maps, algorithmic interfaces and performances, ultimately rendering inherent power relationships visible and discussable. Arikan’s software, prints, installations, and performances have been featured in numerous exhibitions internationally. He is the founder of Graph Commons, a collaborative platform for mapping, analyzing, and publishing data-networks. About ISCP: sustaining a vibrant community of contemporary art practitioners and diverse audiences.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios and two galleries, ISCP is New York’s most comprehensive international visual arts residency program and fourth largest in the world, founded in 1994. ISCP organizes exhibitions, events and offsite projects, which are free and open to all, This program is supported, in part, by Greenwich Collection Ltd., New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and The Andy Warhol Foundation for the Visual Arts.
Istanbul-based independent art space 5533 explores the current artistic and social atmosphere in Turkey September 24, 2018 ISCP has hosted an annual institution-in-residence since 2011. This kind of residency was initiated to support cultural exchange by bringing an international perspective to a local context.
This year, ISCP has invited 5533, an Istanbul-based independent space founded in 2007. 5533 will be in residence at ISCP from October 30, 2018 through January 25, 2019 and will present an exhibition and a series of public programs during this time. #undertheradar Co-founded in 2007 by Nancy Atakan and Volkan Aslan, 5533 aims to establish, within the Istanbul art context, a space to bring together people from different locations, disciplines, occupations, and backgrounds to create alternative models in the art context. They initiate 5533 collaboration with Volkan Aslan and Nancy Atakan, Thanks for contemporary art projects based on art-related research Coming, 2011, digital print and neon. Courtesy of the artists. critical reflection, dialogue, collaboration, interaction, discussion, and sharing. Having selected a modus operandi that gives freedom for experimentation without fear of failure, 5533 functions without an official status, sponsors, or long-term plans. For the three months that 5533 is in residence at ISCP, Aslan and Atakan will initiate an on-site project involving several components, that will simulate 5533’s Istanbul space. Much of the project will reflect on the past, while highlighting the current artistic and social atmosphere in Turkey. With the looming specter of censorship, 5533 always aims to remain under the radar.
The exhibition, titled Under the Radar: 5533 at ISCP, will feature 5533’s archives, a selection of 5533-produced videos and several new commissions throughout the duration of their residency. In addition, two historical photographs from 1938 and 1960 will be presented, pointing to the current political situation in Turkey and the past as well. A nearby area will be used as a rotating project space, with three different presentations. The first will be an exhibition by Gözde Ilkin, followed by a collaborative exhibition by Nancy Atakan and Merve Ünsal and lastly, a solo presentation by Burak Arıkan. The exhibition will be augmented by public programs throughout the Fall including artist talks and lectures. These will include the Sen ve Ben 5533 Project (You and I 5533 Project) designed by Merve Ünsal and Nancy Atakan, that will bring together the New York Turkish community with ISCP residents to realize projects, collaborations, or events that promote sharing, interaction, discussion and dialogue within 5533 at ISCP. 5533 public program schedule at ISCP: November 6, 2018, 6:30–8pm: Lecture on 5533 by Nancy Atakan and Volkan Aslan moderated by Istanbulbased curator and director of Protocinema, Mari Spirito December 18, 2018, 6:30–8pm: Sen ve Ben Evening January 22, 2019, 6:30–8pm: Sen ve Ben Evening with ISCP resident, Fatma Bucak Institutional Residents and Exhibiting Artist Biographical Information: Burak Arıkan is a New York and Istanbul based artist working with complex networks. He reshapes social, economic, and political issues into network maps, algorithmic interfaces and performances, ultimately rendering inherent power relationships visible and discussable. Arikan’s software, prints, installations, and performances have been featured in numerous exhibitions internationally. He is the founder of Graph Commons, a collaborative platform for mapping, analyzing, and publishing data-networks. About ISCP: sustaining a vibrant community of contemporary art practitioners and diverse audiences.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios and two galleries, ISCP is New York’s most comprehensive international visual arts residency program and fourth largest in the world, founded in 1994. ISCP organizes exhibitions, events and offsite projects, which are free and open to all, This program is supported, in part, by Greenwich Collection Ltd., New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and The Andy Warhol Foundation for the Visual Arts.
exhibition view: Under the Radar:5533, ISCP, NYC
CONDO NEW YORK 2018
EXHIBITION JUNE 29 — JULY 27, 2018
PREVIEW FRIDAY JUNE 29, 12–8PM + SATURDAY JUNE 30, 12–6PM
Gözde İlkin // Found Landspace
Gypsum Gallery
Hosted by Franklin Parrasch Gallery with Misako & Rosen
29 June – 27 July 2018
Gypsum Gallery is pleased to present the work of Istanbul- based artist Gözde İlkin. Her work is made out of repurposed domestic fabrics, where tablecloths, curtains and bed duvets act as memory objects that stage İlkin’s motifs and images. She deftly reworks the material with an arrangement of loose threads and thin layers of paint. Her artworks which incorporate stitching, drawing, painting as well as video and sound installations, construct forms of confrontational interactions that tend to manipulate borders, gender dynamics and ferocious urban transformations.
In the Found Landscape series, she works on found fabrics that she has collected from different countries. İlkin asks questions about personal geography and how one emotionally relates to being a foreigner in a foreign landscape. The series is accompanied by a set of drawings titled Nook. The drawings have been a daily practice carried out on natural-dyed paper. The plant traces on each paper attempt to create a home for the figure. Whereas, each piece of fabric is either a familiar memory or an unknown place, and its form embodies the different emotions invoked by these mental and physical spaces.
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A GOOD NEIGHBOUR On the Move
Pinakothek der Moderne
14.12.2017 ‐ 29.04.2018
-----------------------------
Gözde İlkin présente quelques-unes de ses œuvres produites entre 2009-2017 et une installation qui fait partie de son projet en cours "Found Landscape ".
Elle travaille sur différents tissus domestiques tels que les nappes et les rideaux, qui caractérisent l'identité et donnent quelques détails sur le processus social comme une catégorie d'objets de mémoire. Elle utilise ces tissus comme des scènes ou un espace qui lui permettent d'y poser motifs et images. Ses motifs et dessins sur tissus illustrent les informations culturelles actuelles, les relations politiques et sociales et les questions de genre.
Gözde İlkin (Turquie) est en résidence à la Cité internationale des arts par le biais de la Istanbul Foundation For Culture & Arts.
Organized Habitation -1, 2018
Wuther 2018, Series Found Landscape
Oblition 2018 Series Found Landscape
HOME IS WHERE THE HEART IS
February 1st to March 24th 2018
Galerie Paris-Beijing
Group show curated by Yann Perreau
Halil Altindere | Yesim Akdeniz | Volkan Aslan| Mehtap Baydu| Antonio Cosentino| Gözde Ilkin| Yaşam Şaşmazer | Güneş Terkol | Mehmet Ali Uysal
In the summer 2016, Gallery Paris Beijing invited me to curate the first solo exhibition of Turkish artist Mehmet Ali Uysal in France. The artist invested the space with a body of works, which, he explained, were created and assembled as an attempt to define a new home (“ev” in Turkish) for his oeuvre.
Following this gesture, the gallery will exhibit this winter works by a new generation of artists who live and work partly in Turkey, focusing on their relationship to that notion of “ev”. These artists have been exhibited around the world in the last few years, confirming the Istanbul art scene as one of the most interesting, innovative and dynamic of our time. Some of them have decided to move abroad recently. Others still live there, while most of them have now one foot here, and another one elsewhere. Hence, they have made of the world itself, in its complexity and diversity, their home. This exhibition doesn’t focus on the eternal themes of exile, diaspora or migrations, which can be a bit limitative to define works of art. It doesn’t either reduce itself to “Turkish artists”, preferring to look at artists who live in Istanbul, whatever their nationality (a global city, Istanbul welcomes artists and creators from around the world, who consider it their home).
It starts from a proverb: “Home is where the heart is”? and follows a philosophical and aesthetical – even if political too – approach: in our globalized world, is the traditional apprehension of home relevant anymore? Can home still define one and only one specific location? “Here, isn’t it elsewhere”, questions Gözde Ilkin in her poem Delirium for a poetry of space ? How can travels, displacements and shifting remodel one’s apprehension of home, one’s sense of belonging and – ultimately – one’s aesthetics? Home is sometimes left behind, voluntary or by necessity. Still it can be recreated elsewhere. What do we remember of our previous homes?
Ultimately, isn’t home that strange, mysterious, ephemeral feeling that art can sometimes help to define? Something personal, always changed, always re-imagined, like memory itself, or may be like a romance? This group exhibition looks at how these questions can materialise, take shape in various bodies of works. It will transform the gallery into a transitory, dwelling, utopic space. A “Here and elsewhere”, as Anne-Marie Miéville and Jean-Luc Godard defined it in their eponymous film.
Yann Perreau
Yann Perreau is a French art critic, author and curator. He lives between Paris, Istanbul and Los Angeles.
photos: Théo Baulig
Galerie Paris-Beijing
Paris - Haut-Marais
62, Rue De Turbigo - 75003 Paris, France
( M° Arts Et Métiers / Temple )
TEL: +33 (0) 1 42 74 32 36
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EXIT / EXIST
1-15 NOV 2017
Apartment Project-Berlin
Artist: Gözde İlkin, Çiçek Kahraman, Özgür Erkök Moroder, Ceren Oykut
Apartment Project Kulturverein e.V.
Hertzbergstr. 13, 12055 Neukölln, Berlin
A GOOD NEIGHBOUR 15th Istanbul Biennial
16 SEPT – 11 NOV2017
Curators
Elmgreen & Dragset
Galata Greek Primary School, Istanbul Modern, Pera Museum, Yoğunluk Artist Atelier, ARK Kültür, Küçük Mustafa Paşa Hammam, Outdoor Sites
Adel Abdessemed, Njideka Akunyili Crosby, Alejandro Almanza Pereda, Heba Y. Amin, Volkan Aslan, Alper Aydın, Burçak Bingöl, Monica Bonvicini, Louise Bourgeois, Berlinde de Bruyckere, Vajiko Chachkhiani, Mark Dion, Latifa Echakhch, Jonah Freeman & Justin Lowe, Kasia Fudakowski, Candeğer Furtun, Pedro Gómez-Egaña, Lungiswa Gqunta, Gözde İlkin, Mirak Jamal, Andrea Joyce Heimer, Morag Keil & Georgie Nettell, Mahmoud Khaled, Kim Heecheon, Fernando Lanhas, Victor Leguy, Klara Liden, Liliana Maresca, Olaf Metzel, Lee Miller, Mahmoud Obaidi, Henrik Olesen, Lydia Ourahmane, Erkan Özgen, Aude Pariset, Stephen G. Rhodes, Ugo Rondinone, Leander Schönweger, Sim Chi Yin, Dayanita Singh, Dan Stockholm, Rayyane Tabet, Young-Jun Tak, Ali Taptık, Tatiana Trouvé, Tsang Kin-Wah, Tuğçe Tuna, Kaari Upson, Andra Ursuta, Kemang Wa Lehulere, Lukas Wassmann, Fred Wilson, Bilal Yılmaz, Yoğunluk, Yonamine, Xiao Yu
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REVERIE OF SPACE
Neighbouring Events / 15th Istanbul Biennial A Good Neighbour
The Izmir French Institute’s exposition hall
12/09/2017 – 22/10/2017
Curated by Caroline David
Reverie of Space proposed by the French Institute in Izmir, is composed of three works created between 2009 and 2017. This exposition will offer works around the favorite themes of the artist, notably that of frontier, belonging, memory and space.
