REHBER

13
th

Istanbul
Biennial
13.
stanbul
Bienali
GUIDE
REHBER
13
th

Istanbul
Biennial
13.
stanbul
Bienali
GUIDE
REHBER
13
th

Istanbul
Biennial
13.
stanbul
Bienali
GUIDE
.-_-.
dm Kokesch
Agnieszka Polska
Akademia Ruchu
Alice Creischer &
Andreas Siekmann
Amal Kenawy
Amar Kanwar
Anca Benera &
Arnold Estefan
Angelica Mesiti
Annika Eriksson
Aye Erkmen
Basel Abbas &
Ruanne Abou-Rahme
Basim Magdy
Bertille Bak
Carla Filipe
Carlos Eduardo Felix
da Costa (Cadu)
Christoph Schfer
Cinthia Marcelle
Cinthia Marcelle &
Tiago Mata Machado
Claire Pentecost
David Moreno
Didem Erk
Diego Bianchi
Edi Hirose
Elmgreen & Dragset
Falke Pisano
Fernanda Gomes
Fernando Ortega
Fernando Piola
Freee (Dave Beech,
Andy Hewitt, Mel Jordan)
Goldin+Senneby
Gonzalo Lebrija
Gordon Matta-Clark
Guillaume Bijl
Halil Altndere
Hanna Farah Kufr Birim
Hctor Zamora
Hito Steyerl
HONF Foundation
nci Eviner
pek Duben
Jananne Al-Ani
Jean Genet
Jean Rouch
Jimmie Durham
Ji Kovanda
Jorge Galindo &
Santiago Sierra
Jorge Mndez Blake
Jos Antonio Vega Macotela
Lale Mldr &
Kaan Karacehennem &
Franz von Bodelschwingh
LaToya Ruby Frazier
Lutz Bacher
Lux Lindner
Mahir Yavuz & Orkan Telhan
Maider Lpez
Martin Cordiano &
Toms Espina
Maxime Hourani
Mere Phantoms
(Maya Ersan & Jaimie Robson)
Mierle Laderman Ukeles
Mika Rottenberg
Murat Akagndz
Mlkszletirme Alar
Nathan Coley
Newspaper Reading Club
(Fiona Connor &
Michala Paludan)
Nicholas Mangan
Nil Yalter & Judy Blum
Peter Robinson
Praneet Soi
Provo
Proyecto Secundario
Liliana Maresca
Rietveld Landscape
Rob Johannesma
Rossella Biscotti
Santiago Sierra
Serkan Taycan
Shahzia Sikander
Stephen Willats
Sulukule Platformu
ener zmen
Tadashi Kawamata
Thomas Hirschhorn
Toril Johannessen
Vermeir & Heiremans
Volkan Aslan
Wang Qingsong
Wouter Osterholt &
Elke Uitentuis
Yto Barrada
Zbigniew Libera
108
112
116
120
124
128
132
358
136
140
144
148
362
400
280
366
152
156
160
370
284
164
168
172
288
176
292
396
180
184
188
192
296
196
300
200
204
304
374
208
308

212
216
312
220
316
222
378
320
226
230
234
324
328
332
336
238
242
246
Sanat dizini
Artist index
40
44
256
48
52
56
386
60
344
260
64
348
264
268
68
72
76
352
80
84
88
354
390
92
272
276
96
100
104
13. STANBUL BENAL
13
th
ISTANBUL BIENNIAL
REHBER
GUIDE
13. stanbul Bienali Rehberi
stanbul Kltr Sanat Vakf ve Yap Kredi Yaynlar tarafndan,
Vehbi Ko Vakfnn katklaryla yaymlanmtr.
The Guide to the 13
th
Istanbul Biennial
is copublished by the Istanbul Foundation for Culture and Arts
and Yap Kredi Publications with the invaluable contribution of
Vehbi Ko Foundation.
aIcntt svonsoau
bennal sponsor
SANATILAR
ARTIST LIST
NSZ
FOREWORD
KRATRN METN
CURATORS TEXT
BENAL HARTASI
BIENNIAL MAP
MEKNLARA GRE SANATILAR
ARTISTS BY VENUE
BENAL PROGRAMLARI
BIENNIAL PROGRAMS
KSV
NDEKLER
DN VERENLER
LENDERS
MEKN & ZYARET BLGS
VENUES & VISITOR INFO
TEEKKRLER
ACKNOWLEDGEMENTS
PARALEL ETKNLKLER
PARALLEL EVENTS
FOTORAF KNYELER
PHOTO CREDITS
SPONSORLAR SPONSORS
CONTENTS
.-_-., dm Kokesch, Agnieszka Polska,
Akademia Ruchu, Alice Creischer &
Andreas Siekmann, Amal Kenawy,
Amar Kanwar, Anca Benera & Arnold Estefan,
Angelica Mesiti, Annika Eriksson, Aye Erkmen,
Basel Abbas & Ruanne Abou-Rahme,
Basim Magdy, Bertille Bak, Carla Filipe,
Carlos Eduardo Felix da Costa (Cadu),
Christoph Schfer, Cinthia Marcelle,
Cinthia Marcelle & Tiago Mata Machado,
Claire Pentecost, David Moreno, Didem Erk,
Diego Bianchi, Edi Hirose, Elmgreen & Dragset,
Falke Pisano, Fernanda Gomes,
Fernando Ortega, Fernando Piola,
Freee (Dave Beech, Andy Hewitt, Mel Jordan),
Goldin+Senneby, Gonzalo Lebrija,
Gordon Matta-Clark, Guillaume Bijl,
Halil Altndere, Hanna Farah Kufr Birim,
Hctor Zamora, Hito Steyerl,
HONF Foundation, nci Eviner, pek Duben,
Jananne Al-Ani, Jean Genet, Jean Rouch,
Jimmie Durham, Jir Kovanda, Jorge Galindo &
Santiago Sierra, Jorge Mndez Blake,
SANATILAR
Jos Antonio Vega Macotela, Lale Mldr &
Kaan Karacehennem & Franz von Bodelschwingh,
LaToya Ruby Frazier, Lutz Bacher,
Lux Lindner, Mahir Yavuz & Orkan Telhan,
Maider Lpez, Martin Cordiano &
Toms Espina, Maxime Hourani,
Mere Phantoms (Maya Ersan & Jaimie Robson),
Mierle Laderman Ukeles, Mika Rottenberg,
Murat Akagndz, Mlkszletirme Alar,
Nathan Coley, Newspaper Reading Club
(Fiona Connor & Michala Paludan),
Nicholas Mangan, Nil Yalter & Judy Blum,
Peter Robinson, Praneet Soi, Provo,
Proyecto Secundario Liliana Maresca,
Rietveld Landscape, Rob Johannesma,
Rossella Biscotti, Santiago Sierra,
Serkan Taycan, Shahzia Sikander,
Stephen Willats, Sulukule Platformu,
ener zmen, Tadashi Kawamata,
Thomas Hirschhorn, Toril Johannessen,
Vermeir & Heiremans, Volkan Aslan,
Wang Qingsong, Wouter Osterholt &
Elke Uitentuis, Yto Barrada, Zbigniew Libera
ARTISTS
13. stanbul Bienali kamusal alann toplumsal mcadeleler, sanat ve siyaset
asndan gcne odaklanyor. Kendisi de dorudan bir kamusal alan yarat-
may, dolaysyla da herkese ulaabilmeyi amalayan bienal, bu yl ilk kez tm
ziyaretiler tarafndan cretsiz gezilebilecek. ki yla yakn sren hazrlk
srecinde demokrasi, ifade zgrl, kamusal ve mterek alan tanmlar,
kentsel dnm, sanat ve siyaset arasndaki iliki zerine dnen bienal, imdi
ise verimli bir tartma ortam yaratmann hayalini kuruyor.
13. stanbul Bienalini ekillendiren son derece youn aratrma sreci serginin
ruhuna iledi. Kavramsal erevenin ve kamusal programn oluturulmasnda
saysz grmeler, fikir alverileri gerekletirildi. Bu alanda yaplm olan
akademik ve bamsz aratrmalar tartld. Sanatlarn sergiye davet edilme-
leri ve retim srelerinde, hem kavramsal ereve hem de stanbul balamnda
yaplm olan bu aratrmalar byk rol oynad. Kolektif dnce ve almann
esas olduu bu bienal, sonuca odaklanmaktansa sreci vurguluyor.
Ne sanat, ne de sanatsal etkinlikler, retildikleri yer ve balamn toplumsal, eko-
nomik ve kltrel dinamiklerinden ayr dnlemez: Trkiye, bu yaz, tarihinde
bir dnm noktas oluturan gelimelere tank oldu; bu da serginin dntrc
mzakere ve dnce alanlarn mmkn klacak yeni bir dil ve yeni bir dnya
tahayylyle rtt. 13. stanbul Bienali, neoliberal politikalarn ve onlara her
daim elik eden baskc anlayn ekonomik, sosyal, kltrel ve ekolojik alanda
zgrlk talepleri karlamad bir dnyada, kolektif bir hayalgcne iaret
eden kratr Fulya Erdemcinin sanatn simgesel dzlemde yeni ihtimaller
nerebilecei inancn paylayor. Bienalin tm yapsna ileyen bu inancn
tezahrlerini, bienal sergi yerletirmelerinden sanatlarn projelerinin birbiriyle
olan ilikisine, bienal afi ve kitap tasarmlarndan kamusal programlara kadar
birok farkl yerde grmek mmkn.
Bu bienalin kavramsal erevesi, stanbulda uygulanan iddetli kentsel dn-
m sanat ve siyaset ilikisellii zerinden ele alyordu. Serginin almasna ay
kala Gezi direnii balad ve Trkiyede toplumsal zgrlkler alannn giderek
daraldn hissedenler haklarn ve taleplerini savunacaklarn gsterdiler:
Bienal de, sanatn yaamn, yaamn da sanatn iine karmasna ve kentsel
kamusal meknlarda gerekleen dnmn iddetine bizzat tanklk ederek
serginin bu meseleleri ele al biimi ve uygulama stratejisiyle ilgili radikal
kararlar ald. ncelikle kentsel kamusal meknlardan sergi meknlarna gemeye
Yollar Amak
1
1 Maider Lpezin 13. stanbul Bienali iin rettii yaptn bal.
NSZ
1
The 13
th
Istanbul Biennial focuses on the power of public space in terms of social
struggles, art and politics. For the frst time ever, entry to the biennial is free of
charge for everyone. The biennial itself aims to create a public space, therefore
it is our belief that the exhibition must be accessible by all: Over a preparation
process spanning almost two years, the biennial sought to imagine the defnitions
of concepts such as democracy, freedom of expression, public and communal
space; and the relationship between urban transformation, art, and politics. And
now, as the exbition opens, it is time to dream of creating a lucrative environment
for debate.
The intense research process that shaped the 13
th
Istanbul Biennial has penetrated
the exhibitions spirit. Countless meetings, discussions, and conversations
transpired in forming the conceptual framework, and the Public Programme.
Academic and independent studies that focused on biennial themes were
discussed. Both the conceptual framework and research studies assessing the
Istanbul context in terms of urban transformation and art in public space were
determining factors in choosing the artists to be invited to the biennial, and shaping
their production processes. The 13
th
Istanbul Biennial is based on collective thought
and practice, and it emphasizes process over outcome.
Neither art, nor artistic activities can be considered independently of the social,
economic and cultural dynamics of the place and context in which they are
produced: This summer, Turkey witnessed events that formed a turning point in the
countrys history. The socio-politically transformative experience overlapped what
the biennial aspired to achieve: initiate and facilitate innovative opportunities for
thought and deliberation with a fresh, new language, and a new imagining of the
world around us that would render the exhibitions transformative felds of thought
and negotiation possible. In a world where neoliberal policies, and the oppressive
attitude that constantly fank them refuse to meet the demands for justice and
freedom in economic, social, cultural and ecological felds, the 13
th
Istanbul Biennial
shares its curator Fulya Erdemcis belief that art can point towards a collective
imagination, and propose new potentialities on a symbolic plane.
The conceptual framework of this biennial initially focused on the hostile urban
transformation taking place in Istanbul through the relationality of art and politics.
However, three months before the opening of the exhibition, the Gezi resistance
began, and people who felt that the space of social freedoms in Turkey was being
Making Ways
1 The title of Maider Lpezs work specifcally produced for the 13
th
Istanbul Biennial.
B
i
g
e

r
e
r
FOREWORD
karar verdi. Bienal, sanat alannn dayanmasnn nemine ve gerekliliine bir
kez daha dikkat ekmek istedi: ARTER, SALT Beyolu ve 5533 sergiye ay kala
bienalle ibirlii yapmay kabul ettiler ve meknlarn bienal sanatlarna aarak
serginin daha geni bir cephede izleyiciyle bulumasna olanak tandlar.
Fulya Erdemci ve kamusal program ekratr Andrea Phillips, 13.stanbul
Bienalinin Kamusal Programnda ehir, ifade zgrl, sanat ve kaynaklar
ilikisi, yeni znellik biimleri olarak gelecein kamular ve yeni kolektif ler
gibi meseleleri sergiden uzun zaman nce tartmaya amt. Bienal ncesinde,
kamusalln sanatsal ve siyasi bir ara olarak kresel kapitalizm ve yerel
toplumsal krlma balamnda nasl tekrar kullanma sokulabileceini ince-
lemeyi hedef leyen kamusal programn yapsnda da deiiklie gidildi. Btn
bu kararlar ve gerektirdikleri deiiklikler, bienalin sadece sanat alannda
deil, felsefeden sosyal bilimler ve iletiime, uluslararas dzeyde yeni fikirlerin
ortaya kmasna katkda bulunduuna inanan, iten ve zverili bir ekibin ortak
almas sayesinde uygulamaya geirildi.
Bienaller kimi zaman bir kreselleme projesinin arac olmakla, ehirlerin
pazarlanmasnda etkin bir vitrin esi olarak kullanlmakla veya kltrn zel-
letirilmesini cazip klan gz alc etkinliklerden ibaret olmakla eletiriliyorlar.
Dier yandan, dnyadaki bienallerin says her geen gn arttka yeni sergileme
biimleri kefetmeyi birincil hedef olarak belirleyen bienallerin nemi artyor.
Byle bir bienal olmasn hedef lediimiz stanbul Bienali, yaratclndan dn
vermeden srdrlebilirliini salayarak yirmi beinci ylna girdi. Bienal,
srekli deien yerel ve uluslararas, sanatsal ve toplumsal konjonktr iinde
varoluunun meruiyetini hep yeniden tanmlayarak, bir sergi olarak potansi-
yelinin yaratt ve yaratabilecei imknlar zerinde dnmeye devam ediyor.
Uluslararas gncel sanat alannda tek bir merkez yok, ok sayda ve hepsi srekli
dnm halinde olan merkezler var, bienal de bu merkezlerin yaratt oksesli-
lie katkda bulunuyor. Bienal, ifade zgrln ve zgr dnceyi savunuyor,
bienal format ise her trl mikro ve makro iktidar yapsnn karsnda direnme
alanlar yaratma potansiyeli tayor.
Sanat yaptlar topik bir deneyim nerebilir ama sanatlar, sanat kurumlar,
sanat eletirmenleri, eitmenleri, izleyicisi, galerileri, fuarlar ve sanat hamile-
riyle birlikte bienal de bir sistem iinde yer alyor ve ilev gryor. Bienal, bunun
bilinci ve kabulyle, kresel sanat pazarndan ve ticari karlarn ynlendirdii
deerlendirme kriterlerinden kendini ayrtrarak sanat iin zerk ve bamsz
bir alan amak iin urayor. Bienalin esnek modeli, kratr bamszln
sanatsal kararlarda kurumun hibir n koulu ya da ncelii olmadan salyor;
kratrn ve sanatlarn fikirlerinin hayata geirilmesi iin tm imknlarn
kullanyor ve bamsz bir alan sunuyor. stanbul Bienali, kendisine yneltilen
eletirilerin salad katkyla dnme ak modelini srekli olarak yeniliyor.
Bienalin ilk sergisinden bu yana oluturduu dinamik ortam, gncel sanat
alannda gndem belirleyici tartmalar yaratt ve kuramsal ve pratik yenilikleri
NSZ
increasingly constricted showed that they were prepared to defend their rights and
demands. As a result, the biennial witnessed frsthand how art merged into life, and
life fowed into art. Afterwards, the exhibition took radical decisions regarding how
it would approach these issues and how it would materialize. The frst of these was
to move the exhibition from urban public spaces to specifcally designated exhibition
venues. The biennial wanted to draw attention to the importance and necessity of
solidarity within the sphere of art: with three months left for the opening, ARTER,
SALT Beyolu and 5533 agreed to collaborate with the biennial, and by opening
their spaces to biennial artists, enabled the exhibition to meet its audience on a
broader scale.
Fulya Erdemci, together with Andrea Phillips, co-curator of the Public Programme
of the 13
th
Istanbul Biennial, had decided from the outset to open up to debate
topics such as the city, freedom of expression, the relationship between art and its
resources, the publics of the future as new forms of subjectivity, and new collectives
to the extent possible through Public Alchemy. The structure of the public
programme, which aimed to explore how publicness could be re-introduced to func-
tion as an artistic and political tool in the context of global fnancial capitalism and
local social rupture, was also revised with the local changes. All these decisions and
the necessary changes could only be realized thanks to the sincere and selfess
efforts of a team that believes the Istanbul Biennial contributes to the emergence
of new ideas not only in the feld of art, but also in felds as diverse as philosophy,
social sciences and communication on a local and international level.

Biennials throughout the world face the criticism of functioning as vehicles for glo-
balisation projects; for being used as effective shopwindow props in the marketing
of cities, or for acting as mere attractions in the privatisation of culture. On the
other hand, as the number of biennials across the world increases by the day, the
importance of biennials that prioritise the invention of new exhibition forms also
increases. In its twenty-ffth year, the Istanbul Biennial has secured its sustainability
without compromising its creativity. Today, within a constantly changing geopolitical,
social and artistic conjuncture, it continues to revisit and redefne the legitimacy of
its existence, and to contemplate its present and future potential as an exhibition.
There is no single epicenter of the international contemporary art scene, there are
rather numerous, constantly transforming centers, and the biennial contributes to
the polyphony they create. The biennial supports freedom of expression and free
thought, and its format contains the potential to contribute to zones of resistance
against all micro and macro structures of power.
Works of art can be and are even encouraged to be utopian, however, just like
artists, art institutions, critics, instructors, audiences, galleries, fairs and
philanthropists, the biennial, too, is positioned and operates within a system. With
full awareness of this fact, and by distancing itself from the global art market and
assessment criteria determined by corporate interest, this biennial sustains its
efforts towards forming an autonomous and independent feld for art. The fexible
B
i
g
e

r
e
r
FOREWORD
besledi. imdi de hem kendisini srekli bir eitim, renim, retim ve eletiri
alanna dntrmeyi hedef liyor, hem de daha geni akademik ve kolektif bilgi
retimi alanyla kalc ve verimli bir etkileim ierisine girmeyi arzuluyor.
Bienallerin ilk ve ortak k noktalarndan biri, uluslararas gncel sanatn
nemli ve yeni rneklerini bir ehirde dzenlenen bir sergide bir araya getirerek
sunmak, bu sayede gerekletirildikleri ehirdeki sanatsal retimi uluslararas
gncel sanat alanyla buluturmak olarak tanmlanabilir. Bunun yan sra, ger-
ekletirildikleri ehirlerde, zellikle gncel sanat asndan kltrel altyapnn
yetersiz olduu hallerde bienaller gncel yaklamlar ortaya koyan geici bir
mze ilevi stlenerek yerel ve kresel arasnda bir harita grevi de gryordu.
Ancak bugn bienallerden, tm bu nemli rol ve sorumluluklara ek olarak, farkl
misyonlar stlenmeleri bekleniyor. ok kutuplu ve ok merkezli bir dnyada
sosyal ve siyasal meselelere farkl bir perspektif getirmeleri ve eletirel, yaratc ve
alternatif iddialarn seslerini ykseltmelerinde bir platform olmalar isteniyor.
stanbul Bienali, Trkiye gncel sanat tarihinin ve ortamnn nemli aktrle-
rinden biri. Hem yapsal hem de kavramsal balamda, sanat alannn tesine de
geen nemli tartmalar at; kaynak ve retim yntemiyle ve izleyicisiyle iliki-
siyle stanbula zg, ama ayn zamanda yerel ve uluslararas lekte sanatsal ve
entelektel ilgiye layk bir slup oluturdu. 13. stanbul Bienali serginin cretsiz
olmasn salayarak bu almalara herkesin eriebilmesini amalad.
13. stanbul Bienali, kamusal meknlar ve kentsel dnmle ilgili Trkiyede
uzun yllardr sregelen aratrmalarn ve mcadelelerin gcne inanarak
effaf l, paylam ve karlkl saygy destekleyecek sanatsal ve sylemsel bir
form neriyor. Bu bienal, kentlerimizin bugnn ve geleceini tayin edecek
kararlarn alnmas srecinde muhalefeti ve mzakereyi destekleyecek bir alan
amay hedef liyor. Etrafmzdaki her eyin canland, kendine geldii ve yeni bir
bilin kazand bu benzersiz gnlerde stanbulun bienale, bienalin de stanbula
verebilecei ok ey var Maider Lpezin bienal iin yeni rettii iinin kullanc
klavuzunda belirttii gibi; bir grup meydana geldiinde ve kendi kendine
rgtlenme kolektif yollar yarattnda eyleme gemek daha kolaydr.
Bige rer
NSZ
model of the biennial ensures curatorial independence without imposing any insti-
tutional preconditions or priorities in relation to artistic decisions; and uses all the
means at its disposal to enable the curator and the artists to realise their ideas by
offering them an independent space. The Istanbul Biennial renews its structure and
remains open to transformation and values the constructive criticism it is subject to.
The dynamic environment the biennial has produced since its frst exhibition in 1987
has stirred debates and set the agenda in the feld of contemporary art, and fostered
theoretical and practical innovation. The biennial now aims to both transform itself
into a feld of constant education, training, production and criticism, and to establish
a more lasting and effective interaction with the broader feld of academic and
civilian knowledge production.
One of the frst, common departure points of biennials was to bring together and
present new and relevant works of international contemporary art at an exhibition
organized in a city in order to form a meeting ground between the artistic production
of that given city and the feld of international contemporary art. Biennials also
served, especially in cases where the cultural infrastructure did not meet the
requirements of contemporary art, as temporary museums with contemporary
tendencies, functioning as maps between the local and the global. However, today
biennials are expected to assume further missions in addition to all these signifcant
roles and responsibilities. In a multipolar and multicentered world, biennials can
propose a different, alternative perspective on social and political issues, and
provide a platform so that critical, creative and alternative ideas might be voiced.
The Istanbul Biennial is an important actor on the scene and in the history of con-
temporary art in Turkey. Both in the structural and conceptual context, the biennial
has engendered debates that have expanded beyond the feld of art; and with its
resources, approach and interaction with its audience has managed to create a
style unique to Istanbul, but also worthy of artistic and intellectual interest on a
local and international scale. By making entry to the 13
th
Istanbul Biennial free of
charge for all, the biennial hopes that what it aspires to do becomes unconditionally
accessible to everyone.
With confdence in the power of long-standing research and struggles around public
spaces and urban transformation, this exhibition proposes an artistic and discursive
form that will stand by the demand for transparency, collectivity, and mutual respect.
In the process of making decisions regarding the present and future of our cities,
the 13
th
Istanbul Biennial aims to open a feld that will support opposition and
negotiation. In these extraordinary times, when everything around us has begun
to stir and come to life, and acquire a new awareness, Istanbul can give a lot to
the biennial, and the biennial to Istanbul as proposed in the user manual Maider
Lpez produced for the exhibition, acting is easier when a group is generated and
self-organization creates collective ways.
Bige rer
B
i
g
e

r
e
r
FOREWORD
28 Mays sabaha kar stanbul Gezi Parkndaki aalarn sklmesi ve nbet
adrlarnn yaklmasyla balayan olaylar bizi Venedik Bienalinde yakalad.
Parkn ve Taksimin direniiler tarafndan ele geirildii gnn ertesinde,
seyahatimizi yarda keserek stanbula dndk. Karakyde taksiden inerken,
sanki bir bilimkurgu filminin iine dmesine yzlerce gaz maskeli ve deniz
gzlkl gen insann sokaklar doldurduunu grdk. Hava ruhla dolmutu;
soluduk. Bir an nce gecenin gerekst atmosferine dalmak iin bavullar eve
atp, sokaklara frladk.
Grdklerimize inanamayarak Tnelden Taksime yrmeye baladk, sokaklar
konuuyordu! Caddenin btn dikey ve yatay yzeyleri slogan ve duvar yazlaryla
denmiti. Taksime ulatmzda nefesimiz kesildi: binlerce gen, yal, kadn,
erkek, ocuk meydandayd! Yzlerce slogan, afi ve pankartn grntsnden,
ve hl meydan dolduran biber gaz ve yanan barikatlarn dumanndan, ama
en nemlisi zgrln cisimleerek grnr olmasndan sarho olmucasna,
bu inanlmaz dayanma ve sevin hissiyatna biz de katldk. Artk hibirimiz
korkmuyorduk.
Simya
31 Mays gn, Taksim Meydan ve Gezi Park oklu kamular tarafndan igal
edildi ve 15-16 Haziranda polis tarafndan iddet kullanlarak boaltlmasna
kadar geen iki hafta boyunca, dntrc bir deneyim yaand.
Gezi Direnii Trkiyeden umudunu kesmi herkese ila gibi geldi. Sesi en duyul-
mayann, hatta sesi olduunun bile farknda olmadmz birka aacn yaama
hakk iin sokaklara kan, kutuplama zerine kurulu siyaset yapma anlayn
reddedip, zgrlk ve haklar etrafnda birleerek, birbirinden ok farkl, hatta
elien dnyalarn bir arada yaayabilecei, birlikte hareket edebilecei mikro
lekte bir yaam (komn) pratii ortaya koyan bu dayanmadan hepimiz ok ey
rendik.
En az zgrlk talebi kadar mevcut ideolojik konumlardan ve sregelen politik
retorikten kopma arzusu Geziye ruhunu verdi. Bu nesil, yllarca apolitik
olmakla ve yalnzca sanal dnyada ortaklaa oynadklar oyunlar umursamakla
itham edildi. Oysa onlar bir yandan oynarken, dier yandan z-rgtlenme ve
kolektif hareketin provasn yapyorlarm. Gezide ortaya kan birliktelik bize,
antagonistik (atmaya dayal) politikalara kar mzakere zerine kurulu; en
zayf seslerin ounluk tarafndan bastrlmad agonistik (tartmaya dayal)
bir kamusal alann mmkn olduunu gsterdi.
KRATRN METN
Anne, ben barbar mym?
The events that were triggered at dawn on May 28th, with trees being uprooted in
Gezi Park, and the subsequent burning of activists tents by police forces caught
up with us at the Venice Biennale. We cut our trip short and returned to Istanbul
the day after the park and Taksim had been reclaimed by the protesters. Stepping
out of a taxi in Karaky we saw that hundreds of people, mostly youth, wearing
gas masks and goggles had flled the streets in a scene reminiscent of a science
fction movie. The air was alive with spirit, we inhaled it. We hastily dropped off
our suitcases at home to take to the streets and immerse ourselves in the surreal
atmosphere of the night.
In utter disbelief of what was taking place before our eyes, we began to walk from
Tnel towards Taksim. The streets were talking! All the vertical and horizontal
surfaces of the avenue had been covered with slogans and graffti. We gasped
for breath when we reached Taksim: Thousands of people, the youth, the elderly,
women, men, and children had flled the square to the brim! Intoxicated by the sight
of hundreds of slogans, posters and banners, the smoke of the burning barricades
and the pepper gas that still hung over the square, but most importantly, by the now
tangible embodiment of freedom, we, too, joined this feeling of incredible solidarity
and joy. None of us were afraid anymore.
Alchemy
On May 31, Taksim Square and Gezi Park were occupied by multiple publics; and
what transpired during the two weeks until the park was evacuated by a violent
police intervention on 15-16 June, was a transformative experience.
The Gezi Resistance was an unbeknown remedy for everyone who had lost hope
in Turkey. We all learned a great deal from this solidarity of people that spilled out
onto the streets for the right to life of those whose voice is most suppressed; many
of us were not even aware that these few trees even had a voice. These people
rejected the established practice of politics based on polarization, and rather chose
to come together around their demand for basic freedoms and rights, and formed a
communal practice on a micro-scale which proved that signifcantly different, even
clashing worlds could coexist, and act together.
As much as the demand for freedom, the desire to break free from existing ideologi-
cal positions and the prevailing political rhetoric gave Gezi its spirit. This generation
has long been accused of being apolitical and taking genuine interest only in the
interactive games they play in the virtual world. Yet, now we stand corrected;
the time they spent playing those games was a rehearsal for self-organisation
and collective action. The togetherness that appeared at Gezi showed us that as
F
u
l
y
a

E
r
d
e
m
c
i
CURATORS TEXT
Mom, am I barbarian?
Sonu olarak bu genler, kimlik siyasetinden ziyade Rancirein imknsz veya
arada kalm kimliklerini tecrbe ederek, gelmekte olan dnyann kaplarn
aralyorlar. Gezinin boaltlmasnn hemen ardndan, mahalle parklarnda
oluturulan forumlarda devam eden konumalar gsteriyor ki, onlar otoriteyle
aralarndaki asimetrik ilikiyi bozarak kolektif zek, mizah ve yaratclkla
kamusal alan basklayan mekanizmalarla oynuyor ve yeni bir paradigmaya iaret
ediyorlar.
Doal olarak, yaananlar hepimizin gndeliinin, algsnn ve tasavvurunun
ok tesinde. stanbulda ve Trkiyenin eitli kentlerinde deneyimlediklerimiz
kesinlikle herhangi bir sergi veya sanat etkinlii ile karlatrlamaz boyutta.
8 Ocak 2013te 13. stanbul Bienalinin kavramsal erevesini akladm
basn toplantsnda bu metnin bir eskiz, bir balang olduunu ve sre iinde
evrileceini belirtmitim. Szn ettiim evrilme her sergi srecinin olaan
bir paras aslnda. Ama tabii ki Gezi kadar iddetli ve radikal bir dnm
srecine gireceimizi hayal bile edemezdim. Yalnzca bir ihtimal olarak var olan
agonistik kamusal alan Geziyle birlikte simyevi bir biimde alarak, tecrbenin
alanna girdi. Tam da bu noktada, ngrl bir tespitle kamusallk, politik bir
forum olarak kamusal alan ve demokratik aygtn meknsal bileeni olarak kent
meknlarna odaklanan 13. stanbul Bienalinin Geziyle birlikte nasl bir srece
girdiini ve evrildiini amlamay nemli buluyorum.
k Noktasndan Balayarak
13. stanbul Bienalinin bal Anne, ben barbar mym? air Lale Mldrn
ayn adl kitabndan bir alnt.
1
Bu balk altnda oluturduum kavramsal ereve
aks zerinde duruyor. Teorik aks, bugn kamu (oklu kamular) kavramn ve
politik bir forum olarak kamusal alan tekrar nasl dnebileceimizi soruyor.
Biliyoruz ki tek bir irade altnda birlemi, homojen bir kamudan ya da halktan
bahsetmemiz mmkn deil. Buradan yola karak, kavramsal metinde bu farkl,
hatta birbirleriyle elien oklu dnyalarn nasl bir araya gelebileceini, birlikte
yaayp, birlikte hareket edebileceini sormutuk. Bu anlamda, Gezi deneyimi
-ksa bir sre iin de olsa- bu topik soruyu yerel dzeyde tecrbenin alanna
soktu. Ama bu tekil olguyu, evrensel boyutta, bir sistem olarak dnebilir miyiz
sorusu hl geerli.
Jrgen Habermasn ortaya koyduu ve 1990lardan bu yana yeniden dnlen,
eletirilen ve formle edilen kamusal alan kavramn politik kamusal bir
forum olarak ele alp, bunun mmkn olduu her mecray kentsel kamusal
meknlardan, sosyal medyaya ve sanat yaptlarna kadar kamusal alan olarak
tanmlamay nermitik. Gezi deneyimi bu balamda en verimli mecra oldu.
1 Lale Mldr, Anne, ben barbar mym?, L&M Yaynlar, 2006, stanbul. Bu balk, bienalin kavramsal
erevesini yazdm 2012 yaznda, Perihan Madenle bir sohbetimiz esnasnda ortaya kt.
KRATRN METN
opposed to antagonistic politics, an agonistic public domain based on negotiation,
where marginalized voices are not suppressed by the majority is possible.
Ultimately, through experiencing the impossible or in-between identities coined
by Rancire rather than identity politics, these young people cracked open the door
to the world to come. The continuing debates held at forums which began to gather
in neighbourhood parks immediately after the evacuation of Gezi Park reveal that
the asymmetrical relationship between the protesters and the authorities has been
disrupted and that protesters use collective wit, humour and creativity to play with
mechanisms that suppress public domain, and point towards a new paradigm.
Evidently, what has transpired is far beyond our everyday routine, perception, or
imagination. What we have experienced in Istanbul and throughout other cities in
Turkey is of a scale that cannot be compared to any exhibition or art event.
At the press conference held on January 8, 2013 for the announcement of the
conceptual framework of the 13
th
Istanbul Biennial, I stated that the text was a
sketch; a departure point, and that it would evolve during the process. The evolution
in question is a natural part of any exhibition process. However, I could not fathom
that we would experience a transformation process as intense and radical as the
Gezi Park events. The agonistic public domain which until then had only existed as
a possibility, alchemically opened up with the Gezi Park resistance, and entered the
domain of experience. And here, I fnd it important to explain how the 13
th
Istanbul
Biennialwhich, with a foresighted analysis focusing on publicness, public domain
as a political forum and urban spaces as a spatial component of the democratic
apparatusreoriented its own process with Gezi.
Starting from the Departure Point
The title of the 13
th
Istanbul Biennial, Mom, am I barbarian? is a quote from Lale
Mldrs book of the same name.
1
The conceptual framework I developed under
this heading is constructed along three axes: The theoretical axis asks how we
can rethink the concept of multiple publics and public domain as a political forum
in the light of current conditions. We know that it is not possible to speak of a
homogeneous public or of people uniting under a single will. Departing from this
point, in the conceptual framework we had asked how these different, and in fact,
often contradictory, multiple worlds could come together, coexist, and act together.
In this sense, the Gezi experiencewithin a short periodtranslated this utopian
question into the feld of experience on local level. However, the question as to
whether we can translate this particular phenomenon on a universal scale, as a
system remains valid.
F
u
l
y
a

E
r
d
e
m
c
i
CURATORS TEXT
1 Anne, ben barbar mym? / Mom, am I barbarian?, L&M Publishing, 2006, Istanbul.
This title came up during a conversation with Perihan Maden in the summer of 2012 as I was writing the
conceptual framework of the biennial.
Mahalle parklarnda devam eden forumlarn yan sra teorik ve dnsel alanlar-
da da Gezinin bir nebula gibi olumakta olan kltr tartlmaya devam ediyor.
Sergide de bu dnsel alann grsel tezahrleri yer alyor.
Teorik aksn uygulama alan olarak, demokratik aygtn meknsal bileenlerine
odaklanmtk: stanbuldaki kentsel kamusal meknlara ve zellikle de dizginsiz
yol alan kentsel dnme bakarak, zgrlk kavramnn meknsal tezahrlerini
agorafobi kavramyla birlikte ele almtk. Bu balamda, Gezi Park, Taksim
Meydan, Tarlaba Bulvar, Karaky ve Sulukule mahallesi gibi kentteki en
tartmal kentsel dnm alanlarna odaklanmtk. Kavramsal erevede
sorguladmz agorafobi kavram, ne yazk ki Duran Adam ya da Yeryz
Sofralar gibi en barl eylem, performans ve protestolarn bile polis tarafn-
dan bastrlmasyla, ayrca, Geziyle ilgili olarak Trkiye merkez-medyasnn
sessizletirilmesiyle birlikte daha da grnr oldu. Gezi olaylarnn ncesinde
kentsel kamusal meknlara mdahale eden pek ok proje gerekletirmeyi
planlamtk. Ama vatandalarnn zgr ifadelerine izin vermeyen ayn otori-
tenin izniyle sokaklarda sanat projeleri gerekletirmenin ne demek olduunu
sorguladmzda, balamn tamamen deierek bu projelerin ilk ortaya k
nedenleriyle elitiini grdk. Bu adan, kamusal alan sorunsaln irdeleyen bu
projeleri bu koullarda gerekletirmenin onlarn varlk nedenleriyle kartlk
oluturabileceine, bu anlamda da gerekletirilmemelerinin daha gl bir po-
litik neri olacana kanaat getirdik ve kentsel kamusal meknlardan ekilerek
kamusallk zerine tartmamz sergi meknlarnda srdrmeye karar verdik.
Geziden nce sergiyi yaplandrdm srada, sokaklarda gerekleen spontan,
protest sanatsal eylem ve performanslar sipari etmek veya sergiye dhil etmek
gibi bir niyetim yoktu; nk bu tr sanatsal aksiyonlarn tepki verdikleri ku-
rumsal ereve tarafndan ehliletirilmemesi gerektiini dnyordum. Ancak,
hlihazrda bu tr almalar varsa, belirli bir erevenin iine sokmadan onlara
iaret etmenin mmkn olduu kansndaydm. Buradan hareketle, kentsel
kamusal meknlardan ekilme eylemiyle, yani varl yoklukla imleyerek, Gezi
direniiyle birlikte alan zgrlk alannda ortaya kan yaratc eylemlerin ve
kamusal forumlarn altn izerek desteklemeyi amaladk.
Kentsel kamusal meknlardan ekilmemiz, mekn konusunda nemli bir soruna
da yol at ama ARTER ve SALT Beyolu gibi sanat kurumlaryla ve 5533 gibi bir
sanat inisiyatifiyle ksa srede ibirlikleri gelitirerek, bu sorunun stesinden
gelebildik. Ayrca, kamusallk kavramn yeniden dnmeyi neren bu bienalin
herkese ak olmasn batan beri arzu ediyorduk. Ama Gezi sonrasnda kentsel
kamusal meknlardan ekilme kararyla, kavramsal ereveyle rten bir kamu-
sallk yaratabilmek adna bienalin bu edisyonunu cretsiz yapmay baardk.
KRATRN METN
We had proposed to treat the concept of public sphereproposed by Jrgen
Habermas and revised, critiqued and reformulated since the 1990sas a political
forum and to defne any medium which would enable this as public domain: from
urban public spaces to social media and works of art. The Gezi experience was
appropriately prolifc in this context. In addition to the forums that are continuing in
neighbourhood parks, the nebulous culture of Gezi is being discussed in theoretical
and intellectual felds as well. The visual manifestations of this culture are also
included in the exhibition.
As the praxis site of the theoretical axis, we focused on the spatial components
of the democratic apparatus: by investigating urban public spaces in Istanbul, and
especially the ongoing, unbridled assault of urban transformation, we considered
the spatial manifestations of the concept of freedom together with the concept of
agoraphobia. For the 13
th
stanbul Biennial, we had chosen the most contested
urban transformation sites in Istanbul such as Gezi Park, Taksim Square, Tarlaba
Boulevard, Karaky and Sulukule neighbourhood. The concept of agoraphobia
which we had explored in the conceptual framework unfortunately became much
more visible when even the most peaceful actions, performances and protests,
such as Standing Man, or Tables of Earth were suppressed by the police, and
mainstream media in Turkey was silenced during and after the Gezi protests. Before
the Gezi resistance, we had planned to realize a number of projects that would
intervene in urban public spaces. However, when we questioned what it meant to
realize art projects with the permissions of the same authorities that do not allow
the free expression of its citizens, we understood that the context was going through
a radical shift that would sideline the raison dtre of realising these projects.
Accomplishing these projects that articulate the question of public domain in urban
public spaces under these circumstances might have contradicted their essence
and purpose; we were thus convinced that not realizing them is a more powerful
political statement than having them materialize under such conditions. Therefore,
we decided to withdraw from the urban public spaces and to continue our debate on
publicness in the exhibition venues.
When I was structuring the exhibition before Gezi resistance, I never intended to
commission or include the spontaneous, protest interventions and performances
that happen on the streets, as I believe that they should not be domesticated or
tamed in the institutional frames to which they are reacting. However, I was thinking
that it was possible to highlight them if they were there already. So, I believe that by
withdrawing from urban public spaces, thus marking the presence through the ab-
sence, we can contribute to the space of freedom, to the creative and participatory
demonstrations and forums instigated by the Gezi resistance.
Our moving away from urban public spaces led to a serious challenge regarding
venues, but we were able to overcome this in a short time through establishing
collaborations with art institutions such as ARTER and SALT Beyolu, and an
independent artist initiative, 5533. Furthermore, from the outset, our aspiration was
CURATORS TEXT
F
u
l
y
a

E
r
d
e
m
c
i
Bar Bar Bar Bar...
Teori ve pratiin arasndaki sanatsal alann alm Lale Mldrden alntladm
barbar kavramn ieren balktan geldi. Eski Yunanda barbar, hem kentli-va-
tanda kavramyla, hem de dorudan dille ilikilidir. Barbar, Eski Yunancada ehir
devleti anlamndaki polis kelimesinden treyen politis, yani kentli-vatanda
kelimesinin zttdr ve bylelikle kent ve vatandalk haklarna tabi deildir.
Bugn, stanbulda rnein, iyi bir vatanda olmak ne demektir, sregelen kentsel
dnmlerin, bu sava meydannn ortasnda, vatanda olmak statkoya
uymak mdr, yoksa sivil itaatsizlik eylemlerine katlmak mdr sorusu kavramsal
erevenin merkezini oluturmutu. Vatandalarn birbirlerine kar, zellikle de en
zayf ve en dlanmlar dhil olmak zere, sorumluluk hissettikleri ve bu sorum-
luluu stlendikleri yeni bir toplumsal szleme hayal etmemizin mmkn olup
olmadn soruyorduk. Bugn, stanbul ve Trkiyenin dier kentlerinde devam
eden protestolar ve dayanma hareketleri yeni bir toplumsal szlemenin yalnzca
gerekli deil ama ayn zamanda mmkn olduunun da iaretlerini vermekte.
Dil asndan baktmzda, barbar Eski Yunanda Yunancay konuamayan-
lar, dolaysyla vatanda olmayanlar imleyen bir tanm. Aslnda fonetik olarak,
anlamadklar bir dilin sesinden tremi bir szck barbar. Yani anlalmayan
bir dil, tekinin, yabancnn, en dlanm ve bastrlmn dili. Baka bir
adan da barbar, toplum-d, kanun-d, sistemi kran veya deitirmeyi
hedef leyenlerin dili: mnzevi, serseri, haydut, anarist, devrimci ya da sanat
gibi. Bu anlamda sergide, var olan sistem ve sylemleri srekli olarak yeniden
reten ikilem ve kartlklar zerine kurulu pozisyonlar yerine, yeni znelliklerin
inas zerine dnen yaptlara yer verdik.
oumuz, bugn var olan sistem ve ynetim biimlerine kar tepki duyuyor,
buna kar farkl yntemlerle ve kendi llerimizde direniyoruz. Baka bir
dnya talebiyle, bunun mmkn olup olmadn sorguluyor, elimizdeki mevcut
teorik yaplanma ve formllerin, yeni ynetim biimleri ve birlikte yaama
pratiklerini yeniden dnme ve ortaya koymaktaki yetersizliini hissediyoruz.
tekini anlayabilmek iin bilmediimiz dilleri renmeye, daha da tesi,
gelmekte olan dnyay anlamlandrabilmek iin henz kefetmediimiz yepyeni
dillere ihtiyacmz var. te bu balamda, 13. stanbul Bienali, sanatn rolnn
yeni diller yaratmakla ilikili olduunu ve sanatn gelecein tezahrlerini ama
kapasitesine sahip olduunu ileri sryor: Sanat, kolektif hayal gc iin byle
bir ihtimal yaratabilir mi?
Yel deirmenleri ve Haydutlar
Kamusal alanda sanat dendiinde ilk akla gelen Avrupa ve Anglosakson
kkenli sanatlardan oluan, dolaysyla, bu alandaki eitlilii yanstmayan
baskn yapy krabilmek iin sanat seimlerinde Latin Amerika, Kuzey
Afrika, Orta Dou ve Trkiye gibi daha az ayrcalkl corafyalara arlkl yer
verdik. Yerleik, konusunda nc sanatlarla, henz ortaya kmakta olan gen
sanatlar bir araya getirerek yeni bir denge yaratmaya altk.
KRATRN METN
to open this edition of the biennial to everyone. With the decision to withdraw from
urban public spaces following Gezi events, we have managed to make this edition
of the biennial free of charge with the hope of creating a publicness, which is in line
with the conceptual framework of the biennial.
Bar Bar Bar Bar...
The opening of artistic space between theory and practice was rendered possible
by the title, which I borrow from Lale Mldr, that emphasizes the concept of the
barbarian. In ancient Greece, the barbarian is related both to the concept of the
citizen, and also, directly to language. Barbarian is the antonym of politis (citizen),
derived from the word polis, meaning city-state; thus it relates inversely to the city
and the rights of those in it. The questions, What does it mean to be a good citizen
today, in Istanbul for instance? In the midst of the ongoing urban transformations,
the battleground, does it imply conforming to the status quo or partaking in acts of
civil disobedience? formed the core of the conceptual framework. We were asking
whether it was possible to imagine a new social contract in which citizens assume
responsibility of each other, even for the weakest, most excluded ones. Today, the
ongoing protests and acts of solidarity in Istanbul and other cities of Turkey hint that
a new social contract is not only necessary but also possible.
From a linguistic perspective, barbarian is a defnition that marks those who cannot
speak Greek, and therefore, those who are not citizens. In fact, phonetically, the
word barbarian was an onomatopoeia for a language that people in ancient Greece
did not understand. In other words, a language they did not comprehend, the
language of the other, the alien, the most excluded and suppressed. From another
angle, the language of barbarians, of those who are marginalized, illegal, and aspire
to debunk or change the system: the recluse, outcast, bandit, anarchist, revolution-
ary, or artist. In this sense, in the exhibition, we included works that contemplate the
construction of new subjectivities, as opposed to positions grounded upon binary
oppositions that constantly reproduce the existing system and discourses.
Many of us react to current systems and forms of governance, and resistin
varying scales and degreesusing a diverse range of methods. With the demand of
a new world and questioning whether it is possible, we conceive the shortcomings
of the existing theoretical structures and formulae for rethinking and establishing
new forms of governance and practices of coexistence. In order to understand the
other, we need to learn languages we do not speak, and we need to invent novel
languages to conceive the world to come. It is in this context that the 13
th
Istanbul
Biennial claims the role of art is related to creating novel languages, and that art has
the capacity to divulge manifestations of the future: can art create such a possibility
for the collective imagination?
CURATORS TEXT
F
u
l
y
a

E
r
d
e
m
c
i
Sergide, jeopolitik eitliliin gzetildii bir melezliin yan sra bugnle
60lar-70ler arasnda zamansal bir alm da hedef lendi. Bu dnemler arasn-
daki en belirleyici ortak nokta baka bir dnya aray. 60lar ve 70lerin
tecrbesi, bugn daha gereki yapmad ama dnyasallatrd: bildiimiz
anlamda topya yerini olas en iyi sistemlere ve mzakerelere brakt. Bu
dnemler ayn zamanda Paris, New York ve Amsterdam gibi kentlerdeki kentsel
dnmlere ve soylulatrma srelerine kar sanatlarn gelitirdikleri yeni
sanatsal pratiklere de ahit oldu. 50lerdeki kurumsal eletirinin bir sonucu
olarak, galerilerden ve mzelerden sokaklara kan sanatlar, yaamla sanat
birletirmeyi hedef leyen performatif pratikler rettiler. Kamusal alanda sanatn
en alternatif ve kavramsal formlar da yine bu dnemde temellendi. Buradan
yola karak, bu dnemlerde nc konumunda sanatsal pratikler ortaya koyan
sanatlarn retimlerine yer vermek istedik ve bugnk toplumsal hareket-
lere, kentsel dnmlere ve gncel sanat pratiklerine tarihsel bir perspektif
getirmeyi amaladk.
Sergi, edebiyat (zellikle iir) ve sanatn ilikisi zerinden yeni, bilinmeyen,
kefetmemiz gereken dillere odaklanyor. Form ve anlam olarak dilin en u
noktasn imleyen iir, iinde bulunduumuz sistemin kalplarn krarak
bize baka bir dnyann olasln gsterir. Tarihsel olarak birok toplumsal
hareketin airlerden beslendiini biliyoruz. Sergi bu dorultuda, iiri kamusal
ve politik olann, kiisel olanla kesitii bir arayz olarak sunmay amalyor
(benzer biimde sergi, iirle ayn ara alan paylaan mzii de vurguluyor).
Verili sistem iindeki muktedirleri ezilmilerin konumundan okuyarak,
sistemin diki yerlerini aralayan, bylelikle sistem dn mmkn klan mn-
zevi, serseri, haydut, anarist, devrimci, air ya da sanat figrn bugnn
balamnda yeniden dnyor. Bunu yaparken barbarlkla uygarlk, doayla
kltr, tekille evrensel, zneyle toplumsal olan ve rastlantsallkla dzen
arasndaki ilikiyi sorunsallatran sanat pratiklerine, ve bu ilikileri grsel
olarak katmanlandrarak, dilsel ve dnsel sreleri duygusal deneyimle
birlikte aan ilere ncelik verildi.
Kavramsal erevede arlkl olarak ilenen kamusal alan ve sanat ilikisi, ve
bunun yan sra, mimari, ehircilik ve toplumsal yapya ilikin gncel ve tarihsel
pratikler ana sergi meknlarndan Antrepoda meydan etrafnda grselleti.
lk iki meydan kentsel dnm ve kolektif yaam pratikleri zerine younlar-
ken, nc meydan kentsel kamusal alanlarda en yaygn biimde deneyimlenen
ve ideolojik yapyla kentsel dokuyu bir araya getiren ant formuyla, toplumsal
asimetriye odaklanm, ifade zgrl, medya, sansr (oto-sansr) ve vatan-
dalk gibi kamusal alan sorunsaln performatif, ilikisel ve geici pratiklerle
imleyen projelere ayrld.
Galata Rum lkretim Okulu giri katnda bulunan toplant salonu ve tavan
arasnda ise aadan yukarya z-rgtlenme ve kolektif hareketin deneyimle-
nebilecei almalar yer alyor. Giri katnda, izleyici iin panoptik bir deneyim
KRATRN METN
Windmills and Bandits
In order to challenge the dominant structure in the feld of art in public domain, which
mainly consists of artists of European and Anglo-Saxon originand thus, does
not refect the diversity of the feldwe prioritized less-privileged geographies like
Latin America, North Africa, the Middle East and Turkey in the selection of artists.
We sought to disrupt the existing balances and besides, to create a different type of
equilibrium by bringing together pioneering established artists with emerging, artists.
Alongside a hybridity, which takes geopolitical diversity into account, the exhibition
also aimed for a historical aperture between the present day and the 60s and
70s. The most signifcant common denominator between these two periods is the
quest for another world. The experience of the 60s and 70s has not made the
present more realistic, but it has rendered it worldlier: utopia, as we know it, has
been replaced by a demand for the best possible systems, and negotiation. These
decades also witnessed artists developing new artistic practices challenging urban
transformation and gentrifcation processes in cities such as Paris, New York and
Amsterdam. As an outcome of the institutional critique developed in the 50s, artists
left the museums and galleries to go out onto the streets, producing performative
practices that aimed to bring art and life together. This period also witnessed the
process of cultivating the most alternative and conceptual forms of art in public
domain. In consideration of this fact, we wanted to include works of artists that
pioneered such artistic practices and thus to offer a historical perspective for the
current social movements, urban transformations and contemporary art practices.
Through exploring the relationship between literature (particularly poetry) and art,
the exhibition focuses on new, yet to be invented languages. Poetry, which marks
the outermost limits of language in terms of form and meaning, allows us a glimpse
at the possibility of another world. It breaches the intricate schemes of the system
we are confned to. The exhibition aims to present poetry (and along the same
line, music) as an interface between the personal, and the public and political. It
reads the victors of the given system from the perspective of the oppressed, thus
rethinking the fgure of the recluse, outcast, bandit, anarchist, revolutionary, poet
or artist as one who parts the seams of the system, rendering what lies outside it
possible in the present day context. In doing so, it prioritizes the artistic practices
that problematize the dichotomies between barbarity and civilisation, nature and cul-
ture, the singular and the universal, the subject and the social, and randomness and
order. By layering these relations visually, such artistic practices unravel linguistic
and intellectual processes together with emotional experiences.
The relationship between art and public domain that was emphasized in the
conceptual framework, as well as contemporary and historical practices related to
architecture, urban planning and social structure were rendered visual around three
squares in Antrepo, one of the main exhibition venues. The frst two squares focus
on urban transformation and collective living practices, while the third is reserved
for works that challenge the concept of monument -the most predominant art form
CURATORS TEXT
F
u
l
y
a

E
r
d
e
m
c
i
sunan toplant salonu ileyiini katlmclarn belirledii bir renme makinesine
dnrken, at kat stanbuldaki kentsel dnme odaklanan projelerin yan
sra sohbet, tartma ve atlye almalarnn yaplaca bir forum alan olarak
dnld.
Benzer bir biimde serginin otoban ve bulvarlarn, sanat dnyasnn kendisini,
iinde bulunduu yaplar sorgulayarak, sanat ve sermaye ilikisini, prekarite
kavram ve kresel kapitalizm eletirisiyle birlikte okuyan, alternatif ekonomiler,
ve ortak retim ve paylam zerine dnen almalar oluturdu. Gelecee
ilikin ortak imgelemimizi belirleyen topya ve distopya ise ara sokaklar igal
etti.
Bu sergi, hemen gerekleecek bir deiimin aygt deil, dnceyi aan bir sre
ve her eyin tesinde, barbar tarafndan imlenen yeni znellikleri deneyimle-
menin bir yolu olarak anlalabilir.
Fulya Erdemci
KRATRN METN
in urban public spaces that impose the ruling ideology into urban texture-and for
the temporary, performative and relational projects focusing on social asymmetry
which allude to questions of public domain such as freedom of expression, media
autonomy, censorship (self-censorship) and citizenship.
The meeting hall on the entry level of the Galata Greek Primary School, and its
attic host works which present an experience of ground-up self-organisation and
collective action. The meeting hall on the frst foor, which offers a panoptical
experience for the viewer, has been transformed into a learning machine, the
functioning of which is determined by the participants. As for the attic, in addition to
hosting projects that focus on urban transformation in Istanbul, it has been imagined
as a forum for conversations, discussions and workshops.
Likewise, the highways and boulevards of the exhibition were built by the works
which interrogate the art world and the structures they are embedded in. These
read the relationship between art and capital via the concept of precarity and a
critique of global capitalism, and ponder alternative economies, co-production and
co-distribution. Determining our collective imagination of the future, utopia and
dystopia occupy the side streets.
This exhibition is not an apparatus for immediate change, but rather a process
that will foster thought; and above all else, a way to experience new subjectivities
implied by the barbarian
.
Fulya Erdemci
CURATORS TEXT
F
u
l
y
a