Information about places and objects we feel we belong to enables us to develop a memory. Faced with the relocation of this memory, Reverie of Space explores other spaces that may well generate new possibilities and new relations. It also calls to mind other ways of togetherness on unreliable, slippery or fleeting grounds, and ways of discovering new methods.
The artist’s work entitled Special Passport which plays a central role in her itinerary, is all about frontiers, immigration and the neighborhood relations between countries. Realized in 2009 over the invitation to the Apartment Project, it came into being during a trip to Turkey’s neighbouring countries, notably Georgia, Azerbaijan, Armenia and Iran. Notions such as far-close, neighbour-guest, frontier-security lose their usual meanings. And this work questions the identitarian facts about the individual, which takes the form solely of letters and numbers on a sheet of paper.
In her work entitled Bosphorus Tour the artist creates a scene on a tissue, where she relates the social and political events, the balance of power as well as the process of urban transformation with regards to recent history. Stories, dedicated to sensations aroused by the transformation of spaces are embodied in this work where two different tissues are assembled. The work was showed at the exhibition Spaceliner (2015) curated by Barbara Heinrich in Arter.
The work called Reverie of Space which also gives its name to the exposition, is made up of figures that are embroidered on a tissue and hang in space. This work, created in 2017, is accompanied by a piece of poetry, illustrating imaginary places and landscapes with wandering characters.
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ABSENT DEMONSTRATION Gözde İlkin
CASUS BELLI Erdal Duman
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SANA GHOBBEH (Iran) | GÖZDE İLKIN (Turkey)
3 – 24.08.2017 | Gallery PODROOM
Public program of the exhibition:
Thursday August 3rdat 7.30 pm
This wall grows at its root – Performance by Sana Ghobbeh (duration: 40 minutes)
Friday, August 4th at 7 pm
Artists talk: Sana Ghobbeh (moderator Katarina Kostandinović)
It’s the first time that Sana Ghobbeh and Gözde İlkin are showing their works together. For the purpose of this exhibition, they were invited to collaborate as they didn’t know each other before.
In the chosen works they are both dealing with the perception of the urban transformations of the cities by recording the stories of the relationship between urban and human structures.
In spite of geographical, historical and cultural differences between two cities, the images of Tehran and Istanbul could be easily replaced. The city development and urban planning usually do not coincide with the necessities of their inhabitants but with official politics. Through personal perception of urban development of the cities the artists are trying to name the things as they are, so in the case of Istanbul the so called “renovation project” is actually the destruction of the memory while interference in the video of Tehran speaks about misunderstanding and lack of interest. To question the relationship between micro and macro contexts and their relation to politics, İlkin and Ghobbeh are both starting from intimate space of their own rooms.
More about the works:
Sana Ghobbeh
Tomorrow sings another song
Tehran, beloved city
Urbanescape
Documentation of the performance This wall grows at its root
“Sana Ghobbeh proposes different ways of reclaiming public space by claiming the body of a presence. New narratives are suggested as modes of practice that simultaneously follow and create moments of interruption, allowing a mind-set where subtle gestures can disturb the surroundings. The disruptions make a minor breach in the stability, predictability and order of the space. This disturbance is an invitation to change, to make another rhythm, although very small, in front of the big orchestra of the urban space diluted in forms, rules and habits. This develops a context for the body to perform and think poetically.” (S.Ghobbeh)
Gözde İlkin
Video Series of Stained Estate I-II-III (Collaboration with Çiçek Kahraman)
Series of “Attendant” (Rust stained & embroidery on fabric)
“Stained Estate consists of forms embroidered onto the fabrics that I’ve been working on during 2014-2015 and three related video projections. In November 2014, the view from the flat that I’ve recently moved in was facing Taksim First Aid Hospital located in central Istanbul. The hospital has a memory ranging back to the pre-republican era as a nursing home. Two weeks after I’ve moved into the flat, the hospital has started ‘renovation’ project. For a long time, this ‘destruction ceremony’ constructed the background sound and image of Istanbul for me. To be a witness to such sounds and images changed my practice and perception of everyday life. During the destruction period, the land of the ‘hospital’ transformed into another interior space of my home, an audiovisual screen that I’ve been subject to as a display window. I’ve recorded the destruction scene that I’ve been a witness to for four months with photography and video.”
Affected by Umut Yıldırım’s writing titled “Rust,” I focused on the residue of rust, which gradually destroys objects (metal) and organic life (plants) that it touches. (Umut Yıldırım, an anthropologist working on displacement and memory, had started to write about the gentrification of Narmanlı Han, another monumental building in downtown Istanbul) Rust became paint as the signifier of absent presence. Series of Attendant I realized by stitching rusty fabric around an unknown form make figures in contact with stain. Video-recordings of the location keep company to the series. (G.Ilkin)
Sana Ghobbeh ( Tehran, 1984) visual artist and architect lives in Brussels.
In 2017 she accomplished the postgraduate program of a.pass (advanced performance and scenography studies) in Brussels. In the period between 2013 and 2015 she was granted an artistic research at Umeå school of Architecture (UMA) in Sweden. More information at sanaghobbeh.weebly.com
Gözde İlkin (Kütahya, 1981) Lives and works in Istanbul.
Gözde İlkin studied painting at the Fine Arts Faculty of Mimar Sinan University and is studying towards a master’s degree at Marmara University in Istanbul. She took a part in international artist exchange programs in the Netherlands and Germany and in exhibitions in several centers, including Stockholm and Berlin, Paris, Vienna, Egypt. More information at gozdeilkin.blogspot.com
Gallery PODROOM, Cultural Centre of Belgrade
Republic Square 5/-1, Belgrade, Serbia
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"No Matter”
23.06 – 17.07.2017
Artists: Ali M. Demirel, Ceren Oykut, Ezgi Kilicaslan, Gözde Ilkin, Lerna Babikyan, Mustafa Pancar, Özgür Erkök Moroder
Back Stage: Selda Asal
Apartment Project- Berlin
under the festival 48 Stunned Neukölln
Apartment Project Kulturverein e.V.
Hertzbergstr. 13, 12055 Neukölln, Berlin
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MUSCLE MEMORY
01.04 - 11.06.2017
Kunstraum Kreuzberg Bethanien
Artists
Adel Abidin, Jenny Baines, Maja Bajevic, Marcio Carvalho, Cevdet Erek, Ingo Gerken, Gözde İlkin, Marisa Maza, Ahmet Öğüt, Sophia Pompery, Svenja Schüffler and Vahit Tuna.
Curator
Ece Pazarbaşı
The exhibition “Muscle Memory” is a multi-layered investigation into the notion of muscle memory, which is defined in neuroscience as a type of movement that becomes familiar to the muscles through repetition over time. It gives a metaphorical approach to how structures of power create and manipulate the memories of individuals through the biological mechanisms of their very own bodies. In doing so, the exhibition revisits the historical background of the Bethanien Hospital building as the ‘body’ of the project, incorporating the building and its vicinity into the exhibition as an embodiment of the muscle memory.
In 1905, the former Bethanien Diagnosis Center opened an extended wing to be used as the Operation Unit, which is now known as the Kunstraum Kreuzberg/Bethanien. In this regard, the operation room will house the exhibition. During events in the public program, the exhibition will restage the former morgue (Leichenhaus), washhouse (Waschhaus), Ökonomiehof, infection unit (Infektionspavilion), and Feierabendhaus that were previously located in the Bethanien garden in 1905.
The exhibition invites the Field Kitchen Academy, a mobile platform for alternative information production, for the public program with neuroscientists, contemporary dancers, Zen Masters, kinesiologists, parkour training, and cooking actions to delve deeper into the political, social, and corporeal connotations of muscle memory.
For more info about the meetings, talk and performance:
Installation view: Family Album 2012- 2017 Exhibition Muscle Memory / Kunstraum Kreuzberg Bethanien, Berlin
Kunstraum Kreuzberg/Bethanien, Mariannenplatz 2, 10997 Berlin
www.kunstraumkreuzberg.de
www.kunstraumkreuzberg.de
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TINY OFFICE ART PROJECT
Consulate General of Sweden, Istanbul
Consulate General of Sweden, Istanbul
Tiny Office Art is a project which will show women artists from Turkey, highlighting one work of an artist which will be installed in Suzi Ersahin’s office, the Swedish Councellor of Affairs at the Consulate General of Sweden in Istanbul every 3rd week.
ARTIST # 2
Special Passport, 2009
A project by Gözde İlkin on display at “Tiny Office Art” at the Swedish Consulate in Istanbul.
This is a work produced for the “road” project Reciprocal Visit journey, organized by Apartment Project and realized with several artists in 2009. It is a visual record of the experiences at the border crossings during the road trip to Turkey's neighboring countries.
“Green Passport” gives a Turkish citizen the right to pass without visa to most of the European countries and the right of habitation of 3 months duration. The passport, being a document of identity verification, has lost its function in some way during this trip to neighboring countries. Throughout the road, “Passport” has revealed the language of political processes between countries of origin and destination. It has transformed from an instrumental object allowing the right of passage into a problem indicating the political processes between countries; into an object capable of “border breach” for a little while. The work “Green Passport” that I embroidered on fabric after the trip carries the stamps of the crossed borders and the images indicating the relations between countries. This work was exhibited both as original and offset prints in unnumbered.
Tiny Office Art is a project which will show women artists from Turkey, highlighting one work of an artist which will be installed in Suzi Ersahin’s office, the Swedish Councellor of Affairs at the Consulate General of Sweden.
The exhibition will not be able to be seen by many people, it will be on view for guests to the office and the Consulate personnel. The artwork will however also be on display in social media and on the consulate web page together with a statement by the artist about the work.
The inspiration for the project is in part the women’s demonstrations on the 21 January 2017 and also the well-known Tiny Desk concerts that have been hosted in the office of National Public Radio’s Bob Boilen since 2015. Tiny Office Art wants to create a similar intimate place for viewing important Turkish women artists and hopefully become the inspiration for others to start their own tiny office art shows. We hope that it will in a very modest way shine a spotlight on some of the important and exciting women artists in Turkey. In keeping with its anti-hierarchical aims the Tiny Office Artists will not be curated as such, rather through conversation with each artist we will decide on the next one to be exhibited.
At a time when culture and women’s roles in society are under threat both in Turkey and globally it is important to show how acts of creativity can be an antidote to forces of hate and discrimination. We really hope that this modest proposal can both demonstrate a commitment to supporting the work of women artists in Turkey and inspire others to use limited means to celebrate and expose their work and come together in a spirit of creativity. We do hope that Tiny Office Art will spread to many more offices around the world!
Embroidered on fabric, 14.5 x9.5 cm (original dimensions of green passport ) 22 pages
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Mor Çatı 27 yıldır şiddete maruz kalan kadınlara, hukuksal, psikolojik ve sosyal destek vererek, kadına yönelik şiddetle bağımsız bir vakıf olarak mücadele ediyor ve bunu kurduğu dayanışma ağlarından aldığı destek ve güçle gerçekleştiriyor.
8 Mart Dünya Kadınlar Günü’ne yaklaşırken Mor Çatı bu kez de kadın sanatçılar ile bir dayanışma ağı kuruyor. Kasım ayında Mor Çatı, küratör ve sanatçı Arzu Yayıntaş’ın desteğiyle, dayanışma sergisi için kadın sanatçılara bir çağrı yaptı ve çağrısına 30 kadın sanatçıdan yanıt geldi. Sanatçılardan kimisi Mor Çatı yararına orijinal işini bağışlarken kimisi de kartpostal satışı için eserinin kullanım hakkını verdi.
Mor Çatı daha önce farklı projeler için kadın sanatçı, illüstratör ve tasarımcılarla işbirliği yapmıştı ama ilk kez bu kadar büyük bir sanatçı grubuyla ortak bir projede buluşuyor.
Mor Çatı’ya destek olan sanatçılar alfabetik sıra ile Arzu Yayıntaş, Ayşecan Kurtay, Azra Deniz Okyay, Balca Ergener, Beyza Boynudelik, CANAN, Çiğdem Yılmaz, Didem Ünlü, Elif Varol Ergen, Ekin Saçlıoğlu, Fulya Çetin, Gözde İlkin, Gülçin Aksoy, Güneş Terkol, H.Berrin Simavlıoğlu, Işıl Güleçyüz, Lara Ögel, Nalan Yırtmaç, Neriman Polat, Nurcan Gündoğan, Özgür Çimen, Özlem Şimşek, Peri Demirbaş, Sevil Tunaboylu, Şafak Şule Kemancı, Tuse Tamer, Ülgen Semerci, Yasemin Özcan, Yeşim Ağaoğlu, Zeyno Pekünlü.
Sanatçılar tarafından Mor Çatı’ya bağışlanan eserlerin sergilenip, satışa sunulacağı “İki Soluk Arası Dayanışma” Sergisi 24 Şubat -24 Mart 2017 tarihleri arasında Zapata Moda’da izleyici ile buluşacak.
Sergide, bağışlanan 24 orijinal eserin yanı sıra 20 eser de kartpostal formatında basılıp satışa sunulacak. Kartpostallar sergi sonrasında Mor Çatı ürünleri arasında yer alarak Dayanışma Merkezi’nden satılmaya devam edecek ve böylece kadın sanatçılar ile Mor Çatı arasında kurulan dayanışma, kadına yönelik şiddetle mücadele tarihinde kalıcı olarak yerini almış olacak.
Kadınların şiddetten uzak bir hayat kurmalarına ve kadına yönelik şiddetle mücadeleye destek olmak için 24 Şubat’ta “İki Soluk Arası Dayanışma” Sergisi’nin 19:00’daki açılışında buluşalım.
Sergimizde siz Mor Çatı Dostlarını da aramızda görmekten mutluluk duyarız.
Tarih: 24 Şubat 2017, Cuma
Yer: Zapata Moda
(Caferağa Mahallesi, Şevki Bey Sokak, No: 31/A, Kadıköy, İstanbul)
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artSümer sanatçıları bu sergide birer sanatçıyı konuk ediyorlar.
Galeri sanatçılarından Erdal Duman, Gözde İlkin, Serkan Demir, Yasemin Özcan, Serra Behar ve Onur Gülfidan, iki yılda bir gerçekleşen ve 1 Aralık’ta açılacak olan “sanatçılar ve konuk sanatçıları / artists pick artists” adlı serginin bu edisyonunda Deniz Aktaş, Şafak Şule Kemancı, Erdil Yaşaroğlu, Mustafa Duymaz, Sinan Logie ve Vahit Tuna'yı konuk ediyor.
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TAHA BELAL I'M NOT OBLIGED TO DO THIS
GÖZDE İLKIN THE TRAP
30 November 2016 - 6 January 2017
Opening reception at 7 pm.
Gypsum is thrilled to present two parallel exhibitions opening this November: his second show at the gallery titled I’m Not Obliged to Do This by Cairo-based Taha Belal, and for the first time in Egypt, Istanbul-based artist Gözde İlkin shows her fabric works in a series called The Trap.
Taha Belal’s exhibition brings together a collection of new works that all date 2016. In I’m Not Obliged to Do This, Belal draws heavily from his office job to construct a web of references that crisscross and reflect around the exhibition from piece to piece. A fragment of smoky glass from a desk with family photos unintentionally stuck to it is placed in front of a piece of polished wood veneer. A catalog of tractor parts with a green gradient background on a flat yellow sheet is used as a surface for a glistening cold cement cube.
Showing discrete, modest yet slightly flamboyant sculptures for the first time, Belal continues his formal investigation of objects, images and surfaces from our daily life. Layering materials ranging from silver shards of mirror to soft plasticy vinyl, Belal makes delicate composites suspended between something that feels familiar and something entirely unknown. Here Belal experiments with allowing office work to seep into the artwork and can only hope that the art seeps into the office.
In her exhibition The Trap, Gözde İlkin presents a series of artworks made out of found domestic fabrics that she has been collecting over time. İlkin deftly reworks the material with an arrangement of images, loose threads and thin layers of paint. Her artworks act as an embodiment of personal experience and collective memory and a witness to a layered understanding of identity.
The images in the series offer confrontational interactions. Spidery contours of military boots are stitched against a pale floral design, gigantic botanical illustrations take on threatening proportions and many of her figures are shrouded in a pink amorphous cloud. But her stories never quite unfold into their logical conclusion. They enact political relationships, feelings and promises that are failing to reach a solution, remaining abstract and in limbo.
Gözde İlkin, The Distance Contract, 2015, embroidery and painting on duvet, 55 x 100 cm. Courtesy of the artist and artSumer
Taha Belal has a BFA in Studio Art from Pennsylvania State University (2005) and an MFA from the California College of the Arts, San Francisco, USA. His work has been exhibited in Art Dubai, UAE, Modern, Valencia, Spain; MATHAF – Arab Museum of Modern Art in Doha; MKG Museum für Kunst und Gewerbe, Hamburg, Germany; Museum for Photography, Braunschweig, Germany; SMAEK Staatliches Museum Ägyptischer Kunst, Munich, Germany and Tartu Art Museum, Tartu, Estonia. He has also exhibited in a number of art galleries in San Fransisco and the UK. In Egypt, he has shown his work at Townhouse Gallery in Cairo and Nile Sunset Annex, of which he is one of the founders. Nile Sunset Annex is an evolving artist-run production and dispersion outfit for contemporary art that emerged out of the context of the art scene in Cairo at the beginning of 2013. Among other things, it has hosted exhibitions, produced publications and art objects, and experimentally collected art. Taha Belal lives and works in Cairo.
Gözde İlkin was born in Kütahya in 1981 and lived in various regions of Turkey until her university years. She studied painting in the Faculty of Fine Arts at Mimar Sinan University. From 2005 to 2006, she attended European Union Education and Youth Programs: Leonardo da Vinci Program at the RAM and Ram Foundation in Rotterdam. She completed her master’s degree at Marmara University in 2008. She has participated in numerous exhibitions in Turkey, Sweden, Germany, the Netherlands, and the United States. İlkin lives and works in Istanbul.
5 Ibrahim Naguib St, Apt. 2, Ground floor
Garden City, Cairo, Egypt
info@gypsumgallery.com
Opening hours:
Daily from 12-8pm. Friday 4-8pm. Sunday off. Or by appointment.
Wider den Grautönen - Gri Tonlamanın Aksine
12.10.16 - 20.11.16
12.10.16 - 20.11.16
Teilnehmende Künstler/innen: Deniz Aktaş / Halil Altındere / İmre Azem - Gaye Günay / Annika Eriksson / Gözde İlkin / Ceren Oykut / Serkan Taycan / Pınar Öğrenci / Mario Rizzi /
Arzu Yayıntaş
Arzu Yayıntaş
Kuratorin: Ceren Erdem (Istanbul)
Historische Stadtteile innerhalb der Stadt werden im Allgemeinen mit dem Hinweis auf die Erdbebenverordnung abgerissen, öffentliches Bauland wird zur Bebauung freigegeben, Grünflächen und Wasserschutzgebiete im Umland werden für Riesenprojekte wie Sozialwohnungen, dem dritten Flughafen, der dritten Bosporus-Brücke ausgeplündert; dadurch ist Istanbul heute eine Stadt geworden, die von allen vier Seiten mit Beton eingeschlossen wird.
In ähnlicher Weise entwickelt sich die landesweite urbane Monotypisierung aus Beton und allmähliche Umwandlung der Städte zu riesigen Wohnsiedlungen und Einkaufszentren.
In die grauen Städte verbreiten sich monotypisierten Sicht- und ergrauten Lebensweisen.
2002 yılından bu yana aynı partinin iktidar olmasıyla, Türkiye bir yandan ekonomik hedeflerini büyüterek bir yandan da sık sık bölge liderliğine talip olarak gündeme geldi. Türkiye Cumhuriyetinin kuruluşunun yüzüncü yılına tekabül eden 2023 yılında, ülkeyi dünyanın en büyük 10 ekonomisinden biri haline getirme hırsı ile Türkiye ekonomisinin en geniş endüstrisi haline gelen inşaat sektörü, son yılların Türkiye’sine damgasını vurdu.
Söz gelimi nüfusu 15 milyona varan İstanbul, hem özel inşaat şirketlerinin hem de bir devlet kuruluşu olan TOKİ’nin (T.C. Başbakanlık Toplu Konut İdaresi) projeleriyle bugün sınırları belli olmayan bir megakent. Hem şehrin içindeki tarihi mahallelerin genellikle deprem yönetmeliği bahane edilerek yıkılmasıyla ve kamu arazilerin imara açılmasıyla, hem de şehrin çeperindeki yeşil alanların, su havzalarının toplu konut projeleri, üçüncü havalimanı, İstanbul Boğazı üzerindeki üçüncü köprü gibi dev projeler için istila edilmesiyle, dört yanı beton bloklarla kaplı bir kent artık İstanbul. Benzer şekilde ülke genelinde şehirlerin betondan tektipleşmesi, dev birer toplu konut ve alışveriş merkezi yığınlarına evrilmeleri söz konusu.
Historische Stadtteile innerhalb der Stadt werden im Allgemeinen mit dem Hinweis auf die Erdbebenverordnung abgerissen, öffentliches Bauland wird zur Bebauung freigegeben, Grünflächen und Wasserschutzgebiete im Umland werden für Riesenprojekte wie Sozialwohnungen, dem dritten Flughafen, der dritten Bosporus-Brücke ausgeplündert; dadurch ist Istanbul heute eine Stadt geworden, die von allen vier Seiten mit Beton eingeschlossen wird.
In ähnlicher Weise entwickelt sich die landesweite urbane Monotypisierung aus Beton und allmähliche Umwandlung der Städte zu riesigen Wohnsiedlungen und Einkaufszentren.
In die grauen Städte verbreiten sich monotypisierten Sicht- und ergrauten Lebensweisen.
2002 yılından bu yana aynı partinin iktidar olmasıyla, Türkiye bir yandan ekonomik hedeflerini büyüterek bir yandan da sık sık bölge liderliğine talip olarak gündeme geldi. Türkiye Cumhuriyetinin kuruluşunun yüzüncü yılına tekabül eden 2023 yılında, ülkeyi dünyanın en büyük 10 ekonomisinden biri haline getirme hırsı ile Türkiye ekonomisinin en geniş endüstrisi haline gelen inşaat sektörü, son yılların Türkiye’sine damgasını vurdu.