E
r
d
e
m
c
i
G
a
l
a
t
a

b
r
i
d
g
e
G
a
l
a
t
a

k

p
r

A
t
a
t

r
k

b
r
i
d
g
e
A
t
a
t

r
k

k

p
r

M
M
G
o
l
d
e
n

H
o
r
n
H
a
l
i

B E Y O L U
C H A N G R
Fndkl
Topkap Palace
Topkap Saray
Gezi Park
M
B
o
s
p
h
o
r
u
s
B
o

a
z
i

s
t
i
k
l
a
l
Galatasaray
B
o

a
z
k
e
s
e
n

s
t
i
k
l
a
l
K
e
m
e
r
a
l
t

Beyolu Tnel
ihane
Tnel
T E P E B A I
K A S I M P A A
T A R L A B A I
Taksim
Taksim
Kabatas
Mimar
Sinan
University
Tophane
Galata
Tnel Karaky
Karaky
Eminn
Sirkeci
S L E Y M A N Y E
G
a
l
a
t
a

b
r
i
d
g
e
G
a
l
a
t
a

k

p
r

A
t
a
t

r
k

b
r
i
d
g
e
A
t
a
t

r
k

k

p
r

M
M
G
o
l
d
e
n

H
o
r
n
H
a
l
i

B E Y O L U
C H A N G R
Fndkl
Topkap Palace
Topkap Saray
Gezi Park
M
B
o
s
p
h
o
r
u
s
B
o

a
z
i

s
t
i
k
l
a
l
Galatasaray
B
o

a
z
k
e
s
e
n

s
t
i
k
l
a
l
K
e
m
e
r
a
l
t

Beyolu Tnel
ihane
Tnel
T E P E B A I
K A S I M P A A
T A R L A B A I
Taksim
Taksim
Kabatas
Mimar
Sinan
University
Tophane
Galata
Tnel Karaky
Karaky
Eminn
Sirkeci
S L E Y M A N Y E
5
4
3
2
1
Bienal haritas
Biennial map
Antrepo no.3
Meclis-i Mebusan Caddesi
Liman letmeleri Sahas
34433 Tophane
1
4
2
5
3
5533
M 5.Blok
Unkapan 5533
Galata zel Rum lkretim Okulu
Galata Greek Primary School
Kemeralt Cad. No: 49
34425 Karaky Beyolu
SALT Beyolu
Asmal Mescit Mah.
stiklal Cad. No:136
34430 Beyolu
ARTER
Asmal Mescit Mah.
stiklal Caddesi No: 211
34433 Beyolu
ANTREPO
NO.3
Lutz Bacher
Aye Erkmen
Jorge Mndez Blake
Zbigniew Libera
Cinthia Marcelle &
Tiago Mata Machado
Fernanda Gomes
Christoph Schfer
Maider Lpez
Hanna Farah Kufr Birim
Halil Altndere
Tadashi Kawamata
Edi Hirose
Murat Akagndz
Fernando Piola
Fernando Ortega
Carlos Eduardo Felix da
Costa (Cadu)
Lux Lindner
HONF Foundation
Gordon Matta-Clark
LaToya Ruby Frazier
Nil Yalter & Judy Blum
Provo
Yto Barrada
Rob Johannesma
Alice Creischer &
Andreas Siekmann
Anca Benera &
Arnold Estefan
Carla Filipe
Mika Rottenberg
Claire Pentecost
Guillaume Bijl
David Moreno
Hito Steyerl
pek Duben
Ji Kovanda
nci Eviner
dm Kokesch
Shahzia Sikander
Nathan Coley
Gonzalo Lebrija
Mierle Laderman Ukeles
Amal Kenawy
Thomas Hirschhorn
Wouter Osterholt &
Elke Uitentuis
Santiago Sierra
Rietveld Landscape
Akademia Ruchu
Goldin+Senneby
Jorge Galindo &
Santiago Sierra
.-_-.
ener zmen
Nicholas Mangan
Freee (Dave Beech,
Andy Hewitt, Mel Jordan)
Mere Phantoms (Maya Ersan
& Jaimie Robson)
ANTREPO NO.3
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
29
28
45
40
43 42
44
37
41
39
30
26
25 31 27
32
34
38
30
35
36
33
48
47
46
49
1
0
2
3
3
4
52 WC
bookshop
student and childrens
workshops
14
19
17
20
51
50
24
23
12
22 16
15
12
12
21
11
11
10
9
7
6
18
13 5 8
.-_-.
.
i
n
t
u
i
t
i
o
n
3
.
0
:

t
o
t
a
l
l
y

d
e
m
a
t
e
r
i
a
l
i
z
e
d
,

z
e
r
o
-
b
y
t
e

w
o
r
k

o
f

a
r
t
_
,

2
0
1
0
.
s
e
z
g
i
3
.
0
:

m
a
d
d
e
d
e
n

t
a
m
a
m
e
n

b
a

m
s

z
l
a

l
m

,

s

r
-
b
a
y
t
l

k

s
a
n
a
t

y
a
p

_
,

2
0
1
0
http://httpdot.net/.-_-./
.sezgi3.0: maddeden tamamen bamsz-
latrlm, sfr-baytlk sanat yapt_ .tar.
gz arivi olarak datlan ve aldnda
sfr-bayt olan bir masast klasr. tpk
joseph beuysun sezgi adl yapt gibi,
.sezgi3.0_ da gndelik olarak kullanlp,
sezgi ile doldurulmay bekliyor. joseph
beuysun sezgi isimli ii nesne olarak
bir oaltma (multiple) iken, .sezgi3.0_
enformasyon olarak bir digitiple_
.-_-.
.baka bir dnyann mmknlne
ilham verecek .baka bir internet
mmkn!_ . zgr, anonim, datk, p2p
bir internet_
.-_-.
.btn .-_-. yaptlar herkes iin zgr
ve .copyleft!_tir. kapitalist ekonomi ve
ilikilerden bamszdrlar. zgr kltr
yaptlardrlar ve zgr kltrn, arala-
rnda hiyerari bulunmayan eit bireyleri
iin karlksz birer armaandrlar.
yolculuklar .-_-.dan bamszdr. herkes
onlar diledii gibi temellk etmekte
zgrdr, yeni yaptlarn zerlerine
temellendirilmesini, hatta bunlardan
gelir elde edilmesini, bunlar tekrar
datrken de zgr bir copyleft lisans
veya ibaresi kullanlmasn tevik ederler.
herhangi bir entelektel mlkiyet yasasna
tabi deildirler ve zerlerinde herhangi
bir manevi hak da yoktur. .-_-. yaptlarna
elik eden .copyleft!_ ibaresi tm yasal
dzenlemelerin dndadr ve yasal bir
szleme olmaktan ziyade, zgr kltr
etiine dayanan bir beyandr_
.-_-.
.
-
_
-
.
Antrepo no.3
.intuition3.0: totally dematerialized,
zero-byte work of art_ is a desktop folder
distributed in .tar.gz archive and becomes
zero-byte when extracted on your desktop.
.intuition3.0_ is supposed to be an item
of daily use to be filled with intuition,
just like the multiple intuition by joseph
beuys. while intuition by joseph beuys is a
multiple as an object,
is a digitiple as information_
.-_-.
.another internet is possible!_ to inspire
the possibility of another world. a free/
libre, anonymous, distributed, p2p
internet_
.-_-.
.all works of .-_-. are free/libre & .copyl-
eft!_. they are independent from capitalist
economics and relations. they are works
of free culture and non-reciprocal gifts
for peers of free culture. their journey
is independent from .-_-. . everybody is
free to appropriate them the way they like
and is also encouraged to build on them,
even to make money, preferably using a
copyleft free culture license or notice to re-
distribute. they are not subject to any kind
of intellectual property rights and there are
no moral rights attached to them either.
.copyleft!_ notice attached to the works of
.-_-. is out of the domain of any law and is
not a legal contract but a statement based
on ethics of free culture_
.-_-.
.
-
_
-
.
.
a
n
o
t
h
e
r

i
n
t
e
r
n
e
t

i
s

p
o
s
s
i
b
l
e
!
_
,

2
0
1
0
.
b
a

k
a

b
i
r

i
n
t
e
r
n
e
t

m

m
k

n
!
_
,

2
0
1
0
Antrepo no.3
ADAM KOKESCH
U
n
t
i
t
l
e
d
,

2
0
1
3

s
i
m
s
i
z
,

2
0
1
3
1973te Budapete, Macaristanda dodu. Budapete, Macaristanda yayor ve
alyor. Born in 1973 in Budapest, Hungary. Lives and works in Budapest,
Hungary.
dm Kokeschs world is one that is
full of illusions meticulously constructed
from his observations. The language
he creates from signs, objects, codes,
models, and environments cuts across
many disciplines, including linguistics,
architecture, industrial design, information
technologies, and cinema. Though
inspired by the sublime, Kokesch pursues
a type of abstraction that is more down to
earth; and, in a post-industrial setting,
he interchanges the signs and their
meanings with an intriguing humour.
His installations, which often refer to
laboratories and experimentation,
frequently suspend the typical mechanisms
and functions of objects and systems to
propose new defnitions for them.
The glossy and smooth surfaces he
produces are unexpected, timeless
melanges: he renders Bauhaus aesthetics,
Malevichs Suprematist black squares,
Tatlinesque Constructivism, and Futurism
with a Pop touch. They almost refect
the viewers gazes, challenge their
positions as viewers, and attempt to
condition them to a different perception
that transgresses the binary codes and
formulations. The installations are
smooth and precise, simultaneously
concrete and uncertain. Their open, poetic
confdence is unsettling, enticing another
dimension of aesthetic and intellectual
experience. His sculptural works have
an eerie, performative potential, like props
from a deserted 1940s television studio
or from the flm set of 2001: A Space
dm Kokesch gzlemlerinden hareketle
ve titizlikle ilzyonlarla dolu bir dnya
ina ediyor. aret, nesne, kod, model ve
evrelerden faydalanarak yaratt dil,
aralarnda dilbilim, mimarlk, endst-
riyel tasarm, biliim teknolojileri ve
sinemann da bulunduu birok disiplini
ieriyor. Yce kavramndan ilham alsa
da Kokesch daha alakgnll bir
soyutlama araynda; ve post-endstriyel
bir arka planda, iaretleri ve anlamlarn
arpc bir mizah anlayyla dei toku
ediyor. Sanatnn genellikle laboratu-
varlara ve deneylere gnderme yapan
enstalasyonlar, nesne ve sistemlerin tipik
mekanizma ve ilevlerini askya alarak
yeni tanmlar neriyor.
Sanatnn rettii parlak ve przsz
yzeyler, beklenmedik, zamansz kar-
mlar oluturuyor: Bauhaus estetiini,
Malevichin Sprematist siyah karelerini,
Tatlinesk bir Konstrktivizmi ve Ftrizmi
Pop bir dokunula iliyor. Yzeyleri
neredeyse izleyicinin baklarn yansta-
cak kadar parlak olan bu yaptlar, izleyi-
cinin konumunu sorgulamasn salyor
ve ikili kod ve formllerin tesine geen
farkl bir alg oluturmasn salamaya
alyor. Bu przsz ve ince ilenmi
enstalasyonlar, ayn anda hem somut,
hem de belirsiz. Yaptlarn ak, iirsel
kendine gveni izleyicinin huzurunu
kararak farkl bir estetik ve entelektel
deneyim boyutunu aryor. Sanatnn
heykelleri, 1940l yllara zg, terk
edilmi bir televizyon stdyosunda, veya
2001: Bir Uzay Destan (1968), veya

M

K
O
K
E
S
C
H
Antrepo no.3
Odyssey (1968), Dr. Who, or Solaris
(1972). In addition to experiments with
precise, seemingly technical objects and
constellations, Kokesch also produces
poetic confgurations.
One of the early works, Research
Lab on Mountain (2001), creates a lyrical
landscape, with a few simple tools,
revealing some of his basic vocabulary
and methods: a covered frame-like structure,
white plastic foil, and the small mock-up of
a building. Viewed from the side, the inner
life of the mountain is revealed: what we
see is a simple, almost crudely improvised
plastic frame. What is not visible can never
be taken for granted. All the borrowed
formulas, patterns, models become poetry
when they fnd themselves in another
constellation detached from positivist
pragmatism. A contemporary Dadaist
gesture is always at worka sceptical
way of thinking that never takes itself too
seriously, encouraging the viewer to do
so as well. vl Durmuolu
Solaris (1972) filmlerinin, veya
Dr. Who dizisinin setinde yer alabilecek
dekorlar gibi rktc, performatif
bir potansiyel barndryor. nce
ilenmi, teknik bir hava tayan nesne ve
kmelenmelerin yan sra, Kokesch iirsel
konfigrasyonlar da retiyor.
Sanatnn erken dnem yaptlarndan
biri, Dadaki Aratrma Laboratuvar
(2001) birka basit ara kullanarak
lirik bir peyzaj oluturuyor ve temel
daarcna ve yntemlerine dair de
bir fikir veriyor: st rtl ereve
benzeri bir yap, beyaz plastik folyo,
ve kk bir bina modeli. Yapta yandan
bakldnda ise dan i dnyas
gzler nne seriliyor: basit, neredeyse
kabaca bir araya getirilmi plastik bir
ereve. Grmediimiz bir eyin ne
olduuna dair asla kesin bir fikir
yrtemeyiz. dn alnan tm formller,
motif ler ve modeller, pozitivist
faydacln balamndan kopartlp
baka bir dzen ierisine yerletiril-
diklerinde iire dnrler. Sanatnn
yaptlarnda gncel bir Dadaist jestin
kendisini hibir zaman fazla ciddiye
almayan, izleyiciyi de ayn yolu takip
etmeye tevik eden bir phecilik
biiminde srekli etkin olduunu
gryoruz. vl Durmuolu

M

K
O
K
E
S
C
H
U
n
t
i
t
l
e
d
,

2
0
1
2

s
i
m
s
i
z
,

2
0
1
2
Antrepo no.3
AKADEMIA
RUCHU
kaybedeceiz
500 metre uzunluunda domuz kurtlar
Akademia Ruchu (the academy of mo-
tion) has been working in public spaces
through interventions and performances
since its inception during the 1970s.
Founded by Wojciech Krukowski, the
artistic director, Akademia Ruchu is known
as a theatre of behaviour and visual nar-
ration. The hundreds of performances the
group presents all over the world fall into
two categories: those enacted on stage,
within the realm of alternative theatre, and
in public spaces, with anonymous and
recalcitrant interventions.
There are differences, naturally, between
the theatre and public actions. The
theatres structure of stage, actors, and
audience brings with it certain confning
codes, and a theatre audience is prepared
for theatrics, even if the performance
happens to be non-theatre. Art in public
space, however, works differently, and it
is in these sites that Akademia Ruchu has
explored movement, space, and social
messages during the last four decades:
in broad strokes, the groups roots are in
the 60s; in the 70s it was perceived as an
anonymous urban guerrilla group; during
the 80s their practice revealed a clear po-
sition on the confict between the regime
and its citizens; and since the 90s they
have employed a new defant discourse
addressing the political, economic, and
cultural changes in Poland and Europe
after the fall of communism.
The 13
th
Istanbul Biennial presents three
early flms by the group: Europe [Europa]
(1976), Stumble I [Potknicie I] (1977)
A
v
r
u
p
a

[
E
u
r
o
p
a
]
,

1
9
7
6
Akademia Ruchu (hareket akademisi)
1970lerdeki kuruluundan bu yana
sanatsal mdahaleler ve performanslarla
kamusal alanda almalar gerekletiriyor.
Sanat ynetmeni Wojciech Krukowskinin
kurduu Akademia Ruchu bir davran ve
grsel anlat tiyatrosu olarak biliniyor.
Grubun dnyann eitli yerlerinde
sunduu yzlerce performans iki kate-
goride ele alnabilir: alternatif tiyatro
eserleri olarak sahnede gerekletirilenler
ve anonim ve isyankr mdahalelerle
kamusal alanlarda gerekletirilenler.
Tiyatro oyunu ile kamusal eylem arasnda
phesiz farklar var. Tiyatronun sahne,
oyuncular ve izleyicilerden oluan yaps
belirli snrlayc kurallar dourur ve
bir tiyatro seyircisi, performans tiyatro
d da olsa, teatral bir gsteri beklentisi
ierisindedir. Kamusal alanda sanat
ise baka trl iler, nitekim Akademia
Ruchu da son krk yl boyunca hareket,
mekn ve toplumsal mesaj kavramlarn
bu kamusal meknlarda kefe girimitir.
Grubun kkleri 60lara uzanyor, grup
70li yllarda anonim bir ehir gerillas
grubu olarak alglanm, grubun 80lerde
izledii pratik, rejim ve vatandalar
arasndaki atmada aka taraf
olduklarn gsteriyor, 90lardan bu yana
ise grup, komnizmin knden sonra
Polonya ve Avrupada gerekleen siyasi,
ekonomik ve kltrel deiikliklere dair
yeni, direnii bir sylem yaratyor.
13. stanbul Bienali grubun erken
dnem filmini sunuyor: Avrupa [Europa]
(1976), Tkezleme I [Potkni cie I] (1977)
E
u
r
o
p
e

[
E
u
r
o
p
a
]
,

1
9
7
6
1973te Varova, Polonyada kuruldu. almalarn Varova, Polonyada
srdryor. Founded in 1973 in Warsaw, Poland. Based in Warsaw, Poland.
A
K
A
D
E
M
I
A

R
U
C
H
U
Antrepo no.3
and Stumble II [Potknicie II] (1977).
The frst flm draws from Polish poet Anatol
Sterns futuristic poem Europa (1929).
Europe is one of a number of productions
by Akademia Ruchu based on the specifc
poem. Taking place on the streets of d,
Poland, it shows actors running toward
the camera unfolding banners with words
and sentences from the poem. We are
not rats. We wish we would be. A literary.
Swarm of rats. one part reads. Although
performed 48 years after the poem was
written, it is still pertinent and powerful
as a performative political allegory
in the context of the strikes in Radom
and Ursus, Poland.
1
The latter flms, Stumble I and Stumble II,
were performed in several Polish cities,
including Ciechanw, winoujcie, d,
and Warsaw, in crowd-gathering places,
such as squares, streets, and parks. In
these worksunbeknown to bystanders
Akademia Ruchu orchestrated a scene in
which a person stumbles at the same spot
at regular intervals. Few things disrupt
the normalcy of the everyday as seeing
someone stumble. And it might very well
be that with this action the company
proposed a new way to challenge
the customary and orderly. No one knows
what a simple act of faltering could set
in motion. Theodor Ringborg
T

k
e
z
l
e
m
e

I

[
P
o
t
k
n
i
c
i
e

I
]
,

1
9
7
7
S
t
u
m
b
l
e

I

[
P
o
t
k
n
i

c
i
e

I
]
,

1
9
7
7
ve Tkezleme II [Potkni cie II] (1977).
lk film ilhamn Polonyal air Anatol
Sternin ftrist iiri Europadan (1929)
alyor. Avrupa, Akademia Ruchunun
bu iir zerine ina ettii ok sayda ya-
pmdan biri. Polonyann d ehrinde
geen filmin oyuncular, zerinde iirden
kelime ve dizelerin Biz san deiliz.
Keke olsaydk. Edebi. Bir san srs.
yazl olduu f lamalar aarak kameraya
doru kouyor. Bu performans iirin
yazlndan 48 yl sonra gereklemesine
ramen, iir performatif siyasi bir
alegori olarak Polonyann Radom
ehri ve Varovann Ursus semtindeki
grevler balamnda gcn ve geerlili-
ini koruyor.
1
Tkezleme I ve Tkezleme II balkl
dier iki film ise eitli Polonya ehirle-
rinde insanlarn topland meydanlarda,
sokaklarda ve parklarda ekilmi. Bu
yaptlarda Akademia Ruchu, yoldan
geenlerin haberi olmadan ayn noktada,
dzenli aralklarla bir kiinin tkezleye-
cei bir mizansen tasarlam. Gndelik
hayatn akn, birisinin yolda tkezledi-
ini grmek kadar aksatan az ey vardr.
Kumpanyann bu eylemle, alldk ve
dzenli olana meydan okumak iin yeni
bir yntem nerdiini sylemek hi de
yanl olmaz. Kimse, basit bir sendeleme-
nin neleri harekete geireceini nceden
tahmin edemez. Theodor Ringborg
A
K
A
D
E
M
I
A

R
U
C
H
U
1 In the Heart of the Country. Varova Modern Sanat Mzesi Koleksiyonu, der. Katarzyna Szotkowska-
Beylin (Varova: Varova Modern Sanat Mzesi, 2013): 75. http://www.artmuseum.pl/public/upload/files/W-
sercu-kraju-ENG-www.pdf. Eriim: 19 Austos 2013. In the Heart of the Country. The Collection of the Museum
of Modern Art in Warsaw, ed. by Katarzyna Szotkowska-Beylin (Warsaw: Museum of Modern Art in Warsaw,
2013): 75. Available at http://www.artmuseum.pl/public/upload/fles/W-sercu-kraju-ENG-www.pdf.
Accessed: 19 August 2013.
Antrepo no.3
ALICE CREISCHER&
ANDREAS SIEKMANN
I
n

t
h
e

S
t
o
m
a
c
h

o
f

t
h
e

P
r
e
d
a
t
o
r
s
,

2
0
1
2
/
2
0
1
3
Y

r
t

H
a
y
v
a
n
l
a
r

n

M
i
d
e
s
i
n
d
e
,

2
0
1
2
/
2
0
1
3
Creischer 1960da Gerolstein, Almanyada dodu; Siekmann 1961de Hamm,
Almanyada dodu. Berlin, Almanyada yayor ve alyorlar. Creischer born in
1960 in Gerolstein, Germany; Siekmann born in 1961 in Hamm, Germany.
Live and work in Berlin, Germany.
The position of the intellectual has been
a topic of interest for many philosophers
from Antonio Gramsci to Theodor W.
Adorno. What this position means for us
today, and how we deal with the circulation
of knowledge, its power and even terror,
are questions that require courage to
answer. In Michel Foucaults view,
the defning concepts for the production,
circulation, and control of knowledge are
governmentality, the organization of
the educational system, and political will.
He also positions the intellectual as one
who reexamines and questions rules and
institutions, as well as power structures.
Why does a work of contemporary art
require this theoretical preamble?
The artists Alice Creischer and Andreas
Siekmann produce alternatives to
the power structures which monopolize
knowledge and prevent free inquiry and
the collaborative production of knowledge.
Using the visual strategies of graphic
design, flm, and installation, they
approach the politics of representation
through presentations, lectures, or
stagings. They address phenomena that
are presented in a complex manner
(or presented in a manner more complex
than they actually are) in various social,
economic, and political contexts.
In the Stomach of the Predators
(2012/2013), a new video produced for
the 13
th
Istanbul Biennial, follows
A
L
I
C
E

C
R
E
I
S
C
H
E
R

&

A
N
D
R
E
A
S

S
I
E
K
M
A
N
N
Antonio Gramsciden Theodor W.
Adornoya kadar pek ok felsefecinin
zerine younlat bir pozisyon olarak,
aydn ya da entelektel bugn bizim
iin ne ifade ediyor; bilginin iktidar,
dolam ve terr ile nasl ba ediliyor,
bunlar cesaret isteyen sorular... Michel
Foucaultnun okumasn temel alrsak,
bilginin retiminde, dolamnda ve
kontrolnde ilevsel ve belirleyici kav-
ramlar, ncelikle ynetimsellik, eitim
sistemi rgtlenmesi ve siyasi iradedir.
Foucault ayn zamanda entelekteli,
kurallar, kurumlar ve g odaklarn
sorgulayan ve yeniden deerlendiren
kiiler olarak konumlandrr.
Bir gncel sanat projesini aklamak
iin, neden byle bir teorik girie gerek
duyuyorum? nk entelektel terrn
yol at, ortak bilgi retimine ve zgr
aratrma anlayna engel olan, bilgiyi
tekelletiren iktidar yapsna kar,
sanatsal pratikleri ile alternatif reten
iki sanatdan sz ediyorum. Bamsz
pratiklerinin yan sra ortak sanat
almalar reten Alice Creischer ve
Andreas Siekmann, aslnda sosyal,
ekonomik ve siyasi balamlarda karmak
(ya da yle sunulan) fenomenlere ve
sorulara grsel temsil pratii zerinden
yaklaarak temsil politikalarn
sorguluyor ve grafikler, filmler ya da
yerletirmeye dnen sunumlar, dersler,
sahnelemeler retiyor.
Antrepo no.3
the gestures and expressions of a series
of actors who move through various
climates and geopolitical realities with
Brechtian theatricality; a text intervenes
in this fow. The work moves between
Spitsbergen, the most densely populated
island in Norway and home to the Global
Seed Vault, and Benin, where it focuses
on the independent aid agency Millennium
Challenge Corporation (MCC). The actors
walk through a symbolic narrative and
poetic text, bound to one another by
shackles. Their body language, costumes,
and surrounding objectsa hunters knife,
a leather bag, masks symbolizing wild
animals, sheets of notepaper covered
in the number zerogradually gain
semantic clarity as the layered perfor-
mances progress.
This conceptual staging, which stretches
from the glaciers of Scandinavia and
the landscape of the far north to hot,
yellow-tinged Africa, ends in Istanbul.
Panning over the city from Sulukule
(one of the frst Istanbul neighbourhoods
to suffer gentrifcation) to the Hippodrome
(the centre of imperial spectacle in ancient
Constantinople), the video renders visible
an ancient Latin phrase, presenting
a theatrical translation of the concept of
res nullius. This Roman legal term literally
means nobodys property, and refers
to something that can be owned or
acquired by anyonejust like
the abandoned but spiritually occupied
spaces where the actors in wild animal
masks wander. Adnan Yldz
13. stanbul Bienali iin rettikleri yeni
videolar Yrtc Hayvanlarn Midesinde
(2012/2013), Brechtyen bir teatrallikte,
iklimler ve jeopolitik gereklikler
arasnda yryen oyuncularn jestlerin-
den, ifadelerinden ve bu aka mdahale
eden bir metinden oluuyor. Norvein en
kalabalk nfuslu adas Spitsbergende
bulunan kresel tohum bankas Global
Seed Vaulta, oradan Bat Afrikaya,
bamsz yardm fonu kurumu Millennium
Challenge Corporationn Benindeki
programna iaret ediyor. Bu geilerde
birbirine prangayla bal oyuncular
sembolik bir anlatmn ve iirsel bir met-
nin iinde(n) yryorlar. Beden dilleri
ve tavrlar, kullandklar kostmler ve
dier elerle mesela av bandan k
deri bir anta, vahi hayvanlar sembolize
eden maskeler, bir sr sfrn yazl
olduu not ktlar ve performanslarla
katmanlaarak giderek keskinleiyor.
Buzullardan, kuzey doasndan ve
skandinavya peyzajndan scak Afrikann
sar doasna geen bu kavramsal sahneleme
stanbulda sona eriyor. Shhiletirmenin
aclarn ilk yaayan stanbul semtlerinden
Sulukuleden, imparatorluk gsterilerinin
merkezi eski stanbuldaki Hipodroma
kayarak, Latince bir kavram grnr
klyorlar; bir anlamda gsterileri zerinden
teatral bir eviri sunuyorlar. Hi kim-
seye ait olmayan anlamnda kullanlan
ve Roma hukukundan gelen res nullius
aslnda kamusal sahiplie ak olan, herke-
se ait olabilecek, herhangi biri tarafndan
edinilebilecek olanlar tanmlar. Tpk
oyuncularn takt maskelerdeki vahi
hayvanlar ya da iinde gezdikleri, ruhu
igal edilmi ve manen terk edilmi
alanlar gibi. Adnan Yldz
A
L
I
C
E

C
R
E
I
S
C
H
E
R

&

A
N
D
R
E
A
S

S
I
E
K
M
A
N
N
I
n

t
h
e

S
t
o
m
a
c
h

o
f

t
h
e

P
r
e
d
a
t
o
r
s
,

2
0
1
2
/
2
0
1
3
Y

r
t

H
a
y
v
a
n
l
a
r

n

M
i
d
e
s
i
n
d
e
,

2
0
1
2
/
2
0
1
3
Antrepo no.3
AMAL KENAWY
Amal Kenawy, whose work is marked
by visual poetry and conceptual gravity,
creates videos, performances, and public
interventions. Hands wearing lace gloves
sewing fabric fowers onto a throbbing
heart is only one of the many visual
metaphors that Kenawy constructs with
ease.
Non Stop Conversation (2007) is poign-
antly simple: the artist covered a run-down
building with pink quilts. The quilt is a very
familiar domestic object, and its placement
on the exterior turns the building inside
out. Although the residents may not have
owned or used pink quilts, the selection
of a material associated with the home
interior and, more specifcally, the intimate
space of the bedroom to cloak the building
highlights the fragility of the structure and
the almost-maternal instinct to protect and
preserve it.
Silence of Sheep (2009) is footage of a
performance Kenawy staged in Cairo,
Egypt. She led ffteen people, crawling on
their hands and knees, across a street.
Twelve day labourers, the artists brother,
and two children stop traffcin one scene
a bus brakes inches from the performers.
The absurdity is palpable. While some
people flmed and photographed this
event, Kenawy encountered the outrage
of other bystanders and passers-by.
The artists gesture obviously struck a
very tender nerve, and the exponential
climb of tension is not surprisingit is
almost expected. The experiences of the
viewers are inevitably shaped by their
Amal Kenawynin video, performans ve
kamusal mdahaleleri grsel iirsellik ve
kavramsal younluklaryla ne kyor.
Atan bir kalbe kumatan iekler ileyen
dantel eldiven giymi eller, Kenawynin
ustaca yaratt grsel metaforlardan
sadece biri.
Kesintisiz Sohbet (2007) arpc derecede
sade bir yapt: Sanat ykk dkk bir
binay pembe yorganlarla kaplam.
Son derece tandk bir ev ii nesne olan
yorgan, binann d cephesine yerletiri-
lince bina da ters yz edilmi oluyor. Bina
sakinlerinin pembe yorganlar olmayabi-
lir ya da hi pembe yorgan kullanmam
olabilirler, ama binay rtmek iin evin
iiyle ve dahas, yatak odasnn mahrem
meknyla ilikili bir malzemenin seimi,
yapnn krlganln ve sanatnn
binay hasar ve saldrdan koruyup kolla-
maya ynelik neredeyse ana denebilecek
igdsn vurguluyor.
Koyunlarn Sessizlii (2009) ise
Kenawynin Kahirede sergiledii bir
performansn kaydndan oluuyor. Bu
performans iin sanat ellerinin ve
dizlerinin zerinde emekleyen bir grubun
sokakta kardan karya gemelerini
salam. On iki gndelik ii, sanatnn
aabeyi ve iki ocuk trafii durdurmu
bir sahnede bir otobsn perfor-
manslara milim kala frene bastn
gryoruz. Durumun absrdl aikr.
Baz insanlar performansn fotoraf ve
videolarn ekerken, Kenawy izleyenle-
rin ve yoldan geenlerin f kesiyle de kar
karya kalm. Sanatnn eylemi belli
A
M
A
L

K
E
N
A
W
Y
K
o
y
u
n
l
a
r

n

S
e
s
s
i
z
l
i

i
,

2
0
0
9
S
i
l
e
n
c
e

o
f

S
h
e
e
p
,

2
0
0
9
1974te Kahire, Msrda dodu. 2012de Kahire, Msrda ld.
Born in 1974 in Cairo, Egypt. Died in 2012 in Cairo, Egypt.
Antrepo no.3
Sana insanlar hayvan gibi yrtmenin sanat olduunu mu sylediler?!!
self-awareness of looking at artworks, as
opposed to the bystanders who happen to
pass through the street at that particular
time. Kenawys concoction of the lapse of
temporalitya strictly urban defnition and
sensibility of temporality, which includes
the intimate co-existence of various
modes of time and spaceis serious
but subdued; the artist has produced a
mischievous slice of the everydaythe
mimicry of reality. The metaphor almost
feels more real than life itself.
Reminiscent of Spanish artist Santiago
Sierras hired labourerswho have, on
different occasions, crouched in cardboard
boxes and sat for tattoos as Sierra aimed
to expose dynamics of production and
power, Kenawys relationship with
the day labourers, who were jailed with
the artist for one night following the
one-time performance (two had been
planned), borders on exploitative, but
this is precisely what strengthens her
statement. Kenawy is not immune to ones
daily wavering between acceptable and
unacceptable actions, and the purpose
for which these men were employed
make the issue of labour and agency and
production and capitalismboth politically
and sociallyall the more pressing. The
performance also raises crucial issues
beyond the above mentioned in terms
of public space related to art, the artist,
gender, and social tolerance.
Merve nsal
ki ok hassas bir konuya dokunuyor,
gerilimin hzla ykselmesi artc deil,
hatta neredeyse beklenen bir durum.
Videoyu izleyenlerin deneyiminin, o
srada tesadf eseri sokaktan geenlerin
aksine, bir sanat yaptna baktklarna
dair bir farkndalk tarafndan ekillen-
dirilmesi kanlmaz. Kenawynin son
dereca kentsel, bir zamansall sekteye
uratarak hazrlad tezgh ar ama
kontrolldr; sanat gndelik olana dair
muzip bir zaman dilimi veya gerekliin
bir taklidini retir. Buradaki mecaz
neredeyse yaamn kendisinden daha
gerek olduunu hissettirir.
spanyol sanat Santiago Sierrann
kiralk iilerini anmsatan bir slupla
Sierra, baz mizansenlerinde karton
kutularn iine melmi ve dvme yap-
trmak zere oturmu iiler vastasyla
retim ve iktidarn dinamiklerini tehir
etmek istiyordu, Kenawynin bu ancak
bir kere gerekletirilebilen (iki kere
yaplmas planlanmt) performansnn
ardndan kendisiyle birlikte bir gece
nezarethanede kalan gndelik iilerle
ilikisinin smr snrnda olduu
sylenebilir, ama bu tam da sanatnn
nermesini glendiren nokta. Kenawy
insann her gn kabul edilebilir ve kabul
edilemez eylemler arasndaki bocalama
halinden muaf deildir ve performansa
katlanlarn ie alnma amac, hem emek
ve araclk, hem de retim ve kapitalizm
kmazlarn siyasi ve de toplumsal
adan daha da acil klar. Performans
bunun da tesinde kamusal alanda
sanat ve sanat, kadn ve kadn bedeni,
toplumsal tolerans konularn da irdeler.
Merve nsal
A
M
A
L

K
E
N
A
W
Y
K
o
y
u
n
l
a
r

n

S
e
s
s
i
z
l
i

i
,

2
0
0
9
S
i
l
e
n
c
e

o
f

S
h
e
e
p
,

2
0
0
9
Antrepo no.3
ANCA BENERA &
ARNOLD ESTEFAN
Benera 1977de Kstence, Romanyada dodu; Estefan 1978de Trgu Secuiesc,
Romanyada dodu. Bkre, Romanyada yayor ve alyorlar. Benera born in
1977 in Constanta, Romania; Estefan born in 1978 in Trgu Secuiesc, Romania.
Live and work in Bucharest, Romania.
T
h
e

E
q
u
i
t
a
b
l
e

P
r
i
n
c
i
p
l
e
,

2
0
1
2
-
o
n
g
o
i
n
g
E

i
t

U
z
a
k
l

l
k
e
s
i
,

2
0
1
2
-
d
e
v
a
m

e
t
m
e
k
t
e
Anca Benera and Arnold Estefan
often showcase the disproportionate
confrontation between the individual
as an autonomous subject and a citizen
of societyand institutional powers that
be the state, multinational corporations,
and art institutions. They pit one individual
against the depersonalized and abstract
mechanisms of persuasion and control
with which power operates. Their artistic
strategies rely on minute analyses and
systematic explorations of the logic of
the intimidating, complicated, and often
inscrutable structure that is bureaucracy.
They endorse the need to fnd ones voice
and to unearth ones critical consciousness
in the face of what presents itself
as an impenetrable fortress of power
no matter in what form the sphere
of control appears.
The Equitable Principle (2012ongoing)
explores Romanias geopolitical position
and the historical controversies and
territorial disputes around Snake Island,
a remote rocky islet located in
the north-western part of the Black Sea.
In 1991, after the dissolution of the Soviet
Union, Snake Island became an object of
a long-standing dispute between Romania
and the Ukraine, stemming from shared
economic interests in large oil and gas
reserves. Romania brought the case to
the International Court of Justice (ICJ)
at The Hague, and the courts decision
was to draw an equidistant line between
the Ukrainian and Romanian shorelines.
Anca Benera ve Arnold Estefann
yaptlar genellikle, zerk bir zne ve
toplumun bir ferdi olarak birey ile
iktidar elinde tutan devlet, okuluslu
irketler ve sanat kurumlar gibi
kurumsal gler arasndaki orantsz
karlamay konu edinir. kili yaptla-
rnda tek bir bireyi, iktidarn kulland
kiiliksizlemi, soyut ikna ve kontrol
mekanizmalar ile kar karya brakr.
kilinin sanatsal stratejileri, brokrasinin
sindirmeye dayal, karmak ve hakknda
bilgi edinmesi genellikle imknsz
mantnn ayrntl bir zmlemesine
ve sistemli incelemesine dayanr. kilinin
yaptlar, kendisini denetim evreni ne
biimde olursa olsun nfuz edilemez
bir kale olarak sunan iktidar karsnda,
bireyin kendi sesini bulmas ve eletirel
bilincinin ortaya kmasna dair ihtiyaca
hitap eder.
Eit Uzaklk lkesi (2012-devam etmekte),
Romanyann jeopolitik konumunu ve
Karadenizin kuzeybatsnda ssz ve
kayalk bir adack olan Ylan Adas
etrafnda gelien tarihsel atmalar
ve saha anlamazlklarn inceleyen bir
yapt. Ylan Adas 1991 ylnda Sovyetler
Birliinin dalmasnn ardndan
Romanya ve Ukrayna arasnda, uzun sre
devam eden ve blgedeki byk petrol
ve doal gaz yataklaryla ilgili ortak
ekonomik karlardan kaynaklanan bir
anlamazla konu oldu. Romanya mese-
leyi Lahey Uluslararas Adalet Divanna
(UAD) tad, mahkeme ise Ukrayna ve
A
N
C
A

B
E
N
E
R
A

&

A
R
N
O
L
D

E
S
T
E
F
A
N
Antrepo no.3
T
h
e

E
q
u
i
t
a
b
l
e

P
r
i
n
c
i
p
l
e
,

2
0
1
2
-
o
n
g
o
i
n
g
E

i
t

U
z
a
k
l

l
k
e
s
i
,

2
0
1
2
-
d
e
v
a
m

e
t
m
e
k
t
e
The ICJ awarded the biggest share to
Romania, but the oil concessions in
the sea had already been granted to
multinational companies before
the resolution of the trial.
Benera and Estefan conceptualize this
deceptive recovery in The Equitable
Principle. The artists cut out a 0,509
square-metre surface from a frozen
part of the Black Seathe unit that
each Romanian citizen would get, had
the maritime area been divided equally.
Benera and Estefan applied a similar
procedure to the area of Snake Island
(which Romania lost). The artists take
a trip to the islandnavigating the
Ukrainian bureaucracy in order to secure
the necessary access permitto smuggle
approximately 8 square millimetres of soil
out to Bucharest. The two complementary
actions are the artists political alchemy:
on one hand, what was lost (the island)
is symbolically recovered (the 8 square
millimetres of land per capita); on the other
hand, what was gained (the maritime area)
is lost, as the ice removed from
the Black Sea evaporates. Magda Radu
Romanya ky eritlerine eit uzaklkta
bir hat izme karar ald. UAD rezervlerin
byk blmn Romanyaya verse
de, denizin altndaki petrol yataklar
mahkeme sonulanmadan nce okuluslu
irketlere devredilmiti.
Benera ve Estefan Eit Uzaklk
lkesinde bu aldatc geri kazanm
kavramsallatryorlar. Sanatlar,
her bir Romanyalnn deniz sahas eit
blnm olsayd- payna decek olan
0,509 metrekarelik paray Karadenizin
donmu yzeyinden kestiler. Benera ve
Estefan daha sonra benzer bir ilemi
Romanyann kaybettii Ylan Adasnn
yzeyine de uyguladlar. Sanatlar,
yaklak 8 milimetrekare toprak alp
Bkree karmak amacyla
-Ukraynadan izin almak iin gerekli
brokratik prosedrleri atlatarak-
adaya gittiler. Bu iki, birbirini
tamamlayan eylem sanatlarn siyasal
simyasn oluturuyor: bir yandan
kaybedilen ey (ada) simgesel olarak geri
kazanlrken (kii bana den
8 milimetrekare toprak); dier yandan
kazanlan ey (deniz sahas) Karadenizden
alnan buz ktlesi zlp buharlat
iin kaybediliyor. Magda Radu
A
N
C
A

B
E
N
E
R
A

&

A
R
N
O
L
D

E
S
T
E
F
A
N
Antrepo no.3
AYE ERKMEN
Aye Erkmen is concerned with creating
unexpected and strange encounters
with the stories, structures, or systems
that shape ones experience of a place.
She does not pursue a particular
sculptural form: she develops each
installation from the materials that she
encounters at a site. Her interventions,
which draw on the particular nuances of a
location as the subject matter, have tem-
porarily altered some of the worlds most
important contemporary art institutions,
public spaces, and historical sites.
Investigations behind Erkmens projects
include: the infrastructure or particular
features of a buildings history (Busy
Colours, 2005); migratory paths (Shipped
Ships, 2001); rights of airspace to migrate
across otherwise closed borders
(Let it Flow, 2011); and the conversion of
Venice canal water into drinking water
(Plan B, Venice Biennale, 2011).
Erkmens work is characterised by a visual
simplicity and sensitivity to existing
conditions, and the artist uses colour,
shape, and sound to jocularly explore and
amplify the nature of perception and
experience. Her installations articulate
a social, political, or architectural
response to a given context. The artist
also foregrounds the inconsistencies
and peculiarities of a given context and
channels them into her work to reveal
hidden (or unnoticed) aspects of daily life.
Her work is, at times, intensely visceral
and phenomenological. Forms can have
a direct, at times overwhelming or
Aye Erkmenin yaptlar, mekn
deneyimini ekillendiren anlat, yap
veya sistemlerle beklenmedik ve tuhaf
karlamalar yaratmay amalyor.
Sanat heykellerinde belirli bir biim
aray gtmyor: her enstalasyonunu
meknda karlat malzemelerden
hareketle gelitiriyor. Sanatnn
kendine zg nanslarndan beslenen
mdahaleleri dnyann en nemli gncel
sanat kurumlar, kamusal alanlar ve
tarihsel meknlarndan bazlarn geici
olarak dnme uratt. Sanatnn
projelerinin arka plann oluturan
aratrma konular arasnda, bir binann
altyaps veya tarihinin belli zellikleri
(Hamarat Renkler, 2005); g yollar
(Tanan Gemiler, 2001); kapal snrlarn
zerindeki hava sahasna dair g hak-
lar (Brak Dolasn, 2011); ve Venedik
kanallarnda akan suyun ime suyuna
dntrlmesi (Plan B, Venedik Bienali,
2011) bulunmaktadr.
Erkmenin yaptnn ayrt edici zellii
grsel sadelii ve mevcut koullara
gsterdii hassasiyet. Sanat alg ve
deneyimin doasn mizah ieren bir
bakla kefetmek ve glendirerek
iletmek iin renk, biim ve sesi kullanyor.
Sanatnn enstalasyonlar verili bir
balama toplumsal, politik veya mimari
karlklar gelitiriyor ve verili balamn
tutarszlk ve tuhaf lklarn n plana
tayarak gndelik hayatn gizli (veya
gzden kaan) ynlerini ortaya karmak
iin yaptlarna tayor. Sanatnn baz
yaptlar youn bir bedensel ve olgusal
P
l
a
n

B
,

2
0
1
1
P
l
a
n

B
,

2
0
1
1
1949da stanbul, Trkiyede dodu. stanbul, Trkiye ve Berlin, Almanyada
yayor ve alyor. Born in 1949 in Istanbul, Turkey. Lives and works in Istanbul,
Turkey, and Berlin, Germany.
A
Y

E

E
R
K
M
E
N
Antrepo no.3
threatening relationship to the body.
For example, in Stoned (2003), a large
rock rested precariously over a large glass
roof, which covers the heads of visitors.
In other works, the form responds softly
to hard-edge architecture, as in Under
the Roof (2005). The artist created colour
felds, with silicon cords, at head height
in each gallery space, creating false
ceilings and gently altering the spatial
design of the rooms.

Erkmens project for the 13
th
Istanbul
Biennial, bangbangbang (2013), refers to
the physical transformation that is scheduled
to take place in the area where the work
is presented, change that refects
the development of many other parts of
the city. In front of the Antrepo no.3
building stands a crane armed with
a giant ball that swings into the building
every hour like a pendulum. The power
of the crane is at once emphasised
and dispersed through the balls latent
potentiality.
Erkmen renegotiates the relationship
between industrial objects and processes
of sculptural production, and reveals
the relationship between objects and
the viewer as something much more
intimate, complex, subjective, and
variable. She disestablishes the fxed
narratives of sculpture and its legacies
rather than drawing on the more abstract
relationship between form and experience
as subject matter. Often visitors are, quite
literally, inside of the work, thinking or
feeling their way out.
Danae Mossman and Sarah Hopkinson
etki yaratr. Yaptlarn biimi beden ile
dorudan, hatta bazen izleyicinin ban
dndren veya izleyiciyi tehdit eden bir
iliki kurar: Stoned (2003) balkl yapt-
ta, izleyicilerin ba hizasnn zerindeki
geni cam atnn zerine tehlikeli ve
tehditkar bir ekilde yerletirilmi dev
kaya gibi. atnn Altnda (2005) gibi
dier baz yaptlarda ise biim keskin
hatlara sahip mimariye yumuaklkla
karlk verir. Sanat bu yaptta her galeri
meknnda silikon kablolar kullanarak
renk alanlar yaratr, ve oluturduu sahte
tavanlarla odalarn meknsal tasarmna
hassas mdahalelerde bulunur.

Erkmenin 13. stanbul Bienaline dhil
olan projesi ktktkt (2013), yaptn
sergilendii meknda gereklemesi
planlanan fiziksel dnme atfta
bulunuyor; bu deiiklik, ehrin baka
pek ok yerindeki geliimi de yanstyor.
Antrepo no.3 binasnn nnde, saatte
bir binaya doru bir sarka gibi sallanan
dev bir glleyle silahlandrlm bir
vin duruyor. Vincin sahip olduu g,
gllenin uyur haldeki potansiyeliyle ayn
anda hem vurgulanyor, hem seyreltiliyor.
Erkmen endstriyel nesneler ile heykel
retim sreleri arasndaki ilikiyi
yeniden dnerek nesneler ve izleyici
arasndaki ilikinin sanlandan ok
daha yakn, karmak, znel ve deiken
olduunu gsteriyor. Biim ve deneyim
arasndaki daha soyut ilikiden hareket
etmek yerine, heykel sanat ve trevlerinin
sabit anlatlarn yerinden etmeyi tercih
ediyor. zleyici kendini genellikle Erkmenin
yaptnn fiziken de iinde bulur, ve k
yolunu dnce veya igdleriyle arar.
Danae Mossman ve Sarah Hopkinson
A
Y

E

E
R
K
M
E
N
S
t
o
n
e
d
,

2
0
0
3
S
t
o
n
e
d
,

2
0
0
3
Antrepo no.3
CARLA FILIPE
The art of Carla Filipe reads like a chronicle
of modern Portuguese history. Drawing
from personal memories and experiences,
the artist touches on various social histories.
These allegories of (post) industrial life
offer melancholic refections on capitalism
today and the way the system renders
obsolete practices and knowledge in its
quest for effciency and proft.
The installation If there is no culture there
is nothing [Se no h cultura, no h
nada] (2011-2013) is a portrait of Moreira
da Costa, Filipes favourite bookstore,
located at the city centre of Oporto, where
she lives. In the flm the viewer follows the
antiquarian bookseller through his base-
ment, flled with shelves crammed from
foor to ceiling with century-old books. The
bookstore is the oldest in Oporto but, like
so many of its kind, struggles to keep its
doors open today. While the Portuguese
economy has suffered a recession
since 2010, the old harbour city fghts
bankruptcy by attracting weekend tourism
and Erasmus students. But these attempts
have done little to restore a diverse and
stable economy, let alone the citys cultural
and intellectual life.
Rorschach Installation [Instalao
Rorschach] (2011-2013) suggests that
if culture is abandoned, it will gradually
disintegrate and be overpowered by
nature. The work includes open books,
which Filipe retrieved from Moreira da
Costa, presented on a wall. They reveal
elegant lines and curved gouges, traces of
bookworms that once inhabited the pages.
Carla Filipenin sanatn modern Portekiz
tarihinin bir tr gncesi olarak okumak
mmkn. Sanat, kiisel anlarndan
ve deneyimlerinden hareketle eitli
toplumsal tarihsel anlatlara deiniyor.
(Post)endstriyel yaamn bu alegorileri
gnmz kapitalizmi zerine yani
sistemin verimlilik ve kr peinde
koarken bilgi ve tecrbeyi nasl safd
braktna dair melankolik deerlen-
dirmeler sunuyor.
Kltr yoksa hibir ey olmaz [Se no
h cultura, no h nada] (2011-2013)
balkl yapt, Filipenin yaad Porto
ehrinin merkezindeki en sevdii kitap
Moreira da Costann bir portresi. Filmde
izleyici, sahaf dkkannn sahibinin
peinden yerden tavana yzyllk
kitaplarla tka basa dolu raf lar arasnda
bodrum katnda geziniyor. Bu sahaf
dkkan Portonun en eski kitaps
olmasna ramen, bugn dier birok
kitap gibi ayakta kalmaya alyor.
Portekiz ekonomisi 2010dan bu yana
krizde, bu eski liman ehri de hafta
sonu turizmini ve Erasmus rencile-
rini kendine ekmeye alarak if lasa
kar mcadele veriyor. Ancak, ehrin
kltrel ve entellektel hayatn yeniden
hareketlendirmek yle dursun, bu
abalar u ana kadar, zengin ve istikrarl
bir ekonomiyi canlandrmak adna pek
sonu getirmemi.
Rorschach Enstalasyonu [Instalao
Rorschach] (2011-2013) ise kltrn,
yzst brakld takdirde, zamanla
zlp gideceini ve doann hkmne
R
o
r
s
c
h
a
c
h

I
n
s
t
a
l
l
a
t
i
o
n

[
I
n
s
t
a
l
a

o

R
o
r
s
c
h
a
c
h
]
,

2
0
1
1
-
2
0
1
3
R
o
r
s
c
h
a
c
h

E
n
s
t
a
l
a
s
y
o
n
u

[
I
n
s
t
a
l
a

o

R
o
r
s
c
h
a
c
h
]
,

2
0
1
1
-
2
0
1
3
C
A
R
L
A

F
I
L
I
P
E
1973te Aveiro, Portekizde dodu. Porto, Portekizde yayor ve alyor.
Born in 1973 in Aveiro, Portugal. Lives and works in Porto, Portugal.
Antrepo no.3, ARTER
The symmetrical compositions evoke
the capriciousness of Rorschach tests,
a psychological tool used to determine
personality disorders. In a powerful
metaphor, the work connects the damage
perpetrated by cultural patrimony to the
delicate mental state of a society.
Empty Hands: The hand is not only an
organ for work but it is also a product of it
[Mos vazias: a mo no s um orgo
de trabalho, mas tambm produto deste]
(2011) is an installation consisting of
ancient wood-and-iron work tools, which
were originally used for archaic profes-
sions like carpentry, baking, or farming but
now widely forgotten. The installation is an
archaeology of manual labour. Alongside
Empty Hands is the sound installation
Workers Songs [Msicas de Trabalho]
(2010), which projects a collection of
antifascist protest songs that originated in
rural areas around the 1960s. The voices
remind us of the emancipatory potential of
manual labour and skill, a mode of sover-
eignty from current oppressive economic
and political patterns. Rieke Vos
gireceini ne sryor. Bu yaptta
Filipenin Moreira da Costa kitapsnda
bulduu kitaplar, sayfalar ak halde,
bir duvar enstalasyonunda sunuluyor.
Ak sayfalarda zarif izgiler ve kvrml
oluklar, yani bir zamanlar bu sayfalarda
ikamet etmi kitap kurtlarnn brakt
izler grlyor. Bu simetrik kompozis-
yonlar izleyiciye, kiilik bozukluklarn
belirlemek iin kullanlan psikolojik
aralar arasnda yer alan Rorschach
testlerinin deikenliini hatrlatyor.
Yapt, bu gl metafor araclyla
kltrel mirasn yaratt tahribat ile
toplumun krlgan halet-i ruhiyesi arasn-
da balant kuruyor.
Bo Eller: El sadece i yapmak iin
kullanlan bir organ deil, ayn zamanda
o iin bir rndr [Mos vazias: a mo
no s um orgo de trabalho, mas
tambm produto deste] (2011), aslen
marangozluk, frnclk veya iftilik
gibi kadim mesleklerde kullanlan, ama
imdi byk oranda unutulmu, eski
ahap ve demir ileme aletlerinden oluan
bir enstalasyon. Bu enstalasyon
el emeinin arkeolojisini sunuyor.
Bo Ellerin yan banda, 1960larda
krsal blgelerde ortaya kan antifaist
protest arklarn bir derlemesinden
oluan ses enstalasyonu i arklar
[Msicas de Trabalho] (2010) yer alyor.
Bu sesler bize, gnmzn baskc
ekonomik ve siyasi kalplar karsnda
bir bamszlama yntemi olarak, el
emeinin ve el becerisinin zgrletirici
potansiyelini hatrlatyor. Rieke Vos
E
m
p
t
y

H
a
n
d
s
:

t
h
e

h
a
n
d

i
s

n
o
t

o
n
l
y

a
n

o
r
g
a
n

f
o
r

w
o
r
k

b
u
t

i
t

i
s

a
l
s
o

a

p
r
o
d
u
c
t

o
f

i
t


[
M

o
s

v
a
z
i
a
s
:

a

m

o

n

u
m

o
r
g

o

d
e

t
r
a
b
a
l
h
o
,

m
a
s

t
a
m
b

m

p
r
o
d
u
t
o

d
e
s
t
e
]
,

2
0
1
1
B
o

E
l
l
e
r
:

E
l

s
a
d
e
c
e

i

y
a
p
m
a
k

i

i
n

k
u
l
l
a
n

l
a
n

b
i
r

o
r
g
a
n

d
e

i
l
,

a
y
n

z
a
m
a
n
d
a

o

i

i
n

b
i
r

r

[
M

o
s

v
a
z
i
a
s
:

a

m

o

n

u
m

o
r
g

o

d
e

t
r
a
b
a
l
h
o
,

m
a
s

t
a
m
b

m

p
r
o
d
u
t
o

d
e
s
t
e
]
,

2
0
1
1
C
A
R
L
A

F
I
L
I
P
E
Antrepo no.3, ARTER
CARLOS EDUARDO
FELIX DA COSTA
(CADU)
Cadus Passage of Winter [Passagem de
Inverno] (19982004) consists of 24 white
sheets of paper with sunlight burn marks,
created with the help of a magnifying
glassthe charred traces on the sheets of
paper carry the imprint
of temporality. The changing season
and the differences in weather each day
are physically recordedwhat is normally
seen as numbers becomes a simple yet
destructive force. More light means
more marks; the burns are like scars of
a battle with time.
A poetically similar, formally different
rendition of an automatic recording of time
is Rumos 3 (2001). Cadu attached ball-
point pens to miniature battery-powered
cars, which he placed on 130 x 130 cm
sheets of paper. The movement of the cars
created drawings, which were fnished
when the pen ran out of ink. The automatic
process was seemingly fnite, defnitive,
while, upon second thought, the very
formulation of the process itself is quite
specifc and peculiar. Infantile and distant
as gestures with the artists hand removed
from the drawing process, these works
question what constitutes the working
process of an artist. Process determining
the form is both limiting and liberating.
Seasons [Estaes] (2012/2013) is an
installation in which Cadu explores ideas
for the building of green architecture
in the mountainous region of Rio de
Janeiro. It consists of a video, photos, and
architectural models. Previously shown at
the So Paulo Biennial in 2012, the work
Cadunun K Geidi [Passagem de
Inverno] (1998-2004) balkl yapt bir
byte vastasyla oluturulmu gne
yan izlerini tayan 24 beyaz sayfadan
oluuyor sayfalardaki yank izleri
geiciliin damgasn tayor. Mevsim
deiimini ve gnlk hava durumunu
fiziksel olarak kayda geiren yaptta,
normalde sadece rakam olarak alglanan
olgular basit ancak tahrip edici birer
gce dnyor. Daha fazla gne
daha fazla iz anlamna geliyor ve
sayfalardaki yank izleri zamana kar
verilen bir savan brakt yara izlerini
andryor.
Zaman otomatik olarak kaydetme
pratiini iirsel anlamda benzer, biimsel
anlamda farkl yorumlayan bir baka
yapt ise Rumos 3 (2001). Cadu pille
alan minyatr arabalara tkenmez
kalem takp 130 x 130 cm boyutlarnda
kt tabakalarnn zerine yerletirmi.
Arabalar hareket ettike ortaya resimler
km, kalemin mrekkebi bittiinde
resimler de tamamlanm. Bu grnte
sonlu ve ucu ba belli otomatik sre
tekrar gzden geirildiinde srecin
hazrlk ve uygulamasnn ne kadar
kendine zg ve tuhaf olduu fark
ediliyor. izim srecinden sanatnn
elinin karlmasyla ocuksu ve mesafeli
bir hava kazanan bu yaptlar, sanatnn
retim srecini neyin oluturduunu
sorguluyor. Srecin biimi belirlemesinin
hem snrlayc hem de zgrletirici
ynleri var.
S
e
a
s
o
n
s

[
E
s
t
a

e
s
]
,

2
0
1
2
/
2
0
1
3
M
e
v
s
i
m
l
e
r

[
E
s
t
a

e
s
]
,

2
0
1
2
/
2
0
1
3
1977de So Paulo, Brezilyada dodu. Rio de Janeiro, Brezilyada yayor ve alyor.
Born in 1977 in So Paulo, Brazil. Lives and works in Rio de Janeiro, Brazil.
C
A
R
L
O
S

E
D
U
A
R
D
O

F
E
L
I
X

D
A

C
O
S
T
A

(
C
A
D
U
)
Antrepo no.3
S
e
a
s
o
n
s

[
E
s
t
a

e
s
]
,

2
0
1
2
/
2
0
1
3
M
e
v
s
i
m
l
e
r

[
E
s
t
a

e
s
]
,

2
0
1
2
/
2
0
1
3
has evolved for the 13
th
Istanbul Biennial,
with the artists refections on
the project after the fact. There are
marked differences between the two
pieces, as during the So Paulo Biennial,
Seasons was a project underway, built
organically during the biennial. The new
installation is Seasons II, which is
smaller and is now about something
incorporeal. The cleaner assembly will
show the writing in spotlights. Seasons
exemplifes Cadus work in that it is neither
medium nor space-specifc and lands
somewhere between personal history
and an urban expansion proposal. In the
framework of Istanbul, a city constantly
under construction, Cadus models of
sustainable architecture become urgent
reminders of the irreversibility of the
destruction of nature. Merve nsal
Mevsimlerde [Estaes] (2012/2013)
ise Cadu, Rio de Janeironun dalk
arazisinde yeil mimariyi ina etmek iin
fikirler retiyor. Bu enstalasyon, bir
video, fotoraf lar ve mimari maketlerden
oluuyor. Daha nce 2012 So Paulo
Bienalinde sergilenen yerletirme 13.
stanbul Bienali iin sanatnn proje
uygulandktan sonraki dncelerini de
ierecek ekilde gelitirildi. So Paulo
Bienali srasnda Mevsimler projesi
henz yapm aamasnda olduundan
ve organik bir biimde bienal srasnda
ina edildiinden yaptn iki versiyonu
arasnda nemli farklar var. Daha kk
boyutlu, cisimlememi yeni enstalas-
yonun bal Mevsimler II. Bu daha
temiz derlemede yazlar spot klar
altna alnacak. Mevsimler, Cadunun
yaptlarnn mecraya ya da mekna zg
olmadna dair tipik bir rnek, ve kiisel
tarihle, bir kentsel byme tasars
arasnda bir yere konumlanyor. Srekli
inaat halinde bir ehir olan stanbul
erevesinde bakldnda, Cadunun sr-
drlebilir mimarlk modelleri, doann
yok edilmesinin geri dnszlne dair
acil birer uyar nitelii kazanyor.
Merve nsal
C
A
R
L
O
S

E
D
U
A
R
D
O

F
E
L
I
X

D
A

C
O
S
T
A

(
C
A
D
U
)
Antrepo no.3
CHRISTOPH
SCHAFER
P
a
r
k

F
i
c
t
i
o
n

A
r
t

k

G
e
z
i

P
a
r
k

H
a
m
b
u
r
g
,

1
6

H
a
z
i
r
a
n

2
0
1
3
P
a
r
k

F
i
c
t
i
o
n

i
s

N
o
w

G
e
z
i

P
a
r
k

H
a
m
b
u
r
g
,

J
u
n
e

1
6
,

2
0
1
3
1964te Essen, Almanyada dodu. Hamburg, Almanyada yayor ve alyor.
Born in 1964 in Essen, Germany. Lives and works in Hamburg, Germany.
A conceptual artist, draughtsman, sparkling
speaker and uninvited city planner,
Christoph Schfer works from within urban
social movements. His drawings, woven
together from perceptions, thoughts,
and imaginations, are activated through
lectures, publications, and exhibitions.
Schfer combines theory, activism, and
artistic production in his practice as he
explores collective desires for reshaping
urban life. For the 13
th
Istanbul Biennial,
Schfer piles up layers of historical and
current urban situations in a new series
of drawings speculating about real and
possible urban transformations in Istanbul.
A starting point for this series is a moment
photographed by flmmaker Margit Czenki
in Hamburg in June 2013, showing an is-
land of people who celebrate the renaming
of a local public park as Gezi Park Fiction
St. Pauli. Park Fiction, an independently
organized initiative that began in 1994,
is a prominent example of Schfers
long-term engagement with urban issues.
It emerged as a planning project for a public
park in response to the redevelopment of
the harbour area in St. Pauli, Hamburg.
As a member of Park Fiction, Schfer
developed playful tools to create platforms
of exchange and coproduction in
the communitysuch as an archive of
desires, a transportable planning studio
for house visits, lectures, games, flm
screenings, or a garden library. These
tools helped residents imagine a park as if
it existed, until the city recognized
the space as a park and it was opened in
2005. For Schfer, the renaming of the
park as Gezi Park Fiction St. Pauli
Kavramsal sanat, zanaatkr, keskin
bir konumac ve davetsiz bir ehir
planlamacs olan Christoph Schfer
almalarn kentsel toplumsal
hareketlerin iinden srdryor. Alg
ve deerlendirmeler, dnceler ve
hayallerden rd izimleri, konferans,
yayn ve sergilerde hayat kazanyor.
Schfer, kuram, eylemcilik ve sanatsal
retimi bir araya getirerek kentsel yaam
yeniden ekillendirecek kolektif arzular
kefe kyor. Schfer, 13. stanbul Bienali
iin hazrlad ve stanbulun gerek ve
olas kentsel dnm modelleri zerine
speklatif dnceler gelitirdii yeni
izim serisinde, eitli tarihsel ve gncel
kentsel durum katmanlarn st ste
bindiriyor. Bu serinin k noktas
sinemac Margit Czenkinin Haziran
2013te Hamburgda fotoraf lad bir
an. Fotorafta kalabalk bir insan grubu
bir mahalle parknn adnn Gezi Park
Fiction St. Pauli olarak deitirilmesini
kutluyor. 1994 ylnda kurulan bamsz
inisiyatif Park Fiction, Schferin kentsel
sorunlara gsterdii uzun soluklu ilginin
nemli bir rnei. Park Fiction, Ham-
burgun St. Pauli mahallesindeki liman
blgesinin kentsel dnmne kar
gelitirilen, halka ak bir park kurmay
amalayan bir planlama projesi olarak
ortaya kt. Park Fictionn bir yesi
olarak Schfer mahallede takas ve ortak
retim platformlar yaratmak amacyla
mizahi bir yn de olan aralar geli-
tirdi bir arzular arivi, ev ziyaretleri,
dersler, oyunlar ve film gsterimleri iin
portatif bir planlama atlyesi ve bir bahe
ktphanesi gibi. Bu aralar mahalle
C
H
R
I
S
T
O
P
H

S
C
H

F
E
R
Antrepo no.3
N
i
k
a

R
i
o
t
s
,

J
a
n
u
a
r
y

2
0
1
3
N
i
k
a

A
y
a
k
l
a
n
m
a
s

,

O
c
a
k

2
0
1
3
in support of the Gezi uprisings highlights
the urgency to connect different urban
struggles to continue building a vocabulary
that actively helps foster emancipation at
the local level. Desire production plays
a central role in Schfers drawings. In
his works on display, Schfer draws
theory, based on interviews, encounters,
and readings about Istanbuls urban
transformation, and translates his inves-
tigation into a highly intimate, individual
language. The labour-intensive quality of
the drawings opposes the rapid circulation
of information and sets the processes
of imagination and desire-making as
essential tools to produce and engage
in civic spaces in cities. Using drawing as
a means of urban transformation, Schfer
empowers subjective positions, and
eventually questions the ways in which
artists as citizens can use space to
contribute to redefning cities.
zge Ersoy
sakinlerinin gerekten bir parklarnn
olduunu hayal etmelerine yarad, ta ki
Hamburg Belediyesi talepleri tanyana ve
2005 ylnda gerek bir park alana dek.
Schfer asndan, parkn isminin Gezi
Direniini desteklemek amacyla Gezi
Park Fiction St. Pauli olarak deitiril-
mesi, yerel dzeyde zgrlemenin tevik
edilmesine bilfiil destek verecek bir keli-
me haznesi oluturmaya devam edebilmek
iin farkl kentsel mcadeleleri birbirine
balamann elzemliini vurguluyor.
Arzu retimi Schferin izimlerinde
merkezi bir rol oynuyor. Schfer,
sergilenen yaptlarnda mlakatlardan,
rastlamalardan ve stanbulun kentsel
dnm hakknda okuduklarndan
hareketle kuram iziyor ve yapt
aratrmay son derece samimi, bireysel
bir dile tercme ediyor. izimlerin
emek-youn nitelii bilginin hzl
dolamna itiraz ediyor ve ehirlerdeki
kamusal alanlarda retim ve ilikiye
geme eylemleri asndan hayati nem
tayan aralar olarak hayal kurma ve
arzu retimi srelerine iaret ediyor.
izimi, kentsel dnmn yollarndan
biri olarak kullanan Schfer, znel
konumlara g katyor ve nihai aamada,
birer vatanda olarak sanatlarn
ehirlerin yeniden tanmlanmasna
katkda bulunmak amacyla mekn nasl
kullanabileceklerini aratryor.
zge Ersoy
C
H
R
I
S
T
O
P
H

S
C
H

F
E
R
Antrepo no.3
TIAGO MATA
MACHADO
CINTHIA MARCELLE
Brazilian artist Cinthia Marcelles work
in the form of performances, videos,
and installationscaptures the seemingly
absurd theatrics of the everyday. Set
in various deserted urban landscapes,
Marcelles idiosyncratic pieces merge the
political and poetic in unexpected ways.
In her performance series Unus Mundus
(20042005), she orchestrated collective
coincidences characterized by singular
behaviour patterns occurring simultane-
ously: seven similarly dressed couples
kissing or eight identical white vans driving
around a square, for example. In Confront
[Confronto] (2005), from the same series,
eight fre jugglers form a line of fames at
a crossing of a busy intersectionthis
choreography playfully visualizes the
power plays that unfold in urban situations
where the political dimension of daily
life fnds its vocabulary through poetic
gestures. Marcelles practice focuses on
bringing the marginalized to the centre
and generating insight about what it
means to be living in the world. She shows
improbable scenarios on a micro level that
allude to the larger scheme of things which
impact our lives on different scales.
Outside of her solo practice, Marcelle
frequently collaborates with flmmaker
Tiago Mata Machado to produce work that
is inspired by the chaos and polarity at
the intersection of politics and society. Em-
ploying a lyrical and formalistic language,
Brezilyal sanat Cinthia Marcellein
performans, video ve enstalasyon
mecralarn kulland yaptlar
gndelik hayatn insana absrd gelen
teatralliini yakalyor. Marcellein,
eitli terk edilmi kentsel alanlar sahne
olarak kullanan tuhaf ve kendine zg
yaptlar siyasal ve iirsel olan beklenmedik
yollarla bir araya getiriyor. Sanat,
Unus Mundus (2004-2005) balkl
performans serisinde ayrt edici zellii
ayn anda gerekleen tekil davran
motif leri olan kolektif tesadf lerin
orkestra ef liini yapar: rnein, benzer
ekilde giyinmi pen yedi ift veya
bir meydann etrafnda dnen birbirinin
tpks sekiz beyaz yk minibs. Ayn
seriden Yzle [Confronto] (2005)
balkl yaptta ise sekiz ate jonglr
youn bir yol kavanda bir ate hatt
oluturuyor bu koreografi kentli
hallerde ba gsteren iktidar oyunlarn
akac bir slupla grselletirirken,
gndelik hayatn siyasal boyutuna iirsel
jestler araclyla bir kelime haznesi
kazandryor. Marcellein sanatsal pratii
tecrit edilenin merkeze getirilmesine ve
dnyada yaamann ne anlama geldiine
dair bir igr retmeye odaklanyor.
Sanat, mikro dzeyde kurgulad
ihtimal d senaryolar ortaya koyarak,
hayatmz farkl leklerde etkileyen
geni planlara imada bulunuyor.
T
h
e

C
e
n
t
u
r
y

[
O

S

c
u
l
o
]
,

2
0
1
1
Y

z
y

l

[
O

S

c
u
l
o
]
,

2
0
1
1
C
I
N
T
H
I
A

M
A
R
C
E
L
L
E
T
I
A
G
O

M
A
T
A

M
A
C
H
A
D
O
Marcelle 1974te Belo Horizonte, Minas Gerais, Brezilyada dodu; Machado
1973te Belo Horizonte, Minas Gerais, Brezilyada dodu. Belo Horizonte, Minas
Gerais, Brezilyada yayor ve alyorlar. Marcelle born in 1974 in Belo Horizonte,
Minas Gerais, Brazil; Machado born in 1973 in Belo Horizonte, Minas Gerais,
Brazil. Live and work in Belo Horizonte, Minas Gerais, Brazil.
Antrepo no.3
as demonstrated in Black Hole (2011),
they tackle the diffculties in portraying the
abstract friction rife in human behaviour
by translating it into a sensual interplay of
breathing and shape shifting, sound and
image.
Presented at the 13
th
Istanbul
Biennial is their latest collaboration, The
Century (2011), which offers a poignant
interpretation of history. The flm begins
with a black screen, with foreboding
sounds of running footsteps, and after
a thud, the visual plane opens to a
sequence of objects, including helmets,
oil barrels, sticks, metal rods, and wooden
crates, catapulted from the right side
of the frame and accompanied by a
cacophony of crashes in an abandoned
neighbourhood. The previously desolate
and nondescript street becomes a tableau
of accumulated objects, dust, and smoke.
Like an imperfect mirror image, the same
items are launched from the opposite
side of the frame, referring to the political
division of left and right. The unknown
conficterased of any human presence
and radically downsizedis evidenced
by the leftovers of the clash. The work
offers no solution to what appears to be
an eternal loop of struggle, suggesting the
need to imagine new political strategies to
break the impasse of democracy.
Christina Li
Kiisel almalarnn yan sra
Marcelle sk sk film yapmcs Tiago
Mata Machadoyla birlikte siyaset ve
toplumun kesitii dzlemde ortaya kan
kaos ve kutupluluktan ilham alan yapt-
lar retiyor. Kara Delik (2011) balkl
yaptta da sergilenen lirik ve biimci bir
dil kullanan ikili, insan davrannda
yaygn olarak karmza kan soyut
srtmeyi tasvir etmenin zorluklarn,
nefes alma ritimleri ve ekillerin, ses ve
imgenin duyusal etkileimine tercme
ederek amaya alyorlar.
13. stanbul Bienalinde ise tarihin
dokunakl bir yorumunu sunan ikilinin
ortak almas Yzyl (2011) sergileni-
yor. Filmin banda kararm bir ekran
kyor, kt bir ey olaca hissini
uyandran hzl ayak sesleri bir arpma
sesiyle kesiliveriyor. Terk edilmi bir
yerde grsel dzlem bir nesneler sekansna
alyor, bu nesneler arasnda kasklar,
ya flar, sopalar, metal denekler ve
ahap kasalar var, kadrajn sandan
frlatlan bu nesnelere bir arpma sesleri
kakofonisi elik ediyor. Bata terk edilmi
ve alelade grnen sokak, eyalardan, toz
ve dumandan oluan bir tabloya dnyor.
Daha sonra, kusurlu bir ayna imgesi
gibi, sol ve sa arasndaki siyasal
ayrma bir gndermeyle ayn nesneler bir de
kadrajn teki tarafndan frlatlmaya
balyor. Herhangi bir insann mevcut
olmad ve en kk lee indirgenmi,
sebebi belirsiz bu atmann kantlar
sokakta arta kalanlar. Bu yapt sonsuz
bir mcadele dngsym izlenimi
brakan duruma dair herhangi bir zm
nermez, demokrasi amazn amak
iin yeni siyasi stratejiler gelitirmenin
gerekliliini akla getirir. Christina Li
Y

z
y

l

[
O

S

c
u
l
o
]
,

2
0
1
1
T
h
e

C
e
n
t
u
r
y

[
O

S

c
u
l
o
]
,

2
0
1
1
C
I
N
T
H
I
A

M
A
R
C
E
L
L
E
T
I
A
G
O

M
A
T
A

M
A
C
H
A
D
O
Antrepo no.3
CLAIRE PENTECOST
Claire Pentecost pursues a research
practice that she describes by employing
the term public amateur, in reference
to nonexpert individuals who intervene
in specialized felds. The artist as a
public amateur works across disciplines,
collecting, interpreting, and disseminating
knowledge to reveal how scientifc
discoursesmostly obscured by experts
and private enterprisesaffect daily life.
Pentecost uses various media, such as
articles, lectures, drawings, and photography,
to challenge the types of knowledge
that are privatized and manipulated by
the market.
soil-erg (2012) stems from Pentecosts
long-term research into food politics,
including the production and distribution of
food and ecologys relation to geopolitics.
At the centre of the installation, which
consists of sculptural objects, drawings,
and two cabinets, is a stack of ingots
made of soil and compost. With soil-erg
the artist proposes a new value system
handmade soil as currencythereby
contesting the normative, abstract value
systems. Pentecost poses a daring
question: could one physically produce
and maintain a value system?
Forty-three drawings, which take
the form of large banknotes, surround
the soil-ingots. The drawingsthe
instruments of exchangefeature
historical and contemporary philosophers,
writers, and artists who have contributed
to the understanding of the fundamental
connection of humans to larger ecological
Claire Pentecost, uzman olmayan birey-
lerin uzmanlk gerektiren alanlara m-
dahalesine gnderme yapt kamusal
amatr terimini kullanarak tanmlad
bir aratrma pratii yrtyor. Kamusal
amatr olarak sanat, genellikle
uzmanlar ve zel kurulular tarafndan
anlalmas engellenen bilimsel sylem-
lerin gndelik hayat nasl etkilediini
ortaya karmak amacyla disiplinler
aras bir etkinlik gerekletirerek bilgi
topluyor, yorumluyor ve yayyor.
Pentecost makale, konferans, izim ve
fotoraf gibi eitli aralar kullanarak
piyasa tarafndan zelletirilen ve maniple
edilen bilgi trlerine meydan okuyor.
toprak-erg (2012) Pentecostun,
gdann retimi ve datm ve ekolojinin
jeopolitikle ilikisini de ieren gda
politikalar stne uzun sredir devam
eden aratrmalarnn bir rn. Hey-
keller, izimler ve iki vitrinli dolaptan
oluan enstalasyonun merkezinde toprak
ve gbreden retilmi bir kle yn
duruyor. Sanat toprak-erg adl yaptyla
yeni bir deerler sistemi para olarak el
yapm toprak klelerin kullanlmas
nererek normatif, soyut deerler sistemine
itirazn dile getiriyor. Pentecost cesur
bir soru soruyor: Bir deerler sistemini
fiziksel olarak retmek ve ayakta tutmak
mmkn mdr?
Toprak klelerin etrafnda byk
banknotlar biiminde hazrlanm krk
izim yer alyor. izimler, yani
deiim aralar insanlarla daha byk
ekolojik sistemler arasndaki
C
L
A
I
R
E

P
E
N
T
E
C
O
S
T
t
o
p
r
a
k
-
e
r
g
,

2
0
1
2
s
o
i
l
-
e
r
g
,

2
0
1
2
1956da Baltimore, MD, ABDde dodu. Chicago, IL, ABDde yayor ve alyor.
Born in 1956 in Baltimore, MD, USA. Lives and works in Chicago, IL, USA.
Antrepo no.3
systems. These fgures highlight
the continuity of the ecology movement,
as well as the history and legacy that form
the foundation of Pentecosts research.
Furthermore, the paper bills subvert
the idea of standardized currency, since
they are each unique. Each ingot is, likewise,
singularthey are not easy to replicate
identically because of their loose structure.
While exhibiting soil-erg in dOCUMENTA
(13), Pentecost used two cabinets that ac-
companied the installation. She presented
the frst cabinetwhich shows the vertical
section of the layers of the Reichelsdorfer
mountain chaintogether with a replica
of it created by the artist, juxtaposing the
reference to extraction with an allusion to
production and renewal.
With soil-erg Pentecost facilitates an
aesthetic encounter to prompt the viewer to
question how living organisms and natural
resources are not only commodifed by
corporations but also cut off from our daily
lives. zge Ersoy
asal balanty anlamaya katkda bulun-
mu gemi dnem ve gnmz filozof,
yazar ve sanatlarndan oluuyor. Bu
figrler ekoloji hareketinin srekliliini
ve ayn zamanda Pentecostun aratrma-
snn temelini oluturan tarih ve miras
vurguluyor. Bu kat paralarn her biri
benzersiz olduundan, tektipletirilmi
bir para birimi fikrine de kar km
oluyor. Her bir kle, ayn ekilde, tek
ve esiz gevek yaplar sebebiyle birebir
kopyalanmalar da kolay deil.
Pentecost, toprak-ergi dOCUMENTA
(13)te sergilerken, enstalasyona elik
eden iki vitrinli dolap kulland.
Reichelsdorfer da srasnn dey
katman kesitlerini sergileyen ilk dolab,
onun, kendi yapt; ancak gbre reten
canl solucanlarla doldurduu bir kopya-
syla yan yana sunarak, kazp karmaya
yaplan gndermeyi retim ve yenilemeye
yaplan bir ima ile bir araya getirdi.
Pentecost, toprak-erg ile izleyiciyi canl
organizma ve doal kaynaklarn ticari
irketler tarafndan metalatrlmakla
kalmayp gndelik hayatmzdan nasl
sklp atldn sorgulamak zere
harekete geirecek estetik bir bulumaya
olanak salyor. zge Ersoy
C
L
A
I
R
E

P
E
N
T
E
C
O
S
T
t
o
p
r
a
k
-
e
r
g
,

2
0
1
2
s
o
i
l
-
e
r
g
,

2
0
1
2
Antrepo no.3
DAVID MORENO
S
i
l
e
n
c
e
,

1
9
9
5
-
2
0
1
2
S
e
s
s
i
z
l
i
k
,

1
9
9
5
-
2
0
1
2
1957de Los Angeles, CA, ABDde dodu. New York, NY, ABDde yayor
ve alyor. Born in 1957 in Los Angeles, CA, USA. Lives and works in
New York, NY, USA.
Through his artistic production, David
Moreno contemplates the primal
connection and material relation of sound
and image. His drawings and installations
present a performative language pertaining
to the way repetition and interruption
reveal the similarity and the difference.
David Moreno produces Silence (1995-
2012) in mid-90s while working on the
movement and transformation of sound,
body and history. The work is composed
of cornets (horns) that resemble paper
megaphones placed by the artist on the
pages of a compilation of death masks
named The Eternal Countenance published
by Ernst Benkard in Berlin in 1927.
The cornets are attached to the lips of
the images on the masks, virtually raising
the voices of the masks, intensifying
their silence.
The fundamental reference of the work
is John Cages music of silence and
writings. Cage says that silence presents
the opportunity to experience the place
and time we are in apart from the expressions
flled with personal stories, emotions,
ideas and relations. Cages best known
and most contentious composition 433
(Four minutes and thirty three seconds) is
performed by the instrument keeping silent
for four minutes and thirty three seconds.
It proposes the musician and the audience
to hear and listen to the environment
they are in; to draw back and open ones
self to that which is presently there and
simultaneously make room for that which
David Morenonun sanatsal retimi ses
ve imgenin ilksel ban ve maddesel
ilikisini dnyor. Resimleri ve
enstalasyonlar, tekrar ile kesintinin,
ayny ve fark ortaya kar biimi ile
ilgili performatif bir dil sunuyor.

David Moreno Sessizliki (1995-2012)
90larn ortasnda, sesin, bedenin ve
tarihin hareketi ve dnm zerine
alrken ortaya koyar. Yapt, Ernst
Benkard tarafndan Berlinde 1927de
yaynlanm Ebedi Sima adl l maskeleri
derlemesinin sayfalar zerine sanatnn
ekledii kattan megafonu andran
konilerden oluuyor. Koniler maskelerin
azna yerletirilmi, adeta maskelerin
seslerini ykseltiyor, sessizliklerini
iddetlendiriyor.
Eserin temel referans John Cagein
sessizlik mzii ve yazlardr. Cage,
sessizliin, iinde bulunduumuz mekn
ve zaman, bireysel hikyeler, duygular,
fikirler ve ilikilerle dolu ifadelerden
ayr deneyimleme imkn sunduunu
syler. Cagein en bilinen ve en tartmal
bestesi 433 (Drt dakika otuz
saniye), enstrmann drt dakika otuz
saniye boyunca susmas ile icra edilir.
Mzisyenin ve dinleyicinin iinde bulun-
duu ortam duymasn ve dinlemesini;
geriye ekilerek, halihazrda orada
olana kendini amasn ve ayn anda
orada olana alan amasn nerir.
Bu yanyla, modernin analiz eden ve
dnceyle kuran, zaman ve meknn
belirlemelerinden kurtulmay hedef leyen,
D
A
V
I
D

M
O
R
E
N
O
Antrepo no.3
S
i
l
e
n
c
e
,

1
9
9
5
-
2
0
1
2
S
e
s
s
i
z
l
i
k
,

1
9
9
5
-
2
0
1
2
is there. In this respect, one can say that
he proposes the modern subject that
analyzes and builds with thought, aims to
break free from the specifcations of time
and space and turns towards that which
is transcendent and absolute, to hear and
keep in mind the conditions of meaning
and thought.
Silence looks at the impossibility of
silence, and at the way history,
the escapees of todays historic and daily
construct, and death resonate each time
in silence. While death masks bear
the trace of a lost physical presence,
inevitably it is more than an image.
The visible as much as the invisible spatial
and physical presence that creates form
summons sense, emotion and thought.
Death masks as a historic form of image
production also summons an inquiry into
the artistic image production: what does
it mean for an image to speak, to say its
own word, and this voice to be raised?
The reading of what does an image,
which has lost its material reason and
source, call for? How does a mask marked
by death summon the inexhaustible
existence of bodily presence, the form
and conditions of its existence? Just like
in Cages 433, with Silence Moreno sets
forth an artistic expression that questions
the introversion of the image, each time
calling for the erasure of ones own trace
to make room for presence, an expression
oriented towards the outside and that
which is outside, one that fnds the primal
outside and keeps it there. Kevser Gler
akn ve mutlak olana dnk znesinin,
anlamn ve dncenin mevcudiyet
koullarn duymasn, aklda tutmasn
nerdiini sylemek mmkn.
Sessizlik, sessizliin imknszlna,
tarihin, bugnn tarihsel ve gndelik
kurgusundan kaann, lmn, her
seferinde sessizlik iinde tnlamasna
bakar. l maskeleri yitik bir bedensel
mevcudiyetin izini tarken, kanlmaz
olarak bir imgeden fazlasdr. Grlen
kadar, grlmeyen, formu yaratan
meknsal ve bedensel mevcudiyet,
duyumu, duyguyu ve dnceyi arr.
mge retiminin tarihsel bir formu olarak
l maskeleri, sanatsal imge retimi
ile ilgili de bir sorgulamay arr:
bir imgenin konumas, kendi szn
sylemesi, bu sesin ykseltilmesi ne
demektir? Maddi sebebi, kayna yitmi
imge neyin okunmasn arr? lmn
iziyle iaretlenmi bir maske, bedensel
mevcudiyetin tketilemez varln, var
olu biimini ve koullarn nasl arr?
Moreno, Sessizlik ile, tpk Cagein
433 nde olduu gibi, imgenin kendine
kapanmasn sorgulayan, her seferinde
kendi izini silmeye ve mevcudiyete alan
amaya aran, da ve dta olana
ynelik, ilksel olan darda bulan ve
tutan bir sanatsal ifade ortaya koyuyor.
Kevser Gler

D
A
V
I
D

M
O
R
E
N
O
Antrepo no.3
EDI HIROSE
E
D
I

H
I
R
O
S
E
N
u
e
v
a

E
s
p
e
r
a
n
z
a

4
4
4
6
,

f
r
o
m

t
h
e

s
e
r
i
e
s

E
x
p
a
n
s
i
o
n

[
E
x
p
a
n
s
i

n
]
,

2
0
0
9
-
o
n
g
o
i
n
g
N
u
e
v
a

E
s
p
e
r
a
n
z
a

4
4
4
6
,

G
e
n
i

l
e
m
e

[
E
x
p
a
n
s
i

n
]

s
e
r
i
s
i
n
d
e
n
,

2
0
0
9
-
d
e
v
a
m

e
t
m
e
k
t
e
Edi Hirosenin doup byd Lima,
ayn zamanda yaptlarnn birounun
konusu ve yer ald mekn. Hirose
Limada Antonio Gaudi Enstitsnde
fotoraflk renimi grd ve sanatsal
yaklamn kendi toplumsal deneyimi
zerinde temellendirerek belgesel
fotorafln dilini kullanyor. Hirose,
fotorafln doruculuk ve nesnellikle
ilgili tarihsel iddiasndan istifade ederek
hem gereklikleri ortaya seren, hem de
kolayc bir yoruma geit vermeyen bir
slupla merceinin nnde yer alanlarn
portresini iziyor. Hirosenin kompozis-
yon ve balklar, sanatnn yaptlarn
sanatsal mdahalesinin balad ve
bittii noktay bulanklatracak ekilde,
neredeyse heykelsi denebilecek bir
nitelikle donatyor.
13. stanbul Bienalinde Genileme
[Expansin] (2009devam ediyor) bal
altnda sanatnn devam eden retim
srecini yanstan bir seki yer alyor.
Genilemede Hirosenin srdrd
iki proje kaynatrlyor: Yeni Umut
[Nueva Esperanza] (2011devam ediyor)
ve naat II [Construccin II]
(2009devam ediyor).
Dnyann ikinci en byk mezarl
olduu sylenen Limadaki Lady of
Lourdes (Limallarn deyiiyle Yeni
Umut) Mezarl 60 hektarlk bir alana
yaylyor ve 120 bin mezar ieriyor.
Hirose bu geni kolektif dnme
meknnda, mezarln etrafndaki
ehrin nfus yapsnn hzl deiimini de
izleyiciye gstererek algda krlma
Edi Hiroses hometown Lima, Peru, is also
the site and subject of much of his work.
Hirose studied photography at the Antonio
Gaudi Institute, Lima, and has adopted the
language of documentary photography,
rooting his artistic approach in his
immediate social experience. Exploiting
the mediums historical claim of veracity
and objectivity, Hirose portrays what lies in
front of the lens in a way that both exposes
realities but disallows any easy interpre-
tation of them. The artists compositions
and titles endow his depictions with an
almost sculptural element, blurring the line
between where his artistic interventions
begin and end.
The 13
th
Istanbul Biennial features a
selection from Expansion [Expansin]
(2009ongoing), which coalesces two
of Hiroses ongoing projects, New Hope
[Nueva Esperanza] (2011ongoing) and
Construction II [Construccin II] (2009
ongoing).
Considered by some to be the second
largest graveyard in the world, the Lady
of Lourdes Cemetery (known to locals as
New Hope) in Lima spans 60 hectares and
contains 120,000 plots. Of this extensive
site of collective contemplation, Hirose
offers a refracted view, showing also the
rapidly changing demographics of the
city around it. Remnants, reliquaries, and
rituals are brought together at the edges of
Perus capital, where migrants and locals
seek solaceand perhaps also solidarity.
1975te Lima, Peruda dodu. Lima, Peruda yayor ve alyor.
Born in 1975 in Lima, Peru. Lives and works in Lima, Peru.
Antrepo no.3
N
u
e
v
a

E
s
p
e
r
a
n
z
a

1
8
8
8
,

f
r
o
m

t
h
e

s
e
r
i
e
s

E
x
p
a
n
s
i
o
n

[
E
x
p
a
n
s
i

n
]
,

2
0
0
9
-
o
n
g
o
i
n
g
N
u
e
v
a

E
s
p
e
r
a
n
z
a

1
8
8
8
,

G
e
n
i

l
e
m
e

[
E
x
p
a
n
s
i

n
]

s
e
r
i
s
i
n
d
e
n
,

2
0
0
9
-
d
e
v
a
m

e
t
m
e
k
t
e
E
D
I

H
I
R
O
S
E
In his seminal writing on urban development
and critical regionalism, architectural
critic Kenneth Frampton spoke about
the tension between universal and
particular architectural practices. The drive
to expand and modernise living spaces
is recorded by Hirose in a number of
contexts within Peru. And, like Framptons
discourse, Hiroses Construction II
questions the sustainability of such
development within immediate economic
and spatial limitations. The static facade
views of his photographs reveal a social
architecture of both micro and macro
proportions. Clare Butcher
yaratan bir manzara sunuyor. eperle-
rinde gmenlerin ve mahallelilerin bir
teselli ve belki bir dayanma umudu
arad Perunun bakenti, gidenlerden
geriye kalanlar, kutsal emanetleri ve
ayinleri bir araya getiriyor.
Kentsel geliim ve eletirel blgeselcilik
zerine yazd r ac makalelerde
mimarlk eletirmeni Kenneth
Frampton, genel ve zel mimarlk
pratikleri arasndaki gerilimden
bahsetmiti. Yaam alanlarn geniletme
ve modernletirme drts Hirose
tarafndan Peruda farkl balamlarda
kayt altna alnyor. Ve Framptonn
sylemi gibi Hirosenin naat II balkl
serisi de bu tr bir geliimin mevcut
ekonomik ve meknsal snrlamalar
dhilinde srdrlebilirliini
sorguluyor. Hirosenin fotoraf larnn
duraan cephe manzaralar hem mikro
hem makro lekte toplumsal bir mima-
riyi ortaya seriyor. Clare Butcher
Antrepo no.3
FERNANDA GOMES
F
e
r
n
a
n
d
a

G
o
m
e
s
,

2
0
1
3
F
e
r
n
a
n
d
a

G
o
m
e
s
,

2
0
1
3
1960ta Rio de Janeiro, Brezilyada dodu. Rio de Janeiro, Brezilyada yayor
ve alyor. Born in 1960 in Rio de Janeiro, Brazil. Lives and works in
Rio de Janeiro, Brazil.
Fernanda Gomes creates moments of
pure space-time out of what she calls
things. She links architecture and space
with the mental and emotional, thus
exploring the relationship between archi-
tectonic and natural space. Her presence
when constructing the work is part of this
moment. Starting from a moment in time,
a particular instance, Gomes creates
alternate spaces within a space, making
new situations emerge through simple
but powerful processes. There is no
difference between real and artistic space
for her: it is all real space and it is all
artistic space, although ultimately, both
are inherently mental spaces. The process
with which her work is created is
a delicate one. It takes time to look
around, consider, reconsider, move things,
and make decisions, all while faced with
the endless possible permutations. Gomes
sees the process as a series of sensations
and superimposed images directed at
the observer that are born and follow one
another like frames of a flm. It is
a transformation of the senses.
Installation, according to the artist, is
perhaps not the most appropriate term for
her project in the 13
th
Istanbul Biennial.
Without a particular planno defned
project or predetermined materials
Gomes visited Istanbul for 20 days during
August 2013 and made her piece from
the infuences, materials, and conditions
the city offered. Gomes considered
place and space, time and moment,
inside and outside, mental and public
Fernanda Gomes eyler diye
nitelendirdii malzemeyi kullanarak
saf zaman-mekn anlar yaratyor.
Sanat, mimarlk ile mekn arasnda
zihinsel ve duygusal balar kuruyor ve
bunun sonucu olarak mimariyle doal
mekn arasndaki ilikiyi kefediyor.
Sanatnn yapt retirken mekndaki
mevcudiyeti de bu ann bir paras.
Gomes, zaman iinde bir andan, tekil
bir noktadan balayarak mekn
ierisinde alternatif meknlar yaratyor,
basit ama gl sreler araclyla yeni
durumlarn olumasna arac oluyor.
Gomes iin gerek mekn ile sanatsal
mekn arasnda herhangi bir fark yok:
btn meknlar gerek ve hepsi sanatsal,
ama sonu olarak, ikisi de znde
zihinsel meknlar. Sanatnn yaptlar
hassas sreler sonucunda ortaya kyor.
Sonsuz permtasyonla kar karyayken
etrafa bakmak, deerlendirme yapmak,
tekrar gzden geirmek, bir eyleri
kmldatmak ve karar vermek zaman
alyor. Gomes bu sreci izleyiciye
yneltilen, tpk film kareleri gibi doan
ve birbirini takip eden bir dizi duyu
ve stste bindirilmi imge olarak
gryor. Bu da alglarmzn dnmesine
tekabl ediyor.
Sanat, enstalasyon teriminin 13. stanbul
Bienali iin rettii projeye uygun
dmeyebileceini belirtiyor. Gomes,
2013 ylnn Austos aynda, herhangi bir
plan, yani tanmlanm bir projesi veya
nceden belirlenmi malzemesi olmadan
stanbulu 20 gnlne ziyaret ederek
F
E
R
N
A
N
D
A

G
O
M
E
S
Antrepo no.3
spaces, and open and unpredictable
situations within the context of Istanbul,
and created a time-specifc piece of art.
Gomes infuenced the city as much as it
infuenced her.
The works Gomes makes from such
conditions become autonomous
assemblages of specifc situations.
Essential to the artist is physical presence,
playful movement, and the activation of
perception in every possible way to set in
motion the use of all senses. The work is
a means of creating complete awareness
and maximizing the possibilities for
freedom, emotional experience, and
perception. Theodor Ringborg
ehrin kendisine sunduu izlenimler,
malzemeler ve koullar erevesinde
yaptn retti. Gomes, yer ve mekn,
zaman ve an, ieriyi ve dary, zihinsel
ve kamusal alanlar ve de ak ve nceden
ngrlemeyen durumlar stanbul
balamnda deerlendirerek zamana
zg bir sanat eseri yaratt. ehir
Gomesi ne kadar etkilediyse Gomes de
ehri o kadar etkiledi.
Gomesin bu koullardan hareketle ortaya
kard yaptlar, belirli durumlara ait
zerk montajlara dnyor. Sanat
asndan hayati nem tayan bileenler
arasnda fiziksel mevcudiyet, oyuncu
hareketler ve tm duyular uyandracak
ekilde algnn mmkn olan her yolla
harekete geirilmesi saylabilir. Sanatnn
yaptlar, mutlak farkndalk yaratmak
ve zgrlk, duygusal deneyim ve alg
olanaklarn azami dzeye karmak
amacn tayor. Theodor Ringborg
F
E
R
N
A
N
D
A

G
O
M
E
S
F
e
r
n
a
n
d
a

G
o
m
e
s
,

2
0
1
3
F
e
r
n
a
n
d
a

G
o
m
e
s
,

2
0
1
3
Antrepo no.3
FERNANDO ORTEGA
F
E
R
N
A
N
D
O

O
R
T
E
G
A
O
r
t
a

B
o
y

B
i
r

N
e
h
r
i

G
e

e
n

K

k

B
i
r

K
a
y

k

i

i
n

M

z
i
k
,

2
0
1
2
M
u
s
i
c

f
o
r

a

S
m
a
l
l

B
o
a
t

C
r
o
s
s
i
n
g

a

M
e
d
i
u
m

S
i
z
e

R
i
v
e
r
,

2
0
1
2
1971de Meksiko, Meksikada dodu. Meksiko, Meksikada yayor ve alyor.
Born in 1971 in Mexico City, Mexico. Lives and works in Mexico City, Mexico.
An initial Google search for Fernando
Ortega will bring up information
pertaining to a gospel singer who grew
up in Albuquerque, New Mexico, USA.
Fernando Ortega, the artist, would fnd
this coincidence amusing and, perhaps,
even appropriate. Ortega is someone
who, using seemingly ordinary materials,
harnesses the unpredictable, elements
of chance, and the strangeness of
everyday occurrences to shift perceptions
of what we see and hear around us.
Whether it be the Sin ttulo/Untitled electric
fy zapper the artist presented at the 50
th
Venice Biennale in 2003, disrupting the
entire gallerys power fow whenever
an insect buzzed through the space, or
a bird feeder suspended by a towering
crane, as in Assisted Levitation (2008),
the artist heightens the viewers awareness
about the apparatus of the ordinary and
the powerful subversiveness of
recontextualisation.
Short Cut I (2010) is an example of Ortegas
subtle and often humorous intervention
to existing natural logic. The simple
C-print, for its modest dimensions, refects
a world of possibilities through the artists
introduction of an overtly artifcial device
to rectify what could be viewed as
an insurmountable problem of estrange-
ment or separation. The tenderness of
the gesture is, however, superseded
by its small brutality, showing that
a certain degree of violence is often
the bedfellow of codependence.
Fernando Ortega szcklerini
Googleda arattnzda karnza ilk
kan ABDnin New Mexico eyaletinin
Albuquerque ehrinde doup bym
bir gospel arkcs oluyor. Sanat
Fernando Ortega bu tesadf elenceli
bulabilir, hatta biilmi kaftan olduunu
da dnebilir. Ortega etrafmzda
grdmz ve duyduumuz eylerle
ilgili algmz deitirmek amacyla
grnte sradan malzemeleri kullanarak
ngrlemeyeni ve tesadfi olan ve
gndelik hayatn tuhaf lklarn ortaya
karyor. Sanatnn 2003 ylnda
50. Venedik Bienalinde sunduu
Sin ttulo/simsiz balkl yapt, mekna
giren her bcek veya sinei elektrik
vererek ldren ve tm meknn elektriinin
gidip gelmesine sebep olan tavana
asl sinek zaplaycsndan, Destekli
Ykselme (2008) balkl yaptndaki
bir kule vincin ucuna asl otomatik
kuyemliine, izleyicinin sradan olann
ilevi ve balam deitirmenin basmakalp
olan ykmada ne kadar etkili olduu
konusunda farkndaln arttryor.
Ksa Yol I (2010) Ortegann mevcut
doal manta ynelik gerekletirdii
ince ve ounlukla mizahi tipteki mda-
halelerine bir rnek. Mtevaz boyutlara
sahip bu basit kromojenik bask fotoraf,
sanatnn, stesinden gelinemez bir
yabanclama veya ayrlk sorunu olarak
grlebilecek bir durumu dzeltmek iin,
sunilii aikr bir cihaz kullanmasyla
bir olaslklar dnyas yanstr hale
geliyor. Ancak gaddarl, her ne kadar
az da olsa, bu jestin duyarlln
Antrepo no.3, ARTER
In the work Music for a Small Boat
Crossing a Medium Size River (2012),
Ortega presents a collection of eight
photographs, two printed letters, and
an image of a compact disc. The real
artwork it could be said, however, is
the music contained on the compact disc,
the boatman who controls it, and a group
of listeners going about their daily life
along the Rio Bobos (the Bobos River),
in Mexico. For the project Ortega played
the role of commissioner. He invited the
musician Brian Eno to compose a piece
of music to add to the collection of songs
from which the boatman, while ferrying
passengers across the river, plays each
day. Ortegas exotic photographs of one of
the boat rides are offset by the mundane
nature of the boatmans daily duties and
the fact that the viewer cannot hear
the soundtrack accompanying
the ferry ridethe music that escorts
the passengers during this stretch of
the medium size river. Employing this
documentary style registration of
the encounter, rather than distancing
the viewer, the artist aligns his and Enos
roles with that of the boatman, who
in classical mythology was a symbolic
fgure responsible for some of lifes most
important journeysfrom the familiar
to the foreign, from life to death, and
sometimes back again. Clare Butcher
bastryor ve belli miktardaki iddetin
ar bir bamlln en yakn dostu
olabileceini gsteriyor.
Orta Boy Bir Nehri Geen Kk Bir
Kayk iin Mzik (2012) balkl yaptnda
ise Ortega sekiz fotoraf, iki matbu
mektup ve bir CDnin fotorafndan
oluan bir koleksiyon sunuyor. Ancak
buradaki gerek sanat yaptnn
CDdeki mzik, mzii alan kayk
ve Meksikada Bobos Nehri kenarnda
gndelik hayatlarna devam eden bir
grup dinleyici olduu sylenebilir.
Ortega kayknn nehrin bir yakasndan
dierine yolcu tarken her gn ald
ark listesine eklenmek zere mzisyen
Brian Enodan da bir para bestelemesini
istemi. Ortegann egzotik tekne gezisi
fotoraf lar, kayknn gndelik
ilerinin skcl ve izleyicinin yolculua
elik eden bu orta boy nehrin sz
konusu ksmnda yolculara refakat eden
arklar dinleyememesiyle dengeleniyor.
Karlamay bu belgesel slubundaki
kaytla sunan sanat, izleyiciyle arasna
mesafe koymaktansa, kendi roln
ve Enonun roln, klasik mitolojide
tandktan yabancya, hayattan lme
ve bazen tersi yne insan hayatnn
en nemli yolculuklarndan bazlarn
gerekletiren simgesel bir figr
olan kayknn rolyle ayn izgide
buluturuyor. Clare Butcher
F
E
R
N
A
N
D
O

O
R
T
E
G
A
S
h
o
r
t

C
u
t

I
,

2
0
1
0
K

s
a

Y
o
l

I
,

2
0
1
0
Antrepo no.3, ARTER
FERNANDO PIOLA
T
u
t
o
i
a

O
p
e
r
a
t
i
o
n
,

2
0
0
7
/
2
0
1
2
T
u
t
o
i
a

O
p
e
r
a
s
y
o
n
u
,

2
0
0
7
/
2
0
1
2
F
E
R
N
A
N
D
O

P
I
O
L
A
Fernando Piola is interested in the
contradictions and sociopolitical tensions
that materialize in urban public spaces.
He lives and works in So Paolo, Brazil,
and his projects often address episodes
in recent Brazilian history that have been
neglected within offcial discourses and
narratives.
The 13
th
Istanbul Biennial presents two
closely related projects, Red Square
Project (2005/2013) and Tutoia Operation
(2007/2012) that both follow the same
poetic premise: Piola turns a public square
within the city red by adjusting its urban
vegetation. The artist initiated the Red
Square Project in a recently gentrifed
neighbourhood in So Paolo, overhauled
by the local government in order to reduce
crime, drug traffcking, and prostitution.
The goal behind Piolas projects was,
on the one hand, to remember
the now-whitewashed former scene of
drugs and violence and, on the other
hand, to look back at a more contested
part of Brazilian history: the repression
that existed under the Brazilian military
dictatorship (19641985).
The site that Piola chose for his red
square was in front of a building that
once housed the Department of Social
and Political Order, the government
institution responsible for the persecution
of enemies of the state. When Piola
requested permission for his project,
the authorities denied it.
Fernando Piola kentin kamusal
meknlarnda ortaya kan elikiler
ve sosyo-politik gerilimlerle ilgileniyor.
Brezilyann So Paulo ehrinde yaayan
ve almalarn bu ehirde srdren
sanatnn projeleri, genellikle
yakn dnem Brezilya tarihinde resmi
sylem ve anlatlarn srt evirdii
olaylar hakknda.
13. stanbul Bienali sanatnn birbiriyle
yakndan ilikili, ayn iirsel nermeyi
takip eden iki projesini izleyiciye sunu-
yor, Kzl Meydan Projesi (2005/2013)
ve Tutoia Operasyonu (2007/2012):
Piola ehrin kamuya ak bir meydann,
meydandaki bitkilere mdahale ederek
krmzya boyuyor. Sanat Kzl Meydan
Projesini ilk olarak So Paoloda yerel
ynetimin su orann, uyuturucu
ticaretini ve fuhuu azaltmak iin elden
geirdii, son dnemde nezihletirilen
bir mahallede gerekletirmi. Piolann
projelerinin amac bir yandan artk
aklanm, bir zamanlar uyuturucu
ticaretine ve iddete sahne olan bu blge-
nin eski halini hatrlamak, dier yandan
ise Brezilya tarihinin tartmal bir
dnemini, askeri diktatrlk srasnda
(1964-1985) yaanan basklar anmak.
Piolann kzl meydan iin setii
mekan, bir zamanlar Toplumsal ve
Siyasal Dzen Brosuna, yani devlet
dmanlarna ikence yapmakla
ykml devlet kurumuna evsahiplii
yapan binann nyd. Piolann
projesini gerekletirmek iin resmi
makamlara ilettii izin talebi reddedildi.
1982de So Paulo, Brezilyada dodu. So Paulo, Brezilyada yayor ve alyor.
Born in 1982 in So Paulo, Brazil. Lives and works in So Paulo, Brazil.
Antrepo no.3
Red Square Project, 2005/2013 Kzl Meydan Projesi, 2005/2013
F
E
R
N
A
N
D
O

P
I
O
L
A
The artists response was to initiate
another public art project, Tutoia
Operation, to revive a concealed memory
of dictatorial state oppression, this time
adopting a slightly different strategy.
Instead of introducing it as art, Piola
presented himself as a gardener with
a plan to upgrade the neighbourhood.
Plant by plant he exchanged the green
vegetation with red foliage. Through this
slow and disguised gesture the artist
subtly attributed the location with a new
and disquieting semantic meaning.
Rieke Vos
Sanat buna tepki olarak, diktatryel
devlet basksna dair sakl hafzay
canlandrmak iin Tutoia Operasyonu
balkl, daha farkl bir strateji izleyen
yeni bir kamusal sanat projesi gelitirdi.
Piola bunu sanatsal bir proje olarak
sunmak yerine, kendisini mahalleyi
gzelletirmek zere harekete geen bir
bahvan olarak tantt ve evredeki tm
yeil yaprakl bitkilerin yerine tek tek
krmz yaprakl bitkiler dikti. Bu yava
ve rtk hareket araclyla sanat,
blgeye yeni ve huzursuzluk verici bir
anlam ykledi. Rieke Vos
Antrepo no.3
FREEE
(DAVE BEECH,
ANDY HEWITT,
MEL JORDAN)
P
r
o
t
e
s
t

i
s

n
o
t

e
n
o
u
g
h
:

o
r

w
h
a
t

a
r
e

w
e

g
o
i
n
g

t
o

d
o

w
i
t
h

t
h
e

r
i
c
h
?


(
P
r
o
t
e
s
t

i
s

B
e
a
u
t
i
f
u
l
:
T
o
t
t
e
n
h
a
m
)
,

2
0
1
3

s
y
a
n

e
t
m
e
k

y
e
t
m
e
z
:

Y
a

d
a

z
e
n
g
i
n
l
e
r
l
e

n
e

y
a
p
a
c
a

z
?

(

s
y
a
n

G

z
e
l
d
i
r
:

T
o
t
t
e
n
h
a
m
)
,

2
0
1
3
Freee art collective, composed of Dave
Beech, Andy Hewitt, and Mel Jordan,
questions the way in which public opinion
is shaped, as well as the role of art in
the public sphere. Working together since
2004, the artists have created publicly
staged interventions using posters,
screens, publications, journal articles,
t-shirts, and slogans. The titles of their
projects are typically very literal:
The Economic Function of Public Art Is
to Increase the Value of Private Property
(2004) or Advertising Wants to Convert
Our Desire for a Better Life into a Desire
to Buy Something (2008).
Even though Freees visual and
language-based interventions criticize
the commercial and bureaucratic use
of the urban environment, they occupy
billboards, gallery spaces, and public
sites. The groups artistic strategy is
dialectical: on the one hand, it draws from
the avant-garde tradition by adopting
the visual language of political dissents
(for example, handwritten, handheld
signs); on the other hand, it borrows
mainstream media strategies, such as
the use of big screens, and employ
commercial-like aesthetics. Heavily
infuenced by Marxist theory, Freee aims at
imagining a new social order by activating
a collective and participatory space.
Like in many of the artists other projects,
Protest Drives History (2008), is a direct
expression of the collectives interest in
Dave Beech, Andy Hewitt ve Mel
Jordandan oluan Freee sanat kolektifi
kamuoyunun nasl olutuunu ve sanatn
kamusal alanda oynad rol sorgu-
luyor. 2004 ylndan bu yana birlikte
alan sanatlar afi, ekran, yayn,
makale, tirt ve slogan gibi mecralar
kullanarak kamusal mdahaleler
gerekletirdiler. Kolektifin projeleri
genellikle dz anlaml balklar tayor:
Kamusal Sanatn Ekonomik levi
zel Mlkn Deerini Ykseltmektir
(2004) veya Reklamclk Daha yi Bir
Hayat Arzumuzu Satn Alma Arzusuna
Dntrmek ster (2008).
Freeenin grsel ve dil-temelli mdahaleleri
kentsel evrenin ticari ve brokratik
kullanmn eletirse de, bu kolektif ilan
panolarndan, galerilerden ve kamusal
meknlardan yararlanyor. Grup
diyalektik bir sanatsal strateji izliyor:
Bir yandan siyasi muhalefetin grsel
dilini dn alarak (rnein elyazsyla
hazrlanm, elde tanan pankartlar)
avangart gelenekten besleniyor; dier
yandan dev ekranlarn kullanm gibi
ana akm medya stratejilerini dn
alyor ve reklam estetiine benzer bir
slup kullanyor. Marksist kuramdan
youn bir ekilde etkilenen Freee, kolek-
tif ve katlmc bir alan etkinletirerek
yeni bir toplumsal dzenin tasavvur
edilmesini amalyor.
Sanatlarn dier birok projesi gibi
Tarihi Srkleyen syandr (2008) da
2004te Londra ve Sheffield, ngilterede kurulan sanat kolektifi. almalarn
Londra ve Loughborough, ngilterede srdryor. Art collective founded in 2004
in London and Sheffeld, UK. Based in London and Loughborough, UK.
F
R
E
E
E

(
D
A
V
E

B
E
E
C
H
,

A
N
D
Y

H
E
W
I
T
T
,

M
E
L

J
O
R
D
A
N
)
Antrepo no.3
T
o
p
:

S
p
o
k
e
n

c
h
o
i
r

r
e
a
d
i
n
g

o
f

T
h
e

M
a
n
i
f
e
s
t
o

f
o
r

a

N
e
w

P
u
b
l
i
c
,

f
o
r

T
o
w
a
r
d
s

a

C
o
m
m
o
n

G
r
o
u
n
d

,

C
l
a
p
h
a
m

C
o
m
m
o
n

B
a
n
d
s
t
a
n
d
,

L
o
n
d
o
n
,

2
0
1
2
B
o
t
t
o
m
:

P
r
o
t
e
s
t

D
r
i
v
e
s

H
i
s
t
o
r
y
,

2
0
0
8

s
t
:

O
r
t
a
k

B
i
r

Z
e
m
i
n
e

D
o

r
u

d
a

Y
e
n
i

B
i
r

K
a
m
u

i

i
n

M
a
n
i
f
e
s
t
o

n
u
n

s

z

k
o
r
o
s
u
n
c
a

o
k
u
n
m
a
s

,

C
l
a
p
h
a
m

C
o
m
m
o
n

O
r
k
e
s
t
r
a

S
a
h
n
e
s
i
,

L
o
n
d
r
a
,

2
0
1
2

A
l
t
:

T
a
r
i
h
i

S

k
l
e
y
e
n

s
y
a
n
d

r
,

2
0
0
8
public action as a tool for social change.
Originally exhibited as a banner and a
billboard sign in London, the work also
divulges a crucial aspect of Freees
practice: the power of slogans to transform
reality and to depict a society that does
not yet exist. As a protest banner, Protest
Drives History is a call for action, but it is
a self-referential one that already foresees
the change it wishes to generate. By doing
so, the work not only blurs the borders
between cause and effect, but it also
questions the role of representation in
Western societies.
Freees interventions open up a space for
critical discussion and debate concerning
the colonization of public sphere by
political and economic forces. Even
more signifcantly, the collectives work
highlights the vital role of aesthetics in
the formation of public opinion under
capitalism. Yael Messer
kolektifin bir toplumsal deiim arac
olarak kamusal eyleme verdii nemin
dorudan ifadesi. lk olarak Londrada
bir afi ve ilan panosu araclyla
sergilenen bu yapt, Freeenin pratiinin
belirleyici bir boyutunu da gzler
nne seriyor: Sloganlarn gereklii
dntrme ve henz var olmayan bir
toplumu resmetme gc. Muhalif bir afi
olarak Tarihi Srkleyen syandr bir
eylem ars yapyor, ama bu, retmek
istedii deiimi imdiden ngren, kendi
kendine gnderme yapan bir ar.
Bylece yapt sadece sebep ve sonu
arasndaki snrlar bulandrmakla
kalmyor, ayn zamanda Bat toplumla-
rnda temsilin roln sorguluyor.
Freeenin mdahaleleri kamusal alann
siyasi ve ekonomik gler tarafndan
smrgeletirilmesine dair eletirel
tartmalara ve mnazaralara alan
ayor. Bundan da nemlisi, kolektifin
almalar kapitalizm anda kamu-
oyunun olumasnda estetiin oynad
hayati roln altn iziyor. Yael Messer
F
R
E
E
E

(
D
A
V
E

B
E
E
C
H
,

A
N
D
Y

H
E
W
I
T
T
,

M
E
L

J
O
R
D
A
N
)
Antrepo no.3
GOLDIN+SENNEBY
Goldin+Senneby is a collaborative artist
duo whose title is derived from the two
Swedish artists surnames, Simon and
Jakob respectively. The pairwho uses
a performative approach to scrutinize
the virtual from a spatial, fnancial, and
legal angleinvestigates the most
important channels of social transformation.
Bringing an economic, social, and
political perspective to topics such as new
societies, forms of social togetherness,
and virtual communities, they work to
describe the dynamics that will determine
the future.
One of the key components of Goldin+
Sennebys approach to research and
production is that all stages of the process
are collaborative. Moving away from an
object-based understanding of production,
they stage moments of debate and spatial
confict by means of knowledge-production
that are open to collaborative sharing,
high-speed circulation, and multiple
readings. The duo experienced Istanbul
for the frst time with a reading performance
held at the Istanbul Manufacturers Baazar
in scope of their project Headless
(2007- ongoing). While on an artists
residency program in 2012, they spent
a signifcant amount of time observing and
researching in the city. Headless
addresses the so-called offshore economy:
fnancial structures that are exempt from
taxes, and exist outside national borders,
in mid-spaces amidst coasts. Every
participant in the project was remunerated
for their labor at the local market value.
Goldin+Senneby, Simon ve Jakob adl iki
sveli sanatnn soyadlarn birbirine
ekleyerek tanmlad bir kolektif. Sanal
olan, meknsal, finansal ve hukuki
adan, tarihselliini de ieren performatif
bir yaklamla inceleyen ikili, aslnda
sosyal deiimin en nemli kanallarn
aratryor. Yeni toplumlar, bir araya
gelme biimleri ve sanal birliktelik gibi
kavramlara ekonomik, sosyal ve siyasal
bak alar getirerek, yarn izecek
dinamikleri tarif lemeye alyor.
Goldin+Sennebynin aratrma ve retim
metodunun en temel zelliklerinden biri,
btn alma srelerini ibirlii
zerine kurmalar. Obje temelli bir
retim anlayndan kanarak, ortak
paylama, hzl dolama ve farkl
okumalara ak bilgi retimleri ile
alan atmalar ve tartma anlarn
tasarlyorlar. stanbulu ilk kez, IMde
gerekleen Basz (2007-devam etmekte)
balkl projeleri kapsamnda bir okuma
performans ile deneyimleyen kolektif,
2012de bir sanat program vesilesiyle
gzlem ve aratrmalar iin ehirde epey
vakit geirdiler. Basz projesi, offshore
ekonomisi dediimiz vergiden muaf,
lke snrlar dnda, kylar aras ara
alanlarda gerekleen finansal yaplar
ve bu yaplarn snrlarn aratrdklar
bir projedir. Bu projede her katlmcnn
emei, yerel piyasa deerinden kiralanr.
Goldin+Senneby, bir anlamda herhangi
bir irkete bal olmayan bir Ar & Ge
(aratrma ve gelitirme) laboratuvar
gibi alr.
P
u
p
p
e
t

(
d
e
t
a
i
l
)

f
r
o
m

S
h
o
r
t
i
n
g

t
h
e

L
o
n
g

P
o
s
i
t
i
o
n
,

2
0
1
3
K
u
k
l
a

(
d
e
t
a
y
)
,

U
z
u
n

P
o
z
i
s
y
o
n
u

K

s
a
l
t
m
a
k

t
a
n
,

2
0
1
3
2004te Stokholm, svete kurulan ibirlii erevesi. almalarn Stokholm,
svete srdryor. Framework for collaboration founded in 2004 in Stockholm,
Sweden. Based in Stockholm, Sweden.
G
O
L
D
I
N
+
S
E
N
N
E
B
Y
Antrepo no.3
In a sense, Goldin+Senneby functioned
as an independent R&D (Research and
Development) laboratory.
Their project for the 13
th
Istanbul Biennial
Shorting the Long Position (2013) is part
of The Nordenskild Model, an ongoing
experiment in theatrical fnance. It takes its
name from the Finnish mineralogist August
Nordenskild, and carries a Swedish
kings 18
th
century dream of alchemy into
the contemporary moment. The dream of
the scientist, who was supported by
the King to guarantee fnancial superiority
over Russia, was to give everyone
access to gold, putting an end to the
power of money. Goldin+Senneby,
working together with actors, computer
experts, playwrights, economists, and
fnancial experts, seek an algorithmic
fnancial reality that functions through the
collectively produced play and partakes
in a real economy. The biennial exhibition
will feature an actor rehearsing a scene
written by the playwright Jo Randerson.
Meanwhile the production budget will go
into a fnancial trading strategy developed
by cultural economist smail Ertrk. From
the opening day onwards, the fnancial
performance of the trading will determine
the duration of the actors contract. The
performance will last as long as the money
suffces. The projects traces, meanwhile,
will extend as far into the stock market as
smartphones do. Adnan Yldz
13. stanbul Bienali kapsamnda
gerekletirecekleri Uzun Pozisyonu
Ksaltmak (2013) ise, teatral finans
zerine srdrdkleri Nordenskild
Modeli balkl deneyin paras.
sve kralnn 18. yzylda altn
retme hayalinden gnmze tanan
Nordenskild Modeli, ismini Finli
maden uzman August Nordenskildden
alyor. Kraln Rusyaya kar finansal
stnlk garantisi olarak destekledii
bilim adamnn hayali, altn herkesin
eriimine aarak, parann iktidarna
son vermekti. Goldin+Senneby, birok
aktr, bilgisayar uzman, oyun
yazar, ekonomist ve finans uzman ile
beraber alarak retilen bir tiyatro
oyunu zerinden ileyen ve mr reel
ekonomiyle tanmlanan algoritmik
finansal bir gereklik peinde. Bienalde,
oyun yazar Jo Randersonn kaleme
ald bir sahnenin bir oyuncu tarafndan
prova edilii sergilenecek. Prodksiyon
btesi ise kltr ekonomisi uzman
smail Ertrk tarafndan gelitirilen
finansal ticaret stratejisinde kullanlacak.
Serginin al gnnden itibaren,
ticaretin finansal performans oyuncuyla
yaplan kontratn sresini de belirleyecek.
Performans, parann yettii yere kadar
srecek. zi ise, her akll telefonun
borsada uzanaca yere kadar gidecek.
Adnan Yldz
M
&
A
,

2
0
1
3
M
&
A
,

2
0
1
3
G
O
L
D
I
N
+
S
E
N
N
E
B
Y
Antrepo no.3
GONZALO LEBRIJA
Gonzalo Lebrijas work immerses
the viewer in epiphanic moments
encapsulated in timeless images. Although
this assertion may read as an oxymoron,
Lebrijas procedures reveal a fight
from time and offer experiences of time
through a never-ending continuity or static
apparition in a very tense relationship with
the narrative. His images are visual poems
infused with simplicity that evoke feelings
of melancholy, humour or cynicism.
Lamento (2007), the title of Lebrijas
project and the Spanish word for sorrow
or complaint, plays with the idea of
defeat. The word targets a very familiar
emotion, but it also involves a complex
thought process. The initial conception of
the project was a large-scale installation
of Lamento in Guadalajara, Mexico.
The modernisation of this city has
resulted in the replacement of historical
architecture with what Lebrija calls
city-planning absurdities: impersonal
buildings that have no connection with
the urban landscape or its history. Lebrijas
planned intervention was the sculpture of
an enormous manboth a watchman and
a white mass embodying impotence
as a constant reminder of these absurdities.
The solitary man not only represents
a clear pathos of the self but a particular
urban and social confict.
The artist produced a series of small
Lamento sculptures (destined for art
collections) to fnance the endeavour and
encourage buyers to become supporters
of the cause (and opponents of bad
Gonzalo Lebrijann almalar izleyiciyi
zamansz imgeler iine sarmalanm
epifanik anlarn youn etkisi altna
sokuyor. Bu iddia tezatlk barndryor
gibi grnse de, Lebrijann izledii yol
zamandan ka ifa ederek anlat ile son
derece gergin bir iliki ierisinde sonsuz
bir sreklilik veya duraan bir grnm
araclyla zamana dair deneyimler
sunuyor. Sanatnn yaratt imgeler
melankoli, mizah ve sinizm hisleri
uyandran, sadelik ykl birer grsel iir.
Lebrijann ayn zamanda spanyolcada
keder veya ikayet anlamna gelen
Lamento (2007) balkl projesi yenilgi
kavramyla oynuyor. Bu kelime, ok
tandk bir duyguyu hedef lese de, ayn
zamanda karmak bir dnce srecini
tetikliyor. Proje ilk halinde Meksikann
Guadalajara ehrinde uygulanacak
byk lekli bir enstalasyon olarak
tasarlanmt. ehrin modernletirilmesi
sonucunda tarihi mimarinin yerine
Lebrijann ehir planlama samalklar
adn verdii eyler, yani kentsel doku
veya ehrin tarihiyle hibir balants
olmayan kiiliksiz binalar kondu.
Lebrijann yapmay tasarlad mdahale
ise bu samalklar srekli hatrlatan
dev bir adam heykeliydi hem bir gzc,
hem de iktidarszl somutlatran
beyaz bir ktle. Bu yalnz adam sadece
insan benliinin pathosunu deil,
ayn zamanda kentsel ve toplumsal
uyumazl da temsil etmekteydi.
L
a
m
e
n
t
o
,

2
0
0
7
L
a
m
e
n
t
o
,

2
0
0
7
1972de Meksiko, Meksikada dodu. Guadalajara, Meksikada yayor ve alyor.
Born in 1972 in Mexico City, Mexico. Lives and works in Guadalajara, Mexico.
G
O
N
Z
A
L
O

L
E
B
R
I
J
A
Antrepo no.3
urban decisions). The work thus unfolds
the irony: the public art monument is
fnanced through privatised art. With a
play in scales, the private and public unite
to achieve the same utopian objective:
to speak loudly about the destruction
of a citys identity. Lebrija ultimately
decided against the Lamento monument
in Guadalajara, concentrating on the small
sculptures. Curator and art critic Adriana
Herrera clearly articulated the rationale for
this choice:
Lebrija began to think that the white giant
would end up being just like the ugly
piles he wished to challenge. Moreover,
its size would belie the vulnerability and
powerlessness that he felt as an artist and
citizen in the face of Guadalajaras
monstrous modernisation programme.
Raised to this huge scale the man
in the Lamento would be a giant mimicking
the planning madness, not a little man
disoriented by the disjuncture between
the spirit of a city and its public spaces,
a being lost in an ever more bizarre
setting.
1
Javier Villa
Sanat almasna kaynak yaratmak
ve sanat alclarn davasna destek
olmaya (ve kt kentsel kararlara kar
kmaya) tevik etmek amacyla (sanat
koleksiyonlarna girmesini amalad)
bir dizi kk boy Lamento heykeli
retti. Bylece yapt bir ironiyi gzler
nne serdi: Bir kamusal sanat ant
zelletirilmi sanatla finanse ediliyordu.
Yaptn leiyle oynayarak zel ve
kamusal alann, ayn topyac hedefi
gerekletirmek yani ehrin kimliinin
yok edilii hakknda ses karmak iin
bir araya gelmesi salanmt. Lebrija
son aamada Guadalajaradaki Lamento
antndan vazgeti ve ilgisini sadece kk
heykellere yneltti. Kratr ve sanat
eletirmeni Adriana Herrera bu tercihin
ardndaki mant yle aklamt:
Lebrija kendi beyaz devinin sonunda
meydan okumak istedii irkin
ynlara benzeyeceini dnmeye
balad. Dahas, devin boyutlar
Lebrijann bir sanat ve vatanda olarak
Guadalajarann korkun modernletirilme
plan karsnda hissettii savunmaszlk
ve gszle ters decekti. Lamentonun
adam bu muazzam lee karldnda,
ehrin ruhu ve kamusal alanlar
arasndaki kopukluktan kafas karm
kk bir adam, giderek tuhaf laan bir
sahnede kaybolmu bir varlk olmayacak,
planlama lgnln taklit eden bir deve
dnecekti.
1
Javier Villa
L
a
m
e
n
t
o
,

2
0
0
7
L
a
m
e
n
t
o
,

2
0
0
7
G
O
N
Z
A
L
O

L
E
B
R
I
J
A
1 Adriana Herrera, Gonzalo Lebrija and His Lament, Gonzalo Lebrija: As Time Goes By iinde (Londra:
Other Criteria, 2009), 128. Adriana Herrera, Gonzalo Lebrija and His Lament in Gonzalo Lebrija: As Time Goes By
(London: Other Criteria, 2009), 128.
Antrepo no.3
GORDON
MATTA-CLARK
1943te New York, NY, ABDde dodu. 1978de New York, NY, ABDde ld.
Born in 1943 in New York, NY, USA. Died in 1978 in New York, NY, USA.
Gordon Matta-Clark, originally trained
as an architect, is best known for the
cuttings he applied to abandoned
warehouses and empty suburban
houses during the 1970s in New York and
several European cities. These ephemeral
interventions to the built environment were
an articulation of his fascination
with the implications of occupancy in
space. Matta-Clark regarded buildings
not only as functional structures but also
as vessels flled with historical, social, and
even metaphysical meanings. Slicing into
these sites implied deconstructing their
political and social functions and revealing
their historical signifcance to retrieve
collective memories. In New York his
timely artistic interventions corresponded
with the heightened tensions and protests
against urban regeneration and resistance
towards real estate speculation. By means
of his ephemeral sculptures, Matta-Clark
commented on both the decay of the
American city and the growing sense that
the American Dream was evaporating.
On several occasions he also applied
his interventions to historic European city
centres that were challenged with similar
large-scale redevelopment plans.