Söz gelimi nüfusu 15 milyona varan İstanbul, hem özel inşaat şirketlerinin hem de bir devlet kuruluşu olan TOKİ’nin (T.C. Başbakanlık Toplu Konut İdaresi) projeleriyle bugün sınırları belli olmayan bir megakent. Hem şehrin içindeki tarihi mahallelerin genellikle deprem yönetmeliği bahane edilerek yıkılmasıyla ve kamu arazilerin imara açılmasıyla, hem de şehrin çeperindeki yeşil alanların, su havzalarının toplu konut projeleri, üçüncü havalimanı, İstanbul Boğazı üzerindeki üçüncü köprü gibi dev projeler için istila edilmesiyle, dört yanı beton bloklarla kaplı bir kent artık İstanbul. Benzer şekilde ülke genelinde şehirlerin betondan tektipleşmesi, dev birer toplu konut ve alışveriş merkezi yığınlarına evrilmeleri söz konusu.
Geçtiğimiz aylarda çatışmalar devam etmekteyken kentsel dönüşüm projesi açıklanan Diyarbakır’ın tarihi Sur ilçesinde olduğu gibi koruma kisvesi altında yıkım ve rant odaklı sonu gelmez kentsel dönüşüm projeleri, semt sakinlerinin yeni yapılan binalarda yaşamaya ekonomik olarak güçlerinin yetmemesi nedeniyle kent merkezinden sürülmelerine, böylece bir etnik, kültürel ve sınıfsal dönüşüme de yol açıyor. Gri şehirlerin içine tek tipleştirilmiş bakış açıları, grileşen hayatlar yayılıyor.
Pasinger Fabrik München
Pasinger Fabrik München
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Burçak Konukman, Elif Süsler, Gül Ilgaz, Ferhat Özgür, Vahit Tuna, Ani Setyan, Emre Zeytinoğlu, Çınar Eslek, Gözde İlkin, Yasemin Özcan, Yıldız Çintay, Serda Çamlı, Ali Miharbi ve Erdem Ergaz
8 Eylül - 22 Ekim tarihleri arasında eş zamanlı olarak Gaia Gallery'de ve REM Art Space'te izlenebilir.
Yumuşak bir inişi takiben dik bir uçurum sergisi, belleğin anlık değişimlerine odaklanıyor. “An”ın sanatsal üretim biçimiyle ilişkisini sorunsallaştırır. Anlık karşılaşmaların zihinde yarattığı değişikliğe göre tepki veren bireyin ifade yöntemlerini görünür kılar.
Bellek, en genel tanımıyla olayların, olguların ve nesnelerin görünür olmadığı zamanlarda, onlarla ilgili bilişin zihinde kodlanarak korunduğu yerdir.
Bu biliş, anlamlı olan ve örnek teşkil eden tüm bireysel etkinliklerinin varlığını belleğe aktarımı ile şekil almaya başlayan bir yapıdır. Bilgi ve deneyimlerin noktaları “an”ların varlığını çoğullaştırarak tanımsız görüntülere dönüşür. Belleğin kendisi bizi doğrulanabilir gerçeğe ya da sahici bir başlangıca doğru götürmektense ardıl bir temsile yaslanır.
Geçmiş, belleğin içinde saf ve yalın halde bulunmaz. Anımsama ediminin konumu şimdide yer alır. Anımsama geçmişin kendisi değildir. Bu nedenle bir olayı yaşamak ile bir temsil içinde anımsamak arasında, geçmiş ve şimdinin arasında olduğu gibi ince bir yarıktan söz edilebilir. Bu belleğin canlılığını sağlayan şey açılan boşluktur.Kültürel ve sanatsal yaratıcılık bu boşluktan beslenir.
Anlık değişiklik, bireyin karşılaştığı durumlara göre verdiği tepkilerin bütünün bir kısmıdır. Refleks dediğimiz bu ani hareketler, bilinçsiz ve hızlı bir biçimde gerçekleşir. Bilinçsizdir çünkü hareket kararı beyinden değil, omurilikten gelir. Beynin işlevsizliği bireyin içinde olduğu an ile kurduğu bilinçsiz deneyimler sonrasında bilincin süzgecinden geçerek bir tanımlama ortaya çıkarıyor.
Günümüzde şehirleşmenin de yoğunlaşması ile birlikte kültürel ritüellerin uygulanamayışı tepkiselliği de anlık durumlara göre şekillendirmiştir. Sosyal medya ve yazılı medya üzerindeki bilgi akışının yoğunluğu bellekte dalgalanma yaratarak kaygan bir zemin oluşturduğu gibi, kişi kendi bakış açısına göre tepkiler vererek yaşamsal alanını koruma altına almaya çalışıyor.
Bellekteki kodlar enformasyon yoğunluğu nedeniyle zihnin bir noktasında durarak ihtiyaca göre kendini ortaya çıkarıyor. Kodların belirginliği bulunduğu konuma göre bireyde tepkisel bir durum oluşturuyor.
Ya da başka bir kodlama biçimi yaratabilir mi?
Yaşanılan şoklar bellekte bir anımsamaya yol açarak bir tepki ya da yeni bir dil oluşturur mu?
Ve bu dil nasıl bir yaşamsal alan oluştur ve oluşturulan yaşamsal alan sistemin dışında ne kadar yer alır? Ya da alabilir mi?
Yoksa günümüzde sürekli aktif hareketler bireyin belleğinde yer edinir ya da edinebilir mi?
Üretilen sanat yapıtları bir zaman dilimi içine yayıldıkları ve bir uzam içerisinde gerçekleştikleri zaman bellek nasıl aktive olur ve sonrasında nasıl bir ifade biçimine dönüşür ve şekillerin ve üretilen yapıttın kayıt edilme biçimleri neye göre gerçekleşleşir?
Günümüz üretim pratiklerinin kurgusal yapısı bireysel belleğin inşasının önünde bir engel niteliği olarak karşımıza çıkar mı?
Farklı zaman dilimlerinde anımsadığımız imgelerin anlık eylemlere dönüşmesi zamanın mekan ile ilişkisine dair yeni bir tanımlama ihtiyacı oluşturur mu?
Bu bağlamda sergi, bellekteki anlık hareketlerin bir araya gelip mekan içerisinde var olması üzerine kurulur. Bireysel ve toplumsal anların birlikteliği, zamansal anlamda bir kronoloji izlemeden tercih edilir. Zamanın günümüzdeki akış biçiminin asimetrik ritminin yarattığı tepkiler sergide bir bellek oluşturacaktır.
Mehmet Kahraman, Küratör
Focusing on the momentary shifts in memory, the exhibition ‘A Sharp Cliff After a Soft Landing’ questions how certain moments influence the act of art-making. The exhibition displays the methods of expression, when faced with the influence of momentary encounters in our memories.
In its most common usage of the term, memory defines the hidden area where the knowledge of concepts and objects continue to exist with certain codes attributed to them.
This knowledge stems from the transfer of all the meaningful and exemplary acts of the individual to his/her memory. As the certain points in information and knowledge are pluralized within our memories, they transform into indefinable visions, in return.
Memory relies on secondary representations, rather than addressing the ultimate truth or a concrete beginning.
The past is not preserved within memory in its pure and austere form. The act of remembering takes place in the present. Hence, remembrance does not equal to the past. A thin cleavage manifests itself between living the moment and remembrance, which brings the distance between past and present to mind. What makes memory a living form is its intrinsic void. And cultural and artistic creativity flourishes in this void.
Momentary changes are just a part of the sum of an individual’s reactions. These sudden reactions, or in other words, reflexes take place involuntarily in a pace. They are involuntary since they are triggered by the spinal cord, not the brain. Dysfunction of the brain, combined with the individual’s reaction to the unconscious residues of the experiences, is filtered through conscious in order to be defined.
As the cultural rituals cease to exist, thanks to the rise in the urbanisation, momentary situations become the preliminary force behind our reactions. The constant flow of information in social media and other forms of media causes a fluctuation in our memory. As a response to the unsteadiness caused by this fluctuation, a person tends to use the reactions stemming from his/her point of view in order to protect his/her space.
Because of the abundance of information, the codes in our memory only reveal themselves when the need arises. Certain circumstances call for certain reactions, due to the specific nature of these codes.
Is it possible to form a different kind of system for these codes?
Are the shocks, which trigger memory, capable of creating a new type of reaction system or a language?
What kind of a habitat would such a language require? How far could this habitat survive outside the current system? Or would such a shift be even possible?
Or, could we claim the actions taking place in our lives to continue to exist in our memories, given the constant flow of movement in modern life?
How is memory activated, given the artworks are created within a specific period of time and space? Additionally, what sort of expressions would ensue after seeing these works?
How would the shapes and content of the artworks would register in our memories?
Would the fact that contemporary art dwells more on fiction, pose an obstacle before the formation of the memory of the individual?
Would the fact that reactions stem from memories of various occassions require a new definition of the relationship between time and space?
Thus, the exhibition brings the momentary situations in our memory together in the same space. The combination of collective and individual memories is demonstrated on a non-chronological basis. The reactions towards the assymetry pertaining to the flow of time in our contemporary age, are bound to create a new kind of memory in the exhibition space.
-Mehmet Kahraman, Curator
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Istanbul Codex. Contemporary Artists from Turkey is an Imago Mundi collection, a cultural, democratic, global, non-profit project, promoted by Luciano Benetton with the aim of creating the widest possible mapping of the different contemporary artistic experiences of our world. In Imago Mundi, each country is represented by the works of established artists and new talents, commissioned with the maximum freedom of expression, whose only constraint is the 10x12 cm format.
ID Card, 2011 /Gözde İlkin
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z e i g e d e i n e W u n d e 2 0 1 6 / T e i l 2 – Das Environment
Heidi Mühlschlegel “Freibad Brotland“ (Installation, 2016) und Gözde Ilkin „Stained Estate I – III“ (Videoinstallation, 2015)
06/07/16 to 25/09/16
Termine:
06.07.2016, 19 Uhr
Vernissage
14.09.2016, 19 Uhr
Kunstgespräch Das Environment zwischen Kunstraum und Realraum, anschließend Eröffnung des temporären Projektraums Jellyspoor mit der Präsentation „Wertsteigerung: 4 Tage, 4 Richtungen, 4 Stunden, 4 Objekte“
21.09.2016, 19 Uhr
Kunstgespräch Wundbehandlung – Kunst als Sozialraum
2016 jährt sich die Ausstellung der Arbeit „zeige deine Wunde“ von Joseph Beuys, die 1976 in der Unterführung der Maximiliansstraße / Altstadtring erstmals in München gezeigt wurde, zum 40. Mal. Aus diesem Anlass veranstaltet das MaximiliansForum die vierteilige der Reihe „zeige deine Wunde 2016“, in der eine jüngere Generation von Künstlerinnen und Künstlern eingeladen ist, den Ort und diese für München wichtige Arbeit zu reflektieren.
Teil 2 dieser Ausstellungs- und Veranstaltungsreihe trägt den Titel „Das Environment“ und zeigt jeweils eine installative Arbeit von Heidi Mühlschlegel und Gözde Ilkin. In diesem zweiten Teil der Reihe liegt der Schwerpunkt bei dem Motiv des „Environments“ als dichtem, erlebbarem Kunstraum. In Bezug auf Joseph Beuys, aber auch darüber hinaus, stellt das Environment die Frage nach der Grenzverschiebung hin zum „realen“ Raum.
In ihrer Installation „Freibad Brotland“ spielt Heidi Mühlschlegel auf gesellschaftliche Motive von Arbeit, Anspruch und Scheitern an. Das untergründige Andere an die Oberfläche zu bringen, es sich in ihren Objekten und Installationen sichtbar manifestieren zu lassen und ihm Raum zu geben, ist ein Grundprinzip von Mühlschlegels Arbeitsweise. Die beiden Motive „Adler“ und „Badengehen“ tauchen dabei immer wieder gemeinsam auf, so auch in „Freibad Brotland“. Den Ausgangspunkt der Arbeit „Brotland“ bildet ein Wandteller aus Holz, auf dem der geschnitzte Schriftzug "Des Bauern Hand schafft Brot dem Land" und ein säender, von Ähren umringter Arbeiter abgebildet sind. Unweigerlich erinnert das rustikale Dekorstück, das für die gut bürgerliche Stube gedacht waren, auch an die ästhetischen Vereinnahmungen brauner Vergangenheit. Mühlschlegel aber bezieht sich auf das dahinterliegende Motiv des Arbeiters, der in mühevollem Einsatz sät. Der Teller, auch das ist Teil ihrer künstlerischen Arbeitsweise, bleibt in der Installation nicht mehr direkt sichtbar, sondern ist eingenäht in einen Adler, der zwischen Pathos-Form und Verballhornung als bunter Papagei schwebt. Andere in die Inszenierung eingearbeitete und aus alltäglichen Zusammenhängen übernommene Objekte nehmen dessen Material und Themen direkt oder indirekt wieder auf. Ein zweiter Teil der Installation, ein Vorhang, steuert das Motiv „Freibad“ durch ein gefundenes Foto von 1947 bei. Auf dem Foto posiert eine nicht näher definierte Gruppe von Freibadbesuchern gemeinsam für den Fotografen. In einzelne schwarz/weiß Kopien zerteilt, vergrößert und auf den Vorhang aufgenäht, steht dieses Bild für Mühlschlegel für das ambivalente Wort „Badengehen“ zwischen seiner positiven Bedeutung von Freizeit und Erholung und der negativen Bedeutung des Scheiterns.
Dem gegenüber, in Gözde Ilkins Videoserie „Stained Estate I – III“, werden die Aufnahme einer unmittelbaren Veränderung ihres urbanen Umfeldes zum Material ihrer Reflexion über die Motive von Erinnerung und Schmerz. Im November 2014 zog Gözde Ilkin in eine Wohnung in Downtown Istanbul mit Blick auf das Taksim Notfallkrankenhaus, ein Bauwerk, so Ilkin, „mit einem Gedächtnis älter als die türkische Republik“. Der Abriss des Krankenhauses begann im Zuge einer sogenannten „Renovierung“ zwei Wochen nachdem sie in ihre Wohnung eingezogen war. In den folgenden vier Monate hat sie das Abrisspanorama auf Video festgehalten. Das Krankenhaus, der Ort für Geburt und Tod wurde zum „Ground Zero“ und sein Abriss erweckte für Ilkin die Assoziation von Phantomschmerzen. Der Prozess der schrittweisen Zerstörung des Gebäudes wird für die Künstlerin zum Motiv einer Verwundung und zur Metapher für den Schmerz, der der Erinnerung zugefügt wird, wenn bekannte Orte verschwinden.
In den beiden Kunstgesprächen, die am 14. und 21. September im Rahmen der Ausstellung stattfinden, wird zum einen die Idee und Wirkung des Environments in seiner spannungsvollen Position zwischen Kunstraum und Realraum thematisiert werden, zum anderen wird das Motiv einer „Wundbehandlung“ durch künstlerische Bearbeitung gesellschaftlich verdrängter Themen eine Rolle spielen.
Mehr Information zu den einzelnen Veranstaltungen jeweils aktuell auf www.maximiliansforum.de
Installationsansicht Gözde Ilkin „Stained Estate I-III“, Fotos: Barbara Hartmann
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15 May – 2 August 2015
ARTER
Artists
Peter Anders, Sandra Boeschenstein, Pip Culbert, İnci Eviner, Monika Grzymala, Nic Hess, Gözde İlkin, Harry Kramer, Pauline Kraneis, Hans Peter Kuhn, Zilla Leutenegger, Pia Linz, Christiane, Löhr, Ulrike Mohr, Jong Oh, Nadja Schöllhammer, Heike Weber
Curator
Barbara Heinrich
"Spaceliner" is a group exhibition that focuses on the relationship between drawing and space. In an attempt to examine the stylistic vocabulary of contemporary drawing, the exhibition illustrates working methods and approaches of drawing through the works of 17 artists.
All the works presented in "Spaceliner" start from a mode of thinking rooted in drawing, which differentiates the artistic results here from spatial installations in general. This approach manifests itself in both the choice of materials as well as in their use. Above all, however, it is manifested in the works' graphic intensity and how the lines are used in, and with, the space. Thus, the works reflect on the one hand a persistent attempt to fathom the epistemological quality of the medium of drawing. On the other, the aspect of motion is substantially integrated into the works' conception, which leads to a fundamental discussion of the tension between spatial image and actual experience in space. All the works move in the transitional zones between lines drawn and the actual physical spatial environment, and all are concerned with both the constructed spaces we live in as well as with visions of interiority.
The exhibition thus attempts to prove the potential of drawing, as a contemporary means of expression, to push ahead the development of new visual ideas by means of extraordinary methods and material.
"Spaceliner" is a group exhibition that focuses on the relationship between drawing and space. In an attempt to examine the stylistic vocabulary of contemporary drawing, the exhibition illustrates working methods and approaches of drawing through the works of 17 artists.
Bosphorus Tour, 2014-2015. 2.82 x 12.20 m, Embroidery-paint and sound arrangement on found and printed fabric / Sound arrangement by Ah! Kosmos (Photo by Murat Germen)
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"Gelecek Queer // Future Queer" Kaos GL 20.Yıl Sergisi
26.12.2015 - 07.02.2016 // ARK Kültür
26.12.2015 - 07.02.2016 // ARK Kültür
Sanatçılar | Artists;
Ahmet Öğüt, Alper Şen & Özge Çelikaslan, Canan, Erdem Taşdelen, Erinç Seymen, Fulya Çetin, Gökçen Cabadan, Gözde İlkin, Istanbul Queer Art Collective, Melanie Bonajo, Metehan Özcan, Nilbar Güreş, Oktay İnce, Pauline Boudry & Renate Lorenz, Susanne M. Winterling.
Küratör | Curator: Övül Ö. Durmuşoğlu
Yardımcı Küratör | Assistant Curator : Aylime Aslı Demir
Nasıl bir gelecek? O geleceği kurmak için nasıl bir bugün?
Nedir bu hayattan beklediğimiz? Özgürlük, eşitlik, görünürlük, cesurca sevebilmek, çekinmeden arzulayabilmek, başka bir geleceğin hayalini kurabilmek. Bugün LGBTİ kültürünün herhangi bir öğesi içinde yaşadığımız sistemde bir pazarlama ve markalama aracı olarak normalleştirilebiliyor. Ya da birlikte yaşamak için verilen mücadele toplumsal normlar tarafından kabul edilebilirliğe indirgenebiliyor. O yüzden yaşanabilir bir hayatın hayalini birlikte mücadele ettiklerimizi unutmadan kurabilmek gerekiyor. Aramıza sızan normları gözardı etmeden yeniden tartışarak ve aşarak.
Çünkü 'henüz queer değiliz'. Henüz varmadığımız o yer üzerinden normalleşemeyiz. Kapitalist vizyonun önerdiği bireyler olmanın ötesine dair şeyleri harekete geçirebilmeliyiz. Geçtiğimiz yıllarda kaybettiğimiz kuramcı/düşünür Jose Münoz'un dediği gibi queerlik bu dünyanın yeterli olmadığını, bir şeylerin eksik olduğunu hissettiren o şey. Negatif romansların, bugünün içinde sıkışmışlıkların ötesine götüren özlem. Eğer queerlik başka bir geleceğin hayalini bugünde görebilmekse, o zaman daha başka bir gelecek için bugünü daha yaşanabilir olarak kurgulamak gerek. İhtiyacımız olan ortak bir nefes alanı. Birlikte nefes aldığımızda hayal edebiliriz. Birlikte nefes aldığımızda başka olasılıkları görebiliriz. Gelecek sosyal ilişkiler queer bir estetik tarafından yeniden konumlandırılabilir.
Ortak nefes alanını açabilmek için ev toplantılarıyla başlamıştı her şey. KAOS GL'nin yirminci kuruluş yılında kazanılan nefes alanlarını hatırlamak ve genişletmek için bir ev sergisi kuruyoruz. KAOS GL dergisinde işlerini paylaşmış sanatçıların işleriyle hareketin arşivini biraraya getirip yeni bir alan yaratmayı istiyoruz. Bu alanı farklı dersler ve atölyelerle başkalarıyla paylaşmayı arzuluyoruz.
“How do we imagine our future ? And what kind of present, vital to build this future?
What is it indeed that we expect in this life? Autonomy, equality, visibility, capable of loving fearlessly and of feeling free to desire, imagining another possible future. Any element within LGBTİ culture could be simply normalised today as a marketing and branding instrument within the system we live. The fighting for living together could be easily reduced to a matter of social acceptability through societal norms on the other hand. That is why it is necessary to be able to imagine a liveable life without excluding anyone with whom we have struggled together so far. Without ignoring the norms that have leaked between us, but thinking over them again in a transgressive way.
Because we are ‘not yet queer’. Thus, we cannot be normalised via that place that we haven’t arrived in. What we necessitate is to evoke things beyond merely acting as individuals, exposed by the capitalistic vision. As the late theoretician/thinker José Esteban Muñoz says, queerness is that thing letting us feel this world is not enough, that indeed something is missing. It is the longing, carrying us away beyond negative romances and stickiness to the present. If queerness means imagining another future now in the present, then we should make today more habitable according to this imagined future. What we need is a common breathing space. When we breathe together, we could imagine together. When we breathe together, we could see other possibilities. Future social bonds could be repositioned through a queer aesthetics.
In order to provide a common breathing space everything began with house meetings. And here we are now putting together a house-exhibition, celebrating KAOS GL’s 20th foundation anniversary, to recall and expand these reclaimed breathing spaces. The exhibition melts artists who collaborated with KAOS GL magazine and the movement’s archive together; and hence, desires to create a new space. Then, we would like to share this environment with others by means of various talks, screenings and workshops.
ARK KÜLTÜR
Batarya Sk. No:2 Cihangir
Beyoğlu, İstanbul
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Hush Money (Detail), 2015
LEKELI MÜLK / Stained Estate
Gözde Ilkin
Opening: Thursday, 11th September 2015, 6 p.m.