For the 9
th
Biennale de Paris 1975,
Matta-Clark developed Conical Intersect
(1975), a spiralling cut into two derelict
17
th
century apartment buildings, adjacent
to the construction site of the Centre
Pompidou, which were scheduled for
demolition. The creation of a hole of light
and air (of four by two metres) into the
facade was a sculptural gesture,
niversite eitimini mimarlk alannda
tamamlayan Gordon Matta-Clark bugn
en ok 1970lerde New Yorkta ve eitli
Avrupa ehirlerinde terk edilmi depolara
ve bo banliy evlerine uygulad
kesimlerle tannyor. Matta-Clarkn
bu yapl evreye ynelik geici mda-
haleleri mekn eitli ekillerde igal
etmenin ne anlamlara gelebilecei konu-
sundaki youn meraknn bir ifadesiydi.
Sanat binalar sadece ilevsel yaplar
olarak deil, ayn zamanda tarihi,
toplumsal ve hatta metafizik anlamlarla
ykl kazanlar olarak gryordu. Bu tr
alanlar dilimlemek, siyasi ve toplumsal
ilevlerini yapbozuma uratmak ve
ierdikleri ortak hafzay geri kazanmak
zere tarihsel nemlerini ortaya sermek
anlamna geliyordu. Matta-Clarkn
sanatsal mdahaleleri New Yorkta
ykselen gerilimle, kentsel dnm
kart protestolar ve emlak speklas-
yonuna kar direnile de ayn zamana
denk geldi. Geici heykelleri sayesinde
Matta-Clark hem Amerikan ehrinin
ryne hem de Amerikan Ryasnn
buharlaarak kayplara kartna
dair oluan hissiyata ynelik bir yorum
getirmi oldu. Sanat ayrca eitli
vesilelerle benzeri byk lekli dnm
planlaryla kar karya bulunan
Avrupadaki baz tarihi ehir merkezlerine de
mdahalelerde bulundu.
Matta-Clark, 1975te dzenlenen 9. Paris
Bienali iin Konik Kesiim (1975) balkl
yapt tasarlad ve Pompidou Merkezi
inaat sahas yaknlarnda, 17. yzylda
ina edilip harabeye dnm ve ykmna
G
O
R
D
O
N

M
A
T
T
A
-
C
L
A
R
K
S
p
l
i
t
t
i
n
g
,

1
9
7
4
Y
a
r

l
m
a
,

1
9
7
4
Antrepo no.3
but it also opened up the interior world of
the apartments to the outside. The intervention
revealed a greater understanding of the
impact the Pompidou project would have
on the neighbourhood and city life.
During 1973 and 1974 Matta-Clark legally
obtained 15 lots of land in New York,
which he used for the Fake Estates
(1973-1974) project. They were tiny
pieces of landalso referred to as gutter
spaces which were useless to city
developers because of their limited size
or strange shape. These spaces, or rather
gaps, were nevertheless part of the city
and helped shape its inner structure.
During the subsequent years, Matta-Clark
collected maps, deeds, and other
administrative documentation attached
to the slices of land and photographed
and developed ideas for the use of these
plots. Due to his untimely death in 1978,
these proposals were never actualized,
and the ownership of the Fake Estates
lands was reverted to the city, rendering
them into sites of faded potential.
Rieke Vos
karar verilmi iki apartmana sarmal
grnml kesikler oluturacak ekilde
mdahale etti. Binann cephesine drt
metreye iki metre boyutlarnda bir k
ve hava delii amak heykel disiplinine
yakan bir hareketti, ama ayn zamanda
bu apartmanlarn i dnyasn darya
ayordu. Bu mdahale Pompidou
projesinin mahalleyi ve ehir yaamn
nasl etkileyeceine dair daha gl bir
farkndalk yaratt.
Matta-Clark, 1973 ve 1974 yllarnda
New Yorkta yasal yollarla 15 arsa
satn ald ve bunlar Sahte Mlkler
(1973-1974) balkl projesinde kulland.
Bunlar snrl alanlar veya tuhaf
ekilleri yznden mteahhitlerin iine
yaramayan kk apl arazilerdi,
adi alan olarak da anlyorlard. Ancak
bu alanlar veya daha dorusu boluklar,
her eye ramen ehrin parasyd ve
ehrin i yapsnn ekillenmesine katkda
bulunuyordu. Daha sonraki yllarda
Matta-Clark bu kk arazi paralaryla
ilgili harita, tapu ve dier idari belgeleri
toplamaya devam etti, fotoraf larn
ekti ve bu kk alanlarn ne iin
kullanlabileceine dair fikirler
gelitirdi. 1978deki zamansz lmnden
tr bu neriler hibir zaman hayata
geirilemedi ve Sahte Mlkler arazileri
belediyeye devredilince hepsinin tad
potansiyel snp kayboldu. Rieke Vos
G
O
R
D
O
N

M
A
T
T
A
-
C
L
A
R
K
C
o
n
i
c
a
l

I
n
t
e
r
s
e
c
t
,

1
9
7
5
K
o
n
i
k

K
e
s
i

i
m
,

1
9
7
5
Antrepo no.3
GUILLAUME BIJL
S
U
S
P
E
C
T
,

1
9
8
0
-
2
0
1
3

(
o
b
j
e
c
t
s
)

P
H
E
L

,

1
9
8
0
-
2
0
1
3

(
n
e
s
n
e
l
e
r
)
1946da Anvers, Belikada dodu. Anvers, Belikada yayor ve alyor.
Born in 1946 in Antwerp, Belgium. Lives and works in Antwerp, Belgium.
G
U
I
L
L
A
U
M
E

B
I
J
L
Since the late 1970s Guillaume Bijl has de-
veloped artistic strategies for exploring the
relationship between art and social reality.
Using banal found objects, he orchestrates
fctional spaces, or he positions nonnative
objects in public locations. In doing so Bijl
calls into question the symbolic nature of
the objects around us. He is interested in
the social language objects produce and
their power to shape spaces, which also
endows them with the ability to shape
human interaction. Bijls installations
question what is real (and not real) and
reveal the illusionary nature of reality.
As Bijl tries to establish a direct
interaction with reality by means of art
form, he creates intentionally dislocated
environments in which the viewer
becomes a fgure participating in a fctional
reality.
1
These three-dimensional still-life
installations, as Bijl calls them, not only
expose the role of objects within consumer
society but also rupture ones intuitive
understanding of everyday experiences.
The installation SUSPECT, originally
exhibited in 1980, takes place in two
connected spaces. In the frst room, Bijl
composed a cluttered staging of both
real and fctional objects (objects that he
intentionally placed in the room). This
re-creation is of the artists studio as it
appeared after it was searched by
the police because of the artists unusual
Guillaume Bijl 1970lerin sonundan
bu yana sanat ve toplumsal gereklik
arasndaki ilikiyi incelemek iin stratejiler
gelitiriyor. Sradan buluntu nesneler
kullanan sanat, kurgusal meknlar
dzenliyor veya kamusal alana o blgeye
ait olmayan nesneler yerletiriyor. Bijl,
bu eylemleriyle etrafmzdaki nesnelerin
simgesel doasn sorguluyor. Sanat
nesnelerin rettii toplumsal dille ve
ayn zamanda onlara insan etkileimini
biimlendirme becerisini de baheden
nesnelerin mekn ekillendirme gcyle
ilgileniyor. Bijlin enstalasyonlar neyin
gerek olduunu (ve neyin olmadn)
sorgulayarak gerekliin yanltc
doasn ortaya seriyor. Bijl, sanat
araclyla gereklikle dorudan bir
etkileim kurmaya alrken izleyicinin
kurgusal bir gereklie katlan bir figre
dnt, ekseni kastl olarak
kaydrlm ortamlar yaratyor.
1
Bijlin,
boyutlu natrmort enstalasyonlar
dedii bu yaptlar sadece nesnelerin
tketim toplumundaki roln tehir
etmekle kalmyor, ayn zamanda bireyin
gndelik deneyimlerle ilgili sezgisel
kavrayn da kesintiye uratyor.
PHEL baln tayan ve ilk defa
1980de sergilenen yapt, birbiriyle
balantl iki meknda gerekleiyor.
Bijl ilk odada gerek ve kurgusal nesne-
lerden (odaya bilerek datlm nesneler)
1 Guillaume Bijl, Guillaume Bijl: Works 19911996da alntland ekliyle (Ghent, Belika: Van Hedendaagse
Kunst Mzesi, 1998), 43. Van Hedendaagse Kunst Mzesinde ayn isimli sergiyle ezamanl baslmtr.
Guillaume Bijl, as quoted in Guillaume Bijl: Works 19911996 (Ghent, Belgium: Museum Van Hedendaagse Kunst, 1998),
43. Published in conjunction with the exhibition of the same name, shown at the Museum Van Hedendaagse Kunst.
Antrepo no.3
behaviour, as reported by his neighbours
except the viewer does not know how
the elements of the actual studio had
been arranged, what objects it contained
or if these objects belong to the artist.
The second installation space holds and
displays the objects deemed suspicious
by the police during the search. These
are Bijls objects, and they are arranged
as evidence of a crimewhether a crime
was committed or not. The accompanying
text in the second room indicates some
of these unusual acts: for example,
appearing on television at a left-wing
demonstration and spending a lot of time
in bookshops and public parks.
As in his other installations, Bijl carefully
creates a detailed scenario in which life
permeates the artwork and vice versa.
With SUSPECT he questions the position
of the artist in any given society
an outsider, potential criminal or a usual
suspect who has to be interrogated and
disciplined. Yael Messer
oluan darmadan bir yn sahneliyor.
Bu, komularnn tuhaf davranlar
yznden ikayette bulunmas zerine
atlyesinin polis tarafndan arandktan
sonraki halinin yeniden kurulmasyla
oluturulmu bir dzen ancak izleyici
esas atlyedeki bileenlerin dzeninin
neye benzedii, iinde hangi nesnelerin
olduu ve hangi nesnelerin sanatya
ait olduu bilgisine sahip deil. Sanat
ikinci enstalasyon meknnda ise arama
srasnda polisin pheli bulduu
nesneleri sergiliyor. Bu nesneler Bijle
ait ve su delilleri gibi sralanmlar
bir su ilenmi olsa da olmasa da yle.
kinci odada izleyicilere elik eden metin
bu tuhaf hareketlerden bazlarn
aklyor: rnein sanatnn katld
sol eilimli bir gsteride televizyonda
grnmesi veya kitaplarda ve halka
ak parklarda uzun zaman geirmesi.
teki enstalasyonlarnda olduu gibi
burada da Bijl hayatn yapta, yaptn da
hayata nfuz ettii ayrntl bir senaryo
yaratyor ve PHELde herhangi bir
toplumda sanatnn konumunun ne
olduunu bir yabanc, potansiyel bir
sulu veya sorgudan geirilmesi ve yola
getirilmesi gereken olaan bir pheli
anlamaya alyor. Yael Messer
S
U
S
P
E
C
T
,

1
9
8
0
-
2
0
1
3

(
w
a
l
l

t
e
x
t
)

P
H
E
L

,

1
9
8
0
-
2
0
1
3

(
d
u
v
a
r

m
e
t
n
i
)
G
U
I
L
L
A
U
M
E

B
I
J
L
Antrepo no.3
HALIL ALTINDERE
G
u
a
r
d
,

2
0
1
2
G

v
e
n
l
i
k
,

2
0
1
2
1971de Mardin, Trkiyede dodu. stanbul, Trkiyede yayor ve alyor.
Born in 1971 in Mardin, Turkey. Lives and works in Istanbul, Turkey.
Halil Altndere settled in Istanbul
in 1996. Since then, both as an artist,
and later as a publisher and curator,
he has added a productive disquietude
to the contemporary art scene in Turkey
by problematising a diverse range of
identity politics and resistance strategies
against power structures, and hierarchies
between tradition and modernity and
the rigid approaches within the world of
art. Adopting the language of humour and
irony, the artist turns inside out everyday
topics and historical moments that involve
current politics. He often rejects politically
correct viewpoints and emphasizes
the inherent relationship between art and
politics. Waxs meeting with the artists
sustained interest in offbeat characters
took place in 2008, when he made
a hyperrealist sculpture of Pala the Bard,
a well-known personality of stiklal Street
who made a living by having his photo
taken with tourists. Until then, and perhaps
due to the cost of the material, it was only
great, historical fgures who had their wax
fgures made, so this was the frst instance
when a homeless poet had his sculpture
erected on his street. Guard (2012), part
of a series of wax sculptures Altndere
produced in 2012, extends this attitude
further: by reducing the height of a security
guard a profession which requires
a minimum height for recruitment in order
to lower his bandwidth of power and turn
the tables on the conditions determined
by institutional hierarchy in favour of
the audience, he almost makes it possible
for us to establish a cordial relationship
with the guard. Thus, via this new and
1996 ylnda stanbula yerleen ve bu
tarihten itibaren Trkiye gncel sanat
ortamna nce sanat, sonrasnda
yaync ve kratr olarak verimli bir
huzursuzluk katan Halil Altndere,
farkl kimlik siyasetlerini, iktidara kar
direni stratejilerini olduu kadar alt
kltrleri, gelenek ve modernite ara-
sndaki hiyerarileri ve sanatn iindeki
kemiklemi anlaylar sorunsallatrr.
Gndelik hayat ieren ve gncel siyasetin
de dhil olduu tarihsel anlara karan
meseleleri mizahn ve ironinin diliyle
tersyz eden sanat, oklukla siyaseten
dorucu bak alarn reddeder ve sanat
ile siyasetin isel balantsn vurgular.
Sanatnn srad karakterlere ynelik
srekli ilgisinin balmumu ile ilk
bulumas, stiklal Caddesinde yaayan
ve herkesin tand, turistlerle fotoraf
ektirerek hayatn kazanan Pala airi
2008 ylnda hiperrealist bir heykele
dntrmesiyle gerekleti. O gne dek,
biraz da malzemenin ederinden tr,
sadece tarihe mal olmu, byk isimlerin
balmumu heykelleri yaplrken, ilk kez
evsiz bir airin heykeli yaad sokaa
dikildi. Altnderenin 2012 ylnda
rettii bir dizi balmumu heykelin
paras olan Gvenlik (2012), bu tavrn
bir devam, ancak daha katmanl bir
bakn davurumu. Sanatnn, aslnda
asgari boy snrna tabi olmas gereken
gvenlik grevlisinin boyunu ksaltarak
iktidar oktavn drd ve kurumsal
hiyerarinin belirledii kabulleri seyircinin
lehine evirdii heykeli, grevliyle
neredeyse samimi bir iliki kurmay
baarabileceimiz bir yaknla imkn
H
A
L

L

A
T
I
N
D
E
R
E
Antrepo no.3, SALT Beyolu
nk TOKye kafam att
W
o
n
d
e
r
l
a
n
d
,

F
e
b
r
u
a
r
y

2
0
1
3
H
a
r
i
k
a
l
a
r

D
i
y
a
r

u
b
a
t

2
0
1
3
extraordinary security guard, Altndere
proposes a debate on the power of art
institutions.
As for the video titled Wonderland
(February 2013), it is a document of
the anger, resistance and hope voiced by
the children of Sulukule, a neighbourhood
which for six centuries hosted the Roma
population and their culture, and was
demolished as a result of the decision
made in 2006 as part of an urban
transformation project. The work which
features the artist using a new cinematic
language that oscillates between a
video clip and video-art for the frst time,
displays how one subculture (hip-hop) can
fourish and live within another subculture
(Roma). As the prosperity promised by
the Public Housing Project (TOK)
apartments built in place of their demolished
neighbourhood ends up serving nothing
more than social inequality, poverty and
infrastructural problems, the deep-rooted
life-style shaped with music and dance of
the people of Sulukule faces oppression
and irreversible corrosion. Istanbuls
adventure of concretization, gentrifcation
and hygienization, is voiced by the group
Tahribad- syan and accompanied by
Altnderes visuals which land like a punch
in our stomach, producing a dreamlike
reality that is diffcult to digest, and to
forget.* Dino Diner irin
tanyor. Sanat kurumlarnn iktidarn,
grmeye alk olmadmz bir gvenlik
grevlisi araclyla tartmaya ayor.
Harikalar Diyar (ubat 2013) videosu
ise, 600 yldr Roman nfusuna ve
kltrne ev sahiplii yapan Sulukule
semtinin 2006 ylnda alnan bir kararla
yklmasndan sonra, o semtin ocukla-
rnca dillendirilen f ke, direni ve
umudun bir belgesi. Sanatnn klip ile
video sanat arasnda gezinen farkl bir
film dilini ilk kez kulland almas,
bir alt kltrn iinde (Roman),
baka bir alt kltrn (hip-hop) nasl
yeerebileceini ve yaayabileceini de
gsterir. Kentsel dnm sebebiyle
yklan mahallelerinin yerine yaplan
TOK evlerinin vaat ettii refah aslnda
sadece toplumsal eitsizlik, yoksulluk
ve altyap sorunlarn aa karmaya
yararken, Sulukulelilerin mzik ve
dansla yorulmu kkl yaam biimlerini
basklamakta, geri dnlmez biimde
ypratmaktadr. Bu videoda, Tahribad-
syan grubunun haykrd stanbulun
betonlama, soylulama ve temizlenme
serveni, Altnderenin midemize yumruk
gibi indirdii grsellikle eleniyor ve
ortaya unutulmas/hazmedilmesi zor,
rya gibi bir gereklik kyor.
Dino Diner irin
H
A
L

L

A
T
I
N
D
E
R
E
* Trkeden ngilizceye eviri Nazm Dikba. Translation from Turkish to English Nazm Dikba.
Antrepo no.3, SALT Beyolu
HANNA FARAH
KUFR BIRIM
H
A
N
N
A

F
A
R
A
H

K
U
F
R

B
I
R
I
M
D
i
s
t
o
r
t
e
d

1

[
M
s
h
w
a
s
h
i

1
]
,

2
0
0
2
-
2
0
1
3

a
r
p

l
m

1

[
M
s
h
w
a
s
h
i

1
]
,

2
0
0
2
-
2
0
1
3
1960ta Aljish, Filistin/srailde dodu. Yafa ve Kufr Birim, Filistin/srailde
yayor ve alyor. Born in 1960 in Aljish, Palestine/Israel. Lives and works in
Jaffa and Kufr Birim, Palestine/Israel.
The practice of the artist, architect,
and independent builder Hanna Farah Kufr
Birim is characterized by the poetic and
spatial investigation of his own biography.
A key element in his works is Kufr Birim,
a Palestinian village and the artists
hometown. It was occupied by Israel
in 1948 (a date that also marks the Israeli
War of Independence and the Palestinian
Nakba, translated as catastrophe)
and demolished in 1953. The artist even
adopted the village name as his legal
last name.
The works presented at the 13
th
Istanbul
Biennial are part of Distorted [Mshwashi]
(20022013), a series of photographs.
In these photographs the artist focuses
on the relationship between the two places
he associates himself with: the village
Kufr Birim, where his family comes from,
and the city where he currently lives,
Jaffa. The photos depict the tension
between the artist and the buildings and
objects, and suggest instability and
a sense of disruption.
In the gold-framed photograph, the upper
half of the image shows the artist standing
under a stone arch of his grandfathers
former house. The bottom portion is flled
with solid black. With the simple act of
standing in the ruined house, in a position
that appears to be supporting the stones,
the artist shows a resolve to revisit and
reactivate the obliterated village. Another
photograph depicts a branch and a wire,
in a way that suggests their temporality.
Sanat, mimar ve bamsz yap ustas
Hanna Farah Kufr Birimin pratii,
kendi biyografisinin iirsel ve meknsal
aratrmas ile belirleniyor. Sanatnn
memleketi olan Filistindeki Kufr Birim
ky yaptlarnda kilit neme sahip.
Ky, 1948 ylnda srail tarafndan igal
edilmi (srail Bamszlk Savann
ve Filistinlilerin Nakba, yani
felaket adn verdikleri tarihi olaylarn
gerekletii yl) ve 1953te yok edilmi.
Sanat, kyn adn kendi yasal soyad
olarak alm.
13. stanbul Bienalinde sunulan yaptlar,
arptlm [Mshwashi] (20022013)
isimli fotoraf serisinin paras. Sanat
bu fotoraf larda ballk duyduu iki
meknla olan ilikisine odaklanyor:
ailesinin ky Birim ve imdi yaad
ehir olan Yafa. Serideki fotoraf lar
sanat ile binalar ve nesneler arasndaki
gerilimi resmederek istikrarszla ve
bir aksaklk hissine iaret ediyorlar.
Altn ereveli fotorafn st ksmnda
sanat, bykbabasnn eski evinde ta
bir kemerin altnda ayakta duruyor.
Alt ksm ise tamamen siyah. Sanat,
ta yapya destek olduu izlenimini veren
bir konumda, harap haldeki evin iinde
salt ayakta durarak, yerle bir edilmi
ky yeniden ziyaret etme ve canlandrma
yolundaki kararlln gsteriyor.
Dier bir fotorafta yer alan dikenli
teller ve bir dal, geicilie iaret ediyor.
Seride karlatmz tek sabit unsur
nc fotorafta yer alyor: modernist,
Antrepo no.3
D
i
s
t
o
r
t
e
d

9

[
M
s
h
w
a
s
h
i

9
]
,

2
0
0
2
-
2
0
1
3

a
r
p

l
m

9

[
M
s
h
w
a
s
h
i

9
]
,

2
0
0
2
-
2
0
1
3
The only steady element that appears in
the series is a modernist, half-destroyed
building in the third photograph, above
an image of the artists intervention to one
of the building tiles. The minor nature of
the act, and the human effort to preserve
the existing tile wall, writes curator
Tal Ben-Zvi, all these are set against
the aesthetics of destruction of the grand
modernist building, a former private
health clinic in Tel Aviv, an Israeli building,
which forms the sole evidence of
the power relations in the depicted sphere.
1

Through architectural investigations,
using drawings, photographs and actions,
Hanna Farah Kufr Birim not only questions
but also traces essential ways to address
issues of displacement, belonging, loss,
and decolonisation. Yael Messer
yar ykk bina, fotorafn alt ksmnda
ise sanatnn binann bir duvarna
yapt mdahale. Eylemin minr
doas ve kiremit duvardan geriye kalan
korumak iin gsterilen insani aba
diyor kratr Tal Ben-Zvi, tm bunlar;
resmedilen evrende geerli iktidar
ilikilerine dair tek kant oluturan
devasa modernist binann, nceleri zel
bir salk klinii olan Tel Avivdeki bu
sraile ait binann imha estetiinin olu-
turduu arka plan nne yerletiriyor.
1

Mimari aratrmalar araclyla izim,
fotoraf ve eylemler kullanarak, Hanna
Farah Kufr Birim, yerinden edilme,
aidiyet, kayp ve bamszln iade etme
gibi konular sorgulamakla kalmyor,
bunlarla baa kmak iin gerekli temel
yntemlerin izini de sryor.
Yael Messer
1 Tal Ben Zvi, On Hanna Farahs Distorted Biographies: Six Solo Exhibitions at Hagar Art Gallery, Jaffa
iinde, yayma hazrlayan Tal Ben Zvi (Tel-AvivYafa: Hagar Dernei, 2006): 16. Tal Ben Zvi, On Hanna Farahs
Distorted in Biographies: Six Solo Exhibitions at Hagar Art Gallery, Jaffa, ed. Tal Ben Zvi (Tel-AvivJaffa: Hagar
Association, 2006): 16.
H
A
N
N
A

F
A
R
A
H

K
U
F
R

B
I
R
I
M
Antrepo no.3
HITO STEYERL
Hito Steyerl is at once a writer who
uses the documentary strategies of flm
and photography, and a flmmaker who
uses a documentary style as part of the
research process. The Berlin-based artist
addresses a range of issues, focusing on
the moment when the digital becomes
globalized, on its fragile operations and
its incursions into everyday life: What
forms does the moving image take and
how is it disseminated today? How does it
gain value and circulate within the media
and the neoliberal economy? What else
is it transformed into? Working from the
perspective of a subjective viewer, Steyerl
deciphers political constructions and
critiques the legitimization of violence in
a variety of ways ranging from seminars to
speeches, videos to publications.
Steyerls new lecture/performance, pro-
duced for the 13
th
Istanbul Biennial, takes
as its departure point her March 2013 talk
I Dreamed a Dream: Politics in the Age of
Mass Art Production and focuses on
the arms industry, a phenomenon
constantly re-conceptualized by the media
through the regular fow of images. It asks
the question of how a museum and a
battlefeld could be related. The question
emerges when Steyerl follows the trace of
an empty bullet casing which he found in
the area where the mass grave of Andrea
Wolf and her friends were located in Van,
Turkey.
Steyerl raises several research questions
to look at the region of Anatoliawhich
continues to suffer serious problems and
Hito Steyerl, belgeselci bir film ve
fotoraf yaklamyla almalar
reten bir yazar, ya da aratrmalarn
belgeleyici bir slupla eken bir filmci
olarak tanmlanabilir. Berlinde yaayan
sanat, dijital olann kreselleme anna,
krlgan srecine ve gndelik akna
odaklanan eitli sorular etrafnda
alr: Hareketli imge, bugn nerelerde,
hangi formlarda akar ve devinir, nasl
deer kazanr ve uluslararas medyann/
neoliberal ekonominin iinde nasl
dolamda tutulur, neye dnr? Steyerlin
malzemesi, znel izleyici konumundan
yola karak seminerlerden sunumlara,
video yerletirmelerinden yaynlara
kadar pek ok farkl zeminde, politik
kurgunun deifre edilmesine ve merula-
trlm iddetin eletirisine dnr.
Sanatnn Mart 2013teki I Dreamed a
Dream: Politics in the Age of Mass Art
Production balkl konumasndan
hareketle 13. stanbul Bienali kapsamn-
da retecei yeni sunum/performans,
medyann srekli grntler zerinden
yeniden kurgulad bir alana, silah sana-
yisine odaklanr ve bir mze ile bir sava
alannn nasl bir ba olabilir, sorusunu
sorar. Bu soru, Steyerlin Vanda Andrea
Wolf ve arkadalarnn bulunduu toplu
mezarn tespit edildii blgede bulduu
bir bo kovann izini srmesiyle ortaya
kar.
Steyerl, hl derin aclarn ve devlet
terrnn yaand Anadolu corafya-
sna stanbuldaki bir bienal gerekli-
inden bakmak iin birok aratrma
I
s

a

m
u
s
e
u
m

a

b
a
t
t
l
e
f
e
l
d
?
,

2
0
1
3
M

z
e

b
i
r

s
a
v
a

a
l
a
n

r
?
,

2
0
1
3
1966da Mnih, Almanyada dodu. Berlin, Almanyada yayor ve alyor.
Born in 1966 in Munich, Germany. Lives and works in Berlin, Germany.
H
I
T
O

S
T
E
Y
E
R
L
Antrepo no.3
the threat of state terrorfrom a biennial
reality in Istanbul. For example, what type
of exchange takes place between the
arms producer General Dynamics, and
the Art Institute of Chicago which produces
an exhibition in collaboration with it? What
potential relationships exist between
the funders of the Istanbul Biennial
and the arms-producing economy? Is
it possible to think of an arts-weapons
alliance that is instrumentalised globally?
In her presentation focusing on weapons
producers who are also supporters of
the arts, the artist reveals a multi-faceted
relationship between the museum and
the economy/industry of war. Splitting
open the history of the art space/museum
that, throughout history, has become
a war zone in complicity with power,
Steyerl notes: If art truly possesses a set
of implications and solutions that it offers
to real life, then these are defnitely not
located in the museum. Adnan Yldz
sorusu nerir. rnein, silah reten
General Dynamics ile sergi yapan Art
Institute of Chicago isimli sanat kurumu
arasnda nasl bir al-veri olabilir?
stanbul Bienalinin destekileri ile silah
reten ekonomi arasnda nasl potansiyel
ilikiler kurulabilir? Kresel bir trafie
bal olarak arasallam bir sanat-silah
ikilisi dnlebilir mi? Sanat, ayn
zamanda sanat destekileri olan silah
reticilerine odaklanan sunumunda, mze
ve sava ekonomisi/endstrisi arasnda
iliki kurarak, tarih boyunca sava alan-
na dnen ve iktidarla anlama hlinde
olan sanat mekn/mzesi tarihini deer
ve yle syler: Eer sanatn gerek
hayatn kendisi iin bir takm sonular,
karmlar varsa, bunlar kesinlikle
mzelerin iinde deildir.
Adnan Yldz
H
I
T
O

S
T
E
Y
E
R
L
I
s

a

m
u
s
e
u
m

a

b
a
t
t
l
e
f
e
l
d
?
,

2
0
1
3
M

z
e

b
i
r

s
a
v
a

a
l
a
n

r
?
,

2
0
1
3
Antrepo no.3
HONF FOUNDATION
D
I
A
M
A
G
N
E
T
I

(
C
/
S
M
)

S
P
E
C
I
E
S

a
n

I
n
t
e
r
a
c
t
i
v
e

M
e
d
i
a

P
r
o
j
e
c
t

d
e
v
e
l
o
p
e
d

b
y

H
O
N
F

F
o
u
n
d
a
t
i
o
n
,

2
0
1
2

2
0
1
3
D

A
M
A
N
Y
E
T

(
C
/
S
M
)

T

H
O
N
F

V
a
k
f

t
a
r
a
f

n
d
a
n

g
e
l
i

t
i
r
i
l
e
n

E
t
k
i
l
e

i
m
l
i

M
e
d
y
a

P
r
o
j
e
s
i
,

2
0
1
2

2
0
1
3
HONF (The House of Natural Fiber)
Foundation, based in Yogyakarta,
Indonesia, is both a digital and a
physical community engaged in an active
worldwide internet-based practice to foster
democratic, artistic, and open means
of creative expression and innovative
collaboration. Created in 1999, HONF
was born in response to the nepotism and
governmental corruption of the Suharto
regime and as a result of the social and
political turmoil that intensifed in the wake
of the Indonesian revolution. HONFs
community and felds of activity embrace
artistic and technological innovation and
include the following cross-disciplinary
festivals: CELLSBUTTON, an Education
Focus Programme that applies collaborative,
cross-disciplinary, and technological
actions in daily life; HONFablab, a digital
makerspace that offers open access to
tools and technology while responding
to social, cultural, and environmental
challenges; and v.u.f.o.c., an extrater-
restrial study centre that provides an
open interface to HONFs international
community of contributors by, among
other means, co-opting open-data satellite
material to fuel its cross-disciplinary work
in art, science, and research.
HONF creates and fosters the development
of digital communities, which bring
together researchers, artists, (h)activists,
and local civil society members (young,
old, digitally savvy, and otherwise), knitting
these groups to create a larger world of
creative experiences. As such, it can be
Merkezi Endonezyann Yogyakarta
ehrinde olan HONF (Doal Lif Evi)
Vakf, demokratik, sanatsal ve ak
yaratc ifade ve yeniliki ibirlii
imknlar gelitirmek iin internet
zerinden dnya apnda aktif uygulama-
lar gerekletiren hem dijital hem fiziksel
bir topluluk. 1999da kurulan HONF,
Suharto rejiminin kayrmaclna ve
hkmet dzeyinde yolsuzluklarna,
ve Endonezya devriminin ardndan
younlaan toplumsal ve politik kark-
la bir tepki olarak dodu. HONFun
evresi ve etkinlik alanlar sanatsal
ve teknolojik yenilikilii benimsiyor ve
u disiplinleraras festivalleri dzenliyor:
gndelik hayatta katlmc, disiplinlerst
ve teknolojik eylemler uygulayan Eitimde
Odaklanma Program CELLSBUTTON;
toplumsal, kltrel ve evre ile ilgili
sorunlara zm ararken ara ve
teknolojiye ak eriim salayan
dijital zemin HONFablab; ve HONFun
uluslararas katlmclar topluluuna,
sanat, bilim ve aratrma alanlarndaki
disiplinlerst almalarn beslemek
amacyla ak kaynak uydu verilerini
sunmak gibi olanaklar bnyesinde
barndran dnyad aratrma
merkezi v.u.f.o.c.
HONF, aratrmaclar, sanatlar,
(h)aktivistleri ve yerel sivil toplum
yelerini (gen, yal, dijital beceriye
sahip vd.) bir araya getirerek, daha geni
yaratc deneyim gruplar oluturacak
ekilde rd dijital topluluklar yaratr
ve mevcut topluluklarn geliimine destek
1999da Yogyakarta, Endonezyada kuruldu. almalarn Yogyakarta,
Endonezyada srdryor. Founded in 1999 in Yogyakarta, Indonesia. Based in
Yogyakarta, Indonesia.
H
O
N
F

F
O
U
N
D
A
T
I
O
N
Antrepo no.3
seen as a hybrid community-connection
machine that acts as a model of innovative
practice for an entire region where
the access to technology and space
for open and creative discourse is still
extremely fragile.

The Diamagneti (C/Sm) Species project
is based on the analysis of the basic
language of life forms, which is converted
into something that can be heard and seen
as a new language. In 2010, HONF began
a research project called Hyperdimensional
Hexagon Theory, which conceived of
a system that catches the frequency from
life forms and then transforms the data
to a medium that can be felt, seen, and
heard. At the 13
th
Istanbul Biennial, HONF
presents this transdisciplinary work as
an interactive-media project. The Diamagneti
(C/Sm) Species project makes visible
the communication between humans and
plants. Through analogue technique
the installation records dynamic synergies
that occur between all living creatures,
which it then digitally transforms into
a new language of charts and statistics.
Stephen Kovats
olur. HONFu; teknolojiye eriimin ve
ak ve yaratc bir sylem gelitirme
alannn hl son derece krlgan olduu
bir blgede, yeniliki bir pratik modeli
olarak ileyen melez bir topluluklar-ara-
s-balant-kurma mekanizmas olarak
grmek mmkn.
Diamanyeti (C/Sm) Tr projesi, canl
trlerinin kulland temel dili analiz
ederek bunu, yeni bir dil olarak duyulup
grlebilecek bireye dntryor.
2010 ylnda HONF, Hiperboyutlu
Heksagon Kuram adn verdii bir
aratrma projesi balatt. Bu proje, canl
trlerinin yayd frekanslar yakalarak
verileri, grlebilen ve duyulabilen bir
mecraya veriye dntren bir sistem
tasarlyordu. HONF bu disiplinlerst
almay etkileimli bir medya projesi
olarak sunuyor. Diamanyeti (C/Sm) Tr
projesi insanlarla bitkiler arasndaki
iletiimi grnr klyor. Analog bir
teknik kullanan enstalasyon tm canllar
arasnda gerekleen dinamik sinerjileri
kaydediyor ve dijital olarak yeni bir
tablolar ve istatistikler diline dntr-
yor. Stephen Kovats
H
O
N
F

F
O
U
N
D
A
T
I
O
N
D
I
A
M
A
G
N
E
T
I

(
C
/
S
M
)

S
P
E
C
I
E
S

a
n

I
n
t
e
r
a
c
t
i
v
e

M
e
d
i
a

P
r
o
j
e
c
t

d
e
v
e
l
o
p
e
d

b
y

H
O
N
F

F
o
u
n
d
a
t
i
o
n
,

2
0
1
2

2
0
1
3
D

A
M
A
N
Y
E
T

(
C
/
S
M
)

T

H
O
N
F

V
a
k
f

t
a
r
a
f

n
d
a
n

g
e
l
i

t
i
r
i
l
e
n

E
t
k
i
l
e

i
m
l
i

M
e
d
y
a

P
r
o
j
e
s
i
,

2
0
1
2

2
0
1
3
Antrepo no.3
INCI EVINER
C
o
-
a
c
t
i
o
n

D
e
v
i
c
e
:

A

S
t
u
d
y
,

2
0
1
3
O
r
t
a
k

E
y
l
e
m

A
y
g

:

B
i
r

E
t

t
,

2
0
1
3
1956da Polatl, Trkiyede dodu. stanbul, Trkiyede yayor ve alyor.
Born in 1956 Polatl, Turkey. Lives and works in Istanbul, Turkey.
Although nci Eviner originally studied
painting, she has explored a wide
range of media, including large-scale
installations, video, photography, and
illustration. The expansive nature of
Eviners manifestations have a dynamic
relationship with her research process,
in which questions of perspective,
representation, and the construction of
identities, particularly in connection with
the female body, fgure centrally. She uses
the word parallax to explain her process
in which an objecteven a very familiar
oneis thought to change when viewed
from different positions. One of Eviners
more recent works puts this concept
into action. Broken Manifestos (2011)
comprises three visually complex videos
and a six-channel sound installation, which
disorients both the bodies on display and
the viewer who stands in a voluminous
dark space. These shifts in perspective
are consistent with the artists own view
of herself, as one of those old-time
storytellersa storyteller, however, who
cannot control the story and is eventually
swallowed by it.
1
Eviner is participating in the 13
th
Istanbul
Biennial with two works: Taxonomies of
Malaise (2013) and Co-action Device:
A Study (2013). In the former, a citydweller,
whose attempts to preserve individual
freedoms and the social space are
constantly derailed, tries to classify evil in
all its guises in order to make sense of it.
nci Eviner resim renimi grm
olsa da, aralarnda byk lekli
enstalasyon, video, fotoraf ve izimin
de bulunduu geni bir yelpazede
almalarn srdryor. Evinerin
sergiledii yaptlarn genileyen doas,
sanatnn perspektif, temsil, kimlik
inas gibi konular zellikle kadn
bedeni ile ilikileri ierisinde merkeze
ald aratrma sreciyle dinamik bir
iliki ierisinde ekilleniyor. Sanat,
bir nesnenin son derece tandk bile
olsa farkl konumlardan izlendiinde
deimesi ile ilgili sreci aklamak iin
paralaks kelimesini kullanyor. Evinerin
son dnem yaptlarndan biri bu kavram
kullanma sokuyor. Krk Manifestolar
(2011) grsel olarak karmak bir yapya
sahip videodan ve hem sergilenen
bedenleri hem de geni karanlk sergi
mekannda duran izleyicinin algsn
kartran alt kanall bir ses ensta-
lasyonundan oluuyor. Bu perspektif
deiiklikleri sanatnn kendisiyle
ilgili grne de uyuyor, o eski zaman
hikayecileri gibi, ama hikayesini
dizginleyemeyen ve sonunda hikayesi
tarafndan yutulan bir hikayeci.
1

Eviner 13. stanbul Bienaline iki yaptla
katlyor: Huzursuzluun Tasnifi (2013)
ve Ortak Eylem Aygt: Bir Ett (2013).
Bu yaptlardan ilki, bireysel zgrlk-
lerini ve toplumsal alan koruma abas
srekli sekteye urayan bir kentlinin tm
grnmleriyle ktl snandrarak

N
C

E
V

N
E
R
1 http://www.incieviner.net/turk_site/review.htm Eriim: 17 Austos 2013. http://www.incieviner.net/review.htm
Accessed: 17 August 2013.
Antrepo no.3, Rum Okulu/Greek School
T
a
x
o
n
o
m
i
e
s

o
f

M
a
l
a
i
s
e
,

2
0
1
3
H
u
z
u
r
s
u
z
l
u

u
n

T
a
s
n
i
f
i
,

2
0
1
3
The latter multi-media work asks
numerous questions by taking up
Rancires challenge to rethink the logic
of the aesthetic relationship between
art and politics: Is it possible to change
the nature of the relationship between
the status of objects and forms of art by
creating time within time? By creating
an ambiguous, temporary situation can
we draw the viewer towards the status
of a player? Co-action Device: A Study is
a collective work where the artist and
the participants constantly exchange roles.
While on stage as part of this device,
students from various disciplines get
a chance to actively experience many
concepts within a creative research-
production relationship. This formation
based on performative research will be
observed from galleries overseeing
the exhibition space throughout the duration
of the biennial. Eviners drawings and
illustrations are uncanny; the depiction
of the subject matter is ornate and often
intricately elusive. The projection of meaning
onto her workas with Rorschach
inkblotsis diffcult. The absences and
gaps between Eviners strokes are just
as full as the markings themselves.
These negative spaces seep into their
display context which, together with
her animations, lend the drawings an
ambiguous status lying somewhere
between decorative wallpaper and
dynamic symbolic narrative. Bringing us
back to the notion of the uncanny that,
since its emergence in the 19th century,
has come to signify the contrast between
a safe domestic interior and the boundless
strangeness of the city outside, invaded
by a host of alien presence and unsettling
visions. Clare Butcher
anlamlandrmaya almas hakknda.
Evinerin ikinci, multimedya yapt ise
Rancirein sanat ve politika arasndaki
estetik ilikinin mantn yeniden
dnme arsna karlk vererek, eitli
sorular soruyor: Zaman iinde zaman
yaratarak nesnelerin statsyle sanat
formlar arasndaki ilikiyi deitirebilir
miyiz? Kararsz ve geici bir durum
yaratarak izleyiciyi oyuncu statsne
doru ekebilir miyiz? Ortak Eylem Aygt:
Bir Ett, katlmclar ve sanatnn
rollerinin srekli deitii, kolektif bir
alma. Farkl disiplinlerden renciler
bu aygtn paras olarak sahnede yer
alrken, yaratc bir aratrma-retim
ilikisi iinde, pek ok kavram eylemsel
olarak deneyimleme olana buluyor.
Performatif aratrmaya dayanan bu
oluum, bienal boyunca sergi meknn
gren balkonlardan izlenebiliyor.
Evinerin izim ve illstrasyonlar
tekinsiz bir hava tayor, ele ald
konuyu tasviri, gsterili olduu kadar
karmaklndan tr anlalmas zor.
Evinerin yaptlarna anlam yklemek
ayn Rorschach testlerindeki mrekkep
lekeleri gibi kolay deil. Evinerin fra
darbeleri arasndaki eksiklik ve boluklar,
izlerin kendisi kadar dolu. Bu negatif
alanlar sergilendikleri balama szyor,
ve animasyonlarla birlikte, izimlere
dekoratif duvar kad ile dinamik
simgesel anlat arasnda mulak bir stat
yklyorlar. Bu da bizi ilk ortaya kt
19. yzyldan bu yana, gvenli bir ev
ortam ile, dardaki, yabanc mevcudi-
yetler ve huzursuzluk veren tasavvurlarn
igali altndaki ehrin snrsz yabancl
arasndaki ztla iaret eden tekinsizlik
kavramna geri gtryor.
Clare Butcher

N
C

E
V

N
E
R
Antrepo no.3, Rum Okulu/Greek School
IPEK DUBEN
pek Duben is an artist who came to
the practice of contemporary art after
having worked in the felds of sociology
and political science, and she also
produces theoretical work on her own
artistic practice. In addition to her work in
Chicago and New York, she also wrote her
PhD thesis in 1984 on the Westernization
of painting in Turkey through 1900-1945.
Methods of conceptual feminist thinking
and practice developed particularly
in early 1970s in the US and the UK,
often criticized for being too white and
middle-class, did not manage to make
a big impact in Turkey. In this context,
pek Dubens works, infuenced by
conceptual feminist aesthetics, and which
choose to read the problem of cultural
identity in relation to the structuring of
aesthetic thought in Turkey, occupy
a special position. On the one hand,
modern painting, where Cezanne explores
the differentiation of ways of seeing via
a rupture in perspectival and horizontal
mathematics, and on the other hand,
the rich, surface-based form of miniature
that constructs its narrative by multiplying
fgures, and cannot be read via positivist
values. The encounter of these two
spheres forms the foundation of
the questions Duben asks in producing
her own aesthetics. In the same vein,
as a fundamental complex, the female
body (including the body of the artist
herself) appears not only in isolated works
but as the problematic of representation
that holds her production together.
pek Duben sosyoloji, siyaset bilimi
gibi alanlarda altktan sonra gncel
sanatlar pratiine varm bir sanat,
ayn zamanda kendi sanat pratiine
ilikin kuram retmeyi de nemsiyor.
Chicago ve New Yorktaki almalarnn
yan sra Trkiye resminin 1900-1945
arasndaki batllama sreci zerine
1984te yaynlanm bir doktora tezi
bulunuyor.
Dnyada, zellikle 1970lerin banda
Amerika ve ngilterede gelien ve sonraki
yllarda fazla beyaz ve orta snf olmakla
eletirilmi kavramsal feminist dnme
ve retme metodlarnn Trkiyede ok
ses getirmedii malumdur. Bu balamda
pek Dubenin, kltrel kimlik sorununu
lkemizdeki estetik dncenin yaplan-
masyla balantl okuyan ve kavramsal
feminist estetikten beslenen retimi ayr
bir yerde duruyor. Bir yanda Cezannen
perspektif ve ufuk izgisi matematiinin
krlmas zerinden grme biiminin
farkllamasn aratrd modern resmi,
dier yanda minyatrn batl sanat
eletirisi zerinden okunamayan, anlat-
sn figrlerini oaltarak kuran zengin
dzlemsel formu. Bu ikisi arasndaki
karlama Dubenin kendi estetiini
retirken sorduu sorularn temelini
oluturuyor. Ayn dorultuda, kadn
bedeni (ki bu sanatnn kendi bedenini
de ieriyor) bir ana dizge olarak, sanat-
nn sadece teker teker ilerinde deil,
temel retimini birbirine balayan temsil
sorunsal olarak karmza kyor.

M
a
n
u
s
c
r
i
p
t

1
9
9
4
,

1
9
9
3
-
1
9
9
4
M
a
n
u
s
c
r
i
p
t

1
9
9
4
,

1
9
9
3
-
1
9
9
4

P
E
K

D
U
B
E
N
1941de stanbul, Trkiyede dodu. stanbul, Trkiyede yayor ve alyor.
Born in 1941 in Istanbul, Turkey. Lives and works in Istanbul, Turkey.
Antrepo no.3
In this context Manuscript 1994 (1993-
1994), a work produced following an
extensive period of research and exhibited
at the Taksim Art Gallery and Galeri Nev
in Ankara in 1994, as the artist herself
also underlines, is her most important
work. Manuscript 1994 is the arrangement
of a four-sentence autobiographical text
constructed upon 51 paintings in which
the artist confronts and speaks with her
own production process, at a point where
the universal and local meet. The restruc-
turing of the Western art of self-portraiture
via an aesthetics of thought and narrative
infuenced by the Arabic language, which
progresses from right to left, and from
the back to the front, frst and foremost
asks the viewer a signifcant question
regarding the place where he or she
stands, and reads the work from. As
Duben investigates her position within
the context she exists as a woman, she
transforms her own naked body, historically
rendered invisible by holy scriptures,
into a speaking subject, and a book.
She intends and attempts to initiate
an unprecedented open dialogue between
this speaking subject and the fragile and
complex thought system she exists within.
pek Dubens attempt points at a rupture
in Turkeys brief contemporary art history
that needs to be re-read from the vantage
point of the present.* vl Durmuolu
Bu balamda pek Dubenin uzun bir
arama srecinin ardndan gerekletirdii,
1994te Taksim Sanat Galerisinde
ve Ankara Galeri Nevde sergilenen
Manuscript 1994 (1993-1994), kendisinin
de vurgulad gibi, sanatnn en nemli
ilerinden. Manuscript 1994 evrensel ve
yerel olann karlat noktada, sanat-
nn kendi retim sreciyle yzletii ve
konutuu 51 para resim zerine kurul-
mu, drt cmlelik otoportre bir metnin
dzenlemesi. Batdan gelen otoportre
geleneinin sadan sola arkadan ne
ilerleyen Arapa temelli bir dnme ve
anlat estetiiyle yeniden kurgulanmas,
ncelikle izleyiciye durduu ve ii
okuduu yerle ilgili nemli bir soru
soruyor. Duben, bir kadn olarak iinde
var olduu balamdaki yerini aratrrken,
kltr ierisinde ounlukla sessizletiri-
len, kutsal metinlerde grnmez klnan
kendi plak bedenini konuan bir zneye
evirerek kitaplatryor. Bu konuan
zneyle iinde var olduu krlgan ve
etrefilli dnme sistemi arasnda,
daha nce hi bylesi bir netlikte kurul-
mam ucu ak bir diyalou balatmaya
niyet ve teebbs ediyor. pek Dubenin
teebbs Trkiyenin ksa gncel sanat
tarihinde bugnden tekrar okunmas
gereken bir krlmaya da iaret ediyor.
vl Durmuolu

P
E
K

D
U
B
E
N
M
a
n
u
s
c
r
i
p
t

1
9
9
4
,

1
9
9
3
-
1
9
9
4
M
a
n
u
s
c
r
i
p
t

1
9
9
4
,

1
9
9
3
-
1
9
9
4
* Trkeden ngilizceye eviri Nazm Dikba. Translation from Turkish to English Nazm Dikba.
Antrepo no.3
JIRI KOVANDA
T
h
e
a
t
e
r
,

1
9
7
6
T
i
y
a
t
r
o
,

1
9
7
6
As a pioneer of the Czech conceptual art
scene during the 70s, Ji Kovandas paint-
ings, interventions and installations offer
a subversive approach to everyday life.
Focused on issues of freedom, communi-
cation and love, he became internationally
renowned for his subtle and poetic actions.
Kovanda is always the protagonist of his
repeating actions. Simultaneously, the very
same actions develop according to the
reactions of the public, and center around
the spontaneous encounters between
him and the strangers that happen to be
where the situation is taking place. Given
the political and social situation in Soviet
Czechoslovakia during the 70s, a situation
where public life was either prohibited or
controlled, these intimate, unanticipated
attempts for communication gained a
strong political meaning.
The 13
th
Istanbul Biennial is presenting
three of Kovandas canonical works,
originally created between 1976-1977.
In Untitled (Escalator) (1977), the artist
took an escalator with other people, and
then turned around and looked into the
eyes of the person who stood behind him.
Contact (1977), is an action where he
deliberately bumped into people coming
towards him on the street, and in Theater
(1976), he did the nontheatrical move of
standing in front of the National Museum in
Prague and announced: I follow a
previously written script to the letter.
Gestures and movements have been se-
lected so that passers-by will not suspect
that they are watching a performance.
1970lerin ek kavramsal sanat
sahnesinin nclerinden saylan Jir
Kovandann resim, mdahale ve enstalas-
yonlar, gndelik yaama dair dzen
bozucu bir yaklam sunar. zgrlk,
iletiim ve sevgi temalarn ele alan
Kovanda, belli belirsiz, iirsel eylemleriy-
le uluslararas alanda tannd. Kovanda
her zaman, tekrarlayan eylemlerinin ba-
kahramandr. Ayn zamanda, yine ayn
eylemler, toplumun tepkileriyle geliir ve
sz konusu durumun gerekletii yerde
hasbelkader bulunan yabanclarla
Kovanda arasnda kendiliinden gelien
karlamalar odana yerletirir.
1970ler Sovyet ekoslovakyasnn
(kamusal yaamn yasakland ya da
denetim altnda tutulduu) siyasal ve
toplumsal artlar gz nne alndnda,
iletiime dair bu hesapsz, samimi abalar
kuvvetli siyasal bir anlam yklenmilerdir.
13. stanbul Bienali, Kovandann 1976
ile 1977 yllarndan byk yaptn
sunuyor. simsiz (Yryen Merdiven)de
(1977) sanat bakalaryla birlikte bir
yryen merdivene biniyor ve dnerek
tam arkasnda duran kiinin gzlerinin
iine bakyor. Temas (1977), Kovandann
sokakta yrrken kardan gelenlere bi-
lerek arpt bir eylem. Tiyatroda (1976)
ise hi de teatral olmayan bir hareketle
Pragdaki Milli Mzenin tam nnde
duruyor ve yle diyor: Yazl bir senaryoyu
harfi harfine yerine getiriyorum.
Hareket ve mimiklerim gelen geenin
bir performans izlediinden
phelenmeyecei ekilde seilmitir.
1953te Prag, ek Cumhuriyetinde dodu. Prag, ek Cumhuriyetinde yayor ve
alyor. Born in 1953 in Prague, Czech Republic. Lives and works in Prague,
Czech Republic.
J
I
R

K
O
V
A
N
D
A
Antrepo no.3
C
o
n
t
a
c
t
,

1
9
7
7
T
e
m
a
s
,

1
9
7
7
Hkmet kart protestolar ve devlet
iddetiyle tezahr eden toplumsal ve
siyasal huzursuzluk sregiderken yaplan
13. stanbul Bienalinin olaand
balamnda Kovandann ileri, bu
protestolar srasnda gerekleen farkl
inisiyatif ler, performanslar ve eylemlere
bir tepki ya da bunlarla bir diyalog
olarak okunabilir. Bu anlamda, Trkiyeli
performans sanats Erdem Gndzn
Duran Adam eylemiyle, protestocularn
taleplerine hkmetin verdii iddetli
tepkiye kar Taksim Meydannda sekiz
saat boyunca sessizce ayakta durmas
zellikle akla geliyor. Gndzn bu
eylemi, birok kiinin yaratcln
kendinde toplarken barl Gezi Park
protestolarnn da simgelerinden biri
oldu. Tpk Kovandann ii gibi, kamusal
alanda gerekleen bu iirsel, mtevaz ve
szsz eylem samimi insan etkileimine
bir yer at ve siyasal gndemdekileri
harekete geirdi. Yael Messer
Within the unusual context of the 13
th

Istanbul Biennial, which is taking place
in the midst of social and political unrest,
manifested in anti-government protests
and state violence, Kovandas work can
be read as a reaction, or a dialogue
with different initiatives, performances
and actions that took place during
the recent protests. Especially remembered
in this regard is the Standing Man perfor-
mance artist Erdem Gndz from Turkey,
who silently stood for eight hours on the
Taksim Square as an act of demonstration
against the governments violent reaction
to the demands of the protester. Mr.
Gndzs act captured the imagination of
many and became one of the symbols of
the nonviolent protests in Gezi Park. As in
Kovandas work, this poetic, modest and
non-verbal gesture, taking place in
the public sphere, created a space for
intimate human encounter and activated
political agency. Yael Messer
J
I
R

K
O
V
A
N
D
A
Antrepo no.3
JORGE GALINDO
SANTIAGO SIERRA
L
o
s

E
n
c
a
r
g
a
d
o
s
,

2
0
1
2

L
o
s

E
n
c
a
r
g
a
d
o
s
,

2
0
1
2
Galindo 1965te Madrid, spanyada dodu; Sierra 1966da Madrid, spanyada
dodu. Galindo Londra, ngilterede yayor ve alyor; Sierra Madrid,
spanyada yayor ve alyor. Galindo born in 1965 in Madrid, Spain; Sierra
born in 1966 in Madrid, Spain. Galindo lives and works in London, UK;
Sierra lives and works in Madrid, Spain.
J
O
R
G
E