Exhibition: 11th September - 17th October 2015
FRANÇOISE HEITSCH
amalienstr. 19
80333 münchen
t: +49 (0)89 48 12 00
f: +49 (0)89 48 12 01
di-fr: 14.00-19.00 uhr
sa: 12.00-16.00 uhr
Stained Estate
2015
I moved in a flat in downtown Istanbul in November 2014. Windows faced the Taksim Emergency Hospital that has a memory stretching back to pre-Republican times. Demolition of the hospital started under the process of “renovation” two weeks after I moved in. The estate was transformed, for me, into a space within my flat; almost a screen, a display window continuously imposed on me. I recorded the demolition panaroma for four months.
The Hospital, the place of birth and death, became ground zero. Calling to mind the “Phantom Limb Syndrome,” thus, the aching of a cut limb no longer existing and its continuous painful sensation, I started thinking about the pain of memory(lessness), reminiscent of urban settings displaced and destroyed by “renovation.”
Affected by Umut Yıldırım’s writing titled “Rust,” I focused on the residue of rust which gradually destroys objects (metal) and organic life (plants) that it touches. Rust became paint as the signifier of absent presence.
I started experimenting with this idea and images on piece of stained fabric that I found. Works I realized by stitching rusty fabric around an unknown form make figures in contact with stain. Video-recordings of the location keep company to the series. Video-editing was realized by Çiçek Kahraman.
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EINLADUNG ZUR ERÖFFNUNG am 21. 4. 2015 UM 19 Uhr
Wallsaal der Stadtbibliothek Bremen, Am Wall 201
Unikate und Editionen FINE ART BOOKS
Künstlerbücher aus Bremen
CONSTANTIN JAXY, ROLAND ECKELT, GABRIELE KONSOR, CHRISTIAN MEYER, ISOLDE LOOCK/ EBERHARD SYRING/ ANNE BAISCH, BETIE PANKOKE, EDITH PUNDT, IRMGARD DAHMS,VERONIKA DOBERS, SVENJA HINRICHS, KYUNGWOO CHUN, MARIKKE HEINZ-HOEK, ZSUZSANNA GAHSE, ARLENE WELLEMEYER, BIRGIT WEISSENBORN,
CONSTANTIN JAXY, ROLAND ECKELT, GABRIELE KONSOR, CHRISTIAN MEYER, ISOLDE LOOCK/ EBERHARD SYRING/ ANNE BAISCH, BETIE PANKOKE, EDITH PUNDT, IRMGARD DAHMS,VERONIKA DOBERS, SVENJA HINRICHS, KYUNGWOO CHUN, MARIKKE HEINZ-HOEK, ZSUZSANNA GAHSE, ARLENE WELLEMEYER, BIRGIT WEISSENBORN,
GÖZDE ILKIN, GISELA WINTER, NORBERT BAUER/ RALF TEEKAT, HORST KÖNIGSTEIN, GERTRUD SCHLEISING, DIETER ROGGE
Anlässlich des Welttags des Buches werden Künstlerbücher gezeigt, die aus Bremen stammen oder einen Bremen-Bezug haben. Dabei handelt es sich um Unikate und kleine Editionen, die zwischen Buch und Objekt angesiedelt sind. Sie verbinden als eigenständiges Medium Malerei, Zeichnung, Fotografie, Collage und Text. So entstehen originelle und unkonventionelle Ergebnisse. Bremer KünstlerInnen haben seit Jahren vielfältige Buchobjekte geschaffen, poetisch/lyrische Produktionen, oft voller Humor. In Vitrinen sind viele dieser Exponate ausgestellt. Näheres aus deren Innenleben lässt sich auch in gerahmten Fotografien erkunden. Der größte Teil der Künstlerbücher stammt aus der Privatsammlung der Künstlerin Marikke Heinz-Hoek. Ihre Kollegin Edith Pundt realisierte einen Videofilm, der mit Unterstützung des Bremer Künstlerinnenverbandes produziert wurde und ausführlichere Einblicke in die Exponate ermöglicht.
EINFÜHRUNG
DR. ANNE THURMANN-JAJES
ZENTRUM FÜR KÜNSTLERPUBLIKATIONEN WESERBURG
FILMPREMIERE
INNENANSICHTEN
BREMER KÜNSTLERBÜCHER
EIN FILM VON EDITH PUNDT
30 min.
gefördert vom Bremer Künstlerinnenverband
mo,di,frei 10-19 Uhr
do 9-20 Uhr
sa 10- 16 Uhr
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"STAY WITH ME" Group Exhibitions 2014- 2016
Artists´ Diaries from Istanbul
26 October 2016 to 08 January 2017
The exhibition Stay with me assembles notebooks and journals created by more than 60 artists in the context of experiences they had during the protests at Gezi Park in Istanbul in 2013.
In the spring of 2013, protests against urban planning measures for the square occurred at Gezi Park. During the following week, a wave of demonstrations spread over Taksim square and seized the whole country. People organized in a decentralized manner and gathered for more than 5,000 events, around 3.5 million took to the streets. The demonstrations which were suppressed using extraordinary amounts of violence left eleven dead and more than 8,000 injured. Since the summer of 2013, the inner political situation has continued to aggravate. Is it possible to keep the hope of the time alive?
The exhibits on show allow to discern the different approaches open to an art rooted in self-assertion: retaining the magic of shared moments, capturing the menace on paper, projecting oneself to a different place, remembering experiences through abstraction.
Stay with me was initiated by artist Selda Asal.
With contributions from Ali Miharbi, Anti-Pop, Aslı Çavuşoğlu, Ata kam, Ayşe Küçük, Azra Deniz Okyay, Balca Ergener & Meltem Ahıska, Berkay Tuncay, Burçak Bingöl, Carla Mercedes Hihn, Ceren Oykut, Christine Kriegerowski, Çiğdem Hasanoğlu, Devrim Ck, Devrim Kadirbeyoğlu, Didem Erk, Eda Gecikmez, Ekin Saçlıoğlu, Elif Çelebi, Elmas Deniz, Endam Acar & Fırat Bingöl, Erdağ Aksel, Erhan Öze, Erdem Helvacıoğlu, Eser Selen, Fatma Belkıs, Fatma Çiftçi, Ferhat Özgür, Figen Aydıntaşbaş, Fulya Çetin, Genco Gülan, Gonca Sezer, Gökçe Süvari, Gökhan Deniz, Göksu Kunak, Gülçin Aksoy, Gül Kozacıoğlu, Gümüş Özdeş, Güneş Savaş & Eren Yemez, Güneş Ter kol, Gözde İlkin, Hale Tenger, Hubert Sommerauer, İnci Furni, İpek Duben, Kınay Olcaytu, Melike Kılıç, Merve Çanakçı, Merve Şendil, Mischa Rescka, Murat Tosyalı, Nalan Yırtmaç, Nancy Atakan, Nazım Dikbaş, Neriman Polat, Nick Flood, Nurcan Gündoğan, Onur Ceritoğlu, Onur Gökmen, Özgür Atlagan & Bengi Güldoğan, Özgür Demirci, Özgür Erkök Moroder, Özge Enginöz, Rüçhan Şahinoğlu, Raziye Kubat, Sabine Küpher Büsch & Thomas Büsch, Seda Hepsev, Seçil Yersel, Sena Başöz, Senem Denli, Sevim Sancaktar, Sevil Tunaboylu, Sevgi Ortaç, Suat Öğüt, Sümer Sayın, Şafak Çatalbaş, Ulufer Çelik, Yaprak Kırdök, Yasemin Özcan, Yasemin Nur, Yavuz Parlar, Yeşim Ağaoğlu, Zeyno Pekünlü.
WOW Venue beim Kunstraum MOM
Valentinskamp 34a Eingang über die Speckstrasse, 20355 Hamburg
Mit:
Selda Asal (Künstlerin und Koordinatorin /Apartment Projekt Berlin / Istanbul)
Özlem Demirci (Theaterpädagogin und Performerin / Hamburg)
Martin Niessen (Journalist und Buch-Autor / Hamburg)
Moderation: Iver Ohm (Hidden Institute / Berlin)
Die Podiumsdiskussion findet im Rahmen der Vernissage der Ausstellung „Stay with me“ (19.00 Uhr) statt
und soll dazu dienen die anhaltende Aktualität der Gezi-Park Proteste zu verdeutlichen.
Die Ausstellung zeigt Künstler*innenbücher von 85 Künstler*innen in denen sie ihre Erinnerungen
über die Gezi-Proteste 2013 in Istanbul dokumentiert haben.
Die Ausstellung zeigt Künstler*innenbücher von 85 Künstler*innen in denen sie ihre Erinnerungen
über die Gezi-Proteste 2013 in Istanbul dokumentiert haben.
Durch die Kontextualisierung der Ausstellung in Form der Podiumsdiskussion wollen wir die derzeitigen
politischen Entwicklungen in der Türkei, die Situation von Kunst- und Kulturschaffenden vor Ort
und die Rolle der EU in diesem Verhältnis befragen.
und die Rolle der EU in diesem Verhältnis befragen.
Die drei Podiumsgäste haben längere Zeit in Istanbul bzw. der Türkei gelebt und
haben unterschiedliche Erfahrungen damit gemacht wie die derzeitige politische Situation
auf die Lebensrealitäten von Künstler*innen und Kulturschaffenden Einfluss nimmt.
haben unterschiedliche Erfahrungen damit gemacht wie die derzeitige politische Situation
auf die Lebensrealitäten von Künstler*innen und Kulturschaffenden Einfluss nimmt.
Discussions about the situation of artists in and from Turkey in context
of the protests three years ago and their bearing on the current local political situation.
of the protests three years ago and their bearing on the current local political situation.
April 28th, from 8pm
WOW Venue, next to Kunstraum MOM
Valentinskamp 34a, entrance via Speckstrasse, 20355 Hamburg
With:
Selda Asal (artist and coordinator -Apartment Project Berlin / Istanbul)
Özlem Demirci (theatre educator and performance artist / Hamburg)
Martin Niessen (Journalist and author / Hamburg)
Moderation: Iver Ohm (Hidden Institute / Berlin)
The discussion panel takes place as a part of the opening of the exhibition „Stay with me“ (from 7pm),
and highlights the continuing topical nature of the Gezi-Park protests.
The exhibition shows artist books from 85 artists documenting their memories of Istanbul‘s 2013 Gezi protests.
and highlights the continuing topical nature of the Gezi-Park protests.
The exhibition shows artist books from 85 artists documenting their memories of Istanbul‘s 2013 Gezi protests.
In contextualising the exhibition using the form of the discussion panel,
we aim to interrogate current political developments in Turkey,
the local situations of artists and cultural workers,
and the role of the EU in relation to these issues.
we aim to interrogate current political developments in Turkey,
the local situations of artists and cultural workers,
and the role of the EU in relation to these issues.
The three panel speakers have all lived in Istanbul or Turkey for long periods,
and have experienced in varying ways how the current political situation has influenced
the day-to-day reality of artists and cultural workers.
and have experienced in varying ways how the current political situation has influenced
the day-to-day reality of artists and cultural workers.