G
A
L
I
N
D
O
S
A
N
T
I
A
G
O

S
I
E
R
R
A
Known for his polemical installations,
Spanish artist Santiago Sierra investigates
the implicit power relations that constitute
the capitalist world. Often depicting
underprivileged, underpaid, and
marginalized individuals, his work reveals
the mechanism of exploitation and
exclusion inherent in the labour market,
through employing the same strategies of
concealment and obstruction in his
interventions. Sierras works provoke,
often inciting emotional responses
of anger and guilt in the viewer. By
intervening in the social context and
critically refecting on the manifestation
or visuality of politics, Sierra not only
ruptures assumptions about reality but
also forces the viewer to confront his or
her most repressed thoughts.
The black-and-white video Los
Encargados (2012) was a collaboration
between Sierra and another Spanish artist
renowned for his long-lasting political
involvement: Jorge Galindo. Sierra and
Galindo frst worked together during
the 1980s as part of the Spanish graffti
group Comando Madrid. Los Encargados
was the artists urgent response to the
contemporary socioeconomic crisis in
Spain. Filmed on Madrids main street,
Grand Via, the work shows a procession
of seven cars (resembling a funeral),
with each car carrying a giant
upside-down portrait. The frst portrait
Tartmalara yol aan enstalasyonlaryla
tannan spanyol sanat Santiago Sierra
kapitalist dnyay ina eden gizli sakl
iktidar ilikilerini aratryor. Genellikle
temel sosyal haklardan yoksun, dk
cretli ilerde alan ve marjinalleti-
rilmi bireyleri resmeden mdahaleleri,
ayn gizleme ve engelleme stratejilerini
kullanarak emek pazarna ikin smr
ve dlama mekanizmasn grnr
klyor. Sierrann yaptlar izleyiciyi,
kzgnlk ve sululuk gibi duygusal
tepkiler uyandrarak kkrtyor.
Sanat, toplumsal balama mdahalede
bulunarak ve siyasetin kendini ortaya
koyma biimine veya grnrlne
dair eletirel dnceler gelitirerek
sadece gereklikle ilgili varsaymlar
delip gemekle kalmyor, ayn zamanda
izleyiciyi en ok bastrd dnceleriyle
yzlemeye zorluyor.
Sergide yer alan Los Encargados (2012)
balkl siyah beyaz video Sierrann
ve uzun soluklu siyasi mcadelesiyle
tannan dier bir spanyol sanat, Jorge
Galindonun ortak almas. Sierra ve
Galindo ilk olarak 1980lerde spanyol
duvar yazs grubu Comando Madridde
beraber almlar. Los Encargados ise
iki sanatnn spanyada bugn yaanan
toplumsal-ekonomik krize verdii
zorunlu bir tepki. ekimi Madridin ana
caddesi Grand Viada gerekletirilen
yaptta bir cenaze alayn andran yedi
Antrepo no.3
L
o
s

E
n
c
a
r
g
a
d
o
s
,

2
0
1
2
L
o
s

E
n
c
a
r
g
a
d
o
s
,

2
0
1
2
J
O
R
G
E

G
A
L
I
N
D
O
S
A
N
T
I
A
G
O

S
I
E
R
R
A
depicts the king of Spain, Juan Carlos I,
and the rest are of Spains post-Franco
prime ministers in chronological order:
Adolfo Surez, Leopoldo Calvo-Sotelo,
Felipe Gonzlez, Jos Mara Aznar, Jose
Luis Rodriguez Zapatero, and Mariano
Rajoy. The soundtrack of the video is the
Soviet march Varsoviana Sovitica.
Described as a counter-propaganda
flm by its creators, this intervention
in the public sphere is a sharp and
direct indictment against the heads of
the Spanish state, who the artists hold
responsible for the countrys tragic
economic demise. Galindo and Sierra
make use of fascist aesthetic elements to
underline the continuity between Francos
dictatorship and the political regimes that
followed. The multiple points of view and
the mirroring effect employed by Galindo
and Sierra create a disruptive experience
of Spains capital and also question
the function of the citys main avenue as
a political space. Yael Messer
arabann geiini izliyoruz. Her araba,
dev boyutlarda ve ba aa birer portre
tayor. lk portre spanya Kral I. Juan
Carlosa ait, dierleri ise kronolojik
srayla spanyann Franco sonras
dnemde grev yapan babakanlar:
Adolfo Surez, Leopoldo Calvo-Sotelo,
Felipe Gonzlez, Jos Mara Aznar, Jose
Luis Rodriguez Zapatero ve Mariano
Rajoy. Videonun mzii Sovyet mar
Varsoviana Sovitica.
Yaratclar tarafndan bir kar-
propaganda filmi olarak tanmlanan
bu kamusal alan mdahalesi, sanatlarn
lkenin bugnk trajik ekonomik
knden sorumlu tuttuklar, spanyol
devletinin bandakilere ynelik keskin
ve dorudan bir itham nitelii tayor.
Galindo ve Sierra, Franco diktatr-
l ile ardndan gelen siyasi rejimler
arasndaki sreklilii vurgulamak iin
faist estetiin elerinden faydalanyor-
lar. Galindo ve Sierrann kulland ok
sayda farkl a ve ayna efekti spanyann
bakentinin grsel temsiliyle ilgili alg
bozucu bir deneyim yaratyor ve ayn
zamanda ehrin ana caddesinin siyasi
bir mekn olarak ilevini sorguluyor.
Yael Messer
Antrepo no.3
JORGE MNDEZ
BLAKE
*airin Evi (2913), Blakein bienalde sergilenen izim serisinden bir para. Tannm airlerin dizelerini izime aktararak onlara yeni bir
anlam ykleyen Blake, ayn atoda olduu gibi edebiyat ve szckleri, biim, nesne ve mimari ile iletiime sokuyor.
The Poets House (2013) is a piece from Blakes exhibited series of drawings. By translating the lines of renowned poets into drawing,
Blake charges them with a new meaning. As in The Castle, he connects literature and words with form, object and architecture.
J
O
R
G
E

M

N
D
E
Z

B
L
A
K
E

a
i
r
i
n

E
v
i
,

2
0
1
3
T
h
e

P
o
e
t

s

H
o
u
s
e
,

2
0
1
3
Jorge Mndez Blakes work is marked by
a tension between two formative interests:
architecture and literature. Constructions
appear in many of his installations,
indicating a needor even a driveto
build structures. Although seemingly solid,
the brick walls or barriers in his work are
without foundation or binding, generating
metaphors of the impermanence of the
seemingly permanent. At the base of
these structures concealing an inherent
fragility, always appear one or more books,
which play the dual role of steadying and
destabilizing agents. The presence of
the books also establishes a discursive
connection between architecture and
literature: literature (and books) hints at
the library, not just as a physical space
but also as the place that enables virtual
connections between different and distant
worlds.
In The Castle [El Castillo] (2007)
Mndez Blake laid a copy of Franz
Kafkas eponymous 1922 novel at the
foundation of a brick barrier that traverses
a room, injecting a moment of structural
imperfection in the wall. The barrier itself
resembles Barda en Guadalajara (1948),
a photograph taken by the Mexican writer
Juan Rulfo, one of the most esteemed
authors of mid-twentieth century Latin
American literature. Although Kafkas
Jorge Mndez Blakein yaptlarna,
sanatn biimlendiren iki ilgi alan
arasndaki gerilim damgasn vuruyor:
mimari ve edebiyat. Sanatnn birok
enstalasyonunda karmza ina etmeye
ynelik bir ihtiyaca hatta bir drtye
iaret eden yaplar kyor. lk bakta
salam gibi grnseler de, sanatnn
yaptlarndaki tula duvar veya bariyer-
lerin temeli veya balayc bileeni yok,
bu da grnrde kalc olann geici-
liine dair mecazlar reten bir durum
yaratyor. kin bir krlganl gizleyen
bu yaplarn temelinde, her zaman
dengeleyici ve denge bozucu etmenlerin
ifte roln stlenen bir veya daha fazla
sayda kitap yer alyor. Kitaplar yaptn
iinde ayn zamanda mimari ve edebiyat
arasnda dolambal bir balant da
kuruyor: Edebiyat (ve kitaplar) sadece
fiziksel bir mekn olarak deil, farkl
ve birbirinden uzak dnyalar arasnda
sanal balantlar kurulmasn mmkn
klan bir mekn olarak da ktphaneye
gndermede bulunuyor.
ato [El Castillo] (2007) adl yaptnda
Mndez Blake, Franz Kaf kann 1922
tarihli ayn adl romann, bir oday bir
utan dierine kesen tula bir setin en
altna yerletirerek, duvarn bnyesine
bir yapsal zaaf unsuru zerk ediyor.
Tula setin kendisi ise yirminci yzyl
Latin Amerika edebiyatnn en saygn
isimlerinden Meksikal yazar Juan Rulfo
tarafndan ekilen Barda en Guadalajara
(1948) adl fotoraf anmsatyor.
1974te Guadalajara, Meksikada dodu. Guadalajara, Meksikada yayor ve
alyor. Born in 1974 in Guadalajara, Mexico. Lives and works in Guadalajara,
Mexico.
Antrepo no.3, ARTER
The Castle [El Castillo], 2007 ato [El Castillo], 2007
The Castle remains the central
reference, the detour toward Rulfo is
not unwarranted: the universe of Rulfo is
not dissimilar from that of Kafka, worlds
where absurdity and arbitrariness reign
and where inexplicable situations of infnite
abeyance constantly forestall the charac-
ters development. In Kafkas sphere the
castle represents both the site of power
and the site of knowledge that will unravel
the mysteries of the particular world upon
which K., the protagonist, has stumbled.
In Mndez Blakes installation the book
itself takes this position, as an object of
desire and as a representation of both the
potential (knowledge) and the impossibility
of accessing this very knowledge.
Maria Ins Rodriguez
Temel referans noktas Kaf kann
atosu olsa da, Rulfoya ynelik dolayl
gnderme de nedensiz deil: Rulfonun
evreni Kaf kannkinden pek farkl deil,
ikisi de samalk ve keyfiliin hkm sr-
d, herhangi bir aklamas olmayan
sonsuz srnceme halinin karakterlerin
geliimini srekli sekteye uratt
dnyalar. Kaf kann evreninde ato,
hem iktidarn meknn, hem de kitabn
kahraman K.nn iine dt dnyann
gizemlerini zecek bilginin meknn
temsil ediyor. Mndez Blakein enstalas-
yonunda kitabn kendisi bir arzu nesnesi
olmann yan sra, bu bilgiye ulamann
hem potansiyeli hem de imkanszlnn
temsili olarak bu konuma yerleiyor.
Maria Ins Rodriguez
J
O
R
G
E

M

N
D
E
Z

B
L
A
K
E
Antrepo no.3, ARTER
LATOYA RUBY
FRAZIER
S
e
l
f

P
o
r
t
r
a
i
t

I
n

G
r
a
m
p
s

B
e
d
r
o
o
m

(
2
2
7

H
o
l
l
a
n
d

A
v
e
n
u
e
)
,

2
0
0
9
D
e
d
e
m
i
n

Y
a
t
a
k

O
d
a
s

n
d
a

O
t
o
p
o
r
t
r
e

(
2
2
7

H
o
l
l
a
n
d

C
a
d
d
e
s
i
)
,

2
0
0
9
LaToya Ruby Fraziers work is frmly
rooted in the tradition of documentary
photography, but she makes permeable
this specifc subgenre of 20
th
century
American photography by including
herself in the images. Her swift movement
between interiors of apartments and
the public spaces of Braddock, Pennsylvania,
heightens the impact of her jarring visual
vocabulary. The connection between
the interior and exterior is made peculiar
through the stark intimacy with which
Frazier charges her images. What is
it about Braddock that makes the public
so very private?
The three generations of women in
Fraziers photographsher grandmother,
her mother, and herselfhave experienced
the full breadth of the transformation of
the Steel Belt into the Rust Belt: the fall of
heavy industry in the Northeast and East
North Central States and subsequent large
scale migration of the white population,
high unemployment, increased crime,
and rampant drug use. Environmental
pollution, the side effects of which can
be traced in the bodies of these three
womenthe artist suffers from lupus and
both her mother and grandmother have
cancer is the acrid residue left by
the steel industry.
Not an atypical town in postindustrial
United States, Braddock is home to
Frazier and is often also the protagonist
in her narrations of family and self.
Fraziers insistence on reacquainting
LaToya Ruby Fraziern almalarnn
kklerinin belgesel fotoraflk
geleneinde yatt ak, ama sanat
fotoraf lara kendini de dhil ederek
20. yzyl Amerikan fotoraflnn
bu zel alt trne nfuz edilebilir bir
nitelik kazandryor. Pennsylvaniann
Braddock kasabasnda apartmanlarn
iiyle kamusal alanlar arasndaki hzl
geileri, sarsc grsel daarcnn
etkisini arttryor. ve d mekn
arasndaki iliki Fraziern imgelerine
ykledii gl mahremiyet duygusuyla
tuhaf ve zgn bir hava kazanyor.
Peki Braddock kasabasnda kamusal
alan bu kadar mahrem klan ne?
Fraziern fotoraf larnda yer alan
ayr kuaktan kadn bykannesi,
annesi ve kendisi bir zamanlar elik
Kua olarak bilinen blgenin Pas
Kuana dnmn btn boyutla-
ryla yaamlar: ABDnin kuzeydou
eyaletlerinde ar endstrinin k
ve ardndan beyaz nfusun byk apl
g, yksek isizlik rakamlar, artan
su oran ve yaygn uyuturucu kullanm.
Yan etkileri bu kadnn bedeninde iz
brakan evre kirlenmesi sanat deri
vereminden muzdarip, hem annesi
hem de bykannesi kanser hastas elik
endstrisinin geride brakt ac tortu.
Post-endstriyel dnemi yaayan
Amerika Birleik Devletlerinin pek de
srad saylmayacak kasabas Braddock,
Fraziern memleketi ve ayn zamanda
sanatnn ailesi ve kendisi hakkndaki
1982de Braddock, PA, ABDde dodu. New Brunswick, NJ; Braddock, PA ve
New York, NY, ABDde yayor ve alyor. Born in 1982 in Braddock, PA, USA.
Lives and works in New Brunswick, NJ; Braddock, PA and New York, NY, USA.
L
A
T
O
Y
A

R
U
B
Y

F
R
A
Z
I
E
R
Antrepo no.3
herself with that which she is already
familiar serves to make permeable her
intimate environment and landscapes of
what the artist knows best. Her blending of
self-portraiture with the documentary
is precisely what enables the viewer to
step into this raw, persistent world.

Frazier employs the gelatin silver print as
a medium, anchoring her works in
a familiar format that is quickly becoming
obsolete. Frazier formalizes and beautifes
the imagery, and slows down the process
of making photographs. Her use of
the medium is quintessential in reading
her work within the shared visual
vocabulary of celebrated photographers
of the early 20
th
century, such as Walker
Evans, James Agee, Jacob Riis, Dorothea
Lange, among others. Fraziers take on
this medium is not nostalgic: on
the contrary, the artists narrative is one
that is entrenched in the 21
st
century
and describes a condition of home and
belonging specifc to this age.
Merve nsal
anlatlarnn bakahraman. Fraziern
nceden tand yerlerle tekrar ainalk
yaratma konusundaki srar, sanatnn
yakn evresini ve yakndan tand
blgeleri nfuz edilebilir klyor. Frazier,
tam da otoportre sanatn belgesel slu-
buyla harmanlayabildii iin izleyicinin
bu i, inat dnyaya adm atmasn
salayabiliyor.
Sanat fotoraf larn modas gemi
tandk bir mecra olan jelatin gm
bask formatnda retiyor. Frazier
imgelerini biimlendiriyor, ayn zamanda
fotoraf retim srecini yavalatyor.
Sanatnn tercih ettii mecra, yaptla-
rnn 20. yzyl bann Walker Evans,
James Agee, Jacob Riis ve Dorothea
Lange gibi nemli fotoraflarnn
ortak grsel daarc erevesinde
okunabilmesi asndan da byk nem
tayor. Frazier bu format nostaljik
bir yaklamla kullanmyor: Aksine,
sanatnn anlats kkn 21. yzylda
buluyor ve bu aa zg bir ev ve aidiyet
halini tasvir ediyor. Merve nsal
F
i
f
t
h

A
v
e
n
u
e

T
a
v
e
r
n

a
n
d

U
.
P
.
M
.
C
.

B
r
a
d
d
o
c
k

H
o
s
p
i
t
a
l

o
n

B
r
a
d
d
o
c
k

A
v
e
n
u
e
,

2
0
1
1
B
r
a
d
d
o
c
k

C
a
d
d
e
s
i

z
e
r
i
n
d
e

U
.
P
.
M
.
C
.

B
r
a
d
d
o
c
k

H
a
s
t
a
n
e
s
i

v
e

B
e

i
n
c
i

C
a
d
d
e

T
a
v
e
r
n
a
s

,

2
0
1
1
L
A
T
O
Y
A

R
U
B
Y

F
R
A
Z
I
E
R
Antrepo no.3
LUTZ BACHER
Lutz Bacher, whose practice is (un)defned
by ambiguity, has employed different
media and has used constellations of
objects and situations to create works
about the fuctuations of meaning in things
and experiences. To put it bluntly, Bachers
work is about everything and nothing:
Huge Uterus (1989), a video of the artist
undergoing an operation to remove fbroid
tumours, is a deeply personal account
of an experience that is as physical and
corporeal as it gets; Stress Balls (2012) is
simple, funny, with hundreds of balls
scattered across the foor of a room
(Did the artist walk around squeezing
these balls that were then installed
in the context of a gallery?); Closed Circuit
(19972000), a silent 40-minute video
animation, consists of video stills from
year-long recordings of one of Bachers
art dealers, Pat Hearn, in her offce and
is a dilution and a distillation of time and
images, and of a person and a situation.
The Celestial Handbook (2011) is
a work of appropriation. The installation
is made up of 85 framed book pages,
a selection of which are displayed through
out all venues of the 13
th
Istanbul Biennial,
introducing a universal perspective to
the exhibition. The famous amateur
astronomer Robert Burnham Jr. authored
the eponymous 2,138-page book, which
was published as a three-volume set in
1978. It lists more than 7,000 celestial
objects. A remarkable feat of dedication,
the images in the book document
Burnhams experience as an astronomer,
Lutz Bacherin pratiini mulaklk
belirl(em)iyor, sanat eylerde ve
deneyimlerde bulunan anlamn dei-
kenlii hakknda yaptlar retmek iin
farkl mecralar ve nesne ve durumlardan
oluan kompozisyonlar kullanyor. Laf
dolandrmadan sylemek gerekirse,
Bacherin yaptlar her ey ve hibir ey
hakknda: Sanatnn rahminden tmr
aldrma ameliyatnn video kaydndan
oluan Dev Rahim (1989) insann
bana gelebilecek en fiziksel ve bedensel
deneyimin son derece kiisel bir anlats;
Stres Toplar (2012) ise bir odaya salm
yzlerce stres topundan oluan basit ve
elenceli bir yapt (Sanat daha sonra
bir galeriye yerletirilen bu toplarn
arasnda gezinerek onlar skm myd?);
Bacherin galericilerinden Pat Hearnn
ofisinde tm yl boyunca yaplan
kaytlardan kurgulanm 40 dakikalk
sessiz video Kapal Devre (1997-2000)
ise zaman ve imgelerle beraber bir kii
ve durumun seyreltilmesi ve damtlma-
syla oluturulmu.
Gkyznn El Kitab (2011) bir uyarlama
almas. Enstalasyon, erevelenmi
85 kitap sayfasndan oluuyor, bunlar-
dan bir seki 13. stanbul Bienalinin
tm meknlarnda sergileniyor. Bu
ekilde sergiye evrensel bir perspektif
getiriyor. nl amatr gkbilimci
Robert Burnham Jr. bu ad tayan 2138
sayfalk ciltlik kitabn 1978 ylnda
yaymlamt. Bu kitap yedi binden fazla
gk cismini sralyordu. Takdire deer
bir emek rn olan kitaptaki imgeler
T
h
e

C
e
l
e
s
t
i
a
l

H
a
n
d
b
o
o
k
,

2
0
1
1
G

k
y

n

E
l

K
i
t
a
b

,

2
0
1
1
ABDde dodu (yl ve ehir belirtilmedi). New York, NY ve Berkeley, CA, ABDde
yayor ve alyor. Born in the USA (city and year not specifed). Lives and works
in New York, NY and Berkeley, CA, USA.
L
U
T
Z

B
A
C
H
E
R
Antrepo no.3, Rum Okulu/Greek School, ARTER, SALT Beyolu, 5533
while the photograph captions represent
the tension between language and the
observedthe captions express the gap
between what Burnham sees and how he
describes what he sees. The images, all of
which are confrontations with the universe,
in their monochrome modesty, fall short
of expectations of what celestial bodies
would and should look like. Underscoring
the partiality of recording observations,
Burnhams inconsistent descriptions
at times factual, at others exaggeratedly
poeticcapture the humbling experience
of attempting to convey things and
experiences.
Ultimately, Bachers gesture of foregrounding,
displaying, selecting, exposing this set of
images and words that are directed toward
a niche group of hobbyists reveals two
impetuses: one, the artists fashioning of
a personalized, yet somehow unspecifc,
visual and conceptual vocabulary through
the dislocation of images and words from
their original source; two, the simple
act of sharing a fortuitous discovery of
amateurism and tenacity. Merve nsal
Burnhamn bir gkbilimci olarak
deneyimini belgeliyor, fotoraf larn
resimalt ise dil ile gzlemlenen cisim
arasndaki gerilimi sunuyor resimaltlar
Burnhamn grd cisimle grdn
tasvir edi biimi arasndaki uurumu
ifade ediyor. Her biri evrenle birer
yzlemeye karlk gelen bu imgelerin
tek renkli gsterisizlikleri gk cisim-
lerinin grntsyle ilgili beklentileri
karlamyor. Burnhamn gzlemleri kayt
altna alrkenki taraf ll vurgulayan
bazen olgulara dayal, bazense abartl
iirsel ifadelerle dolu tutarsz tasvirleri,
nesneleri ve bandan geenleri aktar-
maya almann naizane tecrbesini
yakalyor.
Nihai aamada, Bacherin aslnda
merakllarna ynelik bu imgeler ve
kelimeler dizisini ne karma, sergileme,
seme ve d etkilere maruz brakma
eylemi, sanatnn iki temel gdsnden
kaynaklanyor: Birincisi, sanatnn,
imgeleri ve metinleri asl kaynaklarndan
kopararak kiisel, ama ayn zamanda
zgnlk de tamayan grsel ve
kavramsal bir daarck oluturmas;
ikincisi ise basit bir eylem, tesadfen
kefedilmi amatr bir megalenin ve
kararlln paylalmas. Merve nsal
G

k
y

n

E
l

K
i
t
a
b

,

2
0
1
1
L
U
T
Z

B
A
C
H
E
R
T
h
e

C
e
l
e
s
t
i
a
l

H
a
n
d
b
o
o
k
,

2
0
1
1
Antrepo no.3, Rum Okulu/Greek School, ARTER, SALT Beyolu, 5533
LUX LINDNER
In a statement about his work, Lux Lindner
makes a tellingboth in terms of his sub-
ject matter and methodologydeclaration:
Can one, being the artist, really suggest
a way of reading ones work? Does not
each happily resolved piece transform
over time into the very instruction manual,
once the last curator whom we wanted to
suck up to has kicked the bucket? All the
same, I can think of a phrase that could
be of some help to those who face a
painting of mine for the frst time, and that
phrase says: Humanity is condemned and
about to disappear. Perhaps something of
Argentina will survive.
1
Argentina, where Lindner was born
and still lives and works, often drives
his practice. Lindner paints and draws
with clear lines and an equally clear
intention infuenced by a range of different
disciplines. Text is often part of the work,
and in several of the pieces presented at
the 13
th
Istanbul Biennial we read phrases,
such as COMARGIN, the abbreviation
for COMisariado de ARGentinidad
INmanente, the undercover organization
promoting Argentinistic, the science of
Argentine destiny. The piece depicts a
logo and is part of the series Treatise
on Argentine Reality (20062013). On
another work in this series is the painted
text EL YO puede ser tan berreta como
Lux Lindner, yaptlarndan bahsederken
hem konu hem yntem asndan
etkileyici bir yorumda bulunuyor:
Bir sanat kendi yaptnn nasl
okunacana dair bir yntem nerebilir
mi gerekten? Her sorunsuzca zmle-
nen yapt, zaman ierisinde, dalkavukluk
etmek istediimiz son kratr de
nallar diktikten sonra, kendi kullanm
klavuzuna dnmez mi? Yine de benim
bir resmimin karsna ilk kez geen
bir izleyiciye yardmc olabilecek bir
cmle geliyor aklma: nsanln bileti
kesildi, insanlk yok olmak zere. Belki
Arjantinden bir para hayatta kalmay
baarr.
1
Lindnerin doduu, bugn yaad
ve almalarna devam ettii yer olan
Arjantin genellikle almalarna da
ilham veriyor. Lindner resimlerinde ve
izimlerinde belirgin hatlar kullanyor ve
eitli disiplinlerden etkilenen ayn dere-
cede ak bir niyetle hareket ediyor. Metin
de genellikle sanatnn yaptlarnn bir
paras, zaten 13. stanbul Bienalinde
sergilenen yaptlarn birounda baz
cmlelerle karlayoruz; bunlardan biri
COMARGIN, yani COMisariado de
ARGentinidad INmanente (kin
Arjantinlilik Komisyonu), Arjantinistik
alannda alan, yani Arjantinin
kaderine dair bilimsel aratrmalar
T
H
E

B
I
G

I

C
O
U
L
D

B
E

S
O

C
R
A
P

A
S

A
N
Y

F
A
T

B
O
T
T
O
M
E
D

F
E
M
A
L
E

L
E
F
T
I
S
T

f
r
o
m

t
h
e

s
e
r
i
e
s

T
r
e
a
t
i
s
e

o
n

A
r
g
e
n
t
i
n
e

R
e
a
l
i
t
y
,

2
0
0
6
-
2
0
1
3
B
U

K
O
C
A

B
E
N

D
E
D

E
Y

H
E
R
H
A
N
G

B
I
R

K
O
C
A

K
I

L
I

S
O
L
C
U

K
A
D
I
N

K
A
D
A
R

S
A
K

L

O
L
A
B

R
,

A
r
j
a
n
t
i
n

G
e
r

z
e
r
i
n
e

B
i
r

n
c
e
l
e
m
e

s
e
r
i
s
i
n
d
e
n
,

2
0
0
6
-
2
0
1
3

1966da Buenos Aires, Arjantinde dodu. Buenos Aires, Arjantinde yayor ve
alyor. Born in 1966 in Buenos Aires, Argentina. Lives and works in Buenos
Aires, Argentina.
L
U
X

L
I
N
D
N
E
R
1 Lux Lindner: Visin del Arte, Bola de Nieve: Works, Biography, and Thought of 1,107 Artists Selected by
Other Artists. http://boladenieve.org.ar/en/vision/33 Eriim: 15 Temmuz 2013. Lux Lindner: Visin del Arte,
Bola de Nieve: Works, Biography, and Thought of 1,107 Artists Selected by Other Artists.
http://boladenieve.org.ar/en/vision/33 Accessed: 15 July 2013.
Antrepo no.3
cualquier gordacha de la gauche, which
could be translated as the I could be so
crap as any fat bottomed female leftist.
Lindner describes this work as a piece of
queercore science fction porteo (Buenos
Aires local) slang and a talisman against
stupid gallery owners.
Other text-based pieces read refutacion
de las teorias hostiles al TALENTO
(against theories despising talent) and el
sueo de la pampa maniquies (pampas
dream mannequins), a sentence that
evokes Spanish artist Francisco Goyas
etching El Sueo de La Razn Produce
Monstruos (The Sleep of Reason Produc-
es Monsters). Lindners work emphasizes
elements circulating in historical and
contemporary Argentina, but he also
makes private, sometimes whimsical,
statements. For instance, the painting in
which we read el pex del chtex en el
rtex del grnchex (loosely translated as
cocks axis in the underclass assagain
Lindneresque queercorescience
fction porteo slang) visually refers to a
crossword puzzle. Theodor Ringborg
gerekletiren bir yeralt rgtnn
ksaltmas. Arjantin Gerei zerine
Bir nceleme serisine (20062013) ait
bu yaptta bir amblem resmedilmi. Bu
serideki bir dier yaptta ise boyayla EL
YO puede ser tan berreta como cualquier
gordacha de la gauche cmlesinin yazl-
dn gryoruz, bu cmleyi, bu BEN
dediin ey herhangi bir koca kl solcu
kadn kadar sakil olabilir diye evirmek
mmkn. Lindner bu almasn bir gey
ii punk bilim kurgu porteo (Buenos
Airesin yerlilerine verilen isim) argosu
yapt ve ahmak galeri sahiplerine kar
koruyucu bir tlsm olarak tanmlyor.
Sanatnn metin-temelli dier yaptlar
arasnda refutacion de las teorias hostiles
al TALENTO (yetenei hor gren
kuramlara kar) ve spanyol sanat
Francisco Goyann El Sueo de La Razn
Produce Monstruos (Akln Uykusu
Canavarlar Dourur) balkl gravrn
hatrlatan el sueo de la pampa maniquies
(pampann ryas mankenler) yer
alyor. Lindnerin almalar Arjantinde
gemite ve bugn dolama giren
elerin altn iziyor, ama ayn zamanda
zel, bazen de mizahi ifadeler kullanyor.
rnein, el pex del chtex en el rtex
del grnchex (serbest evirisi malafatn
aft alt snfn knda olan bu cmle,
Lindnere zg gey ii punkbilim kurgu
porteo argosuna dier bir rnek) cm-
lesini okuduumuz resim grsel olarak
bir bulmacaya gndermede bulunuyor.
Theodor Ringborg
H
A
R
E
K

T
T
A

L
D

L
D

(
k
e
d
e
r

v
e

k
e
h
a
n
e
t
i
n

s
u
r
e
t
i
)
,

A
r
j
a
n
t
i
n

G
e
r

z
e
r
i
n
e

B
i
r

n
c
e
l
e
m
e

s
e
r
i
s
i
n
d
e
n
,

2
0
0
6
-
2
0
1
3

K
I
L
L
E
D

I
N

A
C
T
I
O
N

(
f
g
u
r
e

o
f

s
o
r
r
o
w

a
n
d

p
r
o
p
h
e
c
y
)

f
r
o
m

t
h
e

s
e
r
i
e
s
T
r
e
a
t
i
s
e

o
n

A
r
g
e
n
t
i
n
e

R
e
a
l
i
t
y
,

2
0
0
6
-
2
0
1
3
L
U
X

L
I
N
D
N
E
R
Antrepo no.3
MAIDER LOPEZ
M
a
k
i
n
g

W
a
y
s
,

2
0
1
3
Y
o
l
l
a
r

A

m
a
k
,

2
0
1
3
What is public? What makes a space
public? For Maider Lpez, site specifcity
is the fundamental means to propose
answers to these two basic and critical
questions. Lpez responds to the structures
of daily living; the obvious and the ordinary,
with abstract forms that are poetic and
humourous. Through her interventions
in nature, spaces, situations, and
architecture, the artist imagines different
forms of collectivity. She proposes new
directions for the collective imagination
by creating unscripted situations that can
alter the publics perception of a specifc
site and moment. The extraordinary takes
place during the moments when the fow
of the day is temporarily interrupted by
the artists wit, which is nourished by
the latent potentiality of people to
transform urban space and create the city.
The result is that Lpezs works allow the
spectators to create their own aesthetic
experiences and to re-examine their
environments. If one were to approach
the spatial from a linguistic perspective,
one could suggest that Lpez plays with
elements of grammatical constructions
in the way she treats space. And yet she
never fails to arrive at a symbolical change
of meaning that can engage one further.
Lpez exhibits two works in the 13
th

Istanbul Biennial that communicate with
each other. In Ataskoa (Traffc Jam)
(2005), we witness a daily life situation
ripped out of its context a traffc jam
in the mountainside that invites
the viewer to a critical refection on
Kamu nedir? Bir mekn kamusal
yapan nedir? Maider Lpez iin mekna
zglk bu iki temel ve kritik neme
sahip soruya cevaplar nermenin ana
arac. Lpez, gndelik hayatn yapla-
rna; maluma ve sradan olana iirsel ve
mizahi soyut biimlerle karlk veriyor.
Sanat doaya, meknlara, durumlara
ve mimariye yapt mdahalelerle farkl
birliktelik biimleri hayal ediyor. Lpez,
izleyicinin belirli bir mekn veya ana
dair algsn deitirebilecek senaryosuz
durumlar yaratarak kolektif hayalgc-
nn ilerleyebilecei yeni ynler neriyor.
Gnn ak, sanatnn, insanlardaki
kentsel mekn dntrme ve ehri
yaratma potansiyeliyle beslenen mizahi
zeks tarafndan geici olarak kesintiye
uratldnda srad ve olaanst
bir ey gerekleiyor. Bunun sonucunda
Lpezin yaptlar izleyicilere kendi este-
tik deneyimlerini yaratma ve evrelerini
yeniden gzden geirme olana tanyor.
Meknsal olana dilbilimsel bir adan
baklrsa, Lpezin mekna yaklamnda
dilbilgisel yap bileenleriyle oynad
sylenebilir. Ancak yine de sanat her
denemesinde izleyiciyi yapta daha da
dhil eden simgesel bir anlam deiimi
gerekletirmeyi baaryor.
Lpez 13. stanbul Bienalinde birbiriyle
ilikili iki yaptn sergiliyor. Ataskoa
(Trafik Kilit)te (2005), izleyiciyi
otomobil kullanm ile ilgili kafa yormaya
aran, balamndan koparlm
gndelik bir duruma da yamacndaki
bir trafik tkanklna ahit oluyoruz.
1975te San Sebastin, Bask Blgesi, spanyada dodu. San Sebastin, Bask
Blgesi, spanyada yayor ve alyor. Born in San Sebastin, Basque Country,
Spain. Lives and works in San Sebastin, Basque Country, Spain.
M
A
I
D
E
R

L

P
E
Z
Antrepo no.3, ARTER
A
t
a
s
k
o
a

(
T
r
a
f
f
c

J
a
m
)
,

2
0
0
5
A
t
a
s
k
o
a

(
T
r
a
f
i
k

K
i
l
i
t
)
,

2
0
0
5
the use of cars. For her new work Making
Ways (2013) Lpez flmed the traffc at
Karaky, recording pedestrian movement
at this busy junction, to produce a video
work and a manual of behaviour for
passers-by based on the typifcation of
the movement routes. She explores how
such a space of movement, in which
thousands of people converge on a daily
basis, can operate through coexisting,
understanding and making new routes
out of the predetermined rules (self
organized pedestrians generate a collective
method to deal with obstacles and spacial
contradictions), and how people proceed
on the routes determined as alternatives to
pedestrian traffc regulations.
vl Durmuolu
Yeni ii Yollar Amak (2013) iin ise
Lpez Karakydeki trafii kaydetti ve
hareket hatlarnn temsiline dayanan
bir video ii ve yayalar iin bir davran
klavuzu retti. Sanat, her gn binlerce
kiinin gelip getii byle bir hareketlilik
alannn, birlikte var olarak, birbirini
anlayarak ve nceden belirlenmi
kurallardan yeni rotalar kararak
nasl ilediini (kendi kendilerine
rgtlenen yayalar, engeller ve meknsal
elikilerle baa kmak iin kolektif
bir yntem gelitirirler) ve insanlarn
yaya trafii kurallarna alternatif yeni
hatlar belirleyerek nasl ilerlediini
anlamaya alyor. vl Durmuolu
M
A
I
D
E
R

L

P
E
Z
Antrepo no.3, ARTER
MERE PHANTOMS
(MAYA ERSAN &
JAIMIE ROBSON)
M
o
n
t
r
e
a
l

i
n

S
h
a
d
o
w
,

2
0
1
2
M
o
n
t
r
e
a
l

v
e

G

l
g
e
,

2
0
1
2
Mere Phantoms takes the idea of shadow
play to a whole new level. Based in
Montreal, Canada, and founded in 2009,
the creative studio combines intricate
paper cutouts, drawings, videos, and
animation to create site-specifc installations
and performances. By inviting audiences
to participate in creating and animating
the work, Maya Ersan and Jaimie Robson,
the current directors, design immersive
environments that explore audience-
performer relationships and the opportunity
for interplay between the two.
The work that Ersan and Robson have
been creating together since 2011 is
inspired by shadow puppetry, animation,
and early cinema, yet is distinct from
these practices. In traditional shadow
puppetry, the actual puppets are hidden
from the audience and animated from
behind a fat screen, with a static light
source from the rear used to cast
a shadow. Ersan and Robson construct
intricate three-dimensional sets
made of paper cutouts that are placed
in front of a projection screen so that
the cutouts are a part of the installation.
By using multiple, movable handheld
light sources, artists and audience
members animate the artwork, playing
with the size, scale, and intensity of
the layered shadows.
For the 13
th
Istanbul Biennial, Mere Phan-
toms created an interactive installation
alongside a series of public workshops for
children. Come Out and Play (2013) takes
Mere Phantoms ikilisi glge oyunu
fikrine yeni bir boyut kazandryor.
Kanadann Montreal ehrinde 2009
ylnda kurulan bu yaratc atlye, kattan
kesilmi girift figrleri, izimleri,
videolar ve animasyonlar bir araya
getirerek mekna zg enstalasyonlar ve
performanslar gerekletiriyor. Atlyenin
imdiki yneticileri Maya Ersan ve
Jaimie Robson, izleyici-performans
ilikilerini ve iki taraf arasnda etkileim
frsatlarn inceleyen sarmal etkileimli
ortamlar tasarlyorlar.
Ersan ve Robsonn 2011den bu yana
birlikte yarattklar yaptlar glge
oyunu, animasyon ve erken dnem
sinema sanatndan ilham alyor, ama
nitelik olarak bu pratiklerden farkl
bir konumda duruyor. Geleneksel glge
oyunu kuklaclnda kuklalarn
kendisi izleyiciden saklanr ve glge
yaratmak iin kullanlan duraan
bir k kayna ile dz bir perdenin
arkasndan oynatlr. Ersan ve Robson
ise kat keserek oluturduklar girift
boyutlu sahneler ina edip bunlar
projeksiyon ekrannn nne yerletirerek
kat figrlerin enstalasyonun bir paras
haline gelmesini salyorlar. Hem
sanatlar hem izleyiciler, ok sayda
hareketli k kayna kullanarak ve
boy, lek ve glge katmanlarnn
keskinlik ve iddetiyle oynayarak yapt
canlandryorlar.
Mere Phantoms 13. stanbul Bienalinde
ocuklar iin bir dizi kamusal atlyenin
2009da Montreal, Kanadada kurulan yaratc stdyo. Montreal, Kanadada
bulunuyor. Creative studio founded in 2009 in Montreal, Canada.
Based in Montreal, Canada.
M
E
R
E

P
H
A
N
T
O
M
S

(
M
A
Y
A

E
R
S
A
N

&

J
A
I
M
I
E

R
O
B
S
O
N
)

u
k

A
t

l
y
e
s
i

/

C
h
i
l
d
r
e
n

s

P
u
b
l
i
c

W
o
r
k
s
h
o
p
Antrepo no.3
S
u
s
p
e
n
d
e
d

N
a
r
r
a
t
i
v
e
s
,

2
0
1
2
A
s

K
a
l
m

H
i
k

y
e
l
e
r
,

2
0
1
2
its cue from the protests and political
events that have been taking place in
Istanbul since the summer of 2013.
The sense of community that has fourished
among the protestors during the course
of these events points to the power of
communication, improvisation, humour,
and play as tools for political dissent.
The word play (oyun in Turkish) is
at the centre of the investigation for this
particular work. The word was infamously
used in an election campaign slogan of
Turkeys Prime Minister Erdoan: Oyuna
Gelme is a Turkish idiom that means
dont partake in the game/ploy, dont let
yourself be tricked, but literally translates
as dont come to play. The Prime Minister
employed the phrase during the Gezi
protests to give the underlying message:
the protests taking place across
the country are a Western conspiracy
against sovereign Turkey, so dont be
fooled.
The title of this artwork functions as
a reverse call to action: do come out and
play! Come out and Play also points
the participatory nature of the work. With
all the tools and materials provided,
audience members are invited to add
their own stories and refections to
the installation by editing and adding to
existing content and reshaping
the piece throughout the duration of
exhibition. By actively playing with
the work, the audience reimagines and
re-creates miniature paper cutouts that
become giant shadows of their own
desire and imagination. Maya Ersan
and Jaimie Robson
yan sra etkileime dayal bir enstalasyon
yaratt. Oyuna Gel (2013) balkl yapt,
2013 yazndan bu yana stanbulda
gerekleen protesto ve siyasi olaylardan
ilham alyor. Protestolar srasnda
gstericiler arasnda byyp gelien
dayanma duygusu siyasi direni aralar
olarak iletiim, doalama, mizah ve
oyunun gcne iaret ediyor.
Trke oyun kelimesi bu yapt iin
gerekletirilen aratrmann merkezinde
yer ald. Bu kelime Babakan Erdoann
seim kampanyas sloganlarndan birinde
kullanlmt: Oyuna Gelme. Gezi
olaylarnda ise Babakan bu slogan u
mesaj vermek amacyla kullanmt:
lkenin her yerinde gerekleen protes-
tolar Batnn bamsz Trkiyeye kar
planlad bir komplodur, sizi kandrma-
larna izin vermeyin. Ancak bu slogan,
dz anlamyla, oyun oynamak iin dar
kma diye de okunabilir.
Bu sanat yaptnn bal ise tersinden
bir eylem ars: oyuna gelmemezlik etme!
Oyuna Gel ayn zamanda yaptn katlmc
doasna da dikkat ekiyor. Salanan
btn ara ve malzemelerle izleyiciler,
mevcut ierii yeniden kurgulayarak
ve eklemeler yaparak ve sergi sresince
yapt yeniden ekillendirerek enstalas-
yona kendi hikayelerini ve dncelerini
katmaya davet ediliyor. zleyici, yaptla
aktif bir ekilde oynayarak kendi arzula-
rndan ve imgelemlerinden doarak dev
glgelere dnen minyatr boyutundaki
kattan kesilmi figrleri yeniden hayal
ediyor, yeniden yaratyor. Maya Ersan
ve Jaimie Robson
M
E
R
E

P
H
A
N
T
O
M
S

(
M
A
Y
A

E
R
S
A
N

&

J
A
I
M
I
E

R
O
B
S
O
N
)

u
k

A
t

l
y
e
s
i

/

C
h
i
l
d
r
e
n

s

P
u
b
l
i
c

W
o
r
k
s
h
o
p
Antrepo no.3
MIERLE
LADERMAN
UKELES
For more than forty years, Mierle Laderman
Ukeles has advocated for the need for
maintenance in Western culture and
artistic production, which has drawn strong
emphasis on productivity while regarding
the sustenance that follows as a lesser
task. After giving birth, her experiences
as a mother and artist prompted her to
write Manifesto for Maintenance Art 1969!
as a response to the capitalistic rhetoric
of constant production and development.
The manifesto expressed her personal and
domestic perspectives to offer a critique
of the broader context of art and society.
Ukeles called for exhibiting maintenance
work in its purest form as Maintenance
Art, asserting MY WORKING WILL BE
THE WORK!
Ukeless work reveals New York Citys
eco- and socio-political structure and
the largely inconspicuous (yet necessary)
work required to run it, while challenging
the publics general disregard of domestic
labour and service workers. In Washing
(1974), Ukeles cleaned the sidewalk
in front of the A.I.R Gallery on a daily
basis. Her performance was a gesture of
claiming public space, and it also crossed
the boundaries between daily life and
art, questioning the social constructions
behind these distinctions.
Continuing her critique of institutionalised
attitudes toward maintenance work,
Ukeles invited 300 sky-rise service
personnel to work with her on I Make
Maintenance Art One Hour Every Day
(1976). During a seven-week period,
Mierle Laderman Ukeles krk yldan
uzun bir zamandr retkenlie byk
nem atfeden, ama retimi takip eden
destek hizmetini aa dereceden bir i
olarak gren Bat kltr ve sanatsal
retimi karsnda bakm onarmn
gerekliliini savunuyor. lk ocuunu
dnyaya getirdikten sonra bir anne ve
sanat olarak edindii tecrbeler, onu
kapitalist mantn srekli retim ve
geliim retoriine tepki mahiyetindeki
Bakm Sanat Manifestosu 1969!
balkl metni yazmaya tevik etti. Bu
manifestoda kiisel deneyimi ve ev iinde
yaananlara dayanarak oluturduu
bak asndan hareketle, sanat ve
toplumu daha geni bir balamda
eletirdi. Ukeles bakm-onarm iinin en
saf haliyle sergilenmesine Bakm Sanat
adn verdi ve BENM ALIMAM N
TA KENDS OLACAK! diye de ekledi.
Ukelesin yaptlar New Yorkun
eko-politik ve sosyo-politik yapsnn
yan sra bu yapy srdrmek iin
yrtlen ve genellikle gze arpmayan
(ama gerekli) ileri ortaya koyar. Bunu
yaparken de halkn ev ii emee ve
hizmet sektrnde alanlara ynelik
kaytszln tartmaya aar. Ykama
(1974) balkl yapt iin Ukeles A.I.R
Galerinin nndeki kaldrm her gn
ykad. Sanatnn performans bir
kamusal alan sahiplenme eylemiydi ve
ayn zamanda gndelik hayat ve sanat
arasndaki snrlar aarak bu ayrmlarn
ardndaki toplumsal kurgular
sorguluyordu.
I

M
a
k
e

M
a
i
n
t
e
n
a
n
c
e

A
r
t

O
n
e

H
o
u
r

E
v
e
r
y

D
a
y
,


W
h
i
t
n
e
y

M
u
s
e
u
m

D
o
w
n
t
o
w
n

B
r
a
n
c
h

a
t

5
5

W
a
t
e
r

S
t
r
e
e
t
,

N
Y
C

t
h
r
o
u
g
h
o
u
t


t
h
e

3
.
5

M
i
l
l
i
o
n

S
q
u
a
r
e

F
o
o
t

B
u
i
l
d
i
n
g
,

S
e
p
t
e
m
b
e
r

1
6

-

O
c
t
o
b
e
r

2
0
,

1
9
7
6
H
e
r

G

n

B
i
r

S
a
a
t

B
a
k

m

S
a
n
a
t

Y
a
p

y
o
r
u
m
,

5
5

W
a
t
e
r

S
o
k
a

z
e
r
i
n
d
e
k
i

W
h
i
t
n
e
y

M

z
e
s
i

e
h
i
r

M
e
r
k
e
z
i

u
b
e
s
i
,

N
Y
C

3
,
5

M
i
l
y
o
n

F
i
t

K
a
r
e
l
i
k

B
i
n
a

b
o
y
u
n
c
a
,

1
6

E
y
l

l

-

2
0

E
k
i
m

1
9
7
6
1939da Denver, CO, ABDde dodu. New York, NY, ABDde yayor ve alyor.
Born in 1939 in Denver, CO, USA. Lives and works in New York, NY, USA.
M
I
E
R
L
E

L
A
D
E
R
M
A
N

U
K
E
L
E
S
Antrepo no.3
Ukeles asked the workers to select and
declare one hour of their daily work as art.
The gradual accumulation of Polaroids
Ukeles took documented their collective
labour and artistic production, and enabled
the workers and the public to perceive
their work as something other than menial
labour. Produced the same year,
the performance Maintaining NYC in
Crisis: What Keeps New York City Alive?
(1976) offered a forum for public budget
readings and a setting to discuss the
shrinking public sector in face of a severe
fscal crisis.
Sanman Speaks (1979-1984) is a video
documentation of Ukeless seminal
eleven-month performance Touch
Sanitation (1979-1980), during her tenure
as the resident artist at the New York City
Department of Sanitation. As a gesture
of gratitude, she shook hands with each
of the 8,500 meninvisible to the city
residentsof the citys workforce every
day and interviewed them. The flmed
interviews with the workers form
a portrait of New York City as a living city,
sustained by the workers tireless daily
activities. Looking Back (2007/2010), a text
she wrote decades later, is a dedication to
public workers, whose voices are muted
in the citys hustle and bustle and
introduces a layer of personal refection
to the project. Christina Li
Bakm-onarm ilerine ynelik geleneksel
tutuma dair eletirisini srdren
Ukeles, gkdelende alan 300 hizmet
iisini Her Gn Bir Saat Bakm Sanat
Yapyorum (1976) balkl yaptnda
kendisiyle birlikte almaya davet etti.
Ukeles iilerden yedi hafta sresince
gnlk mesailerinin bir saatini seip bu
saati sanat olarak duyurmalarn istedi.
Ukelesin ektii Polaroid fotoraf lar
ilerin ortak emeini ve sanatsal
retimini belgeledi ve iilerin ve halkn
bu almay vasfsz emekten baka
bir ey olarak da alglayabilmelerini
salad. New York Cityde Kriz Ynetimi:
New York City Neyle Yaar? (1976)
balkl performans ise halka ak bte
okumalar iin bir forum oluturulmasn
ve ar finansal kriz karsnda klen
kamu sektrnn durumunu tartacak
bir yap kurulmasn neriyordu.
Temizlik isi Konuuyor (1979-1984)
Ukelesin New York Belediyesi Genel
Temizlik Dairesinde misafir sanat
olduu dnemde gerekletirdii on bir
ay sren Hijyene Dokun (19791980)
balkl performansnn video dokman-
tasyonu. Ukeles, minnet duygusuyla her
gn ehir sakinlerinin hibir zaman
grmedii 8.500 belediye iisinin elini
skp rportajlar yapt. Filme kaydedilen
bu rportajlar iilerin yorulmak
bilmeden gerekletirdikleri gnlk
faaliyetlerle ayakta kalan New Yorkun
yaayan bir ehir olarak portresini
iziyor. Yllar sonra yazd Gemie
Bakmak (2007/2010) balkl metin ise,
ehrin harala grelesi ierisinde sesleri
bastrlan kamu iilerine adanm ve
sanatnn yorumlarn yeni bir katman
olarak projeye ekliyor. Christina Li
W
a
s
h
i
n
g
,

i
n

f
r
o
n
t

o
f

t
h
e

A
.
I
.
R
.

G
a
l
l
e
r
y

o
n

W
o
o
s
t
e
r

S
t
r
e
e
t

i
n

S
o
H
o
,

N
e
w

Y
o
r
k
,

1
9
7
4
Y

k
a
m
a
,

W
o
o
s
t
e
r

S
o
k
a
k

t
a
k
i

A
.
I
.
R
.

G
a
l
e
r
i

n
i
n

n
d
e
,

S
o
H
o
,

N
e
w

Y
o
r
k
,

1
9
7
4
M
I
E
R
L
E

L
A
D
E
R
M
A
N

U
K
E
L
E
S
Antrepo no.3
MIKA ROTTENBERG
S
q
u
e
e
z
e
,

2
0
1
0

(
i
n
s
t
a
l
l
a
t
i
o
n

v
i
e
w
)
S

r
,

2
0
1
0

(
y
e
r
l
e

t
i
r
m
e

g

n
t

)
1976da Buenos Aires, Arjantinde dodu. New York, NY, ABDde yayor ve
alyor. Born in 1976 in Buenos Aires, Argentina. Lives and works in New York,
NY, USA.
M
I
K
A

R
O
T
T
E
N
B
E
R
G
Mika Rottenberg is a storyteller. She tells
stories through humorous, excessive, and
clever videos. But unlike most stories,
Rottenbergs have no end: they always
run in a loop. Her videos blur the border
between fction and nonfction, and are
microuniverses inhabited by physically
striking women. However, the out-of-the-
ordinary female bodies in the artists tales
are always part of a system of production
and consumption, with which she puts
into question ideas about material labour,
value, and manufacturing. Rottenberg
creates spatial installations (or viewing
devices as she calls them), inscribing
human elements and poetics into the
capitalist logic of production, which draw
the attention of the viewers to their own
physicality and their own relationship with
the space around them.
1
Throughout her
work, Rottenberg pursues her committed
exploration into how value is created.
The video Squeeze (2010) presents
a grotesque, squeaky, and claustrophobic
production apparatus, which involves
women, pointless objects, and mobile
wooden constructions. This frivolous
instrument plays host to an assembly
line of female workers from different
places and cultures, each responsible for
operating a small part of the machine
and isolated from their colleagues working
Mika Rottenberg bir hikye anlatcs.
Mizah ve arlk dolu, zekice hazrlanm
videolar araclyla hikayeler anlatyor.
Ancak dier hikyelerin aksine,
Rottenbergin hikyelerinin sonu yok:
Hep bir dng halinde devam ediyorlar.
Sanatnn videolar kurgu ile gerek
arasndaki snr bulanklatran,
arpc fiziksel zelliklere sahip
kadnlarla dolu mikro-evrenler. Ancak
Rottenbergin hikyelerinin srad
kadnlar hep bir retim ve tketim
sisteminin paras. Rottenberg bu durumu
maddi emek, deer ve retim ile ilgili
fikirleri sorgulamak iin kullanyor.
Kapitalist retim mantnn ierisine
insani eler ve iir ileyerek izleyicilerin
dikkatlerini kendi fiziksel zelliklerine ve
etraf larndaki meknla olan ilikilerine
ekmeyi salayan meknsal enstalasyonlar
(ya da kendi deyimiyle izleme cihazlar)
yaratyor.
1
Rottenberg, tm yaptlarnda,
deerin nasl yaratldna dair kararl
arayn srdryor.
Sktr (2010) balkl video izleyiciye,
iin iinde kadnlarn, manasz nesnelerin
ve hareketli ahap yaplarn da bulundu-
u grotesk, gcrdayan ve klostrofobik
bir retim aygt sunuyor. Bu uar
enstrman, her biri makinenin kk
bir parasn iletmekle ykml, dier
alanlarda alan i arkadalarndan
1 Mika Rottenberg, Ann Demeester ile bir syleide alntland haliyle. Mika Rottenberg, Mika Rottenberg:
Dough Cheese, Squeeze, and Tropical Breeze. Video Works 20032010 (New York and Amsterdam: Gregory
R Miller & Co. and de Appel Arts Centre, 2011): 16. Mika Rottenberg as quoted in an interview with Ann
Demeester, in Mika Rottenberg, Mika Rottenberg: Dough Cheese, Squeeze, and Tropical Breeze. Video Works
20032010 (New York and Amsterdam: Gregory R Miller & Co. and de Appel Arts Centre, 2011): 16.
Antrepo no.3
M
a
r
y

B
o
o
n
e

v
e

K

p
,

2
0
1
0
M
a
r
y

B
o
o
n
e

w
i
t
h

C
u
b
e
,

2
0
1
0
M
I
K
A

R
O
T
T
E
N
B
E
R
G
in the other spaces. As the camera
reveals more of the activities taking place
in this micro, yet global, production unit,
the viewer slowly begins to realize what
is being produced: a nebulous, useless
object, which is composed of a squeezed
mixture of blush, rubber, and lettuce.
In Squeeze Rottenberg displays
documentary materials in a fctional
setting to make the commentary that
illusion and imagery are the driving forces
behind both capitalism and art. Focusing
on the human aspect within the labour
process and the role of objects in
establishing and refecting social
relationships, Rottenberg shapes
Squeeze to confront the viewer with the
alienated and absurd character of the
capitalist production apparatus in the age
of global economy. The work implies that
even physical characteristics and body
parts can turn into objects, which then
can generate value. The fnal product,
whatever it might be, is only an excuse,
an artifcial reasoning, to keep the human/
machine working. Yael Messer
yaltlm farkl yer ve kltrlerden
gelen kadn iilerden oluan bir retim
hattna ev sahiplii yapyor. Kamera
bu mikro ama kresel retim biriminin
ierisinde gerekleen etkinlikleri gster-
dike izleyici yava yava ne retildiini
anlamaya balyor: allk, kauuk ve
marulun sklmasyla oluturulmu
bir karm, yani belirsiz, herhangi bir
ilevi olmayan bir nesne.
Rottenberg Sktrda illzyon ve imge-
lemin hem kapitalizmin hem de sanatn
itici gc olduunu belirtmek amacyla,
izleyiciye kurgusal bir ereve ierisinde
bir belgesel malzeme sunuyor. Emek
srecindeki insani boyuta ve toplumsal
ilikiler kurma ve yanstmada nesnelerin
nemine odaklanan Rottenberg, Sktr
izleyiciyi kresel ekonomi anda
kapitalist retim aygtnn yabanclam
ve absrd doasyla yzlemek zorunda
brakacak biimde ekillendiriyor. Yapt,
fiziksel niteliklerin ve organlarn bile
nesnelere dnebileceini ve dolaysyla
deer retebileceini ima ediyor. Nihai
rn, neye benzerse benzesin, insan/
makinenin almasn devam ettirmek
iin retilen bir mazeret ve yapay bir
muhakeme abas.
Yael Messer
Antrepo no.3
MURAT AKAGUNDUZ
1. Keban Baraj / The Keban Dam 2. Uzunayr Baraj / The Uzunayr Dam 3. Atatrk Baraj / The Atatrk Dam
4. Birecik Baraj / The Birecik Dam 5. Karkam Baraj / The Karkam Dam
Shooting the moonlight refected on the
water of the fve largest dams constructed
upon the Euphrates River (Keban,
Uzunayr, Atatrk, Birecik and Karkam),
Akagndz points at the politics among
nature and human nature, presenting the
viewer with the poetry of what pertains
to life.

Murat Akagndzs artistic production,

since the beginning of his career, has
expanded and diversifed in consecutive,
different series; yet a signifcant majority
of this output is composed of urban and
nature landscapes exploring the memory
of the geographical terrain he lives in.
His works on the one hand combine
the memory that belongs to the landscape
they frame with the artists individual
memory, on the other hand they continue to
deliberate on the concepts of light and time.
As Akagndz continues to explore resins
potentialities of impression in his paintings,
he is actually interested in light -and in relation
to light, with the idea of time. Due to its
chemical characteristics, resin reacts with
a variety of refexes according to the type,
angle and strength of the light; in other
words, it almost contains a spontaneous
impression, enabling the artist to draw
closer to an idea of painting that strives
to capture a time of light that is infnitely
variable during the day- therefore seeks
not something real, but an impression.
1

Akagndz, 13. stanbul Bienali iin
hazrlad projede Frat Nehri zerinde
kurulan en byk be barajda (Keban
Baraj, Uzunayr Baraj, Atatrk Baraj,
Birecik Baraj ve Karkam Baraj), suya
yansyan mehtap grntlerini kayde-
derek, doa ve insan yaps arasndaki
siyasete iaret ederken, yaamsal olann
iirselliini izleyicinin deneyimine
sunuyor.

Murat Akagndzn sanatsal retimi

balangcndan bu yana birbirini izleyen
farkl seriler eklinde eitlenip oalm
olsa da, bu retimin nemli bir blmn,
yaad corafyann belleini aratran
kent ve doa peyzajlar oluturur. almala-
r, bir yandan ereveledikleri manzaraya
ait bellei sanatnn bireysel belleiyle
birletirirken, k ve zaman kavramlar
zerine dnmeye devam ederler.
Akagndz, resimlerinde reinenin tad
empresyon olanaklarn aratrmaya
devam ederken, aslnda kla, ona bal
olarak da zaman fikriyle ilgilenmektedir.
Kimyas gerei n trne, asna,
iddetine gre farkl ref leksler veren, yani
neredeyse kendiliinden bir empresyon
barndran reine, sanaty gn iinde
sonsuz deiken bir k zamann yaka-
lamaya alan, dolaysyla reel bir eyin
deil de, bir izlenimin peinden giden bir
resim fikrine yaknlatrr.
1

1970te zmit, Trkiyede dodu. stanbul, Trkiyede yayor ve alyor.
Born in 1970 in Izmit, Turkey. Lives and works in Istanbul, Turkey.
M
U
R
A
T

A
K
A
G

N
D

Z
M
a
p

o
f

s
h
o
o
t
i
n
g

l
o
c
a
t
i
o
n
s

o
n

t
h
e

r
i
v
e
r

E
u
p
h
r
a
t
e
s

f
o
r

S
t
r
e
a
m

(
2
0
1
3
)
F

r
a
t

N
e
h
r
i

z
e
r
i
n
d
e
k
i

e
k
i
m

n
o
k
t
a
l
a
r

n

h
a
r
i
t
a
s

,

A
k

n
t

(
2
0
1
3
)

i

i
n
1 Sanatyla syleiden, Kasm 2011. Conversation with the artist, November 2011.
Antrepo no.3
Stream, 2013 Aknt, 2013
M
U
R
A
T

A
K
A
G

N
D

Z
Gemiin izlenimlerini ve gelecee dair
ipularn iinde barndan, tpk bir
mzii dinlerken olduu gibi usla deil
igr ile kavranan bir zaman fikri
hakimdir bu resimlerde. Gemi, imdi
ve gelecein birlikteliinden oluan
kesintisiz bir btn, ya da sonsuz bir
ortam olarak alglanr zaman.
*

Emre Baykal
An idea of time which contains impres-
sions of the past and clues regarding the
future; and may, just like in listening to
music, only be comprehended with insight
and not with the mind, dominates these
paintings. Comprising the unity of past,
present and future, time is perceived as
an uninterrupted whole, or as an eternal
environment.
*
Emre Baykal
* Bu metin Murat Akagndz monografisi iinde Emre Baykaln Manzarann Hatrlad balkl yazsndan
alntlanmtr (stanbul: Galeri Man, 2012): 80-114.
This text is an excerpt from What The Landscape Remembers by Emre Baykal, in Murat Akagndz (Istanbul:
Galeri Man, 2012): 80-114.
Antrepo no.3
NATHAN COLEY
Bahemizi ekip bimeliyiz
W
e

M
u
s
t

C
u
l
t
i
v
a
t
e

O
u
r

G
a
r
d
e
n
,

2
0
0
6
B
a
h

e
m
i
z
i

E
k
i
p

B
i

m
e
l
i
y
i
z
,

2
0
0
6
1967de Glasgow, skoyada dodu. Glasgow, skoyada yayor ve alyor.
Born in 1967 in Glasgow, Scotland. Lives and works in Glasgow, Scotland.
Nathan Coleys sculptures study
the nature of language, architecture and
assumption in order to suggest that we
consider paying greater awareness to how
we understand our place in the world.
For two decades he has been consistently
mining belief as a concept, be it through
architecture, law, superstition, religion, or
the authority of the lecture, the conduct of
humans, the distribution of information,
the representation of memory, or belief
in art itself. His research is conducted
by using language that already exists in
the worldcommands, conversations,
platitudes and conventions. It could be
an overheard exchange between friends,
a radio programme, or the recounting of
a historical reference. Each example uses
language to represent an event, feeling or
opinion produced by the peculiarities of
a specifc frame of time. Coley fnds these
resources rather than seeks them out;
he is a listener. In his hands, words
become images and objects are placed
in public to be read.
If the frst decade of the twenty-frst
century was the time of the whatever,
the teens are chasing doubt and failure
as something to hold on to. A study of
the methods of narrating the experience of
the present issues a licence to cut through
assumptions. The general notion that this
is an age where agnosticism is
the primary position cannot be true as
belief is found everywhere. It is hard
to believe in revolution, in capitalism,
communism, the church, the government...
yet, there is still belief in taking a position.
Nathan Coleynin heykelleri, dnyadaki
yerimizi alglay biimimize daha yksek
bir farkndalkla yaklamamz gerek-
tiini sylemek amacyla dil, mimarlk
ve varsaymn doasn aratryor.
Sanat yirmi yldr, mimarlk, hukuk,
batl itikatlar, din veya ders vermenin
otoriterlii, insanlarn ynetimi, bilginin
dalm, hafzann temsili ya da sanatn
kendisine inan gibi temalar araclyla
inan kavramn derinlemesine bir incele-
meye tabi tutuyor. Sanat incelemelerini
dnyada halihazrda mevcut bulunan
bir dili komutlar, sohbetler, beylik
ve basmakalp ifadeler kullanarak
gerekletiriyor. Bu, arkadalar arasnda
kulak misafiri olunan bir konuma, bir
radyo program veya tarihi bir bilginin
aktarlmas olabiliyor. Her rnek,
belirli bir zaman diliminin kendine zg
tuhaf lklar tarafndan retilen bir olay,
duyguyu veya gr temsil etmek zere
dili kullanyor. Coley ise bu kaynaklara
ulamak iin zel bir aba gstermiyor,
bir dinleyici olarak karsna kanlarla
yetiniyor. Coleynin ellerinde kelimeler
imgelere dnyor, nesneler ise okunma-
lar iin kamusal alana yerletiriliyor.
Yirmi birinci yzyln ilk on yl
umursama! dnemi saylrsa, ergenlik
dnemindeki genler tutunacak bir ey
olarak phe ve baarszln peinden
kouyor. Bugnn meselelerine dair
kazanlan deneyimi aktarmak iin
kullanlan yntemler zerine yrtlen
bir alma varsaymlar rafa kaldrmaya
yarayacak ehliyeti sunuyor. inde
yaadmz ada insanlarn ounun
N
A
T
H
A
N

C
O
L
E
Y
Antrepo no.3, Rum Okulu/Greek School
Yabanclarn toplanmas
G
a
t
h
e
r
i
n
g

O
f

S
t
r
a
n
g
e
r
s
,

2
0
0
7
Y
a
b
a
n
c

l
a
r

n

T
o
p
l
a
n
m
a
s

,

2
0
0
7
Belief in failure may not be a rosy future,
however the consensual notion that
we are all doomed has comforting
warmth that makes the future, perversely,
seem safer. This is not an era when all is
thrown out of the window and hedonism
prevailsthat would be a retrogressive
position out of step with the now
it is a time to examine what possibly
might drive us to believe. It is impossibility
that makes Coleys work so consistently
pertinent for the present.* Lisa Le Feuvre
agnostik olduu yolundaki genel fikrin
doru olmas mmkn deil, nk inan
her yerde karmza kyor. Devrime,
kapitalizme, komnizme, kiliseye,
hkmete inanmak g Ama yine
de taraf tutmaya duyulan inan daim.
Baarszla inanmak pespembe bir
gelecek salamayabilir, ama hepimizin
sonu geldi inan zerinde uzlamak
gelecei, sapknca da olsa, daha gvenli
klan keyif verici bir scaklk yayyor.
inde yaadmz, her eyin pencereden
frlatlaca ve hedonizmin hkm
srecei bir a deil bu bizi imdiki
zamann ritminden uzaklatracak gerici
bir konum olurdu, bunun aksine bizi
neyin inanmaya itebileceini aratr-
mamz gereken bir dnem. Coleynin
yaptlarn bugn iin tutarl bir ekilde
geerli klan kavram ise imknszlk.*
Lisa Le Feuvre
N
A
T
H
A
N

C
O
L
E
Y
* Bu metin In Flagrant Contradictiondan alntlanmtr. Lisa Le Feuvre, Nathan Coley - A Place Beyond
Belief iinde (Berlin: Hatje Cantz, monografi, basm aamasnda). This text is an excerpt from In Flagrant
Contradiction, by Lisa Le Feuvre, in Nathan Coley - A Place Beyond Belief, a forthcoming monograph, published by
Hatje Cantz, Berlin.
Antrepo no.3, Rum Okulu/Greek School
NICHOLAS MANGAN
N
I
C
H
O
L
A
S

M
A
N
G
A
N
A

W
o
r
l
d

U
n
d
o
n
e
,

2
0
1
2

i
v
i
s
i

k
m

n
y
a
,

2
0
1
2
1979da Geelong, Avusturalyada dodu. Melbourne, Avusturalyada yayor ve
alyor. Born in 1979 in Geelong, Australia. Lives and works in Melbourne, Australia.
Nicholas Mangans sculptural practice
extends into his flm and photography
projects. Aptly described as a material
storyteller, Mangan draws from history
both recent and long past to tease out
narratives about the rise and fall of
civilizationsof ambition, construction,
rupture, and decayin an unquestionably
concrete language.
For the flm A World Undone (2012)
Mangan looked to Jack Hills, a remote
area of Western Australia that is home
to some of the oldest geological material
on earth. The zircon crystal found in the
aggregated rock material at Jack Hills is
considered to be 4.404 billion years old,
having formed 150 million years after the
planet came into being. Since the 2003
discovery of zircon in Jack Hills,
the range has become the subject of
confict between conservationists and
commercial interests, such as the iron-
ore mining that encroaches on the
historically signifcant site.
For Mangan, Jack Hills is a site that
functions both physically and allegorically.
Using physical traces of primordial
elements, Mangan tests the viewers
understanding of the material world,
of civilization, and of time; the specifc
story of Jack Hills spins out to wider
debates about mining and resource use
in Australia and around the globe. The
activities of archaeology and mining
present methodologies for examining the
way geological time is perforated by the
concerns of the contemporary, literally:
Nicholas Mangann heykel almalar
film ve fotoraf projelerini de kapsyor.
Yerinde bir tarif le, heykelin malzemesini
kullanarak hikyeler anlatan bir sanat
olduu sylenen Mangan, somutluu su
gtrmeyecek bir dille, uygarlklarn
ykseli ve d ayn zamanda
tutku, ina, kopu ve rme hakknda
anlatlar oluturmak amacyla yakn ve
uzak gemiten faydalanyor.
ivisi km Dnya (2012) balkl filmi
iin Mangan, gzn dnyann en eski
jeolojik dokularndan birini barndran
Bat Avustralyann Jack Hills blgesine
evirdi. Jack Hillsin akll kayalarnn
ierisinde bulunan zirkon kristalinin,
gezegen olutuktan 150 milyon yl sonra
ortaya kt, yani 4,404 milyar yanda
olduu dnlyor. 2003 ylnda Jack
Hillsde zirkon bulunmasndan bu yana,
blge evreciler ile ticari kar peinde
koanlar rnein bu tarihsel nemi
yksek blgede giderek yaygnlaan
demir cevheri madencilii arasnda bir
atma konusu haline gelmi durumda.
Mangan asndan ise Jack Hills
blgesinin hem fiziksel hem de mecazi bir
ilevi var. Mangan, ilkel elerin fiziksel
izlerinden faydalanarak izleyicinin maddi
dnya, uygarlk ve zaman hakkndaki
kavrayn snyor; Jack Hillsin hikyesi,
Avustralya ve dnyann geri kalannda
madencilik ve doal kaynak kullanmna
ilikin daha kapsaml tartmalar
tetikliyor. Arkeolojik faaliyetler ve
madencilik, jeolojik zamann gncel
meseleler, yani kelimenin tam anlamyla
Antrepo no.3
N
I
C
H
O
L
A
S

M
A
N
G
A
N
M
a
t
t
e
r

O
v
e
r

M
i
n
e
d

(
f
o
r

A

W
o
r
l
d

U
n
d
o
n
e
)
,

2
0
1
2
M
a
d
d
e
,

M
a
d
e
n
i
n

s
t

n
d
e

(

i
v
i
s
i

k
m

n
y
a

i

i
n
)
,

2
0
1
2
by the demands of the commercial mining
and knowledge industries alike.
1

Mangans A World Undone captures
crushed geological matter from Jack Hills
in airborne fux. Shot in slow motion,
the flm imagery evokes meteorite
showers, cosmic dust, or an asteroid
belt. The dust is documented in a feeting
and unstable form; the earths crust
its most primitive, foundational matter
is imagined in a state of dematerialization.
While Mangans previous works have used
cinematic devices to amplify otherwise
static sculptural objects, A World Undone
is a flmic sculpture of dust in fux. Mangan
uses the mediums ability to protract time
to examine the form of these dispersed
primordial particles in detail.
Danae Mossman and Sarah Hopkinson
ticari madencilik ve benzeri bilgi
ekonomilerinin talepleri tarafndan
sekteye uratln
1
incelemek iin
yntemler sunuyor.
Mangann ivisi km Dnya balkl
filmi ise Jack Hills blgesinde havaya
karan toz halindeki jeolojik malze-
meyi kayt altna alyor. Yava ekimde
sunulan grntler izleyiciye meteor
yamurlarn, kozmik tozlar veya bir
asteroid kuan hatrlatyor. Toz, ele
gelmeyen, deiken hali ierisinde belge-
leniyor; dnyann kabuu yani en ilkel,
temel malzemesi bir zlme halinde
tasavvur ediliyor. Mangann daha nceki
yaptlar duraan heykelsi nesnelerin
ifade gcn artrmak iin sinemasal
aralar kullanrken, ivisi km
Dnya ak halindeki toza dair sinemasal
bir heykel. Mangan, bu ortala salm
ilkel zerreleri incelemek iin filmin
zaman uzatma gcnden yararlanyor.
Danae Mossman ve Sarah Hopkinson
1 Helen Hughes, Vertical Histories: Nicholas Mangans A World Undone (2012). http://www.labor.org.mx/
wp-content/uploads/downloads/2012/10/mangan_email2.pdf Eriim: 17 Temmuz 2013. Helen Hughes, Vertical
Histories: Nicholas Mangans A World Undone (2012). http://www.labor.org.mx/wp-content/uploads/downloa-
ds/2012/10/mangan_email2.pdf Accessed: 17 July 2013.
Antrepo no.3
NIL YALTER &
JUDY BLUM
N

L

Y
A
L
T
E
R

&

J
U
D
Y

B
L
U
M
From the 1960s on, Nil Yalter redefnes
the political, ideological, aesthetic and
male-dominated narratives through
a unique gender perspective. Yalter does
not only commit to memory the tensions
between east-west, modernity-tradition,
the subjects of economic, political or
social discrimination and the voices of
memories deferred within the dominant
histories, but also renders them visible
within the narrative of art history through
hybrid productions and multimedia shaped
amid aesthetics and documentation.
In her works wherein feminist, marxist
and post-colonialist notions intersect,
researching the social position of women,
immigrants and workers and bearing
witness by creating the proper distance
constitute the backbone of Yalters art.
With her courageous and prescient
conduct, Yalter is among the pioneers of
sociological and ethno-critical aesthetic
practices.
Nil Yalter employs ethnographic
methods to comprehend and reveal
the subordinated fgures relationships
with the home, city, homeland, and
universe. The artist regards cities as felds
of research wherein social relations are
being reproduced and the public space
as a sociocultural indicator that can be
utilized as a functional platform. Paris
City of Light [Paris Ville Lumire] (1974)
is an example of Nil Yalters active
production practice. Together with
Nil Yalter, 1960l yllardan itibaren
politik, ideolojik, estetik ve erkek egemen
anlatlar zgn kadn bak asyla
yeniden tanmlar. Yalter, dou-bat,
modernite-gelenek arasndaki geri-
limleri, ekonomik, politik ya da sosyal
ayrmcla maruz kalan figrleri, baskn
tarihlerin iinde telenmi hafzalara
ait sesleri bellee dhil etmekle kalmaz,
estetik-belge arasnda biimlenen melez
retimler ve oul medyalarla bu sesleri
sanat tarihi anlats iine eklemleyerek
grnr klar. Feminist, marksist ve
post-kolonyalist dncelerin kesitii
ilerinde kadnlar, gmenler ve iilerin
toplumsal konumunu aratrmak ve
uygun mesafeyi yaratarak tanklk
etmek Nil Yalterin sanatnn omurgasn
oluturur. Yalter, cesur ve ngrl
tavryla sosyolojik ve etno-kritik estetik
pratiklerin nclerindendir.
Nil Yalter, etnografik metodlar,
madun klnm figrlerin evle, kentle,
yurtla, evrenle ilikilerini kavramak ve
ortaya karmak iin kullanr. Kentleri
toplumsal ilikilerin yeniden retiminin
gerekletii birer aratrma sahas
olarak gren sanatya gre kamusal alan
sosyokltrel bir gstergedir ve ilevsel
bir platform olarak kullanlabilir. Paris
Ik ehri [Paris Ville Lumire] (1974),
Nil Yalterin eylemsel retim pratiinin
rneklerinden biridir. Sanat, 1973
ylnda tant ve kendisi gibi gmen
olan Amerikal sanat Judy Blum ile
Yalter 1938de Kahire, Msrda dodu; Blum 1943te New York, NY, ABDde dodu.
Yalter Paris, Fransada yayor ve alyor; Blum New York, NY, ABDde yayor ve
alyor. Yalter born in 1938 in Cairo, Egypt; Blum born in 1943 in New York, NY, USA.
Yalter lives and works in Paris, France; Blum lives and works in New York, NY, USA.
P
a
r
i
s

I

e
h
r
i

[
P
a
r
i
s

V
i
l
l
e

L
u
m
i

r
e
]
,

1
9
7
4
P
a
r
i
s

C
i
t
y

o
f

L
i
g
h
t

[
P
a
r
i
s

V
i
l
l
e

L
u
m
i

r
e
]
,

1
9
7
4
Antrepo no.3
P
a
r
i
s

I

e
h
r
i

[
P
a
r
i
s

V
i
l
l
e

L
u
m
i

r
e
]
,

1
9
7
4
P
a
r
i
s

C
i
t
y

o
f

L
i
g
h
t

[
P
a
r
i
s

V
i
l
l
e

L
u
m
i

r
e
]
,

1
9
7
4
the American artist Judy Blum,
an immigrant like herself whom she meets
in 1973, the artist sets out to reinterpret
Paris through the eyes of two strangers.
The city space is both homogenous and
fragmented, and shaped in line with
the organization patterns of knowl-
edge-power strategies. Supported with
the two artists black and white photo-
graphs, drawings and texts, this research
comprises the everyday life and work life
of Paris depicted by architects and urban
planners, and its spaces delimitated as
religious, bureaucratic, cultural, political
and commercial. The artists sew on cloth
the photographs they have taken in twenty
districts of Paris and on each piece of
cloth divided according to districts they
embroider their texts, photographs and
drawings pertaining to that area.
In Montparnasse the 15
th
district, they
draw attention to the housing crisis caused
by real estate speculation, in Pigalle
the 18
th
district to the transformation of the
womans body into an erotic spectacle and
sexual exploitation. 1
st
district is
the Louvre where art history is addressed,
and the 3
rd
district is the Paris Bourse
(stock exchange), the fnancial centre
where women were not allowed entry at
the time. In Paris City of Light, exhibited
for the frst time in 1976 at the A.I.R.
Gallery in New York, the city is not only
experienced as a physical reality,
the sum of collective history, memory
and monuments, but rather it becomes
a fuid signifer containing unexpected,
incalculable, multilayered interpretations
and stories. Derya Ycel
birlikte Parisi iki yabancnn gzn-
den yeniden yorumlamaya giriir. Kent
mekn, hem homojen hem paraldr
ve toplumsal yaama ait her mekn gibi
bilgi-iktidar stratejilerinin rgtlenme
kalplar dorultusunda ekillenmitir.
ki sanatnn siyah beyaz fotoraf lar,
desenleri ve yazdklar notlarla destek-
ledikleri bu aratrma, Parisin, mimar
ve ehirciler tarafndan betimlenmi
gndelik yaam ve alma hayatn,
dini, brokratik, kltrel, politik ve
ticari olarak blnen meknlarn iine
alr. Sanatlar, Parisin yirmi blge-
sinde ektikleri fotoraf lar kumalara
dikerler ve ilelere gre ayrdklar her
bir paraya, o blgeye dair notlarn,
fotoraf larn ve desenlerini ilerler.
15. blge Montparnasseda emlak
speklasyonu nedeniyle yaanan konut
krizine, 18. blge Pigallede kadn
bedeninin bir erotik gsteriye dnmesi
ve cinsel smrye dikkat ekilir.
1. blge sanat tarihinin ele alnd
Louvredur, 3. blge ise o dnemde kadn-
larn giriine yasak olan finans merkezi
Paris Borsasdr. lk kez 1976da
New York, A.I.R. Galeride sergilenen
Paris Ik ehrinde ehir, fiziksel bir
gereklik olarak ortak tarih, an ve
antlarn bir toplam olarak deneyimlen-
mekten ziyade, beklenmeyen, hesaplan-
mayan, ok katmanl yorum ve hikyeleri
iinde barndran akkan bir gsterene
dnr. Derya Ycel
N

L

Y
A
L
T
E
R

&

J
U
D
Y

B
L
U
M
Antrepo no.3
PROVO
Between 1965 and 1967 a small artistic
and activist movement called Provo,
a loose collective of individuals, mostly art-
ists and political activists from Amsterdam,
the Netherlands, upset the Dutch estab-
lishment. Their nonviolent agenda targeted
the paternalistic and consumption-centred
structures of society. They organised
performative events, mostly on the streets,
which they called happenings, a term
that was originally coined by American
artist Allen Kaprow. They also organised
playful protest marches, demonstrating
against a variety of social issues, from the
Vietnam War and local urban-regeneration
plans to smoking, motorised city traffc,
and overconsumption. Their work was
characterised by the absurd and irony, and
they created a mystical, almost religious
atmosphere during their happenings. With
their concerns about pollution and support
of more liveable, car-free cities, they were
well ahead of their time.
The core of Provo consisted of a small
group of people, but their clever use of
advertisement techniques and printed
matter, inspired by American writers such
as Vance Packard, allowed them to quickly
attract wide international media attention.
Soon branches of the Provo movement
surfaced in other Dutch cities, as well
as in Belgium and Germany, and they
were among the forerunners of the 68
movement.
As Provos popularity in the media
grew, the police interfered in their
public events with increasing violence,
ounluu Hollandann Amsterdam
ehrinde yaayan bir grup sanat ve
siyasi eylemciden oluan gevek yapl bir
kolektifin balatt Provo adl kk
sanat ve aktivizm hareketi, 1965-1967
yllar arasnda Hollanda devletinin
ban fena halde artmt. Provonun
iddete mesafeli gndemi toplumun
ataerkil ve tketim-merkezli yaplarn
hedef liyordu. Grup, byk bir ksm
sokakta gerekletirilen ve happening
(bu kavram ilk defa ABDli sanat
Allen Kaprow ortaya atmt) dedikleri,
performansa ynelik etkinlikler dzenli-
yordu. Grup ayrca Vietnam Savandan
kentsel dnm planlarna, sigara
kullanmndan ehrin motorlu tatlarla
dolup tamasna ve ar tketime kadar
birok toplumsal meseleye dair elenceli
protesto yryleri de dzenliyordu. Bu
happeningler srasnda gizemli, hatta ne-
redeyse dini bir atmosfer yaratan grubun
yaptlarn absrd ve ironi kavramlar
tanmlyor. evre kirlilii konusunda
dile getirdikleri endie ve daha yaanr,
arabasz ehir talepleriyle zamanlarnn
olduka ilerisindeydiler.
Provonun ekirdeini kk bir grup
oluturuyordu, ancak Vance Packard
gibi Amerikal yazarlardan aldklar
ilhamla reklam tekniklerini ve basl
malzemeyi akllca kullanarak uluslara-
ras medyann youn ilgisini zerlerine
ekmeyi baardlar. Provo ksa bir sre
sonra hem dier Hollanda ehirlerine hem
de Belika ve Almanyaya yayld ve bu
gruplar 68 Hareketine nclk etti.
P
o
s
t
e
r
,

1
9
6
7
P
o
s
t
e
r
,

1
9
6
7
1965te kurulan hareket. 1967de feshedildi.
Movement founded in 1965. Disbanded in 1967.
P
R
O
V
O
Antrepo no.3
fueling the widespread public aversion
against the established order and offcial
representatives. With every passing year
the atmosphere at Provo events became
more grim and harder to control, and the
founding members ritually liquidated the
Provo movement in 1967. Yet this resolute
ending may have only reinforced the
mythical and romantic ideal that captured
the imagination of a generation and still
defnes Provo today.
One important aspect of the Provo
movement was their use of graphic
language and printed matter to announce
activities. Political slogans on ephemera
could be quickly and directly distributed.
Mainstream printing offces sometimes
refused to handle the subversive Provo
material, which inspired the activists to
obtain their own printing devices and
become professional printers.
The 13
th
Istanbul Biennial is presenting
a selection of posters and leafets from
Provo, as well as some later prints
developed by former-Provo members
in protest of urban redevelopment
programmes in Amsterdam. These posters
are striking in their swift and loose visuals
and their playful use of language
they often distort the meaning of words
and defy spelling conventions.
Rieke Vos
P
o
s
t
e
r
,

1
9
6
7
Provo medyada poplerletike polis de
dozu giderek artan bir iddetle grubun
kamusal etkinliklerine mdahale etmeye
balad, bu da halkn yerleik dzene ve
onun resmi temsilcilerine ynelik yaygn
honutsuzluunun fitilini ateledi. Her
geen yl, Provo eylemlerindeki atmosfer
daha rktc ve kontrol edilmesi g
bir hal alyordu, bunun zerine kurucu
yeler 1967de Provo hareketini bir
trenle tasfiye ettiler. Ama bu kararl
final, bir kuan hayallerini yakala-
may beceren ve bugn dahi Provoyu
tanmlayan efsanevi ve romantik idealin
gcne g katmaya yarad.
Provo hareketinin nemli yanlarndan
biri de eylemlerini duyurmak iin grafik
dil ve basl malzeme kullanmasyd.
Gelip geici malzemelere baslan siyasi
sloganlar daha hzl ve dorudan
datmak mmknd. Hkim gre
yakn matbaalar bazen Provonun muhalif
materyallerini basmay reddediyordu,
bu da eylemcilerin kendi matbaa
makinelerini satn alarak profesyonel
matbaacla adm atmasn tevik etti.
13. stanbul Bienali Provonun afi ve
brorlerinden bir sekinin yan sra,
sonraki dneme ait, eski Provo yelerinin
Amsterdamdaki kentsel imar projelerini
protesto etmek iin gelitirdii baz
basklar sunuyor. Seri ve gevek bir
tasarma sahip grseller ve dil kullanm-
larndaki kelimelerin anlamn bozan
ve yazm kurallarn ihll eden oyuncu
yaklam bu afileri arpc klyor.
Rieke Vos
P
o
s
t
e
r
,

1
9
6
7
P
R
O
V
O
Antrepo no.3
RIETVELD
LANDSCAPE
B
u
n
k
e
r

5
9
9
,

2
0
1
0
5
9
9
.

S

n
a
k
,

2
0
1
0
Rietveld Landscape is a studio operating
at the crossroads of architecture, science
and art. The studio is fascinated by city life
and acquired an international reputation
thanks to its unconventional ideas and
interventions, which are often motivated by
complex societal issues.
Rietveld Landscape developed the
approach of strategic interventions, which
derives from the respective backgrounds
of the partners: landscape architect
Ronald Rietveld and philosopher
Erik Rietveld. Research by varying
multi-disciplinary teams leads to clear
concepts, evocative visualizations, and
radical novelty.
The last couple of years it realized
several location-specifc installations that
combined the qualities of local public
space with an international vision and
ambition. The works have been exhibited
at the Kunsthal Rotterdam, Museum
Boijmans van Beuningen, the NAi,
National Museum Oslo and the Dutch
Pavilion at the Venice Biennale.
Regarding their work for the 13
th
Istanbul
Biennial Rietveld Lanscape says,
The proposal for the installation Intensive
Care dates from March 29, 2013 and was
accepted by the curatorial team of Istanbul
Biennial. Reality on Taksim Square outran
us and therefore it could not be realized.
In the heart of the city, Atatrk Cultural
Center refects the precarious situation
Rietveld Landscape mimarlk, bilim ve
sanatn kesitii yerde ileyen bir atlye.
ehir hayatnn byl niteliinden
etkilenen atlye, genellikle karmak
toplumsal meselelerin dourduu
allmadk fikirleri ve mdahaleleri ile
uluslararas bir itibar kazand.
Rietveld Landscapein gelitirdii
stratejik mdahale yaklamnn
kkleri atlye ortaklar peyzaj mimar
Ronald Rietveld ve filozof Erik Rietveldin
aldklar eitime dayanyor. Farkl
disiplinlerden gelen yelerden oluan
deiken ekiplerin yrtt aratrmalar
sonucunda berrak kavramlar, zihin
ac grselletirmeler ve radikal bir
yenilik anlay douyor.
Son iki ylda Rietveld Landscape yerel
kamusal alann niteliklerini uluslararas
bir vizyon ve hedef ile buluturan ok
sayda konuma zg enstalasyon gerek-
letirdi. Bu yaptlar Kunsthal Rotterdam,
Boijmans van Beuningen Mzesi, NAi
(Hollanda Mimarlk Enstits) , Oslo
Ulusal Mzesi ve Venedik Bienali
Hollanda Pavyonunda sergilendi.

13. stanbul Bienali iin hazrladklar
Youn Bakm balkl enstalasyon ile
ilgili Rietveld Landscape yle diyor:
Hazrladmz teklif metninin tarihi
29 Mart 2013. Bu teklif stanbul Bienalinin
kratryel ekibi tarafndan kabul edilmiti.
Ancak Taksim Meydanndaki gereklik
bizi geride brakt ve bu enstalasyonun
gerekletirilmesini imkansz kld.
2006da Amsterdam, Hollandada kurulan tasarm ve aratrma ofisi. Amsterdam,
Hollandada bulunuyor. Design and research offce founded in 2006
in Amsterdam, the Netherlands. Based in Amsterdam, the Netherlands.
R
I
E
T
V
E
L
D

L
A
N
D
S
C
A
P
E
Antrepo no.3
T
o
p
:

I
n
t
e
n
s
i
v
e

C
a
r
e

p
r
o
p
o
s
a
l

2
9
/
3
/
2
0
1
3
,

2
0
1
3

s
t
:

Y
o

u
n

B
a
k

m

i

i
n

t
e
k
l
i
f


2
9
/
3
/
2
0
1
3
,

2
0
1
3
B
o
t
t
o
m
:

P
h
o
t
o
:

A
l
i

K
a
z
m
a
,

7

J
u
n
e

2
0
1
3
A
l
t
:

F
o
t
o

r
a
f
:

A
l
i

K
a
z
m
a
,

7

H
a
z
i
r
a
n

2
0
1
3
in Istanbul. Both the building itself and
the freedom of speechwhich manifests
itself right at the front door, at Taksim
Squareare continuous subjects of
debate. The status of the patient is
unclear: seemingly roaming the twilight
zone between life and death.
The breathing rhythm of the patient
is translated to a frequency of slowly
pulsating light that is projected on
the faade of the Atatrk Cultural Center.
This intense breathing light emerges from
the heart of the building and spreads
across the Taksim Square.
Rietveld Landscape
ehrin kalbindeki Atatrk Kltr
Merkezi stanbulun iinde bulunduu
tehlikeli ve gven vermeyen durumu
yanstyor. Hem binann kendisi, hem de
binann hemen nnde, Taksim Meydannda
zuhur eden ifade zgrl, bitmek
bilmeyen tartmalara konu. Hastann
durumu ise belirsiz: grnen o ki hayat ve
lm arasndaki alacakaranlk kuan-
da geziniyor.
Hastann nefes alma ritmi Atatrk
Kltr Merkezinin cephesinden yanstlan
yavaa yanp snen bir k frekansna
dntrlyor. Bu youn, nefes
alan k, binann kalbinden karak
Taksim Meydanna yaylyor.
Rietveld Landscape
R
I
E
T
V
E
L
D

L
A
N
D
S
C
A
P
E
Antrepo no.3
ROB JOHANNESMA
Z
a
m
a
n

L
e
k
e
l
e
r
i
,

2
0
1
3
S
p
o
t
s

o
f

T
i
m
e
,

2
0
1
3
Rob Johannesma is interested in images
or, more specifcally, the symbolic potential
of images and the way this potential vacil-
lates between historic and artistic spheres.
During the last few years, Johannesma
developed a complex methodology of
collecting images, newspaper pages,
footage and contrasting photographic
icons and tropes from the global media.
Each image, when juxtaposed with others
and comparatively analysed, provokes a
concentrated re-reading or double take.
Within the glut of visual material one is
exposed to each day, the offering of alter-
nate image banks (as Johannesma does)
ultimately transforms ones understanding
of the roles of repetition, accumulation,
and framing in the making and breaking of
worldviews.
One of the best-known rally cries of the
1968 student uprisings in Paris was Sous
les pavs, la plage! (Under the pavement,
the beach!). This statement heralded an
understanding of history and the state
as conditional, malleable, transient.
And indeed, much of the coverage of
contemporary demonstrationssuch
as those against globalisation and
the fnancial collapse, the Arab Spring,
the Occupy movementby social
media and the press implies a feeting
temporality.
It is this tension between the desire
for radical change and the seeming
intransigence of certain institutions that led
artist Johannesma to create Spots of Time
(2013). The work is a multichannel digital
R
O
B

J
O
H
A
N
N
E
S
M
A
Rob Johannesma imgelerle ya da zellikle
imgelerin simgesel potansiyeliyle ve
bu potansiyelin tarihsel ve sanatsal
katmanlar arasnda bocalamasyla
ilgileniyor. Johannesma son yllarda,
kresel medyadan imge, gazete sayfas,
belgesel niteliinde ekim ve birbirine
tezat fotografik ikon ve ifadeler toplad
karmak bir yntem gelitirdi. Her bir
imge, baka imgelerle yan yana yerletiri-
lip karlatrmal olarak incelendiinde
daha dikkatli bir yeniden okuma veya
tekrar ele alma eylemini kkrtr. Her
gn maruz kalnan grsel malzeme
bolluu ierisinde (Johannesmann
yapt gibi) alternatif imge bankalar
sunmak nihai aamada insann, tekrar,
birikim ve kadraj gibi kavramlarn dnya
grlerinin oluturulmas ve ykl-
masnda oynad role dair kavrayn
dntrecektir.
1968 Paris renci direniinin en nemli
sloganlarndan biri Sous les pavs,
la plage! (Kaldrm talarnn altnda
kumsal var!) idi. Bu ifade, devleti ve
tarihi, koullara baml, ekil verilebilir
ve geici birer kavram olarak gren bir
anlay mjdeliyordu. Ve gerekten de
son dnemde ahit olduumuz gsteriler
kreselleme ve finansal kriz kart
gsteriler, Arap Bahar ve Occupy hare-
keti zerine sosyal medyada ve basnda
yer alan haberlerde gelip geicilik imas
seziliyor.
Johannesmay Zaman Lekeleri (2013)
balkl yapt yaratmaya iten de,
bu radikal deiim arzusu ile belirli
1970te Geleen, Hollandada dodu. Amsterdam, Hollandada yayor ve alyor. Born
in 1970 in Geleen, the Netherlands. Lives and works in Amsterdam, the Netherlands.
Antrepo no.3
slide show that presents a compilation
of newspaper pages and photographs
from 2008 to the present that capture this
phenomenon. As re-photographed by the
artist multiple times and transferred to a
different medium, each image guides our
view beyond its immediate take as news
to a more abstract reading of information.
Although the language of the archive
might seem incompatible with
the spectacular nature of revolutions,
Johannesma uses his role as an artist
who understands and appreciates
the complexities of image-making to
create a compendium of the architecture,
the objects, and the issues of freedom and
citizenship embroiled in such occurrences.
His conservation of moments of these
ongoing struggles stands as an example
of what playwright Bertolt Brecht called
ermattungstaktik (tactics of attrition),
and the creative efforts of imagination and
dedication, through which, however short
the duration, the challenges of this world
will eventually give way. Clare Butcher
kurumlarn deiime direnmekteki
srar arasndaki gerilim olmu. Yapt,
bu olguyu yakalayan ve 2008 ylnda
derlenmeye balanm gazete sayfalar ve
fotoraf lardan oluan ok kanall dijital
bir slayt gsterisi. Sanat tarafndan
defalarca yeniden fotoraf lanarak baka
bir mecraya aktarlan her bir imge,
bak, haber algsndan bilginin daha
soyut bir okumasna ynlendiriyor.
Arivin dili devrimlerin grkemli
doasna uyum salayamazm gibi
grnse de, Johannesma imge retiminin
karmak srelerini anlayan ve bunlarn
deerini takdir eden bir sanat olarak
konumunu, bu tr meselelere bulaan
mimarlk, nesneler ve zgrlk ile vatan-
dalk gibi konularn detayl bir zetini
karmak iin kullanyor. Sanatnn
bu sregelen mcadelelere ait anlar
muhafaza edii, bu dnyadaki zorluklarn,
ne kadar ksa sreli olsa da, eninde
sonunda yol vermek zorunda kalaca,
Bertolt Brechtin ermattungstaktik
(ypratma taktikleri) diye adlandrd
ynteme ve hayalgc ve kararlln
yaratc abalarna bir rnek tekil
ediyor. Clare Butcher
R
O
B

J
O
H
A
N
N
E
S
M
A
Z
a
m
a
n

L
e
k
e
l
e
r
i
,

2
0
1
3
S
p
o
t
s

o
f

T
i
m
e
,

2
0
1
3
Antrepo no.3
SANTIAGO SIERRA
APPENDIX
ZU 1. DER WILHELM-LEUSCHNER-PLATZ BLEIBT BAULICH UNVERNDERT.
DAS DENKMAL IST KEIN OBJEKT UND KEIN GESTALTETER PLATZ.
ES IST EIN KONZEPTUELLES WERK, DAS EINE SOZIALE REALITT
SCHAFFT.
ZU 2. FR DAS PLATZGEBIET SIND ALLE GELTENDEN RECHTSORDNUNGEN
DAUERHAFT AUSSER KRAFT ZU SETZTEN. DER LEIPZIGER STADTRAT,
DAS SCHSISCHE LANDESPARLAMENT UND DER DEUTSCHE BUNDES-
TAG VERZI CHTEN DURCH GLTI GE AKTE DER RECHTSSETZUNG
UNWIDERRUFLICH AUF DIE AUSBUNG ALLER HOHEITLICHEN BEFUG-
NI SSE. DER WI LHELM- LEUSCHNER- PLATZ GEHT IN DEN BESITZ DER
LEIPZIGER BEVLKERUNG BER.
ZU 3. DIE MENSCHEN IN LEIPZIG ENTSCHEIDEN IN ZUKUNFT GEMEINSAM
BER ALLE DEN PLATZ BETREFFENDEN BELANGE. AUF WELCHE
WEISE, BESTIMMEN SIE SELBST.
ZU 4. DIE ZUR VERFGUNG STEHENDE SUMME WIRD VON DEN AUSLOBERN
NACH ENDE DES WETTBEWERBSVERFAHRENS VERFFENTLI CHT
UND KANN FR JEDES VORHABEN VERWENDET WERDEN, ZU DEM
SICH DIE LEIPZIGER KNFTIG ENTSCHLIESSEN.
ZUSATZ: BER DIE VERFFENTLICHUNG DIESES KONZEPTES HINAUS
TRETE ICH ALS KNSTLER NICHT WEITER IN ERSCHEINUNG. FR
ALLE WEITEREN BELANGE, DIE UMSETZUNG DIESES KONZEPTES
UND DESSEN KOMMUNIKATION BETREFFEND, BEVOLLMCHTIGE ICH
DIE IN DER VEFASSERERKLRUNG GENANNTEN STELLVERTRETER.


LEIPZIGER FREIHEITS- UND EINHEITSDENKMAL
CONCEPTUAL MONUMENT
1. DAS DENKMAL IST IMMATERIELL.
2. DER WILHELM-LEUSCHNER-PLATZ WIRD
ZUM EXTERRITORIALEN GEBIET ERKLRT.
KEINE AUTORITT SOLL AUF IHM GELTEN.
3. DIE LEIPZIGER BEVLKERUNG NUTZT UND
VERWALTET DEN PLATZ GEMEINSAM.
4. DAS GELD FR DIE REALISIERUNG DES
DENKMALS STEHT DEN LEIPZIGERN ZUR
FREIEN VERFGUNG.
1966da Madrid, spanyada dodu. Madrid, spanyada yayor ve alyor.
Born in 1966 in Madrid, Spain. Lives and works in Madrid, Spain.
Santiago Sierra submitted the Conceptual
Monument (2012) to the open design
competition for the Leipzig Freedom
and Unity Memorial in Germany.

The budget for the project including
the competition, awards, and construction
of the memorial was 6.5 million Euros.
The selected design by Marc Weis and
Martin De Mattia (M+M), in cooperation
with ANNABAU commemorates
the peaceful demonstrations that led to
the fall of the Berlin Wall.
For the 13
th
Istanbul Biennial, Sierra
has adapted the Conceptual Monument,
opening up the possibility to replace
Leipzig with any public space in any
given city.
Santiago Sierra Kavramsal Ant (2012)
ile Almanyada Leipzig zgrlk ve
Birlik Ant iin dzenlenen tasarm
yarmasna katld.

Leipzig ant projesinin btesi, yarma,
dller ve antn inaat ile birlikte
6,5 milyon Euroydu. Yarmada, Marc
Weis ve Martin De Mattiann (M+M)
ANNABAU ibirliiyle tasarlad,
birincilik dl alan tasarm, Berlin
Duvarnn yklmasna nayak olan
barl gsterilere atfta bulunuyordu.

Santiago Sierra ise Kavramsal Ant
13. stanbul Bienali iin uyarlayarak,
bu antn herhangi bir ehirde herhangi
bir kamusal alanda gerekletirilebilecei
fikrini ortaya koyuyor.
S
A
N
T
I
A
G
O

S
I
E
R
R
A
C
o
n
c
e
p
t
u
a
l

M
o
n
u
m
e
n
t
,

2
0
1
2
K
a
v
r
a
m
s
a
l

A
n

t
,

2
0
1
2
Antrepo no.3
SHAHZIA SIKANDER
P
a
r
a
l
l
a
x
,

2
0
1
3
P
a
r
a
l
a
k
s
,

2
0
1
3
The miniature is a form of painting dating
back to ancient times: on the codices of
manuscripts, these intricate illustrations
elucidated texts. Taking this somewhat
anachronistic Indo-Persian art form as
her starting point, Shahzia Sikander,
in the 1990s, commingled her training
in miniatures with more contemporary
methods, such as high-defnition animation
projection and installation. Regardless
of how her projects materialize, Sikander
constantly returns to the themes of time,
labour, and scale through painstaking
precision inherent in each. Similar to the
way she amalgamates different artistic
approaches, Sikander pursues a unique
visual cosmology, drawing on various
stylistic genres and historical modes of
depiction. This cosmology is a contemporary
one that transforms ways of looking,
which Sikander describes in 51 Ways of
Looking (2004) as a form of continuous
ownership that is dialogical, open-ended,
and regurgitated.
For the 13
th
Istanbul Biennial, Sikander is
making a new edition of Parallax (2013),
which was initially produced for the 11
th

Sharjah Biennial. Parallax is a group of
works that includes a multichannel
animated installation and a soundtrack, as
well as a photographic and performative
sequel. Including an oscillating interplay of
icons, ambient sound, and speech, these
juxtapositions, according to the artist,
analogise the entanglement of cultural
and visual histories. The artists titles are
tellingin The cypress, despite its freedom,
remains captive to the garden (2013),
Minyatr ok eski zamanlardan beri
uygulanan bir resim tekniidir: el
yazmas nshalarda karmza kan
bu girift illstrasyonlar metinlerin
ieriini aydnlatmaya yarard. Shahzia
Sikander de bu anakronik denebilecek
sanat biimini balang noktas seerek
1990larda minyatr alannda grd
eitimi, yksek znrlkl animasyon
projeksiyonu ve enstalasyon gibi daha
gncel yntemlerle birlikte uygulamaya
balad. Projelerinin nihai ekli ne olursa
olsun, Sikander tm yaptlarnda zenli
bir hassasiyet sergileyerek zaman, emek
ve lek temalarna eiliyor. Farkl
sanatsal yaklamlardan oluturduu
alamlara benzer bir ekilde, Sikander
eitli slup janrlarndan ve tarihsel
resmetme kiplerinden faydalanarak
zgn bir grsel kozmoloji oluturmaya
alyor. Bu, Sikanderin 51 Bakma
Biimi (2004) balkl yaptnda, diyalojik,
ak-ulu ve geri dnmsel
bir aidiyet biimi olarak niteledii,
bakma biimlerini dntren gncel
bir kozmoloji.
Sikander 13. stanbul Bienalinde
sergilenmek zere, ilk olarak 11. arjah
Bienali iin rettii Paralaks (2013)
balkl yaptn yeni bir edisyonunu
retti. Paralaks, ok kanall anime bir
enstalasyon ve bir ses tasarmndan ve
ayrca fotografik ve performatif bir
devam blmnden oluan bir yaptlar
dizisi. Yerletirmeyi oluturan ikonlar
aras etkileim, mekn sesi ve konu-
malar, sanatya gre kltrel ve grsel
tarihlerin nasl birbirine dolatna dair
1969da Lahor, Pakistanda dodu. New York, NY, ABDde yayor ve alyor.
Born in 1969 in Lahore, Pakistan. Lives and works in New York, NY, USA.
S
H
A
H
Z
I
A

S
I
K
A
N
D
E
R
Antrepo no.3
the artist draws on the powerful poetry of
Ghalib, who lived during the time of
British colonial rule of the Mughal Empire.
For the 13
th
Istanbul Biennial, she recorded
poems written in Turkish by poets of
different generations recited by various
voices (young, old, male, female) to
compose a new score in collaboration
with composer Du Yun to produce
a three channel animation work.
Refecting on psychological and geographic
spaces in contested regions, Sikander
incorporates local perspectives and
collaborations into her projects, creating
poetic views that transgress the obvious
of a specifc place. Sikander affliates
the logic of poetry with the symbolic
impact of the miniatureboth seemingly
fragile genresand harnesses
the capability of the two to explore social
narratives, issues of political control
and confict, as well as marginalisation.
Clare Butcher
bir analoji oluturuyor. Sanatnn
setii balklar da arpc: zgr
olmasna ramen selvi, hl bahenin
tutsanda (2013) sanat, Babr
mparatorluunun Britanya smrgesine
girdii dnemde yaayan Mirza Galipin
gl iirinden faydalanyor. Sikander
13. stanbul Bienali iin, farkl
kuaklardan Trke yazan airlerin
iirlerini farkl (gen, yal, erkek, kadn)
seslere okutarak kaydetmi ve besteci
Du Yun ile birlikte hazrlad yeni ses
tasarmnda kullanarak bu kanall
anime yapt ortaya karm.
atmal blgelerde psikolojik ve
corafi meknlar zerine dnen
Sikander projelerine yerel bak alarn
dhil ederek ve yerel katlm salayarak
belirli bir meknn herkese malum
algsnn tesine geen iirsel grler
yaratyor. Sikander, ikisi de krlgan
janrlar olan iirin mantn minyatrn
simgesel etkisiyle ilikilendiriyor ve bu
iki alann toplumsal anlatlar, politik
denetim ve atma ve ayn zamanda
marjinalletirme gibi konular kefetme
gcnden faydalanyor. Clare Butcher
S
H
A
H
Z
I
A

S
I
K
A
N
D
E
R
W
o
r
k

i
n

p
r
o
g
r
e
s
s
,

2
0
1
3
Y
a
p

m

a

a
m
a
s

n
d
a

o
l
a
n

a
l

m
a
,

2
0
1
3
Antrepo no.3
SENER OZMEN
O
p
t
i
c
a
l

P
r
o
p
a
g
a
n
d
a
,

2
0
1
2
O
p
t
i
k

P
r
o
p
a
g
a
n
d
a
,

2
0
1
2
The role of the artist is a central subject
in the work of ener zmen. Within
this framework, he pursues an inquiry into
the structures of the art world, the artists
stance and responsibility, and the effects
of art itself. His work also engages the
sociopolitical, and these two threads are
tightly interwoven in many of his projects.
zmens body of work unfolds across
a range of media, including video,
photography and artists books, but his
activity as a curator and author should
also be considered as an important
aspect of his practice. With his biting irony,
brilliant humour, and clear-cut aesthetic
language, as well as a sometimes explicit
and provocative style of inquiry, zmen
never fails to take a critical stand.
Again and again, zmen becomes
the protagonist of his own work. His
photographic series Untitled (2005)
depicts the artist aggressively shouting
with the megaphone pressed against
his own earan ironic reference to such
public practices as agoraphobia, fear of
public speech, or the inability to address
anyone but ones own kind. His second
work exhibited at the 13
th
Istanbul Biennial
is a three-part installation whose central
subject is the kefyyeh. The square,
patterned wool scarfwhich frst received
international attention because of its use
by Yasser Arafat and the Palestinian
liberation movementis traditionally
worn on the head by Arab (and Kurdish)
men. In the 1960s, it was adopted by
the extraparliamentary student movements
in Western Europe. The Palestinian scarf
Sanatnn rol, ener zmenin
almalarnn temel motif lerinden birini
tekil ediyor. Bu ayn zamanda kiisel
sorumluluu ve duruu, sanat dnyasnn
yaplaryla yzlemeyi ya da sanatn
hlihazrdaki gcn sorgulamay da
ieriyor. zmenin almalar te yandan
sosyo-politik durumlarla ilgili ve bu
iki hat birok projesinde i ie geiyor.
zmenin alma sahas video, fotoraf
ve sanat kitab gibi bir dizi ortama
yaylyor, fakat kratrlk ve yazarlk
da pratiinin nemli paralar arasnda
saylmaya deer. zmen, ineleyici ironisi,
parlak mizah ve ak estetik dilinin
yan sra, aleni ve provokatif sorgulama
tarzyla da eletirel bir duru sergiler.
zmen, tekrar tekrar kendini manzarann
bakahramanna dntryor.
Sanaty, megafonu kendi kulana
dayayarak barrken grdmz
simsiz (2005), agorafobi, toplum
iinde konuma korkusu, veya ancak
benzerlerine seslenebilmek gibi
kamusallk pratiklerine ironik bir
gnderme yapyor. zmenin sergideki
ikinci ii ise, temel znesi pou olan
2012 tarihli paral bir yerletirme.
Geleneksel olarak Arap (ve Krt) erkekleri
tarafndan baa giyilen kare eklindeki
ynl dokuma rt ilk olarak Yaser
Arafat ve Filistin Kurtulu Hareketi
tarafndan kullanlnca dnyann
farkl blgelerinde dikkat ekmiti,
1960l yllarda Bat Avrupada radikal
sol renci hareketleri tarafndan
benimsendi. Filistin pousu ksa srede
solun sembollerinden biri haline geldi,
1971de rnak, Trkiyede dodu. Diyarbakr, Trkiyede yayor ve alyor.
Born in 1971 in rnak, Turkey. Lives and works in Diyarbakr, Turkey.

E
N
E
R

Z
M
E
N
Antrepo no.3, Rum Okulu/Greek School
U
n
t
i
t
l
e
d
,

2
0
0
5

s
i
m
s
i
z
,

2
0
0
5
quickly became a symbol of the political
left, as it stood for personal freedom and
the fght against repression. Over the past
years it has also become fashionable
amongst hipsters in the urban middle class
worldwide.
zmens work plays with this history
and its symbolism on many levels.
The digitally-produced Perfect Kefyyeh
(2012) shows a fawless version of the
scarf. Separated from the personal history
of its wearer, the scarf is instead linked
to the history of ornament, miniature
painting, and still life. As a result, it also
stands as an appeal for the conservation
of traditions. In My Suit (2012), it functions
as gear for political struggle, while
raising questions as to the nature of this
struggle. With its modern cut recalling
the business suits worn by managers and
politicians, the suit can be seen as
a symbol of capitalism or as an index
of the way that alternative lifestyles and
political resistance are subsumed into
mainstream society. Finally, Optical
Propaganda (2012) shows zmen himself,
who (ironically) wears the suit as he relaxes
on a couch, almost disappearing into
the pattern. What position are we taking
in this political confict and regarding
the confguration of our environment?
Are we prepared to take a stance for
our beliefs, or do we simply adorn
ourselves with these accessories because
they are part of the current zeitgeist?
Barbara Heinrich
zgrlk ve baskya kar mcadeleyi
simgeledi. Ayrca dnyann drt
bir yanndaki ehirli orta snf hipster
genler arasnda da moda oldu.
zmenin ileri birok katmanda bu
tarihle ve simgesellikle oynuyor.
Bilgisayarda yaratlan Kusursuz Pou
(2012) rtnn en ufak bir defosu
olmayan halini sergiliyor. Takann kiisel
tarihinden bamsz olarak pounun
ssleme sanat, minyatr ve natrmortla
da balants var, bylelikle bu rt
geleneklerin muhafaza edilmesi iin de
bir arda bulunuyor. Takm Elbisemde
(2012) siyasal mcadelenin vitesine
dnyor, te yandan bu mcadelenin
doasn sorguluyor. Yneticilerin ve
siyasetilerin giydii takm elbiseleri
antran modern kesimiyle bu kyafet
kapitalizmin bir sembol ya da alternatif
yaam biimlerinin ve siyasal direniin
genel toplumsal gr iine dahil
edilmesine dair bir gsterge olarak
kabul edilebilir. Son olarak Optik
Propaganda (2012) (ironik bir yaklamla)
zmenin kendisini, zerinde bu takm
elbiseyle bir koltua yaylm ve neredeyse
koltuun deseni iinde kaybolmu bir
halde gsteriyor. Dnyay ekillendiren
siyasal atmalar konusunda nasl bir
tutum sergiliyoruz? nandmz eyler
iin mcadele etmeye hazr myz, yoksa
bu aksesuarlar sadece zamann ruhunu
yansttklar iin mi kullanyoruz?
Barbara Heinrich

E
N
E
R

Z
M
E
N
Antrepo no.3, Rum Okulu/Greek School
TADASHI KAWAMATA
T
A
D
A
S
H
I

K
A
W
A
M
A
T
A
P
l
a
n

f
o
r

G
e
c
e
k
o
n
d
u

,

2
0
1
3

G
e
c
e
k
o
n
d
u

i
n

p
l
a
n
,

2
0
1
3
1953te Mikasa, Hokkaido, Japonyada dodu. Paris, Fransada yayor ve alyor.
Born in 1953 in Mikasa, Hokkaido, Japan. Lives and works in Paris, France.
For the 13
th
Istanbul Biennial, Tadashi
Kawamata proposed to make an urban
public intervention throughout the contested
neighborhoods and streets of the city.
However, with the Gezi uprising in
the summer and subsequent withdrawal of
the exhibition from urban public spaces,
Kawamata agreed to participate in
the biennial with sketches for his proposed
project. In related correspondence,
he wrote:
I was to visit Istanbul and make a project
about GECEKONDU (overnight built
illegal houses in shantytowns) before
the Gezi and Taksim occupation.
It is almost impossible to realize this idea
in this time. After the initial proposal I sent,
I have been thinking about what I can do
at this time of the city.
I am still interested in doing this project at
the proposed sites in Istanbul.
I hope it will happen one day and I can
make these art works.
1


Tadashi Kawamatas practice brings
together space specifc disciplines such as
sculpture, performance, architecture, and
land art. In his installations realized mostly in
public space Kawamata, who defnes himself
as an activist beyond an artist, focuses on
the political, social and economic dimensions
of the issue he is tackling. The setup and
Tadashi Kawamata, 13. stanbul
Bienali iin ehrin en ithilaf l mahalle
ve sokaklarndaki kamusal meknlara
mdahaleler yapmay nermiti. Ancak,
Gezi direnii ve sonrasnda serginin
kentsel kamusal meknlardan ekilme
karar ile, Kawamata sergiye projesinin
eskizleri ile katlmay kabul etti. Buna
dair yazmalarda, sanat fikirlerini
yle zetledi:
Gezi ve Taksimin igali ncesinde
stanbula gelip GECEKONDULARla
ilgili bir proje yapmay planlyordum.
Bu fikrimi bu zamanda gerekletirmek
imkansz. lk yolladm neriden sonra,
imdi bu ehirde ne yapabileceimi
dnyorum.
Hl stanbulda nerdiim kamusal
mekanlarda bu projemi gerekletirmek
istiyorum.
Umuyorum ki bir gn bu sanat yaptlar-
n burada retebilirim.
1

Tadashi Kawamatann pratii heykel,
performans, mimari, arazi sanat gibi
mekna zg disiplinleri bir araya getiri-
yor. Kendisini bir sanatnn tesinde bir
aktivist olarak tanmlayan Kawamata,
ounlukla kamusal alanda gerekle-
tirdii yerletirmelerinde, dert edindii
meselenin politik, sosyal ve ekonomik
boyutlarna odaklanyor. Olaylarn ve
1 Sanatnn editrle yazmalarndan alntdr. Excerpt from correspondence between the editor and the artist.
Antrepo no.3
Plan for Gecekondu, 2013 Gecekondu iin plan, 2013
T
A
D
A
S
H
I

K
A
W
A
M
A
T
A
assembling of his works, wherein he
renders the memory of incidents and
spaces on the wood and found materials
that he uses as his equipment, sometimes
takes days, sometimes weeks. Rather
than an individuals work, this is a process
of collective thinking, constructing and ex-
periencing begotten by Japanese culture
and also the activist approach. Grounding
their discourse in the local, contemporary,
and temporality, the structures people
encounter and witness the process of
making, invite the viewer to a collective
construction process wherein the space
and relationships are in motion.
Zeynep Berik
meknlarn hafzasn malzeme olarak
kulland ahaba ve bulunmu mater-
yallere tad ilerinin kurulumu ve
toplanmas bazen gnler, bazen haftalar
alyor. Bu, bireysel bir almadansa
Japon kltr ve aktivist yaklamnn
da getirdii bir kolektif dnme, ina
etme ve deneyimleme sreci. Sylemini
yerellik, gncellik, geicilik zerine
kuran, insanlarn yapm ve karlama
srecine tank olduklar yaplar, izleyeni
mekan ve ilikilerin devinim halinde
olduu kolektif bir ina srecine davet
ediyor. Zeynep Berik

Antrepo no.3
THOMAS
HIRSCHHORN
T
i
m
e
l
i
n
e
:

W
o
r
k

i
n

P
u
b
l
i
c

S
p
a
c
e
,

2
0
1
2
Z
a
m
a
n

i
z
e
l
g
e
s
i
:

K
a
m
u
s
a
l

A
l
a
n
d
a

Y
a
p

t
,

2
0
1
2
Thomas Hirschhorns Timeline: Work
in Public Space (2012) could be read
as an inverted manifesto, where the
artist, instead of establishing ideas and
principles for a future practice, refects
on art with his personal experiences. The
work, which uses the timeline structure
as a visual system, emerges as a mural
collage of documents depicting a selection
of previous works, mostly precarious
monuments dedicated to philosophers.
This precariousness provokes a sense
of immediacy that stems from an urge
to materialise a specifc world of ideas,
derived both from the collage technique
and the elements commonly used by
the artistcardboard, paper, photos,
photocopies, tape, among others. Timeline
refects Hirschhorns refusal to analyse his
work before experiencing it, in line with
one of the artists self-imposed rules of
acting in headlessness. It clearly displays
the idea of analyses-after-the-fact as a
non fnito and partial retrospective about
his oeuvre but also as an autonomous
artwork that interconnects a set of ideas.
Timeline respects strategies of his
previous endeavours, generating new
conclusions about his practice.
The collage is composed of 14 texts and
images that revisit his works on public
space, such as the impermanent monu-
ments on Spinoza, Bataille, and Deleuze,
realized in collaboration with specifc
communities. Timeline is a self-refective
work that appears at a particular moment
in Hirschhorns practice: just before
developing his fourth and last monument
Thomas Hirschhornun Zaman izelgesi:
Kamusal Alanda Yapt (2012) balkl
almasn tersinden bir manifesto
olarak okumak mmkn. Burada sanat
gelecekte gerekletirecei bir pratie
dair fikir ve ilkeleri belirlemek yerine,
kiisel deneyimlerine dayanarak sanat
zerine dnyor. Grsel bir sistem
olarak zaman izelgesi yapsn kullanan
eser, sanatnn eski yaptlarnn filozof-
lara ithaf edilmi ve ou olduka derme
atma antlardan oluan bir sekisine
ait grsel belgelerin bulutuu bir duvar
kolaj. Bu derme atmalk, hem kolaj
teknii hem de sanatnn sk sk
kulland bileenlerden karton, kt,
fotoraf, fotokopi, koli band gibi- kay-
naklanan, ve belirli bir fikir dnyasn
cisimletirme gds sonucu oluan bir
aciliyet hissi douruyor. Zaman izelgesi,
sanatnn kendine art kotuu bir
baszlk halinde hareket etme kural
uyarnca, Hirschhornun yaptn
deneyimlemeden nce zmlemeyi
reddetme tavrn yanstyor. Olgudan-
sonra-zmleme fikrini hem bir non
finito (bilerek bitmeden braklm
heykel kavramnn bir yorumu) ve kendi
sanatnn ksmi bir retrospektifi olarak,
hem de bir dizi fikri birbirine balayan
zerk bir sanat yapt olarak aka
sergiliyor. Zaman izelgesi sanatnn
daha nce kulland stratejilerine de
sayg gstererek, kendi pratii hakknda
yeni sonular retiyor.
Kolaj, sanatnn kamusal alana dair
yaptlarn artran 14 metin ve
grselden oluuyor; bunlar arasnda
T
H
O
M
A
S