Beteiligte Künstler*innen der Ausstellung sind / Involed artists of the exhibition are:
Ali Miharbi Anti-Pop Aslı Çavuşoğlu Ayşe Küçük Azra Deniz Okyay Balca Ergener Meltem Ahıska Berkay Tuncay Burçak Bingöl Carla Mercedes Hihn Ceren Oykut Christine Kriegerowski Çiğdem Hasanoğlu Devrim Karabeyoğlu Didem Erk Eda Gecikmez Ekin Saçlıoğlu Elif Çelebi Elmas Deniz Endam Acar Erdağ Aksel Erhan Öze Erdem Helvacıoğlu Eser SelenEvrensel Belgin Fatih Aydoğdu Fatma Belkıs Fatma Çiftçi Ferhat Özgür Figen Aydıntaşbaş Fulya Çetin Genco Gülan Gonca Sezer Gökçe Suvari Gökhan Deniz Göksu Kunak Gülçin Aksoy Gul Kozacıoglu Gümüş Özdeş Güneş Savaş Güneş TerkolGözde İlkin Hale Tenger Hubert Sommerauer İlhan Sayın İnci Furni İpek Duben İremTok Komet Leyla Gediz Lebriz Rona Melike Kılıç Merve Çanakçı Merve Şendil Mischa Rescka Murat Tosyalı Nalan Yırtmaç Nancy Atakan Nazım Dikbaş Neriman Polat Nurcan Gündoğan Onur Ceritoğlu Onur Gökmen Özgür Demirci Özgür Erkök Moroder Özge Enginoz Ruchan ŞahinoğluRaziye Kubat Sabine Küpher Büsch-Thomas Büsch Seçil Yersel Sena Başöz Senem Denli Sevim Sancaktar Sevil TunaboyluSevgi Ortaç Suat Öğüt Sümer Sayın Şafak Çatalbaş Ulufer Çelik Yaprak Kırdök Yasemin Özcan Yasemin Nur Yeşim Ağaoğlu Zeyno Pekünlü
backstage:Selda Asal
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Zentrum für Künstlerpublikatione
Pressemitteilung:
Einladung zur Eröffnung der Ausstellung
Stay With Me
im Rahmen des Ausstellungsprojektes „Im inneren der Stadt“ des Studienzentrums für Künstlerpublikationen des Museums Weserburg.
Samstag, 25. Juli 2015 um 19.00
Ansgaritorstraße 5-9, Bremen-Mitte
Die Ausstellung „Stay with me“ zeigt Notizbücher von 85 Künstler*innen, in denen sie ihre Erinnerungen an die Gezi-Proteste in Istanbul bearbeiten. Darin kommen Angst, Unsicherheit, die Existenz im Verborgenen sowie Momente der Hoffnung, Wirklichkeit und Zukunft eines kollektiven Widerstands zum Vorschein.
Im Mai 2013 und den darauf folgenden Monaten gingen hunderttausende Menschen erst in Istanbul und später in vielen Teilen der Türkei gegen die Regierung Recep Tayyip Erdoğans auf die Straße. Die Proteste hatten mehrere Todesopfer und tausende Verletzte zur Folge. Der Titel „Stay with me” beschreibt den Moment letzter Anstrengung, in dem die Hoffnung zu schwinden drohte. Der Slogan „Halte durch, gib nicht auf” wurde zum Ausdruck einer kollektiven Motivation, durchzuhalten. In der Ausstellung lebt dieser Moment wieder auf.
Aus dem Ausstellungstext von Selda Asal:
Davor und auch danach starben viele Menschen, wurden getötet. Kriege sind nicht zu Ende und werden es niemals sein. Kriegsrecht, nicht zu rechtfertigende Hinrichtungen, Militärregierungen, Völkermorde ... Wirklich, was hat uns in jenen Zeiten am Leben gehalten ... Wie haben wir das, was passiert ist, gesehen? Was haben wir gesehen? Oder konnten wir überhaupt sehen? Wenn wir nicht mehr in der Lage waren zu sehen, was hat uns erblinden lassen?
Vielleicht haben wir uns an vieles gewöhnt, sind immun gegen alles geworden.
Vielleicht sind wir abgestumpft, weil wir jede Nacht die „Live-Berichterstattung“ verfolgt haben. Ja, wahrscheinlich haben wir deshalb so oft durch die Kanäle geschaltet und anderen Träumen erlaubt, uns in ihren Bann zu ziehen. Ja, das war das Vergessen, und wir haben gelernt zu vergessen.
Ich kehre zur ersten Frage zurück: Was war es? Was ist passiert?
Kennen wir die Antwort?
In jedem Augenblick geschah so viel, dass der Satz zu unserer eigenen Täuschung feststand. Aber wir konnten einfach nicht mithalten.
An einem Punkt, als wir einfach nur da standen, begann etwas anderes. Wir waren auf den Straßen. Seite an Seite. Wir kannten uns nicht einmal, aber wir standen Seite an Seite. Wir waren dort. Wir haben gelernt, unsere Türen offen zu halten, Eimer voll Wasser vor die Wohnung zu stellen und im Falle einer Festnahme ein Dokument mit unseren Rechten an der Wohnungstür zu hinterlassen. Wir twitterten uns gegenseitig die Situation aus jeder Straße, die wir passierten.
Es war Hoffnung. Der Geist der Solidarität, die Herausforderung, Seite an Seite zu stehen. Dann ... Nichts hat sich geändert. Wir zogen uns von der Außenwelt zurück.
Jetzt sind wir müde. Ist es möglich, sich an diese Hoffnung noch einmal zu erinnern?
Wir müssen irgendwo anfangen ...
Das Projekt „Stay with me“ setzt hier an und verbindet Notizen, Dokumentation und Zeichnung, um mit der Assoziation dieser Erzählungen die Hoffnung, die wir hatten, wiederaufleben zu lassen.
Beteiligten Künstler*innen:
Ali Miharbi Anti-Pop Aslı Çavuşoğlu Ayşe Küçük Azra Deniz Okyay Balca Ergener-Meltem Ahıska Berkay Tuncay Burçak Bingöl Carla Mercedes Hihn Ceren Oykut Christine Kriegerowski
Çiğdem Hasanoğlu Devrim Karabeyoğlu Didem Erk Eda Gecikmez Ekin Saçlıoğlu Elif Çelebi Elmas Deniz Endam Acar Erdağ Aksel Erhan Öze Erdem Helvacıoğlu Eser Selen Evrensel Belgin Fatih Aydoğdu Fatma Belkıs Fatma Çiftçi Ferhat Özgür Figen Aydıntaşbaş Fulya Çetin Genco Gülan Gonca Sezer Gökçe Suvari Gökhan Deniz Göksu Kunak Gülçin Aksoy Gul Kozacıoglu Gümüş Özdeş Güneş Savaş Güneş Terkol Gözde İlkin Hale Tenger Hubert Sommerauer İlhan Sayın İnci Furni İpek Duben İremTok Komet Leyla Gediz Lebriz Rona Melike Kılıç Merve Çanakçı Merve Şendil Mischa Rescka Murat Tosyalı Nalan Yırtmaç Nancy Atakan Nazım Dikbaş Neriman Polat
Nurcan Gündoğan Onur Ceritoğlu Onur Gökmen Özgür Demirci Özgür Erkök Moroder
Özge Enginoz Ruchan Şahinoğlu Raziye Kubat Sabine Küpher Büsch-Thomas Büsch Seçil Yersel Sena Başöz Senem Denli Sevim Sancaktar Sevil Tunaboylu Sevgi Ortaç Suat Öğüt Sümer Sayın Şafak Çatalbaş Ulufer Çelik Yaprak Kırdök Yasemin Özcan Yasemin Nur Yeşim Ağaoğlu
Zeyno Pekünlü
Back-stage: Selda Asal und Iver Ohm
Eröffnung: Samstag, 25. Juli 2015 um 19.00
Ort: leerstehendes Ladenlokal des Einkauzentrums Loydhof
Ansgaritorstraße 5-9, Bremen-Mitte
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STAY WITH ME / DEPO iSTANBUL
Dates: 13 May 2015 - 7 June 2015
At a point, as we were just standing there, "something" else began. We were on the streets. Side by side. We didn't even know each other, but we were side by side. We were there. We had learned to keep our doors open and in case of arrest, to post a document showing our rights on the door of the apartment, and to note the situation on every street we passed, and tweet it to one another.
This was hope itself. The spirit of solidarity, the challenge, standing side by side.
Is it possible to remember this hope?
We have to start somewhere...
Stay with me project takes from here; taking notes, documenting, drawing; remembering the hope with the association of these narrations.
The title Stay with me is chosen because it expresses a last resort when the hope is fading "hold on, don't give up". It grew as a slogan that expresses a collective effort where everyone is involved and holding on together.
Stay with me project is composed of notebooks that indicate limitless fear, insecurity, existence in obscurity as well as hope, reality, future and the "moment", by 84 participants.
The project is initiated by Selda Asal. Participating artists are:
Ali Miharbi, Anti-Pop, Aslı Çavuşoğlu, Ata kam, Ayşe Küçük, Azra Deniz Okyay, Balca Ergener - Meltem Ahıska, Berkay Tuncay, Burçak Bingöl, Carla Mercedes Hihn, Ceren Oykut, Christine Kriegerowski,Çiğdem Hasanoğlu, Devrim Ck, Devrim Kadirbeyoğlu, Didem Erk, Eda Gecikmez, Ekin Saçlıoğlu, Elif Çelebi, Elmas Deniz, Endam Acar - Fırat Bingol, Erdağ Aksel, Erhan Öze, Erdem Helvacıoğlu, Eser Selen, Fatma Belkıs, Fatma Çiftçi, Ferhat Özgür, Figen Aydıntaşbaş, Fulya Çetin, Genco Gülan, Gonca Sezer, Gökçe Süvari, Gökhan Deniz, Göksu Kunak, Gülçin Aksoy, Gül Kozacıoğlu, Gümüş Özdeş, Güneş Savaş - Eren Yemez, Güneş Terkol, Gözde İlkin, Hale Tenger, Hubert Sommerauer, İnci Furni, İpek Duben, Kınay Olcaytu, Komet, Lebriz Rona, Leyla Gediz, Melike Kılıç, Merve Çanakçı, Merve Şendil, Mischa Rescka, Murat Tosyalı, Nalan Yırtmaç, Nancy Atakan, Nazım Dikbaş, Neriman Polat, Nick Flood, Nurcan Gündoğan, Onur Ceritoğlu, Onur Gökmen, Özgür Atlagan - Bengi Güldoğan, Özgür Demirci, Özgür Erkök Moroder, Özge Enginöz,Rüçhan Şahinoğlu, Raziye Kubat, Sabine Küpher Büsch - Thomas Büsch, Seda Hepsev, Seçil Yersel, Sena Başöz, Senem Denli, Sevim Sancaktar, Sevil Tunaboylu, Sevgi Ortaç, Suat Öğüt, Sümer Sayın, Şafak Çatalbaş, Ulufer Çelik, Yaprak Kırdök, Yasemin Özcan, Yasemin Nur, Yavuz Parlar, Yeşim Ağaoğlu and Zeyno Pekünlü
Address: DEPO / Tütün Deposu Lüleci Hendek Caddesi No.12
Tophane 34425 İstanbul
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STAY WITH ME / APARTMENT PROJECT- BERLIN
Ali Miharbi Anti-Pop Aslı Çavuşoğlu Ayşe Küçük Azra Deniz Okyay Balca Ergener-Meltem Ahıska Berkay Tuncay Burçak Bingöl Carla Mercedes Hihn Ceren Oykut Christine Kriegerowski
Çiğdem Hasanoğlu Devrim Karabeyoğlu Didem Erk Eda Gecikmez Ekin Saçlıoğlu Elif Çelebi El- mas Deniz Endam Acar Erdağ Aksel Erhan Öze Erdem Helvacıoğlu Eser Selen Evrensel Belgin Fatih Aydoğdu Fatma Belkıs Fatma Çiftçi Ferhat Özgür Figen Aydıntaşbaş Fulya Çetin Genco Gülan Gonca Sezer Gökçe Suvari Gökhan Deniz Göksu Kunak Gülçin Aksoy Gul Kozacıoglu Gümüş Özdeş Güneş Savaş Güneş Terkol Gözde İlkin Hale Tenger Hubert Sommerauer İlhan Sayın İnci Furni İpek Duben İremTok Komet Leyla Gediz Lebriz Rona Melike Kılıç Merve Çanakçı Merve Şendil Mischa Rescka Murat Tosyalı Nalan Yırtmaç Nancy Atakan Nazım Dikbaş Neriman Polat
Nurcan Gündoğan Onur Ceritoğlu Onur Gökmen Özgür Demirci Özgür Erkök Moroder
Özge Enginoz Ruchan Şahinoğlu Raziye Kubat Sabine Küpher Büsch-Thomas Büsch Seçil Yersel Sena Başöz Senem Denli Sevim Sancaktar Sevil Tunaboylu Sevgi Ortaç Suat Öğüt Sümer Sayın Şafak Çatalbaş Ulufer Çelik Yaprak Kırdök Yasemin Özcan Yasemin Nur Yeşim Ağaoğlu
Zeyno Pekünlü
back-stage Selda Asal
Hertzbergstr13, 12055, Berlin
030-54494954
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Künstlerhaus Bremen: Präsentation im Gastatelier
Gaststipendiatin Gözde Ilkin
Mittwoch, 10. September 2014, 19 Uhr
Die diesjährige Gaststipendiatin im Künstlerhaus Bremen, Gözde Ilkin aus Istanbul, wurde von der Bremer Künstlerin Susanne K. Willand eingeladen. Zusammen stellen sie am 10. September 2014 um 19 Uhr Gözde Ilkins Werk anhand eines gefundenen Objekts (“Dokument”) im Gastatelier vor.