H
I
R
S
C
H
H
O
R
N
1957de Bern, svirede dodu. Paris, Fransada yayor ve alyor.
Born in 1957 in Bern, Switzerland. Lives and works in Paris, France.
Antrepo no.3
dedicated to Gramsci.
1
The pedagogical
approach and various guidelines of his
previous projects are present, not only as
part of a detailed review about his past but
also as principles applied to Timeline: the
will to share knowledge and experiences
with a non-exclusive public and, at the
same time, defend the autonomy of the
artwork; and the total involvement of the
artist in the process of developing the
pieces with a working methodology he
calls presence and production. (These
are projects where the presence of the
artist is required for the production of
artworksalthough Hirschhorn is not
physically present in Timeline, he is there
symbolically in the texts derived from
his personal writings.) Timeline conveys
the underlying premises of Hirschhorns
thought and practice and also refects on
the relationship between art and public
space during the last few decades.
Javier Villa
Spinoza, Bataille ve Deleuze ansna,
yerletirildikleri blge sakinlerinin izni
ve yardmyla hazrlad geici antlar
var. Zaman izelgesi ise, Hirschhornun
pratiinin belirli bir annda, Gramsciye
ithaf ettii drdnc ve son antn
gelitirmeden nce rettii, sanatnn
kendisi ve yaptlar zerine dnceler
gelitirdii bir yapt.
1
Sanatnn nceki
projelerindeki pedagojik yaklam ve
eitli klavuz ilkeler burada da, sadece
gemiinin ayrntl bir dkmnn
paras olarak deil, ayn zamanda
Zaman izelgesine uygulanan prensipler
olarak da geerli: kimseyi dlamadan
bilgi ve deneyimlerini halkla paylama,
ama ayn zamanda, sanat yaptnn
zerkliini savunma istei; ve sanatnn,
mevcudiyet ve retim adn verdii
alma yntemine uygun olarak, yapt-
larn gelitirilmesi srecine her dzeyde
katlmas. (Bunlar, sanat yaptlarnn
retimi iin sanatnn mevcudiyetine
ihtiya duyulan projeler Hirschhorn,
Zaman izelgesinde ahsen bulunmasa
da, kiisel metinlerinden yaplan alntlar
sayesinde simgesel olarak mevcut.)
Zaman izelgesi Hirschhornun dnce
ve pratiinin temelinde yatan meseleleri
izleyiciye iletmekle kalmyor, son otuz
ylda sanat ve kamusal alan arasndaki
ilikinin nasl ekillendii hakknda da
dnmemize olanak tanyor.
Javier Villa
T
H
O
M
A
S

H
I
R
S
C
H
H
O
R
N
S
p
i
n
o
z
a
-
T
h
e
a
t
e
r
,

T
h
e

B
i
j
l
m
e
r

S
p
i
n
o
z
a
-
F
e
s
t
i
v
a
l

,

2
0
0
9


S
p
i
n
o
z
a

T
i
y
a
t
r
o
s
u
,

B
i
j
l
m
e
r

S
p
i
n
o
z
a

F
e
s
t
i
v
a
l
i

,

2
0
0
9
1 Gramsci Ant (2013), Thomas Hirschhorn tarafndan New Yorkun Bronx mahallesinin Forest Houses blge-
sinde kamusal alanda retilen, yapmna Dia Art Foundation New Yorkun destek olduu bir yapttr. Gramsci
Ant hakknda daha fazla bilgi edinmek iin: http://www.gramsci-monument.com/ Eriim: 17 Austos 2013.
The Gramsci Monument (2013) is a work in public space by Thomas Hirschhorn, produced by the Dia Art Foundation
New York, located at Forest Houses, The Bronx, New York. Information on the Gramsci Monument is available at:
http://www.gramsci-monument.com/ Accessed: 17 August 2013.
Antrepo no.3
WOUTER
OSTERHOLT
&
ELKE UITENTUIS
Osterholt 1979da Leiden, Hollandada dodu; Uitentuis 1977de Sneek,
Hollandada dodu. Osterholt Warns, Hollandada yayor ve alyor; Uitentuis
Amsterdam, Hollandada yayor ve alyor. Osterholt born in 1979 in Leiden,
the Netherlands; Uitentuis born in 1977 in Sneek, the Netherlands. Osterholt lives
and works in Warns, the Netherlands; Uitentuis lives and works in Amsterdam,
the Netherlands.
The artist duo Wouter Osterholt and Elke
Uitentuis develop site-specifc projects
exploring the public sphere as a domain
in which different communities collide.
By adopting a research approach similar
to investigative journalism, they reveal
and unravel conficting interests that
defne local politics and the confguration
of the public. Through direct interaction
with peopleboth bystanders and those
immediately involvedthe artists open up
delicate and politically sensitive topics of
debate. Consequently, their projects often
assume the shape of a public platform
that activates individuals to express their
personal relationship to the political.
Monument to Humanity Helping Hands
(2011-2013) centres around the public
debate that arose after Turkish Prime
Minister Recep Tayyip Erdoan called
the Monument to Humanity in the city of
Kars, on the Armenian border a freak and
ordered its demolition. The sculpture in
question was commissioned as aalbeit
controversial peace monument in refer-
ence to the deep rooted Turkish-Armenian
confict. The artist Mehmet Aksoy tried
to prevent the demolition but failed in
turning its fate. As the demolition of
the sculpture became a heated topic of
debate, Osterholt and Uitentuis sought a
way to record the variety of positions and
opinions around the issue.
W
O
U
T
E
R

O
S
T
E
R
H
O
L
T

&

E
L
K
E

U
I
T
E
N
T
U
I
S
Sanat ikilisi Wouter Osterholt ve Elke
Uitentuis farkl topluluklarn kar
karya geldii bir mecra olarak kamusal
alan inceleyen mekn-temelli projeler
gelitiriyor. Aratrmac gazetecilie
benzer bir metodu benimseyerek yerel
politikalar ve kamunun biimleniini
tanmlayan ve birbirleriyle elien
karlar ortaya koyuyor ve zmlyorlar.
Sanatlar, hem meselelere bizzat dahil
olanlarla hem de tanklk edenlerle
etkileime girerek politik adan hassas
konular tartmaya ayorlar. Sonu
olarak, ikilinin projeleri ou kez
bireyleri politik olanla ilikilerini dile
getirmeleri konusunda tevik eden
kamusal bir platforma dnyor.
nsanlk Ant Yardm Eden Eller
(2011-2013) babakan Recep Tayyip
Erdoann Ermenistan snrndaki Kars
ehrinde yer alan nsanlk Antn bir
ucube olarak nitelendirmesi ve ykm
iin talimat vermesi sonras kamuda
ortaya kan tartmalara odaklanyor.
Sz konusu heykel eskilere dayanan
Trk-Ermeni ihtilafna gndermede
bulunan ok tartmal bir bar ant
olarak yaplmt. Sanat Mehmet
Aksoy, ykm engellemeye alm
ama antn kaderini deitirmemisti.
Heykelin yklmas hararetli bir tartma
konusunu haline gelirken, Osterholt ve
Uitentuis de konu etrafnda ekillenen

n
s
a
n
l

k

A
n

Y
a
r
d

m

E
d
e
n

E
l
l
e
r
,

2
0
1
1
/
2
0
1
3
M
o
n
u
m
e
n
t

t
o

H
u
m
a
n
i
t
y

H
e
l
p
i
n
g

H
a
n
d
s
,

2
0
1
1
/
2
0
1
3
Antrepo no.3
April 2011, at the time of its demolition,
the monument of two human fgures facing
each other was almost fnished. The only
missing part was one fgures monumental
hand extended to the other in peace.
Osterholt and Uitentuiss Monument to
Humanity Helping Hands is a life-size
replica of the hand, which they wheeled
through the streets on a handcar,
provoking spontaneous reactions from
passers-by. They asked people their
opinions about the monument, and these
recorded comments were collected.
They also asked the interlocutors to
make moulds of their own hands, in any
position they preferred. The resulting
series of approximately 120 casted
hands became an alternative Monument
to Humanity temporarily installed on a
hillside in Kars in 2011. In scope of the
13
th
Istanbul Biennial, their interviews
about the monument will be published as
an artists publication and disseminated
free of charge to visitors of the exhibition.
Monument to Humanity Helping Hands
not only represents the diverse political
and cultural views that defne Turkish
society, but it also explores the limits of
democracy and freedom of expression
when it comes to the creation of national
monuments and symbols.
Rieke Vos
farkl konumlanmalar ve grleri kayda
geirmenin bir yolunu arad.
Birbirine bakan iki insan figrnden
oluan heykel, Nisan 2011de ykm s-
rasnda neredeyse tamamlanmt. Eksik
olan tek ksm, bir figrn dierine bar
ierisinde uzatt devasa eliydi.
Osterholt ve Uitentuisun nsanlk Ant
Yardm Eden Elleri, elin gereine
uygun boyuttaki bir kopyas. Sanatlar,
bunu bir el arabas stnde sokaklarda
dolatrarak oradan geenlerin
verecekleri anlk tepkilerin yolunu
atlar. nsanlara antla ilgili grlerini
sordular ve kayda geirilen bu yorumlar
bir araya getirildi. Konuanlardan
kendi ellerinin, istedikleri vaziyette bir
kalbn karmalarn istediler. Yaklak
120 adet dkm elden oluan seri, 2011
ylnda Karstaki bir tepeye geici olarak
yerletirilen alternatif bir nsanlk
Antna dnt. 13. stanbul Bienali
kapsamnda sanatlarn ant hakknda
yaptklar rportajlar bir sanat yayn
olarak yaymlanacak ve serginin ziya-
retilerine cretsiz olarak datlacak.
nsanlk Ant Yardm Eden Eller Trk
toplumunu tanmlayan eitli politik
ve kltrel grleri temsil etmekle
kalmyor, ulusal ant ve sembollerin
yaratm konusunda demokrasi ve ifade
zgrlnn snrlarn da aratryor.
Rieke Vos
W
O
U
T
E
R

O
S
T
E
R
H
O
L
T

&

E
L
K
E

U
I
T
E
N
T
U
I
S

n
s
a
n
l

k

A
n

Y
a
r
d

m

E
d
e
n

E
l
l
e
r
,

2
0
1
1
/
2
0
1
3
M
o
n
u
m
e
n
t

t
o

H
u
m
a
n
i
t
y

H
e
l
p
i
n
g

H
a
n
d
s
,

2
0
1
1
/
2
0
1
3
Antrepo no.3
YTO BARRADA
B
e
a
u

G
e
s
t
e
,

2
0
0
9
B
e
a
u

G
e
s
t
e
,

2
0
0
9
1971de Paris, Fransada dodu. New York, NY, ABDde yayor ve alyor. Born
in 1971 in Paris, France. Lives and works in New York, NY, USA.
Y
T
O

B
A
R
R
A
D
A
Yto Barradas Beau Geste (2009) docu-
ments an action in a vacant lot, inspired
by the Diggers movement and the 1939
remake of Beau Geste with Gary Cooper.
The new owner of a lot had made a deep,
fatal notch in this palm tree (a Phoenix
canariensis) and was waiting for it to fall.
Then he could build on his lot.
The action set out to interrupt or delay this
process. The tree has a 50/50 chance of
survival if it remains unmolested. At least
the owner will have a little more diffculty
when he removes the tree in the end.
The phrase beau geste originates from the
French and means a gracious, fne ges-
ture, especially one that is meaningless.*

Although Tangier, Morocco, may still be
lodged in the Wests cultural imagination
as a smugglers playground, a refuge
for degenerates and poets, it is almost
unrecognisable from the Interzone era
of William Burroughs and Paul Bowles.
In a way, Tangier doesnt exist, says
artist Yto Barrada. Its a changing idea
as much as a city. Having grown up
in Tangier and returning some years later,
Barrada tends to focus on these
changesfrom her photography series
The Strait Project, which shows how
a culture of migration is etched
in the cityscape, to the 2009 flm Beau
Geste, in which a group of men use
Yto Barradann Beau Geste (2009)
balkl yapt Kazclar hareketinden
ve Beau Geste filminin Gary Coopern
barolnde oynad 1939 tarihli yeniden
yapmndan esinlenen, bo bir arsada
gerekletirilen bir eylemi belgeliyor.
Bir arsann yeni mal sahibi, arsadaki bir
palmiye aacna (Phoenix canariensis)
derin, lmcl bir gedik am, devrilme-
sini bekliyor. Palmiye devrilince, arsaya
inaat yapmak da mmkn olacak.
Eylem, bu sreci kesintiye uratmay veya
geciktirmeyi amalyor. Aacn hayatta
kalma olasl, eer baka bir saldrya
uramazsa yzde elli. Bu da en azndan,
mal sahibinin aac yerinden skmek iin
daha fazla uramak zorunda kalmas
demek.
Yapta adn veren Franszca kkenli
beau geste deyimi, zarif, ince bir jest,
zellikle de belirli bir ama uruna
gerekletirilmeyen hareket anlamna
geliyor.*

Fasn Tanca ehri Batnn kltrel
imgeleminde hl kaaklarn cirit
att, yoldan kmlarn ve airlerin
snd bir liman olsa da bugn durum,
William Burroughsun Ara Blgeyi
yazd, Paul Bowlesun mrnn byk
blmn geirdii dnemden ok farkl.
Bir adan bakldnda, Tancann
var olduunu sylemek mmkn deil,
* Beau Gestein sinopsisinden alnt. This is an excerpt from the synopsis of Beau Geste.
Antrepo no.3
concrete to reinforce a palm tree in a futile
attempt to prevent a patch of land from
being redeveloped.
Though theres a dispassionate,
documentary stance to this work, Barrada
herself is rarely content just to observe.
When the Art Deco Cinema Rif building,
which overlooks the citys Grand Socco
square, was threatened with demolition
a few years ago, she led a group that
took over the lease and transformed it
into the Cinmathque de Tanger. It now
presents a large and varied programme of
screenings and workshops throughout the
year, as well as accommodating festivals
and housing an archive of North African
cinema. ** Ian Francis
Y
T
O

B
A
R
R
A
D
A
diyor Yto Barrada. Bir ehir olduu
kadar srekli deien bir fikrin de
ad Tanca. Tancada byyen ve bir
dnem uzaklatktan sonra ehre geri
dnen sanat g kltrnn ehrin
dokusuna nasl ilendiini gsteren Boaz
Projesi balkl fotoraf serisinden, bir
arsann dntrlmesini engellemek iin
verdikleri nafile bir aba ierisinde beton
dkerek bir palmiye aacnn devrilme-
sini engellemeye alan bir grup insan
konu edinen 2009 tarihli Beau Geste
filmine- bu deiikliklere odaklanyor.
Yaptlarnda serinkanl, belgeseli
andran bir duru benimsese de
Barradann kendisi sadece gzlem
yapmaya nadiren raz oluyor. Birka yl
nce Grand Socco Meydanna bakan
Art Deco slubunda tasarlanm
Cinema Rif binas ykm tehdidiyle
kar karya kalnca, binann kira
szlemesini stlenerek buray
Cinmathque de Tanger isimli yeni
bir oluuma dntren gruba nclk
etti. Bugn bu oluum, yl boyunca
son derece geni ve eitli bir gste-
rimler ve atlyeler program sunuyor,
festivallere evsahiplii yapyor ve Kuzey
Afrika sinemasnn arivini bnyesinde
barndryor. ** Ian Francis
** Bu metin, Ian Francisin Haziran 2012 tarihli Sight and Sound dergisinde Yto Barrada ile yapt rportajdan
uyarlanmtr. This text is adapted from an excerpt in Tangerine dreams: Yto Barrada, interview with Yto Barrada by
Ian Francis in Sight and Sound magazine, June 2012.
B
e
a
u

G
e
s
t
e
,

2
0
0
9
B
e
a
u

G
e
s
t
e
,

2
0
0
9
Antrepo no.3
ZBIGNIEW LIBERA
Z
B
I
G
N
I
E
W

L
I
B
E
R
A
F
i
r
s
t

D
a
y

o
f

F
r
e
e
d
o
m
,

2
0
1
2

z
g

r
l

l
k

G

,

2
0
1
2
Zbigniew Libera greatly impacted
the post-1989 Polish art scene that
followed the regime change, radicalising
it andaccording to his 2001 manifesto
declaring a cold war on society.
His transgressive works, some produced
in prison or at a psychiatric hospital,
address issues such as the objectifcation
of the body, the perversity of childs
play, and the commercialisation of
the Holocaust. Since the 1980s this
underground artist has experimented
with a range of media: frst video and
photojournalism, followed by drawing
and installation, and currently staged
photographs and flm. He has modelled
for the prestigious avant-garde artist Zofa
Kulik and played in punk and industrial
music groups. He is presently working on
a science fction feature flm debut.
In recent years, Libera has focused on
debunking the idea of the objective truth
of the media by exposing its tools of
manipulation. He deconstructs political
and historical realities that are based on
second-hand testimony and experienced
through (the always suspect) posed,
journalistic frames that seduce the eye,
while lulling the viewers vigilance.
Liberas most recent staged photographs,
including the 2010 panoramic The Exodus
of the People from the Cities and the
2008 series The Gay, Innocent and
Heartless, are postcards from a future,
post-apocalyptic world. Two of the works
presented at the exhibition, History Lesson
(2012) and First Day of Freedom (2012),
1959da Pabianice, Polonyada dodu. Varova, Polonyada yayor ve alyor.
Born in 1959 in Pabianice, Poland. Lives and works in Warsaw, Poland.
Zbigniew Liberann 1989da gerekleen
rejim deiiklii sonras Polonya sanat
ortam zerinde nemli, radikalletirici
bir etkisi oldu sanat, 2001 tarihinde
yaynlad manifestosunda topluma
souk sava ilan ettiini aklamt.
Bazlarn hapishane veya akl hastanele-
rinde rettii, snrlar zorlayan
yaptlar, bedenin nesneletirilmesi,
ocuk oyunlarnn sapknl ve
soykrmn ticariletirilmesi gibi
konular ele alyor. Bu sistem d sanat
1980lerden bu yana farkl aralarla
deneysel almalar gerekletirdi: Video
ve fotohabercilik alannda altktan
sonra izim ve enstalasyonu da kulland,
imdilerde fotoraf ve film alannda
yaptlar retiyor. Sanat ayrca prestijli
avangard sanat Zofia Kulik iin model-
lik de yapt, ayrca punk ve endstriyel
mzik gruplarnda ald, u anda ise ilk
bilim kurgu filmi zerine alyor.
Libera son yllarda medyann manip-
lasyon aralarn tehir ederek nesnel
gereklik fikrinin maskesini drmeye
odakland. kinci el tanklklara dayal
ve izleyicinin tedirginliini yattrrken
gz kamatran, mizansenli gazeteci ii
kadrajlar araclyla deneyimlenen (ve her
zaman phe uyandran) siyasi ve tarihsel
gereklikleri yapskmne uratyor.
Aralarnda 2010 tarihli panoramik
nsanlarn ehirlerden G ve 2008
tarihli Neeli, Masum ve Kalpsiz
serisinin de bulunduu Liberann son
mizansen fotoraf lar, kyamet sonras
gelecekten gnderilmi kartpostallar.
Antrepo no.3
are part of the photography series New
Histories that shows small communities
seeking new forms of social organisation,
alternative economies, and, above all,
a means of survival in places emptied by
an unnamed catastrophe. History Lesson,
with guards patrolling a ghost town, was
staged in the now devastated Borne
Sulinowo, a Polish town where Russian
troops were garrisoned during communist
times. First Day of Freedom shows
the survivors celebrating ecstatically
among the ruins of the old world. Libera
suggests the dawn of new forms of self
-organised community: a world after
religion, a nation-state, banks, and
multinationals.
The third presented photograph, African
Tales by Shakespeare (2011), was
commissioned by the Nowy Theatre
in Warsaw as the poster for a show by
the same title presenting a postcolonial
reading of texts by Shakespeare, J. M.
Coetzee, and Wajdi Mouawad. Libera
draws on the life of the German director
Leni Riefenstahl, who, although most
famous for her Nazi propagandist flms,
photographed the Nuba tribe in Sudan
between 1962 and 1977. The photograph
shows the camera-laden 60-year-old
Riefenstahl accompanied by burly,
naked African men. Libera replicates and
reinterprets the situation in a striking,
novel confguration: an Asian tourist poses
with the primitive natives in the Polish
mountains. Sebastian Cichocki
Sergide yer alan iki yapt, Tarih Dersi
(2012) ve zgrln lk Gn (2012)
yeni toplumsal rgtlenme biimleri,
alternatif ekonomiler ve en nemlisi,
isimsiz bir felaket tarafndan boaltlm
yerlerde hayatta kalma taktikleri arayan
kk topluluklar resmeden Yeni Tarihler
balkl fotoraf serisinden. Bir hayalet
ehirde devriye gezen nbetileri gsteren
Tarih Dersi, komnist dnemde Rus
askeri birliklerinin konulandrld
bir Polonya kasabas olan, imdi harap
haldeki Borne Sulinowoda ekildi.
zgrln lk Gnnde ise hayatta kal-
may baaranlar eski dnyann ykntlar
arasnda kendinden gemiesine kutlama
yapyor. Libera din, ulus-devlet, bankalar
ve okuluslu irketler sonras bir dnyada
yeni toplumsal z-rgtlenme biimlerinin
ortaya kacan ngryor.
Sergideki Shakespeareden Afrika
Masallar (2011) adl nc fotoraf ise
ayn bal tayan ve Shakespeare, J. M.
Coetzee ve Wajdi Mouawadn metinleri-
nin postkolonyalist okumalarn ieren
bir oyun iin, sahnelendii Varova Nowy
Tiyatrosu tarafndan afi olarak sipari
edilmi. Libera bu iinde en nl yapt-
lar Nazi propaganda filmleri olmasna
ramen 1962 ve 1977 yllar arasnda
Sudanda Nuba kabilesinin fotoraf-
larn da eken Alman ynetmen Leni
Riefenstahln hayat hikyesinden yola
kyor. Fotorafta 60 yandaki, elinde
kamera tayan Riefenstahl, yannda
plak, yapl Afrikal erkeklerle yryor.
Libera bu durumu arpc ve daha nce
grlmemi bir konfigrasyonda tekrar
retiyor ve yorumluyor: Asyal bir turist
Polonya dalarnda ilkel yerlilerle
poz veriyor. Sebastian Cichocki
Z
B
I
G
N
I
E
W

L
I
B
E
R
A
A
f
r
i
c
a
n

T
a
l
e
s

b
y

S
h
a
k
e
s
p
e
a
r
e
,

2
0
1
1
S
h
a
k
e
s
p
e
a
r
e

d
e
n

A
f
r
i
k
a

M
a
s
a
l
l
a
r

,

2
0
1
1
Antrepo no.3
GALATA RUM
LKRETIM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
GALATA RUM
LKRETM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
Lutz Bacher
nci Eviner
Wang Qingsong
Rossella Biscotti
0
1
2
3
GALATA RUM
LKRETM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
1
0
KAT 1
FLOOR 1
2
1
3 3
KAT 2
FLOOR 2
8
8 9 10
10
11
2
5
6
7
4
KAT 3
FLOOR 3
Wang Qingsong
Nathan Coley
Peter Robinson
Lale Mldr & Kaan
Karacehennem &
Franz von Bodelschwingh
Falke Pisano
Basim Magdy
Jean Rouch
Toril Johannessen
Annika Eriksson
Mahir Yavuz & Orkan Telhan
Bertille Bak
Elmgreen & Dragset
Martin Cordiano &
Toms Espina
Vermeir & Heiremans
Agnieszka Polska
ener zmen
Serkan Taycan
Newspaper Reading Club
(Fiona Connor &
Michala Paludan)
Mlkszletirme Alar
Volkan Aslan
Sulukule Platformu
Proyecto Secundario
Liliana Maresca
2
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
GALATA RUM
LKRETM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
KAT 4
FLOOR 4
TERAS
TERRACE
18
19
20 21
23
19
19
22
24
17
16
16
13
12
2
15
14
AGNIESZKA POLSKA
S
a

[
W

o
s
y
]
,

2
0
1
2
H
a
i
r

[
W

o
s
y
]
,

2
0
1
2
A
G
N
I
E
S
Z
K
A

P
O
L
S
K
A
1985te Lublin, Polonyada dodu. Varova, Polonyada yayor ve alyor.
Born in 1985 in Lublin, Poland. Lives and works in Warsaw, Poland.
Agnieszka Polska examines the concepts
of amnesia, memory, and remembering,
specifcally as they pertain to art history,
investigating the institutional mechanics
of the legitimisation, exclusion, and
mythologisation of art. She focuses on
incorrectly memorised art history facts
rather than marginalised or forgotten ones.
Polskas flms document investigations
into art history events; (fake) material
evidence is presented as hypnotic
animated sequences, with enigmatic props
and philosophical texts.
Her flm Sensitisation to Colour [Uczulanie
na kolor] (2009) integrates and pays
homage to the work of the Polish
avant-garde artist Wodzimierz Borowski,
whose workin large parthas ceased
to exist because he employed unusual,
degradable materials. In the flm Garden
[Ogrd] (2010) she explored the work of
the legendary conceptual artist Pawe
Freisler, who in 1976 abandoned art
and left Poland for Sweden. Polska also
chronicled in her video How the Work is
Done (2011) the 1956 art students strike
at the Academy of Arts in Krakow (with
the basic assumption that every historic
account is wrong).
The flm Hair [Wosy] (2012) was made
as part of the art-and-research project
Auropol, initiated by the Polish artist Janek
Simon. Simon organised an expedition
with his artist friends to Auroville, India,
the experimental city where new forms of
administration, economics, architecture,
and spiritual communality were being
Agnieszka Polska, sanatn merulatrl-
mas, dlanmas ve bir mite dntrl-
mesini salayan kurumsal mekanizmalar
zellikle sanat tarihi balamnda
aratrarak, hafza kayb, hafza ve
hatrlama kavramlarn sorguluyor.
Marjinalletirilen veya unutulan olgulara
deil de, sanat tarihiyle ilgili yanl
ezberlenmi bilgilere odaklanyor.
Polskann filmleri sanat tarihindeki
olaylara ynelik sorgulamalar
belgeliyor ve bunlara dair (sahte) maddi
delilleri gizemli dekorlar ve felsefi
metinler eliinde hipnotize edici anime
sekanslar halinde sunuyor.
Sanatnn Renge Hassaslatrma
[Uczulanie na kolor] (2009) balkl
filmi, genellikle srad ve bozulabilen
malzemeler kulland iin yaptlar
byk oranda yok olup giden Polonyal
avangard sanat Wodzimierz
Borowskiye bir sayg duruu niteliinde
ve Borowskinin yaptlarn btnlyor.
Bahe [Ogrd] (2010) balkl filmde
ise sanat 1976da sanat brakarak
Polonyadan svee tanan efsanevi
kavramsal sanat Pawe Freislerin yapt-
larn inceliyor. Polska, Krakow Sanat
Akademisinde 1956 ylnda dzenlenen
sanat rencileri grevini de (tm tarihsel
anlatlarn yanl olduu varsaymyla)
Nasl Halledilir (2011) balkl
videosunda anlatyor.
Sa [Wosy] (2012) balkl film ise
Polonyal sanat Janek Simonun
balatt sanat ve aratrma projesi
Auropol kapsamnda retildi. Simon
Galata Rum lkretim Okulu Galata Greek Primary School
S
a

[
W

o
s
y
]
,

2
0
1
2
1 Agnieszka Polskann yazarla grmesinden. Agnieszka Polska, conversation with the author.
H
a
i
r

[
W

o
s
y
]
,

2
0
1
2
A
G
N
I
E
S
Z
K
A

P
O
L
S
K
A
tried out. He examined the infuence
of the utopian postulates implemented
in Auroville on the creative work of his
friends, who explore absurd existential
problems and doubt the possibility of
transparent participation in art.
1
Hair, Polskas contribution as an
expedition participant, is a partly animated
flm about the Polish hippie movement.
It begins by posing the following question:
If this event, having been transferred to
another place, should evolve so as to be
completely different, would it become
reactive or would it still be part of
the same revolution? Unlike their
American precursors, Polish hippies
did not rebel against conservative values
or unbridled consumption; instead, they
focused solely on creating an alternative
reality and detaching from the external
world through music and psychoactive
drugs. Hairs protagonists (animated and
played by nonprofessional actors) are two
Polish hippies, who tag along on a student
trip to India. Once in India their ideas
about a supranational community undergo
a reality check: the hippie movement is
dying, its members sinking into apathy,
from which they can be rescued only
by the enigmatic aurorite; an unknown,
intangible substance that is a catalyst of
change when it enters the body.
Sebastian Cichocki
sanat arkadalar iin, yeni ynetim,
ekonomi, mimarlk ve ruhsal birliktelik
biimlerinin aratrld Hindistandaki
deneysel ehir Aurovillee bir aratrma
turu dzenledi. Aurovillede uygulanan
topyac varsaymlarn absrd varolusal
sorunlar kefe kan ve sanatta effaf bir
katlmn mmkn olduundan phe
duyan arkadalarnn yaratc alma-
lar zerindeki etkisini inceledi.
1
Tura katlanlardan biri olarak
Polskann projeye katks Sa ise
Polonya hippi hareketi hakknda bir
ksm animasyon olan bir film. Film u
soruyla balyor: Eer bu olay, baka bir
yere aktarldnda tamamen farkl bir
ekilde evriliyorsa, tepkisel bir nitelik
mi kazanr, yoksa yine ayn devrimin bir
paras m olur? Amerikal ncllerinin
aksine Polonyal hippiler muhafazakr
deerlere veya dizginsiz tketime isyan
etmediler; bunun yerine sadece alternatif
bir gereklik yaratmaya ve mzik ve
keyif verici maddeler araclyla d
dnyadan kopmaya odaklandlar.
San (profesyonel olmayan oyuncular
tarafndan canlandrlan) kahramanlar
Polonyadan Hindistana giden bir grup
rencinin peine taklan iki Polonyal
hippi. Hindistana vardktan sonra
uluslarst toplulua ynelik fikirleri
bir gereklik snavndan geiyor: hippi
hareketi can ekiiyor, hippiler atalete
gmlyor, onlar bundan kurtaracak
tek ey ise gizemli aurorit, yani insan
bedenine girince deiimi tetikleyen
mehul, ele gelmez bir madde.
Sebastian Cichocki
Galata Rum lkretim Okulu Galata Greek Primary School
ANNIKA ERIKSSON
Taksim Meydanna kadar kouyoruz ve etrafnda dnp duruyoruz.
Using open-ended research methods,
performative narrative strategies,
experimental framing strategies, and
media ranging from video to performance,
Annika Eriksson seeks to continuously
develop and expand the defnition of
public space that she places at the centre
of her artistic practice. During an interview
we conducted at her 2012 solo exhibition
The Trilogy, held at the Knstlerhaus
Stuttgart, Eriksson responded to my
question about her general artistic
approach: My works emerge from
something I encounter and react
onoften in my surroundingsand then
I take it from there, sometimes a lot of
research is involved, sometimes not. I try
to embrace ideas with secrets that will only
be clear to me if I execute the work.
1

Erikssons video I am the dog that
was always here (loop) (2013) can be
considered a sequel to The Great Good
Place, which the artist shot in Istanbul
while participating in an artists residency
there in 2010. The video, set in the outskirts
of Istanbul, focuses on moments of
transition and marginalised experiences
of time, seen through the lens of a street
dog. Having been moved by the authorities
to peripheral pockets and no mans lands
outside the expanding city, the dogs
are continuously moving along lines of
gentrifcation and corporate city making.
Through looping and repetition, Eriksson
relates this process to an experience of
time, perceiving the present as a complex
gap between past and futureone in
which an increasing process of erasure,
Annika Eriksson, sanatsal pratiinin
merkezine yerletirdii kamusal olann
tarifini, ak ulu aratrma metodu,
performatif anlat stratejileri, videodan
performansa farkllaan retim biimleri
ve kadraj denemeleriyle srekli besle-
meye alr. 2012 ylnda Knstlerhaus
Stuttgartta gerekleen kiisel sergisi
The Trilogy kapsamnda yaptmz
bir syleide genel anlamda yaklamn
nasl tanmladna dair soruma verdii
cevap almalarnn k noktasn yle
zetliyor: lerim, evremde olup biten-
lerle girdiim ilikilenme biimlerinden
ve bunlara verdiim tepkilerden doar;
bu noktadan hareket ederek, bazen uzun
aratrma sreleri ierir, bazen daha
kolay ortaya kar. Ben de ancak al-
mam tamamland zaman netleebilen ve
aa kan baz srlar ieren bu fikirlere
sahip kmaya alyorum...
1

Ben hep burada olan kpeim (dng
halinde) (2013) isimli videosu, sanatnn
stanbulda bir misafir sanat
program dhilinde rettii ve aslnda
2010 ylnda yine stanbulda ektii
Bu Muhteem Gzel Yerin devam olarak
da dnlebilir. stanbulun kenar
mahallelerinde ekilen video, bir sokak
kpeinin gznden, gei anlarna ve
tekiletirilmi zamansal deneyimlere
odaklanr. Yetkililer tarafndan, gitgide
genileyen ehrin eperlerine ve sahipsiz
blgelerine itilen kpekler, devaml
olarak soylulatrma ve irketletirilmi
ehir planlamas arasnda salnr.
Eriksson, dngler ve tekrarlar
kullanarak bu sreci bir zaman
1956da Malm, svete dodu. Berlin, Almanyada yayor ve alyor.
Born in 1956 in Malm, Sweden. Lives and works in Berlin, Germany.
B
e
n

h
e
p

b
u
r
a
d
a

o
l
a
n

k

p
e

i
m

(
d

n
g

h
a
l
i
n
d
e
)
,

2
0
1
3
I

a
m

t
h
e

d
o
g

t
h
a
t

w
a
s

a
l
w
a
y
s

h
e
r
e

(
l
o
o
p
)
,

2
0
1
3
A
N
N
I
K
A

E
R
I
K
S
S
O
N
Galata Rum lkretim Okulu Galata Greek Primary School
Hadi kyameti kopartalm.
spurred on by a shrinking public realm,
also removes other registers of being
and seeing. I am the dog that was always
here (loop) is a fctitious fragment of reality
focusing on the existance of stray dogs
who, having been forced out of the city
by gentrifcation policies, live in exile. As
the dogs wander through deserted felds,
a voiceover gives us a tour of Tarlaba
Boulevard, the Grand Rue de Pera, and
Taksim Square. Who are the true owners
of the city?
Adnan Yldz and Annika Eriksson
deneyimiyle ilikilendirir ve imdiyi,
gemi ve gelecek arasndaki girift
bir boluk olarak inceler. Bu, ufalan
kamusal alann itkisiyle giderek artan
bir silme/yok etme srecinin, varolmaya
ve grmeye dair dier kaytlar da
ortadan kaldrd bir boluktur. Ben hep
burada olan kpeim (dng halinde) de
shhiletirme politikalar sonucu ehrin
dna srlm, srgnde yaayan sokak
kpeklerinin varlna odaklanm
bir kurgusal gereklik parasdr.
Kpekler ssz arazideyken ses bize szel
olarak, Tarlaba Bulvarn, Cadde-i
Kebiri, Taksim Meydann dolatrr.
Sahi, kentin gerek sahipleri kimlerdir?
Adnan Yldz ve Annika Eriksson
B
e
n

h
e
p

b
u
r
a
d
a

o
l
a
n

k

p
e

i
m

(
d

n
g

h
a
l
i
n
d
e
)
,

2
0
1
3
I

a
m

t
h
e

d
o
g

t
h
a
t

w
a
s

a
l
w
a
y
s

h
e
r
e

(
l
o
o
p
)
,

2
0
1
3
A
N
N
I
K
A

E
R
I
K
S
S
O
N
1 A Prologue for the Trilogy, Annika Erikksonla sylei, http://www.kuenstlerhaus.de/wp/wp-content/
uploads/2010/09/annika-text-poster-english_web.pdf Eriim: 10 Austos 2013. A Prologue for the Trilogy, An
Interview with Annika Eriksson. http://www.kuenstlerhaus.de/wp/wp-content/uploads/2010/09/annika-text-pos-
ter-english_web.pdf Accessed: 10 August 2013.
Galata Rum lkretim Okulu Galata Greek Primary School
BASIM MAGDY
1. ASLA BR EY
ANLADIINI VARSAYMA,
ANLAMI GB YAPMA.
NK SENN DE AYNI
BZM GB BR EY
ANLAMADIINI
BLYORUZ.
6. ASLA UYKUYA
YENK DME.
RYA GRRSN.
D

n
y
a
y

A
n
l
a
m
a
k

i

i
n

1
3

T
e
m
e
l

K
u
r
a
l
,

2
0
1
1
1
3

E
s
s
e
n
t
i
a
l

R
u
l
e
s

f
o
r

U
n
d
e
r
s
t
a
n
d
i
n
g

t
h
e

W
o
r
l
d
,

2
0
1
1
1977de Asyut, Msrda dodu. Basel, svire ve Kahire, Msrda yayor ve alyor.
Born in 1977 in Assiut, Egypt. Lives and works in Basel, Switzerland and Cairo, Egypt.
B
A
S
I
M

M
A
G
D
Y
Viewers of Basim Magdys works of art
invariably fnd themselves in a place
where ambiguity and confusion meet, as
Magdys artistic interests centre around
the ideas of incongruity and the absurd.
According to the artist, there is a certain
poetic quality to ambiguity that lingers and,
like an organic entity, keeps growing and
multiplying until it reaches a point where it
cant grow anymore. This is the point where
either you get what the work is about or you
just let it go.
1
This fnal point corresponds
to our notions of learning and knowledge.
Within all of this absurdity, the question that
underlines much of Magdys practice is how
you know that you know what you know.
Magdys piece 13 Essential Rules for
Understanding the World (2011) exhibited
at the 13
th
Istanbul Biennial, is a fve-
minute Super 8 flm that was transferred
to high-defnition video. The video
presents images of tulips, with faces
painted on them, interspersed with
seemingly arbitrary visuals, such as shots
of balloons fying, architectural details,
a sculpture of a dog, while a narrator
speaks over solemn music, itemising the
13 principles and offering condensed
explanations for these specifc rules. Rule
number 7 lists never try to make a point,
since no one will ever care; rule number
8, never use logic, is succeeded by the
Basim Magdynin yaptlarna bakan
izleyiciler kanlmaz olarak kendilerini
belirsizlik ile kafa karklnn bir
araya geldii bir yerde buluyorlar, nk
Magdynin sanatsal ilgi alanlarnn
merkezinde uyumazlk ve absrd
kavramlar yer alyor. Sanatnn kendi
ifadesiyle belirsizlik kavramnn
kendine zg, izleyicinin zihninde
etkisini srdren iirsel bir nitelii var,
yaayan bir varlk gibi, artk daha
byyemeyecei noktaya gelene dek
byyor ve oalyor. te bu noktada ya
yaptn ne hakknda olduunu anlyorsunuz
ya da yapt kendi haline brakyorsunuz.
1

te bu son nokta bizim renme ve
bilgi kavramlarmza karlk geliyor.
Tm absrdl ierisinde Magdynin
ilerinin byk bir ksmn belirleyen
soru, bildiimiz bir eyi bildiimizi
nasl bildiimiz sorusu.
Magdynin 13. stanbul Bienalinde
sergilenen yaptlarndan Dnyay
Anlamak in 13 Temel Kural (2011),
yksek znrlkl videoya aktarlm
be dakikalk Super 8 bir film. Videoda
zerlerine surat resimlerinin izildii lale
grntleri bulunuyor, bu grntlerin
arasna ise rastgele seildii anlalan
grseller serpitirilmi: uan balonlar,
mimari detaylar, bir kpek heykeli.
zleyici bunlara bakarken bir d ses, ar
1 Basim Magdy, Jessica Hunter-Larsen ile rportaj, How to Build an Invisible Monument Exhibition Catalogue
iinde (Colorado Springs: Coburn Gallery, Colorado College, 2013). Basim Magdy, interview by Jessica
Hunter-Larsen, in How to Build an Invisible Monument Exhibition Catalogue (Colorado Springs: Coburn Gallery,
Colorado College, 2013).
Galata Rum lkretim Okulu Galata Greek Primary School
*Bienalde Basim Magdynin bir dier yapt Her nce Jest (2012-devam etmekte) de sergileniyor. Yllardan beri biriktirdii fotoraf arivini, grnrde ilgisiz birer
lirik dize ile sunan Magdy, izleyiciyi yine kafa kartran bir grsellikle yzletirerek hikyeyi tamamlamaya aryor.
Also exhibited in the biennial is Basim Magdys Every Subtle Gesture (2012-ongoing). By presenting an archive of photos collected over years with seemingly
unrelated, lyrical verses, Magdy confronts the viewers with a confusing imagery and asks them to complete the story themselves.
H
e
r

n
c
e

J
e
s
t
,

2
0
1
2
-
d
e
v
a
m

e
t
m
e
k
t
e

E
v
e
r
y

S
u
b
t
l
e

G
e
s
t
u
r
e
,

2
0
1
2
-
o
n
g
o
i
n
g
B
A
S
I
M

M
A
G
D
Y
reason abstract behaviour is the way of
this world.
But who are these rules for? Is this
the world through the eyes of these tulips?
Are the principles directed at the audience,
other artists, the scientifc community,
or perhaps Magdy himself? The frst rule
in the flm also applies to much of Magdys
practice: never presume or pretend to
understand anything (the reason for
which, we are told, is we all know you
dont, just like we dont). The you here
can be either the audience or Magdy,
but the we defnitely refers to the tulips,
a point that, in the practice of Magdy,
makes perfect nonsensical sense.
Theodor Ringborg
bir mziin stne konuuyor ve
13 prensibi sayp bu belirli kurallarn
zet aklamalarn sunuyor. rnein 7
numaral kural, asla bir fikri kantla-
maya alma diyor, nk, asla
kimsenin umurunda olmayacaktr;
8 numaral kural ise asla manta
bavurma deyip arkasn dnyaya
uygun den soyut davrantr ifadesiyle
tamamlyor.
Peki ya bu kurallar kimin iin? Dnya
bu lalelerin gznden mi byle grn-
yor? Bu ilkeler izleyicileri mi, yoksa teki
sanatlar, bilim dnyasn m veya belki
de Magdynin kendisini mi hedef leyerek
sralanm? Filmde bahsedilen ilk
kural Magdynin almalarnn byk
bir ksm iin de geerli: asla bir eyi
anladn varsayma, anlam gibi
yapma (bunun sebebiyse, senin de
ayn bizim gibi bir ey anlamadn
biliyoruz). Buradaki sen veya siz,
izleyici veya Magdy olabilir, ama bizin
lalelere gnderme yapt kesin, ki bu
da Magdynin almalar erevesinde
mantksz bir manta mkemmelen uyan
bir fikir. Theodor Ringborg
Galata Rum lkretim Okulu Galata Greek Primary School
BERTILLE BAK
S
a
f
e
g
u
a
r
d

E
m
e
r
g
e
n
c
y

L
i
g
h
t

S
y
s
t
e
m
,

2
0
1
0
K
o
r
u
y
u
c
u

A
c
i
l

D
u
r
u
m

I

k

S
i
s
t
e
m
i
,

2
0
1
0
1983te Arras, Fransada dodu. Paris, Fransada yayor ve alyor.
Born in 1983 in Arras, France. Lives and works in Paris, France.
B
E
R
T
I
L
L
E

B
A
K
While Bertille Bak works in Paris, her pro-
jects take her far and wide as she inves-
tigates and instigates group processes in
various social settings. Whether in a small
coal-mining village in the north of France
or a neighbourhood of Polish immigrants
in the heart of Manhattan, the artist is ca-
pable of re-instantiating what she calls the
protective practices of microcommunities.
Bak then transcribes these processes
using her own, almost-ethnographic
language of flm- and map-making, as well
as through drawing and installations. The
vacillation of her projects between socially
scientifc research and art (or fction) alerts
the viewer to the dangerous and wondrous
porosity of those frameworks.
Safeguard Emergency Light System
(2010), a seven-minute flm shot in
documentary style, tells a story of
protest by residents living in an apartment
complex of about 2,000 households in
the Din Daeng neighbourhood of Bangkok,
Thailand. In 2008 the city-housing
authorities announced that, due to
the poor conditions of these decades-
old apartment blocks, the occupants would
be evicted and the buildings demolished
to make way for a commercial centre.
In response to a lack of compensation or
housing offered by the government,
the members of the Din Daeng community
launched a years-long neighbourhood
resistance, which was seldom covered
by Thai media.
Bertille Bak almalarn Pariste
srdryor, fakat projeleri onu, farkl
toplumsal durumlar ierisinde grup
srelerini inceledii ve harekete
geirdii eitli yerlere srklyor.
Sanat, ister Fransann kuzeyinde
kmr madenciliiyle geinen kk bir
kasabada, ister Manhattann kalbinde
Polonyal gmenlerin yaad bir
mahallede olsun, mikro-topluluklara
ynelik koruyucu pratikler adn
verdii sreleri rneklendirerek yeniden
oluturma becerisine sahip. Bak, daha
sonra bu sreleri, desenler ve yerle-
tirmelerin yan sra, kendi kurduu ve
neredeyse etnografik denebilecek, film
ve haritalandrma dilini de kullanarak
yeniden kayda geiriyor. Sanatnn
projelerinin topluma dair bilimsel
aratrma ile sanat (veya kurgu) arasnda
gidip gelmesi, izleyiciye bu erevelerin
tehlikeli ve harikulade gzenekliliine
dair bir farkndalk kazandryor.
Belgesel tarzndaki yedi dakikalk
Koruyucu Acil Durum Ik Sistemi
(2010), Taylandn bakenti Bangkokun
Din Daeng mahallesinde yaklak iki bin
ailenin yaad bir sitenin sakinlerinin
dzenledii protesto eyleminin hikyesini
anlatyor. Belediye iskan dairesi, 2008
ylnda bu onlarca yllk binalarn iinde
bulunduklar kt koullar sebebiyle
boaltlp yklacan ve yerlerine bir
ticaret merkezi yaplacan duyurdu.
Galata Rum lkretim Okulu Galata Greek Primary School
Safeguard Emergency Light System, 2010 Koruyucu Acil Durum Ik Sistemi, 2010
B
E
R
T
I
L
L
E

B
A
K
Through Safeguard Emergency Light
System, Bak presents one subversive and
poetic strategy employed by the residents
of one block of fats, who transformed
a revolutionary song into a choreographed
visual code using household fashlights.
The orchestration of clicking torches
became a magnum opus of self-
organisation, with rigid grid structures
surrounding them as the backdrop.
Baks camera lens captures a score of
signals fickering on and off
that resonate far beyond the balconies
of Bangkok. Clare Butcher
Devletin tazminat deme veya evi
yklanlara barnak salama konusundaki
yetersizliine tepki olarak Din Daeng
sakinleri uzun yllar srecek ve
Tayland medyasnda ok az yer bulan
bir mahalle direnii balattlar.
Koruyucu Acil Durum Ik Sisteminde
Bak, el fenerleri kullanarak devrimci
bir mar koreografili bir grsel koda
dntren bir apartman dolusu insann
bavurduu radikal ve iirsel stratejiyi
izleyicisine sunuyor. Yanp snen
fenerlerin orkestrasyonu, arka planda
apartmanlarn oluturduu kat zgara
planl yaplarn grntsyle birlikte,
bir kendi kendine rgtlenme bayaptna
dnyor. Bakn kamerasnn mercei
Bangkokun balkonlarnn ok tesinde
yanklanan ve bir yanp bir snen
sinyaller yakalamay baaryor.
Clare Butcher
Galata Rum lkretim Okulu Galata Greek Primary School
ELMGREEN &
DRAGSET
E
L
M
G
R
E
E
N

&

D
R
A
G
S
E
T
P
a
r
i
s

D
i
a
r
i
e
s
,

2
0
0
3
P
a
r
i
s

G

n
l

k
l
e
r
i
,

2
0
0
3

1995te Kopenhag, Danimarkada bir araya gelen sanat ikilisi. almalarn
Londra, ngiltere ve Berlin, Almanyada srdryor. Artist duo founded in 1995
in Copenhagen, Denmark. Based in London, UK, and Berlin, Germany.
Elmgreen & Dragsets work evokes the
conceptual existence of the stage, the
anti-monumental, an uncanny understand-
ing of space and the body, the chaos of
the city, diversity, and poetic reality. The
images, performances and installations
that the duo have produced since 1995
have played key roles for architectural
reality, the design generation, and the
transformation of the visual language of
contemporary art. Moreover, they sustain
an ongoing relationship with Istanbul
through their practice. The 2005 Open
House was an open invitation to
the public. This spare, roofess
architectural structure, a shanty-like nest
in the middle of a street, shrank from its
surrounds but looked towards the stars,
with a view of the Golden Horn. In terms
of the conceptual relationship between
performance and performative practices,
Drama Queens (produced for the 2007
Mnster Sculpture Projects) was a turning
point in their work. When the project,
written as a theatrical play on the topic of
20
th
century art, was restaged at the 2008
Frieze Art Fair, Kevin Spacey voiced one
of the characters.
For the 13
th
Istanbul Biennial, Elmgreen &
Dragset designed different scenarios that
take the most personal angle possible
in order to address the generational
breaks and historical transformations
experienced in both public space and
the political realm in Istanbul. Their
performances, which will take place in the
Galata Greek Primary School, build on an
Elmgreen & Dragsetin almalarnda,
sahnenin kavramsal varl, iirsel
gereklik, ters-antsalln imknlar,
tekinsiz bir beden ve mekn anlay,
kentli karmaa ve oul kimlikler hemen
sezilir. 1995ten beri birlikte alan
ikilinin rettii imaj, iliki, obje,
performans ve enstalasyonlar, mimari
gereklik, tasarm kua ve gncel
sanattaki grsel dil dnmnde kilit
rol oynad. stelik stanbulla, pratikleri
dhilinde dnen sk bir ilikileri
var. 2005te rettikleri Kullanm Evi,
kamuya ak bir nermeydi. Tavan
olmayan bu gecekondu-vari yuva,
sokakta/ortada kalan, etraftan korkan/
ekinen, ama yldzlara bakarak, Halii
seyredebileceiniz yaln bir mimari
yapyd. Performansla ve performatif
yaklamla olan kavramsal ilikileri
asndan, 2007 ylnda Almanyann
Mnster kentinde gerekleen Skulptur
Projekte kapsamnda ortaya koyduklar
Drama Queens bir dnm noktasyd. 20.
yzyl sanat zerine bir tiyatro oyunu
olarak tasarlanan proje, 2008 ylnda
Frieze Sanat Fuar dhilinde yeniden
sergilendiinde, oyuncu-seslerden biri
Kevin Spaceye aitti.
13. stanbul Bienali iin yeni bir proje
retmeyi amalayan Elmgreen & Dra-
gset, stanbulda, hem kamusal alanda
hem de siyasal anlamda yaanan kuak
krlmasna ve tarihsel dnme
mmkn olan en kiisel noktadan
yola kan bir yorum getirmek iin
farkl senaryolar tasarlad. Galata zel
Galata Rum lkretim Okulu Galata Greek Primary School
E
L
M
G
R
E
E
N

&

D
R
A
G
S
E
T
existing inclination within their oeuvre. In
a performance in 2003 in Galerie
Emmanuel Perrotin, Paris, fve young
men spent the duration of the exhibition
thinking, keeping journals, writing in
notebooks in an exhibition space full of
desks. The artists, who hired the young
men, later included their writings in a
publication.
To this literary gesture, which suited Paris
very well, was added another reason
to re-functionalize it in the changing
political context in Istanbul: the return of
subjectivity. During the process of the
artworks production, the new, creative
political slogans, tags, and sentences that
emerged during the Gezi Park protests,
their erasure, and daily painting-over (in
yellow, gray), and their censorship by
ruling powers, stimulated Elmgreen &
Dragset to return to the themes of per-
sonal and subjective existence, collective
thought and individual time. Recalling that
politics is a problem of language above all
else, we may borrow the language of the
street: Damn Certin Things and Where
are you my love? Here I am my love!
Adnan Yldz
Rum lkretim Okulunda gerekle-
tirilecek olan performanslar, kendi
sanat tarihleri iinden gelen bir kaydn
yeniden retilmesine dayal. 2003 yln-
da, Pariste bulunan Galeri Emmanuel
Perrotinde gerekleen performans
dhilinde, be gen adam sergi boyunca,
yaz masalar ile tarif lenmi sergi
meknnda dnr, gnlk tutar,
defter doldurur, yazarak zaman geirir.
Sergi meknnda gnlk tutmak iin
gen adamlarla ibirlii yapan ikili,
daha sonra bu notlara yaynlarnda da
yer verir.
Parise ok yakan bu edebi jeste,
stanbulda, deien siyasi balamda
performans yeniden ilevsel klacak bir
neden de eklendi: znelliin geri dn.
nk, sre iinde, Gezi Park protesto-
lar esnasnda ortaya kan, yaratc ve
siyaseten yeni sloganlar, tagler ve cm-
leler; bunlarn iktidar gleri tarafndan
sansrlenmesi, silinmesi, sokaklarda,
duvarlarda stlerinin her gn yeniden
(sarya, griye) boyanmas, sanat
ikilisinin bu sergi vesilesiyle kiisel ve
znel olana, oul dnceye ve bireysel
zamana tekrar geri dnme kararn
tetikledi. Siyasetin her eyin ncesinde
ve tesinde, bir dil problemi olduunu
iaretleyerek, sokaktan alarsak:
Kahrolsun Baz eyler ve Nerdesin
Akm? Burdaym Akm!
Adnan Yldz
P
a
r
i
s

D
i
a
r
i
e
s
,

2
0
0
3
P
a
r
i
s

G

n
l

k
l
e
r
i
,

2
0
0
3
Galata Rum lkretim Okulu Galata Greek Primary School
FALKE PISANO
bir f ikrin nasl insann merkezi olduu
1978de Amsterdam, Hollandada dodu. Berlin, Almanyada yayor ve alyor.
Born in 1978 in Amsterdam, the Netherlands. Lives and works in Berlin, Germany.
D
i
s
o
r
d
e
r
e
d

B
o
d
i
e
s

F
r
a
c
t
u
r
e
d

M
i
n
d
s

(
P
r
i
v
a
t
e

M
.
,

P
a
t
i
e
n
t

A
.

&

T
r
a
v
e
l
l
e
r

H
.
)
,

2
0
1
2
B
o
z
u
l
m
u

B
e
d
e
n
l
e
r

a
t
l
a
m

Z
i
h
i
n
l
e
r

(
E
r

M
.
,

H
a
s
t
a

A
.

&

G
e
z
g
i
n

H
.
)
,

2
0
1
2
F
A
L
K
E

P
I
S
A
N
O
The core of Falke Pisanos work to
date lies in the political and theoretical
fgurations of speech and bodies, and
the potential transfguration of both within
the feld of art. Her projects often revolve
in cycles (through iterations, involving
minimalist sculptural forms, videos, and
diagrams), whereby the artist deepens
her inquiries into history and discourse.
Pisanos own interlocution of these
more material presentations, in lecture
performances and voice-over narratives,
makes manifest the role of language as
a pivotal construct, capable of forming
relations between herself and the diverse
realms of her artistic investigation, namely
subjectivity, authorship, agency,
and representation.
Disordered Bodies Fractured Minds
(Private M., Patient A. & Traveller H.)
(2012), Pisanos work comprised of two
videos, is a part of her much larger project,
The Body in Crisis, which she began
in 2011. In this project, Pisano focuses
on six historical moments, in which living
conditions have changed, triggering
moments of what she calls, the body
in crisis. These events pertain to shifts
in various arenas of social life, ranging
from the institutional and geographical,
to the personal and physical. They
include the development of the theory
of the four humours in Pergamon;
the transition from feudalism to capitalism
and the Dutch colonial experiences
in the 1500s; as well as the establishment
of the frst medical educational clinics
in France introducing a new approach
Falke Pisanonun bugne kadar rettii
yaptlarn znde, konuma eyleminin
ve bedenin siyasal ve kuramsal alanda
temsili ve bunlarn sanat alanndaki
olas bakalam yer alyor. Sanatnn
yaptlar genellikle (minimalist heykeller,
videolar ve diyagramlarn yer ald
yinelemeler araclyla) tarih ve sylem
konusundaki aratrmalarn derin-
letirdii dngler halinde ilerliyor.
Pisanonun sunum-performanslar ve
seslendirmeler araclyla kulland
bu mecralara bir ses kazandrmas, dilin,
sanatnn kendisiyle sanatsal aratr-
malarn srdrd alanlar arasnda
iliki kurabilen, merkezi nemde bir yap
olarak roln grnr klyor.
Pisanonun iki videodan oluan yapt
Bozulmu Bedenler atlam Zihinler
(Er M., Hasta A. & Gezgin H.) (2012),
2011de balad ok daha byk lekli
projesi Bedenin Krizinin bir paras.
Bu projede Pisano yaam koullarn
deitiren ve sanatnn bedenin krizi
adn verdii anlar tetikleyen alt
tarihsel zamana odaklanyor. Bu olaylar
toplumsal hayatn, kurumsal ve corafi
olandan, kiisel ve fiziksel olana uzanan
eitli alanlarna karlk geliyor. Bu
olaylar arasnda Bergamada drt salg
kuramnn gelitirilmesi; feodalizmden
kapitalizme gei ve Hollandallarn
16. yzylda gerekletirdikleri smr-
gecilik hareketleri; 18. yzyln sonunda
Fransada hastalklarn tedavisine yeni
bir yaklam getiren ilk tbbi eitim
kliniklerinin kurulmas ve 1980lerde
Amerika Birleik Devletlerinde
Galata Rum lkretim Okulu Galata Greek Primary School
eer bir yandan bakasnn karna deilse, hasta olduuma inanamyorum
to the sick at the end of the 18
th
century;
and the privatization of prison labour in
the United States in the 1980s. In the case
of Disordered Bodies Fractured Minds
(Private M., Patient A. & Traveller H.), it is
the trauma of modern warfare in Europe
during the frst half of the 20
th
century.
In the frst video, Disorder of Composition,
this trauma is narrated by the voice of
(what is presumed to be) the subject or
subjects of crisis. The breaking down of
text, image and language, in the second
piece Composition, is reconstituted by
the artists visual and verbal inscriptions.
The duality of these pieces in their
aesthetics and register, looping asynchro-
nously, actualises the kind of disjuncture
between mind and matter, memory and
history that forms the basis of much of
the Western philosophical inquiry around
questions of corporeality. Similarly,
the multiplicity of subjectivities named
in the title brings to mind what Foucault
called the carceral archipelago, in which,
through the states implementation of
various disciplinary and surveillance
apparatuses, citizens, patients, and
outcasts are left stranded on a series of
disconnected islands. Clare Butcher
mahkmlarn emeinin zelletirilmesi
yer alyor. Bozulmu Bedenler atlam
Zihinler (Er M., Hasta A. & Gezgin H.)de
ise Pisano 20. yzyln ilk yarsnda
modern savan Avrupada yaratt
travmay konu alyor. Kompozisyonun
Bozulmas balkl ilk videoda bu travma
krizin zne veya znelerine (veya bu
zneler olduunu zannettiimiz kiilere)
ait bir sesle aktarlyor. Metin, imge ve
dilin zlen yaps Kompozisyon balkl
ikinci videoda sanatnn grsel ve szel
kaytlaryla yeniden kuruluyor. Bu
birbiriyle ezamanl olmadan, uyumsuz
bir ekilde dnen videolarn estetik ve
ton asndan sergiledii ikilik, Batdaki
maddesellie dair felsefi sorgulamann
byk ksmna temel oluturan zihin
ve madde, hafza ve tarih arasndaki
kopukluu temsil ediyor. Benzer ekilde,
balkta vurgulanan znelliklerin
katmanl hali Foucaultnun hapishane
takmadas adn verdii durumu
hatrlatyor: Hapishane takmadasnda
devletin eitli disiplin ve denetleme
aygtlarnn uygulamalar sonucunda
vatandalar, hastalar ve dlananlar
bir dizi birbiriyle balantsz adada
mahsur kalrlar. Clare Butcher
B
o
z
u
l
m
u

B
e
d
e
n
l
e
r

a
t
l
a
m

Z
i
h
i
n
l
e
r

(
E
r

M
.
,

H
a
s
t
a

A
.