Darüber hinaus werden sie über Ilkins laufendes Projekt "Bosphorus Tour” sprechen. Ein Teil dieser Arbeit wird noch bis zum 21. September 2014 in der Ausstellung “Twist” in der Galerie Herold im Künstlerhaus Güterabfertigung zu sehen sein.
Gözde Ilkin arbeitet mit verschiedenen Techniken, wie z.B. der Stickerei, Zeichnung, Malerei und Installation. Außerdem sammelt sie Objekte, die sie zu einem persönlichen Archiv zusammenstellt. Anhand dieser gefundenen Dinge bearbeitet und präsentiert sie die hauptsächlichen Themen Ihres Werks, wie öffentliche Manipulation, urbane Transformation, politische und soziale Beziehungen und physikalische und mentale Grenzfragen.
Gözde Ilkin und Susanne K. Willand lernten sich 2006 während des Kunstprojekts “Topkapi” der Künstlerin Sirma Kekec kennen. Hierfür realisierten sie eine gemeinsame Arbeit (“place”). Ausschnitte daraus sind ebenfalls in der gemeinsamen Ausstellung “Twist” der beiden Künstlerinnen zu sehen.
Wir würden uns sehr freuen, Sie an diesem Mittwoch Abend zu einem türkischen Mokka begrüßen zu dürfen!
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Participating Artists:Fatih Aydoğdu | Burçak Bingöl | Teresa Henriques | Olivier Hölzl | Berat Işık | Gözde İlkin | Julia Oldham | Pınar Öğrenci | Yasemin Özcan | Sevim Sancaktar | İrem Tok | Maja Vukoje | Pınar Yoldaş
Curator:
Işın Önol
[…] in the 1940s, psychotic patients would express delusions about their brains being controlled by radio waves; now delusional patients commonly complain about implanted computer chips,”[1]
”The Matrix is everywhere, even now in this very room. You can see it when you look out your window or when you turn on your television. You can feel it when you go to work, when you go to church, when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth.” (Morpheus);
“What truth?” (Neo);
“That you’re a slave. Like everyone else, you were born into a prison, a prison that you cannot smell or touch, a prison for your mind.” (Morpheus)[2]
Now, in fact, we already live largely in a negationist society. No event is ‘real’ any longer. Terror attacks, trials, wars, corruption, opinion polls – there’s nothing now that isn’t rigged or undecidable. Government, the authorities and institutions are the first victims of this fall from grace of the principles of truth and reality. Incredulity rages. The conspiracy theory merely adds a somewhat burlesque episode to this mental destabilization. Hence this urgent need to combat this creeping negationist and at all costs, safeguards a reality that is now kept alive on a drip.[3]
Humans constantly learn how do things, how to explain phenomena, how to model the world: how to minimize the difference between expectation and observation. To that end, not only learning from success has proven useful, but also learning from failures, realizing when it is time to give up trying something: Repeated failure frustrates us, the pain incurred by failed attempts undermines our self-esteem. We feel powerless and embarrassed in the face of an overwhelming difficulty. And eventually we give up. It is a sign of intelligence to do so; we have learned that something is impossible. The insight of impossibility gets encoded in an emotion, especially if punishment or pain is associated with a failed attempt. This internalized experience of incapability is often so traumatic that we never ever take another attempt, even if the conditions may have changed. We do not even take notice of them any longer. Even if all obstacles get removed: We don’t try anymore. We have given up. We have learned helplessness.
Humans learn not only from own experiences, but also by observing the successes and failures of their peers. There are numerous narrative forms for passing on frustrations, there is a tone reserved in every social group’s repertoire of jokes, sighs and lamentos for expressing it. We pat our shoulders and agree that it simply could not be done: We learn the helplessness of our ancestors and peers.
Moreover, the future can only be made from what is considered possible: We can only choose among the options for behaviour that we are aware of. Many of the possibilities that our ancestors have gotten frustrated with never become part of our world. They get buried on the cemetery of failed attempts, and pride and pain prevents the ancestors from telling stories about them. Especially when some attempt gets punished by psychological or physical violence, then the emotion that encodes the failure is not just frustration, but a deep injury of the soul: apathy, depression and despair are what the victim will suffer.
Human emotions are the material of which power is forged. A plethora of elaborate techniques exist to plant and dung them, stake or trim, harvest, lay, ferment and distil them. Especially learned helplessness has proven an extremely effective means of dressage, particularly in its indirect, socially mediated form: To the end of controlling and stabilizing a status quo, nothing is more powerful than the invisible leash that is formed from the almost instinctive flinching from change that we have developed from frustrated attempts.
To braid the invisible leash, it is necessary to create an initial frustration, or worse: a traumatic experience. The use of abasement, physical restraint and violence is unbearably effective at that. These are the knives with which traumata can be cut most directly into the fabric of the self. Alone the realization that these actions are in fact possible and have been applied during every single moment of mankind is deeply frustrating and embarrassing to everyone who has a hope in our propensity for learning.
The didactics of helplessness however knows much more subtle techniques, many of which exploit the dependence of the human self-model and self-esteem on the feedback of peers, and the self-evaluation in comparison to what is taught as exemplary by the textbook of the social. The key lesson that an organism needs to learn is one of own incapability: Human identity requires a sense of being in control of matters, such as of the own existence and fate. Make the students of helplessness poor – materially or symbolically; convince them that they are incapable; foster their existential fear; then offer them a straw: They will grasp it and have learnt that it is impossible for them to survive on their own. Give excessive help, function overly, and you shall receive helplessness.
The conviction (of an individual or a group) of being out of control needs to get reinforced, practiced and rehearsed. Repeat: We are incapable of dealing with the problem; the problem is overwhelmingly large; it is too complex for our simple minds to grasp; a solution is so improbable that it is impossible for all practical purposes. There is not only one problem: two more get reported every day. We don’t even know enough about the nature of the problems. A conspiracy might be pulling the strings, but there are conflicting theories about who is really, truly in control. No one can know what is going on behind the scenes. In fact, you cannot trust anyone; hence there is no truth. If you can’t convince them of their own helplessness, confuse them and overwhelm them: Immerse them in a constant stream of buzz, whirl their heads around until the liquid between their ears is spinning like an eddy.
The notion of “learned helplessness” can be summarized as a mental state that an individual or society arrives at when they internalize failure and stop trying to break out of an overpowering condition – even if that condition changes. Put forward by psychologist Martin Seligman in 1967, it has inspired a number of scholars working in the fields of gender politics, racism, genocide, authoritarianism and related subjects that are concerned with the dynamics of hegemony. It is through suppressive education processes, religious and moral principles (enacted both by families as well as institutions and cultures), violations of human rights and freedom, political pressure, and the continuous recall of the status quo by the media, that individuals and societies arrive at a fatal conclusion: That they do not have the necessary power to change the existing modus vivendi or the prevailing regimes.
The existing control mechanisms instrumentalise this aspect of human psychology in the form of social engineering and manipulation of societies. They employ the media, prisons, surveillance and security systems that operate on the basis of social psychology. They systematically manufacture a collective sense of helplessness. By using information overflow, normalizing corruption and injustice, monitoring privacy, manipulating law, operating a police system, applying psychological and physical violence, murdering, torturing, imprisoning, creating conflicts within societies, raising poverty and creating a financial need for their own existence, the ruling powers aggressively develop a system of even greater control.
In many of the so-called democratic countries of present day, large parts of society are reluctant about available alternatives in elections. Fewer and fewer people feel represented in parliaments. Often people think that their participation will not matter, given the strategies and games taking place in the election systems: Today, in many countries the notion of “free choice” has to be regarded an impossible dream. “The lesser of two evils”, “strategic voting”, or “voting grudgingly” are frequently heard utterances that give evidence of the lost hope.
Experiences of violence – massacres, military coup d’états, unsolved political murders, wars, terror attacks, etc. – are severe traumata in the collective memories of societies. They increasingly help cultivate a collective fear and justify the necessity for surveillance, as well as military and security forces. However, these comprehensible needs transform the role of the state from governing to ruling. This is where the abuse of power starts, and the security forces, media and monitoring agencies, which owe their existence to the collective anxiety, start functioning as tools for the defence of the ruling regime from its own public. It is through violence and an overflow of conflicting information that a society gets confused, loses its trust, and consequently its hope.
Is it possible to un-learn helplessness? The exhibition project “Learned Helplessness: On Authority, Obedience, and Control” is the result of a collective thinking process about this question. It brings together diverse positions analysing the phenomenon from the aspects of family, religion, psychology, politics, urbanism, gender, neuroscience and social education. The project encompasses a variety of artistic forms, including sound, video, object installations, photographs, graffiti and drawings – mainly produced for this exhibition. It aims at going beyond the artistic dialog that it suggests, and opening up a discussion platform for collective thinking and for debating the metaphor of unlearning helplessness.
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no one belongs here more than you
Zepter Expo, Former Department Store KLUZ, Masarikova 4