&

G
e
z
g
i
n

H
.
)
,

2
0
1
2
D
i
s
o
r
d
e
r
e
d

B
o
d
i
e
s

F
r
a
c
t
u
r
e
d

M
i
n
d
s

(
P
r
i
v
a
t
e

M
.
,

P
a
t
i
e
n
t

A
.

&

T
r
a
v
e
l
l
e
r

H
.
)
,

2
0
1
2
F
A
L
K
E

P
I
S
A
N
O
Galata Rum lkretim Okulu Galata Greek Primary School
JEAN ROUCH
Jean Rouchs innovative ethno-fction is
nourished by his idiosyncratic understand-
ing of visual anthropology, which unsettles
the categories defned by Cartesian
Perspectivalism earlier ethnographers
employed in flmmaking. Rouch encourages
the disruption of the boundaries between
the world and the self, the mind and
the body, the minds eye and the surveying
eye. His bold, playful, and imaginative
anthropology is emancipated from
the scepticism of intellectual discourse.
The crystal clear inspirations for his
particular vision are European
Romanticism (including its offshoot Sur-
realism) and African trance and spiritual
possession. Rouchs use of cinema verit
is an internalization of kino pravda (flm
truth), pioneered by Soviet director Dziga
Vertov, whose driving force is the capture
of fragmented realities, revealing a deeper
truth than that which is discernible to
the naked eye. Thus, Rouchs cinema is
based more on what-ifs than what is. For
him (as for Vertov), art is not about the
truth out in the world but what the camera
could revealthe truth inside the camera.
Rouch began his long association with
African subjects after working as a civil
engineer in Niger and Senegal between
1941 and 1944. He carried out ethnographic
enquiries in Africa before formally studying
the discipline at the Sorbonne from 1945
to 1946. Shot in colour in 16 mm on
a handheld camera, his frst ethno-fction,
The Mad Masters [Les Matres Fous]
(1955), documents a possession ceremony
Jean Rouchun yeniliki etnografik
kurgu-belgeselleri sanatnn grsel
antropoloji konusundaki kendine zg,
daha nceki dnemlerde film eken
etnograf larn bavurduu Kartezyen
Perspektifiliin tanmlad kategori-
leri sarsan anlayndan beslenir. Rouch
dnya ve benlik, zihin ve beden, zihin
gz ve gzlemci bak arasndaki
snrlarn bozulmasn tevik eder.
Rouchun cesur, oyuncu ve hayalperest
antropolojisi entelektel sylemin
pheciliinden syrlmtr.
Rouchun kendine zg baknn net
ilham kaynaklar Avrupa Romantizmi
(ve bunun bir trevi olan Srrealizm)
ve Afrika kaynakl trans ve ruhu ele
geirme pratikleridir. Rouchun gerek
sinemay (cinema verit) kullanma biimi
Sovyet ynetmen Dziga Vertovun, itici
gc plak gzn grebileceinden daha
derin bir hakikati ortaya seren paralanm
gerekliklerin yakalanmas olan kino
pravdasnn (sine-hakikat) iselle-
tirilmesiyle ortaya kar. Dolaysyla
Rouchun sinemas olan zerine deil,
ya baka trl olsaydlar zerine
kuruludur. Rouch (ve Vertov) iin sanat,
dnyann hakikati hakknda deil,
kamerann ortaya karabildii, yani
kamerann iindeki hakikat hakkndadr.
Rouch, Nijer ve Senegalde 1941 ve 1944
yllar arasnda inaat mhendisi olarak
altktan sonra Afrikada olup bitenle
ilgilenmeye balar. Afrikada etnografik
aratrmalar gerekletirir ve ardndan
1945 ve 1946 yllarnda Sorbonne
T
h
e

M
a
d

M
a
s
t
e
r
s

[
L
e
s

M
a

t
r
e
s

F
o
u
s
]
,

1
9
5
5

l
g

n

E
f
e
n
d
i
l
e
r

[
L
e
s

M
a

t
r
e
s

F
o
u
s
]
,

1
9
5
5
1917de Paris, Fransada dodu. 2004te Birni-NKonni, Tahoua, Nijeryada ld.
Born in 1917 in Paris, France. Died in 2004 in Birni-NKonni, Tahoua, Niger.
J
E
A
N

R
O
U
C
H
Galata Rum lkretim Okulu Galata Greek Primary School
performed on a Sunday by members of
the Hauka sect working as migrant labourers
in Accra, Ghana. The Hauka emerged as
a form of resistance against French rule
in Niger during the 1920s and became
popular with the rural people who migrated
to work in Accra and Kumasi, Ghana.
The documentary was made at the request
of the subjects of the flm, who, after
viewing a screening of his Hippopotamus
Hunt [La Chasse lHippopotame] in
1950, asked whether he would flm one of
the most important Hauka ceremonies that
took place annually on the Gold Coast.
Rouchs camera widens the circle of
spectatorship for this ritual, performs
in it rather than merely documenting, and
challenges the viewers notions of power
and representation in the relationships
between the colonizers and the colonized.
In the beginning of The Mad Masters,
Rouch declares that the ritual to
follow is le refet de notre civilisation
(the refection of our civilization). He
performs this intense play of mimicry
based on possession, leaving the viewer
with the fundamental question of who
the master really is. vl Durmuolu
niversitesinde bu disiplinin eitimini
alr. Portatif bir 16 mm kamerayla renkli
ektii ilk etnografik kurgu-belgesel
lgn Efendiler [Les Matres Fous] (1955)
Ganann bakenti Akrada gmen ii
olarak alan Hauka tarikat yelerinin
bir pazar gn gerekletirdikleri ruhlar
tarafndan ele geirilme trenini belgeler.
Hauka, 1920lerde Nijerdeki Fransz
smrge ynetimine kar bir direni
oda olarak rgtlenmi ve Ganann
Akra ve Kumasi ehirlerine almak
iin g eden krsal kkenli insanlar
arasnda poplerlik kazanm. Bu
belgesel, 1950 ylnda Su Aygr Avn
[La Chasse lHippopotame] seyrettikten
sonra filmi eken Rouchu Altn Sahilinde
her yl gerekleen en nemli Hauka
trenlerinden birini kaydetmeye davet
eden ve filme konu olan kiilerin istei
zerine yaplm.
Rouchun kameras bu ritelin izleyici
emberini geniletiyor, belgelemekten ok
bu ritelin iinde kendi performansn
gerekletiriyor. zleyiciyi, smrgele-
tiren ve smrgeletirilen arasndaki
ilikiler erevesinde iktidar ve temsil
kavramlarn gzden geirmeye zorluyor.
lgn Efendilerin banda Rouch,
izleyeceimiz ritelin le ref let de notre
civilisation (bizim uygarlmzn bir
yansmas) olduunu belirtiyor. Rouch,
ruhun ele geirilmesi olgusu zerine
kurulu bu taklit oyununu seyreden
izleyiciyi temel bir meseleyle, gerek
efendinin kim olduu sorusuyla ba baa
brakyor. vl Durmuolu
J
E
A
N

R
O
U
C
H
T
h
e

M
a
d

M
a
s
t
e
r
s

[
L
e
s

M
a

t
r
e
s

F
o
u
s
]
,

1
9
5
5

l
g

n

E
f
e
n
d
i
l
e
r

[
L
e
s

M
a

t
r
e
s

F
o
u
s
]
,

1
9
5
5
Galata Rum lkretim Okulu Galata Greek Primary School
LALE MULDUR
&
KAAN
KARACEHENNEM
&
FRANZ VON
BODELSCHWINGH
V
i
o
l
e
n
t

G
r
e
e
n
,

2
0
1
3
A
z

Y
e

i
l
,

2
0
1
3
Mldr 1956da Aydn, Trkiyede dodu; Karacehennem 1975te Ankara,
Trkiyede dodu; von Bodelschwingh 1984te Hamburg, Almanyada dodu.
stanbul, Trkiyede yayor ve alyorlar. Mldr born in 1956 in Aydn, Turkey;
Karacehennem born in 1975 in Ankara, Turkey; von Bodelschwingh born in 1984
in Hamburg, Germany. Live and work in Istanbul, Turkey.
L
A
L
E

M

L
D

R

&

K
A
A
N

K
A
R
A
C
E
H
E
N
N
E
M
&

F
R
A
N
Z

V
O
N

B
O
D
E
L
S
C
H
W
I
N
G
H
Here am I, with one big question
in front of me.
I was asking this in order to be sure that
I am one of those good poets,
whom Proust was talking about.
The alphabets are insuffcient.
They were so insuffcient that sometimes
it was becoming impossible to differentiate
between the two -the people and
the poets. And I fnd cinema, more and
more, indicative of beings and their
unnatural circumstances.
Yes, life is a long way while the cinema is
its guerilla warfare.
It searches for the inhabitual philosophy of life
and death, as well as the barbarity of the soul.
Lale Mldr
For some time, Istanbul poet Lale Mldr
has been saying in her interviews that
she wants to make flms, emphasizing
that, of the various art forms, flm is
the one in which she has the most faith.
About a year ago, she crossed paths
with Kaan Karacehennem and Franz von
Bodelschwingh, who had been making
experimental flms together for the past
three years. Filmmaking, just like sharing
life, time, and the moment, came about as
nmde byk bir soruyla
karnzdaym

Bunu soruyorum nk Proustun
bahsettii o iyi airlerden biri olup
olmadm merak ediyorum...
Alfabeler yetersiz. O kadar yetersiz ki
bazen ikisi arasnda insanlar ve
airler ayrm yapmak bile imknsz.
Ve ben giderek, sinemann, varlklar
ve onlarn gayritabii durumlarn
daha net gsterdiini dnyorum.

Evet, hayat uzun bir yol ve sinema onun
gerilla harbi.
Sinema hayatn ve lmn allagelmedik
felsefesini, bir yandan da ruhun
barbarln aryor.
Lale Mldr
stanbullu air Lale Mldr, bir
zamandr rportajlarnda artk film
yapmak istediini sylyor, sanat formu
olarak en ok filme inandnn altn
iziyordu. yldr birlikte deneysel film
almalar yapan Kaan Karacehennem
ve Franz von Bodelschwingh ile
hemen hemen bir sene nce yolu
kesiince, film yapmak hayat, vakti ve
an paylamak gibi, kendiliinden doan
ve ilerleyen bir sre oldu. ektikleri
Galata Rum lkretim Okulu Galata Greek Primary School
a natural process with its own fow.
At one point in the resulting footage,
Mldr states, Im the director, Kaan and
Franz are shooting the flm, baby, whereby
she alters the common perception where
the director is defned as the one who
shoots the flm. As those who shoot
the moment, in other words, the record
keepers, Kaan and Franz construct
their subjectivities in the flm by making
themselves somewhat transparent.
Kaan brushes Lales hair; Franz hands
Lale a ringing telephone. Set in motion by
Lales words, and augmented through her
performance, the experimental narrative
which is simultaneously a portrait, social
commentary, even satirebecomes
Lales Film. In Fulya Erdemcis words,
poetry is encarnalized. With the invitation
of Erdemci, who has borrowed the title
of the 13
th
Istanbul Biennial from Lale
Mldrs book Mom, am I barbarian?,
it turns into a collection of moments cut
from nearly 300 hours of footage for
the biennial exhibition. A station en route
to a feature flm, Violent Green (2013)
both collects the wild, fragile and uncanny
moments within the public/space in
contemporary Istanbul, and brings us
closer to poetry nested within the moment.
Violent Green is almost a prelude from the
upcoming flm. Chinawomans song
Ill be your woman passes through it.
Upon white snow, among the fantastical
beauty of today that recalls the Wizard of
Oz, it becomes a silent poem.
malzemenin bir yerinde Mldr,
ben ynetmenim, Kaan ve Franz da
filmi ekiyor gzelim derken, aslnda
ynetmenin film eken olarak
tarif lendii algy bozuyor. Kaan ve
Franz, an filme eken yani kayd
tutanlar olarak; filmin iindeki
znelliklerini bir nevi effaf laarak
kuruyor. Kaan, Lalenin san taryor;
Franz alan telefonu Laleye uzatyor.
Mldrn sz ile tetikledii, performans
ile genilettii ve portreden sosyal
eletiriye hatta hicve uzanan bu deneysel
anlat, Lalenin Filmi oluveriyor.
Fulya Erdemcinin ifadesi ile iir
cismanileiyor. 13. stanbul Bienalinin
baln Lale Mldrn deneme
yazlarn toplad Anne, ben barbar
mym? adl eserinden dn alan
Erdemcinin davetiyle, bugne kadar
ekilen yaklak 300 saatlik malzemeden
bienal sergisi iin kesilmi anlarn
toplamna dnyor. Uzun metrajl
filme giden yolda bir istasyon olan
Azl Yeil (2013) hem zamannn
stanbulunda kamusal olann/alann
iindeki vahi, krlgan ve tekinsiz anlar
topluyor, hem de bizi ann iinde sakl
duran iire yaklatryor. Azl Yeil,
adeta gelecek filmden kan bir prelt.
inden Chinawomann Ill be your
woman arks da geiyor. Sessiz bir
iire dnyor; beyaz karlarn stnde,
bugnn Oz Bycsn anmsatan
masal gzelliinde.
L
A
L
E

M

L
D

R

&

K
A
A
N

K
A
R
A
C
E
H
E
N
N
E
M
&

F
R
A
N
Z

V
O
N

B
O
D
E
L
S
C
H
W
I
N
G
H
V
i
o
l
e
n
t

G
r
e
e
n
,

2
0
1
3
A
z

Y
e

i
l
,

2
0
1
3
Galata Rum lkretim Okulu Galata Greek Primary School
MAHIR YAVUZ &
ORKAN TELHAN
Mahir Yavuz and Orkan Telhans
collaborative practice is centred around
questions concerning the culture of data
and its social, economic, political, and
legal implications for public space and
the built environment. Their work involves
developing new tools, technologies, and
media that uses data-driven frameworks
to engage with online and offine
audiences via publications, art objects and
installations. Their practice utilizes multiple
modes of inquiryfrom cultural ethnography,
statistical and semantic analysis to
investigative data journalismto provide
a multitude of perspectives on topics such
as the recent economic and political
transformations in modern history of
Turkey, the impact of technology on
globalization, and neoliberal social
engineering projects around the world.
The Road of Cones: The Eviction of
Social Memory (2013) is set up as
a reminder for the so-called transformations
in public memory of Turkey. Under
the rubric of urban renewal, Turkey is
facing a historical eviction; a systematic
and multifaceted project pursued by
many actors from capital owners to
religious and political leadership.
It involves the displacement of ethnic
communities, redistribution of wealth,
the privatization of natural resources,
the transformation of urban land to fnance
the state apparatus, and more importantly,
the replacement of public memory with
new narratives in support of the ruling
class. As a country historically shaped
Mahir Yavuz ve Orkan Telhann ortak
almalar veri kltr ve bunun sosyal,
ekonomik, politik ve yasal etkilerinin
kamusal alan ve insan yaplamas zerine
etkilerini inceleyen sorular etrafnda
konumlanr. Bu almalar, veri analiz
ve grselletirme aralar, yeni medya
teknolojileri ve arayzleri gelitirerek
basl ve internet zerinden yaynlar,
sanat nesneleri ve yerletirmeler ile farkl
kitlelere ulatrr. Pratikleri, kltrel
etnografya, istatistiksel ve semantik
analiz ve aratrmac veri habercilii
gibi yntemlerden faydalanarak, yakn
Trkiye tarihindeki ekonomik ve politik
deiimler, teknolojinin kresellemeye
etkisi ve dnya apnda neo-liberal
toplumsal mhendislik projeleri gibi
konular zerine birden fazla perspektif
sunmay amalar.
Klahl Yol: Toplumsal Bellein
Tahliyesi (2013) toplumsal belleimizdeki
szde dnmleri anmsatmak
amacyla kurgulanmtr. Trkiye,
kentsel yenileme ad altnda tarihsel
bir tahliye ile kar karyadr; sermaye
sahiplerinden dini ve politik liderlere
uzanan birok aktr tarafndan yrtlen
sistematik ve ok katmanl bir proje.
Bu tahliye, etnik gruplarn yerlerinin
deitirilmesi, gelir dalmnn yeniden
dzenlenmesi, doal kaynaklarn zelle-
tirilmesi, kentsel alann dntrlerek
devlet aygtna finans kayna olutu-
rulmas ve daha da nemlisi, egemen
snfn karlarn merulatrma stne
kurgulanan yeni sylemlerle toplumsal
K

l
a
h
l

Y
o
l
:

T
o
p
l
u
m
s
a
l

B
e
l
l
e

i
n

T
a
h
l
i
y
e
s
i
,

2
0
1
3
T
h
e

R
o
a
d

o
f

C
o
n
e
s
:

T
h
e

E
v
i
c
t
i
o
n

o
f

S
o
c
i
a
l

M
e
m
o
r
y
,

2
0
1
3
2013te New York, NY, ABDde kurulan sanat kolektifi. almalarn New York,
NY, ABDde srdryor. Artists collective founded in 2013 in New York, NY, USA.
Based in New York, NY, USA.
M
A
H

R

Y
A
V
U
Z

&

O
R
K
A
N

T
E
L
H
A
N
Galata Rum lkretim Okulu Galata Greek Primary School
by multiple military, political, and economic
interventions, Turkey is very familiar with
such transformations, yet each time it
encounters a new one, it is presented in
the public domain as if it is an exception.
In The Road of Cones, the structures
translate the transient and fuid nature
of events through data captured from
online media and turn them layer by layer
into conic form. The cones are made of
kilometre long paper reels that archive
the cyclical and repetitive nature of
the transformation narratives through
news clips, statistics, public records, and
legal tender. However, instead of taking
the form of didactic visualizations, they
feature streams of data; an abundance of
information that is to be experienced as
a symbolic embodiment. Walking through
the road of cones, the audience witnesses
an homage to all histories of eviction in
these ancient lands; from the roads that
are furnished with statues that stand for
once victorious kings to public spaces
and monuments that glorify the ethnic,
nationalistic, and religious cleansing
projects that handed over power from one
class to another. The cones seek to be
read as discursive depictions of complex
realities rather than work as abstract
mapping, diagramming, and interpretation
schemes which promise to reveal a truth,
either in the servitude of the evicted or
the evictor. Mahir Yavuz & Orkan Telhan
bellein deitirilmesidir. Gemii birok
askeri, politik ve ekonomik mdahaleyle
ekillenmi bir lke olan Trkiye bu
trden dnmlere olduka ainadr;
ne var ki her yeni dnm kamuda bir
istisna olarak sunulmaktadr.
Klahl Yoldaki yaplar, olaylarn
gelip geici ve akkan doasn internet
zerinden yakalanan veriler araclyla
aktarmakta ve olaylar katman katman
konik forma dntrmektedir. Haber
kuprleri, istatistikler, kamusal kaytlar
ve ihale verilerini dnm anlatlarnn
dngsel ve tekrarlayan doasna uygun
olarak arivleyen kilometreler uzun-
luundaki kt bobinlerinden oluan
klahlar, didaktik bir grselletirme
biimini temel almaktansa veri akla-
rn simgesel bir forma dntrerek,
bunlarn farkl boyutlar ve katmanla-
ryla deneyimlenebilecei bilgi ynlar
olutururlar. Klahl yolda yryenler,
bu antik topraklardaki tm tahliyelerin
tarihine bir selam gnderilmesine tank
olurlar; gemiin muzaffer krallarnn
heykelleriyle donanm yollardan,
gcn bir snftan dierine gemesini
salayan etnik, milliyeti ve dini temizlik
projelerini ge karan kamusal
alanlar ve antlara kadar. Klahlarn,
ya tahliye edilenin ya da tahliye edenin
hizmetindeki bir doruyu ortaya kar-
may vaat eden soyut haritalandrma,
ema karma ve grsel yorum olarak
ilev grmesinden ziyade, karmak
gerekliklerin tartmaya ak resimleri
olarak okunmas istenmektedir.
Mahir Yavuz & Orkan Telhan
M
A
H

R

Y
A
V
U
Z

&

O
R
K
A
N

T
E
L
H
A
N
K

l
a
h
l

Y
o
l
:

T
o
p
l
u
m
s
a
l

B
e
l
l
e

i
n

T
a
h
l
i
y
e
s
i
,

2
0
1
3
T
h
e

R
o
a
d

o
f

C
o
n
e
s
:

T
h
e

E
v
i
c
t
i
o
n

o
f

S
o
c
i
a
l

M
e
m
o
r
y
,

2
0
1
3
Galata Rum lkretim Okulu Galata Greek Primary School
MARTIN CORDIANO
TOMS ESPINA
M
A
R
T
I
N

C
O
R
D
I
A
N
O
T
O
M

S

E
S
P
I
N
A
Cordiano 1975te Buenos Aires, Arjantinde dodu; Espina 1975te Buenos Aires,
Arjantinde dodu. Cordiano Londra, ngilterede yayor ve alyor; Espina
Buenos Aires ve Crdoba, Arjantinde yayor ve alyor. Cordiano born in 1975
in Buenos Aires, Argentina; Espina born in 1975 in Buenos Aires, Argentina.
Cordiano lives and works in London, UK; Espina lives and works in Buenos Aires
and Crdoba, Argentina.
D
O
M
A
I
N

[
D
O
M
I
N
I
O
]
,

2
0
1
1
N

F
U
Z

A
L
A
N
I

[
D
O
M
I
N
I
O
]
,

2
0
1
1
DOMAIN [DOMINIO] (2011) is the only
collaborative work by Martin Cordiano
and Toms Espina. For a decade their
practices ran in parallel-but-separate
spheres until they came together at a
residency in MAC/VAL, Paris, in 2011.
Espinamostly working with gunpowder,
smoke, and graphite has become
a pote maudit (accursed poet) of the
violent social uprisings of post-crisis
Argentina, which he intermingled with the
hidden, irrational struggles of the individu-
als mind. Around the same time, Cordiano
developed his installations as ongoing
research about the notion of construction
as a utopian metaphor for the social and
individual narratives that could emerge
from spaces or materials, and a rigorous
analysis of rigid architectural structures
that determine human behaviour and
naturalised collective agreements.
This specifc tandem between destruction
and construction was the starting point
of a particular line in both artists work:
an unknown past violence that would be
followed by a possible, although already
impaired, restoration.
The Spanish word dominio not only
signifes domain in the broadest sense
of propertyprivate property, public
domain, and virtual-domain name
but it also suggests a complex symbolic
relationship between domination and
NFUZ ALANI [DOMINIO] (2011)
Martin Cordiano ve Toms Espinann
tek ortak yapt. ki sanatnn alma-
lar on yl boyunca paralel, fakat farkl
alanlarda devam etti, ta ki 2011de Paris
MAC/VALde bir misafir sanat progra-
mnda bulumalarna dek. Yaptlarnda
genellikle barut, duman ve grafit gibi
malzemeler kullanan Espina, kriz sonras
dnemde Arjantinde ba gsteren iddetli
toplumsal bakaldry, bireyin zihnindeki
gizli, irrasyonel mcadelelerle birlikte
ele alan bir pote maudit (lanetli air)
olarak grlyor. Cordianonun aa
yukar ayn dnemden enstalasyonlar
ise toplumsal ve bireysel anlatlara dair
topyac bir mecaz olarak inaat kavram
zerine srdrd aratrmasn
yanstyor, hem de insan davrann ve
sessiz kolektif anlamalar belirleyen,
kat mimari yaplara ynelik titiz
zmlemesini ieriyor. mha ve ina
arasndaki bu kendine zg ardllk iki
sanatnn yaptlarnda da bir hattn
balang noktasn oluturdu: gemite
gereklemi, hakknda bir ey
bilinmeyen bir iddet eylemini takip
eden olas, ama imdiden zedelenmi bir
onarm sreci.
spanyolca dominio kelimesi mlkn
zel mlk, kamu mlk ve sanal alan
ad en geni anlamyla sadece alan
tanmlamyor, ayn zamanda hakimiyet
Galata Rum lkretim Okulu Galata Greek Primary School
D
O
M
A
I
N

[
D
O
M
I
N
I
O
]
,

2
0
1
1
N

F
U
Z

A
L
A
N
I

[
D
O
M
I
N
I
O
]
,

2
0
1
1
ones psychological construction:
when one has lost or regained self-control.
The title of the installation is one of the
keys to transcend the initial impression
of the work and to see the complexity of
defning a clear border between the private
and the publicthis delineation starts at
home and not only involves property but
also control and self-control, authority
and knowledge. The tainted border is
intensifed by the embedding of a private
room, evidently displaced, into a public
scenario, such as an artistic venue.
Thus, the spectators experience a subtle
loss of spatial coordinates inside a room
that could be their own, where the trauma
and its cracks have become a naturalised
landscape of everyday life. The room is
at once active, functional, yet paradoxically
frozen in time as it becomes a feldwork of
contemporary archaeology in the exhibi-
tion space. Estranged from the historical,
this contemporary archaeology is based
around the crackthe symptomand
not the object. A crack that could be
the current socio-political fragmentation
in late capitalism, the breakdown of the
contemporary self in times of crisis,
or the traces of natural disasters.
The reassembly or restorationinevitably
with the crack marks still discernible
could be a metaphor of social or individual
healing, the impossibility of erasing
the scars of a damaged body, or just
the way people keep moving forward after
a violent phenomenon. Javier Villa
ile kiinin z denetimini kaybettii veya
yeniden kazand anlarda psikolojik
yaps arasnda karmak simgesel bir
iliki kurmay neriyor. Enstalasyonun
bal, yaptn brakt ilk izlenimi
amaya ve zel ile kamusal arasnda net
bir snr tanmlamann karmakln
grmeye yardm eden anahtarlardan biri
bu snr evde izilmeye balyor ve sadece
mlk deil, denetimi ve z denetimi,
otoriteyi ve bilgiyi de ilgilendiriyor.Bu
aibeli snr izgisi, bariz yerinden edilmi
zel bir odann sanatsal bir mekna, yani
kamusal bir senaryonun iine yerletiril-
mesiyle koyulatrlyor. Bylece izleyici,
travma ve atlaklarn gndelik hayatn
allm manzaras haline geldii,
pekala kendisine ait olabilecek bir odann
ierisinde ilk anda hissedilmeyecek kadar
hafif bir meknsal koordinat kayb yayor.
Oda bir yandan aktif ve ilevselken,
dier yandan da, sergi mekn ierisinde
gncel bir arkeolojik saha almasna
dnerek, manta aykr bir ekilde
zamann donduu bir yer halini alyor.
Tarihsel olana yabanclatrlm bu
gncel arkeoloji, nesnenin deil atlan
yani semptomun etrafnda ekilleniyor.
Bu atlak, ge dnem kapitalizmin
gnmzde kar karya bulunduu sosyo-
politik paralanmaya, kriz dnemlerinde
gnmz bireyinin yaad ke
veya doal felaketlerin izlerine karlk
geliyor olabilir. Paralar tekrar bir
araya getirme veya onarma ise atlak
izlerinin grnmesinin nne gemek
mmkn deildir toplumsal ya da bireysel
iyilemeye, hasara uram bir bedendeki
yara izlerini silmenin imkanszlna
veya sadece iddetli bir olayn ardndan
insanlarn hayatlarna devam ediine dair
bir mecaz olabilir. Javier Villa
M
A
R
T
I
N

C
O
R
D
I
A
N
O
T
O
M

S

E
S
P
I
N
A
Galata Rum lkretim Okulu Galata Greek Primary School
TARLABAI
YENLEME
GAP
naat
Ahmet
Tayldz
Ahmet
alk
alk Holding
3. HAVALMANI
Cengiz
naat
Kolin
naat
Limak
naat
Kalyon
naat
Mapa
naat
TAKSM
YAYALATIRMA
ILISU BARAJI
Nurol
naat
GALATA PORT
Dou Holding
ARTVN BARAJI
ve HES PROJES
BOYABAT
BARAJI ve
HES NAATI
Andritz-
Hydro
MULKSUZLESTIRME
AGLARI
M

L
K
S

Z
L
E

R
M
E

A

L
A
R
I
2013te stanbul, Trkiyede balayan Mlkszletirme Alar projesi
(Yaar Adanal, Burak Arkan, zgl en, Zeyno stn, zlem Zngl ve
anonim katlmclar) almalarn stanbul, Trkiyede srdryor. Networks
of Dispossession project (Yaar Adanal, Burak Arkan, zgl en, Zeyno
stn, zlem Zngl and anonymous participants) was founded in 2013 in Istanbul,
Turkey and is based in Istanbul, Turkey.
Networks of Dispossession is a collective
data compiling, mapping and publishing
project on the capital-power relations of
urban transformation.
Urban transformation is not a new concept
for the contemporary city. Especially in
the last decade, knowledge has been and
is still being produced on the aftereffects
of urban transformation, architectural
fabric and neighborhood struggles.
Nonetheless, despite this accumulation of
knowledge, urban transformation policies,
which have also triggered the Gezi
resistance, suffer from severe unresolved
problems. That is why Networks of
Dispossession makes an open call to all
actors within the feld for interconnecting
the data and knowledge, generating
a database and developing an ethic for
civil investigation/calling to account.
What are the relations among
the stakeholders of urban transformation?
What kinds of partnerships have been
established between the state and private
corporations during the urban transforma-
tion process? What other institutions are
run by the contractors and subcontractors
of urban transformation and the managers
of construction, architecture, real estate
and tourism companies? What are the
connections between the contractors of
mega projects that constantly agitate the
Mlkszletirme Alar kentsel dn-
mn sermaye-iktidar ilikileri zerine
kolektif olarak veri derleme, haritalama
ve yaynlama projesidir.
Kentsel dnm kent yakn tarihi iin
yeni bir kavram deil. zellikle son on
ylda kentsel dnmn artl etkileri,
mimari doku, mahalle mcadeleleri ve
benzeri saysz konuda bilgi retildi
ve retilmekte. Lakin Gezi direnii
srecini de tetikleyen kentsel dnm
politikalar bu bilgi birikimine ramen
zlemeyen ciddi sorunlara gebe.
Dolaysyla Mlkszletirme Alar pro-
jesi kent konusunda alan tm aktrlere
bilgi ve veri ilikisellii kurma, veri taban
oluturma ve bir sivil soruturma/hesap
sorma etii gelitirme ars niteliindedir.
Kentsel dnmn paydalar arasnda
ne tr ilikiler var? Kentsel dnm
srecinde devlet ve zel irketler arasnda
ne tr ortaklklar kuruluyor? Kentsel
dnmn yklenicileri, taeronlar,
inaat, mteahhit, mimarlk, emlak,
turizm firmalarnn yneticileri baka
hangi kurumlarn ynetimindeler?
Srekli kentin gndemini sarsan mega
projelerin yklenicileri arasnda ne gibi
balantlar bulunuyor? Halkn cebinden
kan vergiler kamusal mlkn yeniden
inaat/iletmesi zerinden hangi belirli
sermaye gruplarna aktarlmakta?
N
e
t
w
o
r
k
s

o
f

D
i
s
p
o
s
s
e
s
s
i
o
n
,

2
0
1
3
-
o
n
g
o
i
n
g
M

l
k
s

z
l
e

t
i
r
m
e

A

l
a
r

,

2
0
1
3
-
d
e
v
a
m

e
t
m
e
k
t
e
Galata Rum lkretim Okulu Galata Greek Primary School
agenda of the city? To which specifc capi-
tal groups is the peoples tax money being
transferred through the reconstruction/
management of public property? What
are the connections between projects
targeting the district of Beyolu, which is
among the primary focal areas of urban
policies? What are the processes of
depriving minorities from their property
and the partnerships between the state
institutions and private companies that
have appropriated the unearned capital
resulting from these processes?
We are interested in questions that expose
such relations of power.

The project runs on internet as a web
service and its interface allows contributors
to enter data, share their works, and
explore the network maps interactively.
Technical infrastructure of the web service
is the collective mapping platform Graph
Commons developed by Burak Arkan.
Data points with indicated sources on
this platform can be digitally searched by
everyone, are easily accessible, and can
be referenced as external links.
The frst workshop in scope of the project
took place in Gezi Park on June 6, 2013.
The group has been working on shared
documents online and on-site ever since.
The data and relational maps will be
displayed in the biennial both as static
prints and in digital formats. Workshops
will also be conducted on dispossession
and urban policies, relational data
compilation, network mapping, and
publication/socialization of the generated
data throughout the biennial.
Networks of Dispossession
Kentsel politikalarn birincil odak
alanlarndan birisi olan ve Gezi srecini
de tetikleyen Beyolu blgesine ynelik
projeler arasnda ne tr ilikiler sz konusu?
Aznlklarn mlkszletirilme sreleri
ve bu sreler sonunda oluan rant sahip-
lenen kurum ve irketler arasnda ne tr
ortaklklar mevcut? Bu ve benzeri iktidar
ilikilerini aa karan sorularla
ilgileniyoruz.
Proje internet zerinde bir web servisi
olarak ilemekte ve arayz a haritala-
rnn etkileimli olarak kefedilmesine,
katlmclarn veri yklemesine ve
rettiklerini paylamasna imkan
vermektedir. Projenin teknik altyapsnda
Burak Arkann gelitirdii ve iki yldr
kullanmda olan kolektif a haritalama
platformu Graph Commons kullanlmak-
tadr. Bu ortamda kaynak belirtilerek
derlenen veriler herkese ak ekilde
dijital olarak aranabilir, kolay eriilebilir
ve dardan referans verilebilir hale
gelmektedir.
Proje kapsamnda ilk atlye 6 Haziran
2013de Gezi Parknda gerekleti.
Grup, almalarn internet zerinden
paylaml belgeler ve yzyze bulu-
malarla srdryor. Toplanan veriler
ve iliki haritalar bienal srasnda
basl ve dijital olarak eitli formatlarda
gsterilecek. Bienal sresince projeye
verilen alanda mlkszletirme ve kent
politikalar, ilikisel veri derleme,
a haritalama ve derlenen verilerin
toplumsallatrmas ile ilgili balklarda
atlyeler gerekletirilecek ve
konumalar dzenlenecektir.
Mlkszletirme Alar
N
e
t
w
o
r
k
s

o
f

D
i
s
p
o
s
s
e
s
s
i
o
n
,

2
0
1
3
-
o
n
g
o
i
n
g
M

l
k
s

z
l
e

t
i
r
m
e

A

l
a
r

,

2
0
1
3
-
d
e
v
a
m

e
t
m
e
k
t
e
M

L
K
S

Z
L
E

R
M
E

A

L
A
R
I
Galata Rum lkretim Okulu Galata Greek Primary School
NEWSPAPER
READING CLUB
(FIONA CONNOR &
MICHALA PALUDAN)
N
e
w
s
p
a
p
e
r

R
e
a
d
i
n
g

C
l
u
b

D
a
i
l
y

-

I
n
t
i
m
a
c
i
e
s

,

t
h
e

F
a
r
l
e
y

B
u
i
l
d
i
n
g
,


L
o
s

A
n
g
e
l
e
s
,

2
0
1
1
G
a
z
e
t
e

O
k
u
m
a

K
u
l

P
o
s
t
a
s

Y
a
k

n
l

k
l
a
r

,

F
a
r
l
e
y

B
i
n
a
s

,

L
o
s

A
n
g
e
l
e
s
,

2
0
1
1
Fiona Connors installations are typically
collections of objects or structures that
quote existing architectural systems. Some
recent projects have documented vernacular
structures, while others have explored the
architecture and display mechanisms of
the museum. Connors works evidence
a sustained dialogue between place,
location, and representation, and explore
how specifc environments condition the
viewers perception of an object. One
must negotiate between a reading of
what is presented (as three-dimensional
documentation) and an imagined response
to the original.
For the 13
th
Istanbul Biennial Connor
presents her collaborative project with
Michala Paludan Newspaper Reading
Club (2013). Random people from Istanbul
were invited to read a periodical of their
choice, negotiating the paper according
to their interests and commenting on
it as they read. People dont actually
read newspapers, Marshall McLuhan
says. They get into them every morning
like a hot bath.
1
The subjective process
employed to navigate a newspaper
involves any order of action from looking
at the picture on the front page, reading
the headlines or the date, and skimming
to the back page to reading a bit here
and there as headlines or bylines pique
ones interest. All newspaper readings
were recorded, transcribed, and printed
Fiona Connorn enstalasyonlar genellikle
mevcut mimari sistemleri yineleyen nesne
veya yap derlemeleri. Sanatnn baz son
dnem projeleri yerel yaplar belgeler-
ken, bazlar da mze kurumunun mimari
ve sunum mekanizmalarn inceliyor.
Connorn yaptlar, mekn, konum ve
temsil arasnda sregelen diyaloun
varln kantlyor ve ayn zamanda
belirli evrelerin, izleyicinin bir nesneyi
alglamasn nasl koullandrdn
kefetmeye abalyor. zleyici, sunulann
( boyutlu bir replika anlamnda) bir
yorumu ve asl yapta verecei farazi tepki
arasnda mzakere yapmak zorunda kalyor.
Connor, 13. stanbul Bienalinde Michala
Paludan ile ortak almas Gazete
Okuma Kulbn (2013) sunuyor.
stanbuldan geliigzel seilen insanlar-
dan, kendi tercihlerine bal olarak bir
sreli yayn yksek sesle okumalar ve
kendi yaklamlaryla inceleyip yorum-
lamalar istenmi. Aslnda insanlar
gazeteleri okumuyor, diyor McLuhan.
Tpk her sabah scak bir banyoya
girer gibi kendilerini gazetelerin iine
brakveriyorlar.
1
Bir gazetenin iinde
dolamak iin belirlenen kiiye zel sre,
n sayfadaki fotorafa bakmaktan,
manetleri veya gnn tarihini okumaya,
arka sayfaya doru balklar veya spotlar
insann ilgisini ektike oradan buradan
bir eyler tarayarak ilerlemeye kadar
eitli hareket dizilerini ierir. Projeye
2011de Los Angeles, CA, ABDde kuruldu. almalarn Los Angeles, CA, ABD
ve Askeby, Danimarkada srdryor. Founded in 2011 in Los Angeles, CA, USA.
Based in Los Angeles, CA, USA and Askeby, Denmark.
N
E
W
S
P
A
P
E
R

R
E
A
D
I
N
G

C
L
U
B

(
F
I
O
N
A

C
O
N
N
O
R

&

M
I
C
H
A
L
A

P
A
L
U
D
A
N
)
1 http://www.nytimes.com/books/97/11/02/home/mcluhan-magazine.html Eriim: 17 Austos 2013. http://www.
nytimes.com/books/97/11/02/home/mcluhan-magazine.html Accessed: 17 August 2013.
Galata Rum lkretim Okulu Galata Greek Primary School
in a newspaper format to be distributed
throughout the biennial venues.
Istanbul provided a provocative and
active context for the Newspaper Reading
Club. Many individuals and civil society
organizations criticized the news medias
inadequate coverage of the police violence
in the Gezi Park demonstrations, which
turned into a nationwide protest. On
the other hand, social media became
critical sites for the circulation of
information about the protests.
Connor is interested in the way
architecture and public space are the
interface for the experience of the world.
Similarly, newspapers mediate peoples
experience of events that transpire outside
their personal experiences. Newspaper
Reading Club draws attention to
the hegemonic control that structures
in power have over the media and how
this infuence affects the public
consciousness (at times fuelling outrage).
The project tracks and records for
posterity, the medias response to
the current events taking place in Istanbul,
through the very subjective and active
fltering or editing process of individuals.
Their response is documented in
newspaper form, acting as an alternative
news source, one that retains
the voice of the individual.
Danae Mossman and Sarah Hopkinson
katkda bulunanlarn tm gazete
okumalar kaydedildi, deifresi yapld
ve bienal meknlarnda datlmak zere
gazete formatnda basld.
stanbul, Gazete Okuma Kulbne
kkrtc ve hareketli bir balam sundu.
Birok kii ve sivil toplum kuruluu,
lke apnda bir protestoya dnen
Gezi Park eylemleri srasnda polisin
uygulad iddeti yeterince takip
etmedii iin medyay eletirdi. Dier
yandan, sosyal medya protestolar
hakknda bilgi dolamnn salanmas
asndan hayati nem kazand.
Connor, mimarinin ve kamusal alann
dnyayla ilgili deneyimlerimizin arayz
olarak nasl ilediiyle ilgileniyor. Benzer
ekilde, gazeteler de insanlarn kendi
tecrbeleri dnda meydana gelen
olaylar deneyimlemesine araclk ediyor.
Gazete Okuma Kulb iktidar yaplarnn
medya zerindeki hkimiyetine ve bu
etkinin kamusal bilinci (bazen hiddet
yaratacak dzeyde) nasl ynlendirdiine
dikkat ekiyor. Proje, bireylerin son
derece znel ve aktif szme ya da
kurgulama sreleri araclyla,
medyann stanbulda devam eden olaylar
nasl haberletirdiini takip ediyor ve
gelecek iin kaydediyor. nsanlarn
tepkisi, bireyin sesinin kaybolmasna izin
vermeyen alternatif bir haber kayna
olarak gazete formatnda belgeleniyor.
Danae Mossman ve Sarah Hopkinson
N
E
W
S
P
A
P
E
R

R
E
A
D
I
N
G

C
L
U
B

(
F
I
O
N
A

C
O
N
N
O
R

&

M
I
C
H
A
L
A

P
A
L
U
D
A
N
)
N
e
w
s
p
a
p
e
r

R
e
a
d
i
n
g

C
l
u
b

-

R
e
a
d
i
n
g

w
i
t
h

T
r
i
s
t
a

M
a
l
l
o
r
y
,


1
0
7
0

L
o
r
i
m
e
r

S
t
.

B
r
o
o
k
l
y
n
,

N
Y

1
1
2
2
2
,

M
a
y

4
,

2
0
1
3
G
a
z
e
t
e

O
k
u
m
a

K
u
l

-

T
r
i
s
t
a

M
a
l
l
o
r
y

i
l
e

O
k
u
m
a
,

1
0
7
0

L
o
r
i
m
e
r

S
k
.

B
r
o
o
k
l
y
n
,

N
Y

1
1
2
2
2
,

4

M
a
y

s

2
0
1
3
Galata Rum lkretim Okulu Galata Greek Primary School
PETER ROBINSON
P
E
T
E
R

R
O
B
I
N
S
O
N
S
t
r
u
c
t
u
r
e

a
n
d

S
u
b
j
e
c
t
i
v
i
t
y
,

2
0
1
2
Y
a
p

v
e

z
n
e
l
l
i
k
,

2
0
1
2
Peter Robinsons work investigates both
the materiality and the metaphoric
potential of his chosen medium. Robinsons
sculpture propositionswhether
the massive weightless volume of
polystyrene forms or the densely
contracted materiality of feltplay out
various oppositions (such as density and
lightness, dispersion and compression)
and reference the formalist legacies
of minimalism, postminimalism and
conceptual art.
In Ruses and Legacies (2013) Robinson
employs typical minimalist forms, such
as cubes, cylinders, planes, and lines,
to challenge the audiences perception.
On frst impression the installation is
a disorganized array of primary forms
borrowing from a literalist language of
minimalism. However, things are not as
they seem to be: hard forms are soft, soft
forms are hard, voids are solids, solids are
voids, multiple is singular, the disorganized
is organized and random is intentional.
A densely installed collection of forms litter
the space: oval and circular transparent
Plexiglas discs rest against transparent
cubes; felt poles lean against, on, or inside
cubes; poles of many sizes abut others
(some stand erect and others fold).
Each form acts in opposition to the next,
veering away from any fxed position
they are circuits that loop rather than
come to a conclusion.
1966da Ashburton, Yeni Zelandada dodu. Auckland, Yeni Zelandada
yayor ve alyor. Born in 1966 in Ashburton, New Zealand. Lives and works
in Auckland, New Zealand.
Peter Robinsonun yaptlar setii
malzemenin hem maddeselliini hem
de mecazi olanaklarn aratryor.
Robinsonun heykel nermeleri
polistirenden rettii byk boyutlu,
arlksz hacimlerden keenin bz-
trlerek younlatrlm maddesel-
liine eitli ztlklar (younluk ve
hafif lik, dalma ve skma gibi) ortaya
koyuyor ve minimalizm, postminimalizm
ve kavramsal sanatn biimci mirasna
gndermede bulunuyor.
Robinson Katakulli ve Miras (2013)
adl yaptnda izleyicinin algsna meydan
okumak amacyla kp, silindir, dzlem
ve izgi gibi tipik minimalist biimlere
bavuruyor. Bu enstalasyon ilk bakta
minimalizmin birebir dilinin simgelerini
dn alan, herhangi bir dzenden
yoksun bir temel biimler toplam
izlenimi braksa da, durum grnd
gibi deil: Sert biimler yumuak,
yumuak biimler sert, boluklar dolu,
dolu olanlar boluk, oul tek, dzensiz
olan dzenli ve rastlantsal gibi grnen
aslnda bilerek ve isteyerek yaplm.
Mekna youn bir ekilde yerletirilmi
biimler ortal kartryor: Oval ve
dairesel saydam Pleksiglas diskler saydam
kplere yaslanm; keeden retilmi
srklar kplere yaslanyor veya kplerin
zerine ve iine yerletirilmi; eitli
boyutlardaki direkler birbirine yaslan-
yor (bazlar dik, dierleri bklm).
Her biim ardndan gelene zt bir hareket
sergiliyor ve sabit konumdan uzaklayor
Galata Rum lkretim Okulu Galata Greek Primary School
It becomes clear that each cluster of
objects is intentionally grouped; however,
the angular arrangement of objects
suggests that this installation is incomplete.
Objects lean against the walls as if their
use is undecided or to suggest additional
possibilities than those presented in
the room, allowing the viewer to imagina-
tively extend the installation outside of
the four walls of the space.
The 13
th
Istanbul Biennial focuses on the
public domain and how different ways of
occupying space can be conceived of
politically. Robinsons installation is an
index of forms that examine the ways
in which they can be condensed into
spatial models crafted from materials
(felt, Plexiglas, and wood) that are
themselves results of processes of
compression and extension. In doing
so the work alludes to ways in which
public space also contains the ability to
contract or amplify a context through,
or dependent upon, its arrangement.
Danae Mossman and Sarah Hopkinson
biimler bir sonuca varmaktansa dng
halinde birer dzenek oluturuyor.
Zamanla her nesne kmesinin kastl ola-
rak gruplandrld anlalyor; ancak
nesnelerin al dzeni bu enstalasyonun
henz tamamlanmad fikrini uyandryor.
Nesneler ne iin kullanlacaklarna
henz karar verilmemi gibi veya odada
sunulanlara ek ihtimaller nermek
amacyla duvarlara yaslanm duruyorlar,
bu da izleyicinin enstalasyonu hayalinde
mekndaki drt duvarn tesine tamasna
olanak salyor.
13. stanbul Bienali kamusal alan
kavramna ve mekn igalinin farkl
yntemlerinin siyasi olarak nasl d-
nlebileceine odaklanyor. Robinsonun
enstalasyonu, kendileri sktrma ve
uzatma gibi ilemlerin sonucunda ortaya
kan biimlerin kee, Pleksiglas ve
tahta gibi malzemelerden ekillendi-
rilen mekansal modeller halinde nasl
younlatrlabileceini sorgulayan
bir dizin. Yapt bunu gerekletirerek,
kamusal alann dzenlenii araclyla
veya dzenleniine bal olarak balam
nasl sktrabileceine veya geniletebi-
leceine dair imalarda bulunuyor.
Danae Mossman ve Sarah Hopkinson
P
E
T
E
R

R
O
B
I
N
S
O
N
S
t
r
u
c
t
u
r
e

a
n
d

S
u
b
j
e
c
t
i
v
i
t
y
,

2
0
1
2
Y
a
p

v
e

z
n
e
l
l
i
k
,

2
0
1
2
Galata Rum lkretim Okulu Galata Greek Primary School
PROYECTO
SECUNDARIO
LILIANA MARESCA
After the violent uprisings in Argentina
in 2001, a group of artists (who later
assumed the name Liliana Maresca
Secondary School Project) initiated
various social and artistic endeavours
in La Cava de Villa Fiorito, a shantytown
in Lomas de Zamora. Since 2007 they
have focused their efforts on developing
an educational programme with a visual
arts focus for the public secondary
school no. 349 in the neighbourhood.
The Ministry of Education approved
the programme in 2009.
The project is an independent collective
engaged with the socio-economically
deprived Fiorito community. The collective
works to empower community members
through an educational proposal of
contemporary art strategies derived
from the neighbourhoods identity and
particularand very immediate
problems such as discrimination, domestic
violence, child labour and the absence of
public services. Firmly grounded in
the grassroots and employing local
cultural elements and participatory
methods, they prioritize being inclusive.
The collectives current membersLorena
Bossi, Florencia Cabeza, Ariel Cusnir, and
Leandro Tartagliaoperate not merely
as pedagogical advisors to the schools
authorities, but also as practitioners
and educators, integrating visual-arts
methodologies into the general curriculum.
Arjantinde 2001 ylnda gerekleen
iddetli halk isyannn ardndan bir grup
sanat (daha sonra Liliana Maresca
Ortaokulu Projesi adn aldlar), Lomas
de Zamorada bir gecekondu mahallesi
olan La Cava de Villa Fioritoda eitli
toplumsal ve sanatsal etkinliklere n ayak
oldu. Sanatlar 2007 ylndan itibaren
almalarn mahalledeki 349 numaral
devlet ortaokulunda grsel sanatlar
odakl bir eitim program gelitirmek
zere younlatrdlar. Eitim Bakanl
bu program 2009 ylnda onaylad.
Liliana Maresca Ortaokulu Projesi,
almalarn sosyo-ekonomik adan
sorunlu Fiorito mahallesinde yrten
bamsz bir kolektif. Ayrmclk, aile ii
iddet, ocuk iiler ve kamusal hizmetlerin
eksiklii gibi belli bal ve byk aciliyet
ieren sorunlardan ve mahallenin kim-
liinden yola kan kolektif, gncel sanat
stratejilerini kullanan bir eitim plan
vastasyla mahalle halkn glendirmek
iin alyor. Mahalleyle kuvvetli balara
sahip olan kolektif, yerel kltr elerin-
den ve katlmc yntemlerden faydalanyor
ve kapsaycla ncelik veriyor. Kolektifin
halihazrdaki yeleri Lorena Bossi,
Florencia Cabeza, Ariel Cusnir ve
Leandro Tartaglia sadece okulun ida-
recilerine pedagojik danmanlk destei
vermekle kalmyor, grsel sanatlarn
metodolojilerini genel mfredatn bir
paras haline getiren uygulayc ve
2007de La Cava de Villa Fiorito, Lomas de Zamora, Buenos Aires, Arjantinde
kurulan bamsz kolektif. almalarn La Cava de Villa Fiorito, Lomas de
Zamora, Buenos Aires, Arjantinde srdryor. Independent collective founded
in 2007 in La Cava de Villa Fiorito, Lomas de Zamora, Buenos Aires, Argentina.
Based in La Cava de Villa Fiorito, Lomas de Zamora, Buenos Aires, Argentina.
P
R
O
Y
E
C
T
O


S
E
C
U
N
D
A
R
I
O


L
I
L
I
A
N
A


M
A
R
E
S
C
A
L
i
l
i
a
n
a

M
a
r
e
s
c
a

O
r
t
a
o
k
u
l
u

P
r
o
j
e
s
i

[
P
r
o
y
e
c
t
o

S
e
c
u
n
d
a
r
i
o

L
i
l
i
a
n
a

M
a
r
e
s
c
a
]
,

2
0
1
3
L
i
l
i
a
n
a

M
a
r
e
s
c
a

S
e
c
o
n
d
a
r
y

S
c
h
o
o
l

P
r
o
j
e
c
t

[
P
r
o
y
e
c
t
o

S
e
c
u
n
d
a
r
i
o

L
i
l
i
a
n
a

M
a
r
e
s
c
a
]
,

2
0
1
3
Galata Rum lkretim Okulu Galata Greek Primary School
These methodologies seek to develop
the students perceptions both as
spectators and producers of visual culture,
and foster critical thinking and creative
solutions for diffcult everyday situations.
The artists generate relationships with
artistic institutions and alternative art
spaces; organizes visits to museums,
art centres, and art fairs for children who
have almost never left the neighbourhood;
invites artists and art professionals to
lecture at the school. The collective
also organizes art exhibitions featuring
renowned artists in hallways and class-
rooms, using their work as pedagogical
material for academic subjects: Leon
Ferraris Heliografas series for teaching
mathematics and geometry; Guillermo
Faivovich & Nicols Goldbergs Camp
del Cielo meteorite project for science
and history...
For the 13
th
Istanbul Biennial, the collective
produced a two-part video work: an
archival presentation of the history of the
project and a documentation of activities the
students have been developing in 2013
around the theme of the Istanbul Biennial.
The students discussed how to present
themselves and the neighbourhood to
the global community, combining their
artistic exercises in their visual arts
curriculum with conventional subjects,
such as geography and history, and also
conveying the particular context of their
shantytown in a documentary video. At the
end of the year, the students production
will be exhibited in the frst edition of the
Liliana Maresca Biennial, organized by the
collective with the participation of all the
schools in Buenos Aires that have a curric-
ulum track in visual arts. Javier Villa
eitimciler olarak da alyor. Bu yn-
temler rencilerin grsel kltrn hem
izleyicisi hem de reticisi olarak algsn
gelitirmeyi, eletirel dnce ve gndelik
dertler karsnda yaratc zmler retme
becerisini beslemeyi hedef liyor. Proje sanat
kurumlar ve alternatif sanat meknlaryla
da ilikiler gelitiriyor; mahallesinden
dar neredeyse hi kmayan ocuklar
iin mzelere, sanat merkezlerine geziler
dzenliyor; sanatlar ve sanat alannda
alanlar okulda ders vermek zere davet
ediyor ve okulun salon ve snf larnda ta-
nnm sanatlarn yaptlarnn yer ald
ve dersler iin pedagojik malzeme olarak
kullanlan sergiler yapyor: rnein Leon
Ferrarinin Heliografas serisi matematik
ve geometri dersinde; Guillermo Faivovich
& Nicols Goldbergin Camp del Cielo
meteor projesi ise fen ve tarih derslerinde
kullanld.
Kolektif, 13. stanbul Bienali iin iki
blml bir video ii retti: ilk blmde
projenin tarihi bir ariv erevesinde
sunulurken, ikinci blmde rencilerin
2013 ylnda stanbul Bienali temas
etrafnda gelitirdikleri etkinlikler
belgelendi. renciler kendilerini ve
mahallelerini kresel bir topluluk
karsnda nasl sunacaklarn tarttlar,
grsel sanatlar ders programndaki sanat
altrmalarn corafya ve tarih gibi
geleneksel konularla birletirdiler ve bu
gecekondu mahallesinin kendine zg
balamn belgesel bir videoda anlattlar.
rencilerin rettii iler yl sonunda,
kolektif tarafndan Buenos Aireste
mfredat grsel sanatlar arlkl tm
okullarn katlmyla dzenlenecek ilk
Liliana Maresca Bienalinde sergilenecek.
Javier Villa
L
i
l
i
a
n
a

M
a
r
e
s
c
a

O
r
t
a
o
k
u
l
u

P
r
o
j
e
s
i

[
P
r
o
y
e
c
t
o

S
e
c
u
n
d
a
r
i
o

L
i
l
i
a
n
a

M
a
r
e
s
c
a
]
,

2
0
1
3
L
i
l
i
a
n
a

M
a
r
e
s
c
a

S
e
c
o
n
d
a
r
y

S
c
h
o
o
l

P
r
o
j
e
c
t

[
P
r
o
y
e
c
t
o

S
e
c
u
n
d
a
r
i
o

L
i
l
i
a
n
a

M
a
r
e
s
c
a
]
,

2
0
1
3
P
R
O
Y
E
C
T
O


S
E
C
U
N
D
A
R
I
O


L
I
L
I
A
N
A


M
A
R
E
S
C
A
Galata Rum lkretim Okulu Galata Greek Primary School
ROSSELLA BISCOTTI
In her practice, cutting across flmmaking,
performance, and sculpture, montage
is the fundamental gesture Rossella
Biscotti elaborates on while approaching
technologies of discipline that construct
the societies we live in. Her extensive
research on historical narratives ties
together specifc subjects and the histories
of particular sites. Archive is only the initial
encounter, as she personally engages with
people to reveal narratives that focus on
their relationships with institutions of state
and society.
In The Prison of Santo Stefano
(2011-2013), her work exhibited in the
13
th
Istanbul Biennial, Biscotti refects
on the general condition experienced by
detainees and the psychological effects
of isolation, which destroy physical and
intellectual abilities and annul the convicts
identities.
The Santo Stefano Prison is located on
a small island on the Mediterranean Sea.
It was the frst prison built for life
imprisonment in Italy and the frst one
to use a panoptic structure, taking as
reference the San Carlo Opera Theater
in Naples. Contemporary to Jeremy
Benthams designs of the Panopticon, this
structure renders all cells visible from
a central point, thus creating a permanent
feeling of surveillance. Santo Stefano
opened its doors as a modern prison in
1793 and was operational until 1965.
Many political fgures in Italymostly
anarchists and communist leaders
were imprisoned at this location.
Rossella Biscottinin sinema, performans
ve heykel alanlaryla kesien pratii
erevesinde, iinde yaadmz top-
lumlar ina eden disiplin teknolojilerini
incelerken kulland temel yntem
montaj. Tarihsel anlatlar zerine ger-
ekletirdii kapsaml aratrma, belirli
konular ve belirli meknlarn tarihini
birbirine balyor. Ariv bu srecin
ilk dura, sanat sonraki aamalarda
bireylerin devlet kurumlar ve toplumla
ilikilerine odaklanan anlatlar gn
yzne karmak amacyla onlarla bizzat
ilikiye giriyor.
Biscotti, 13. stanbul Bienalinde sergile-
nen yapt Santo Stefano Hapishanesinde
(2011-2013) mahkmlarn iinde yaad
koullar ve toplumdan yaltlmann,
fiziksel ve entelektel becerileri yok eden
ve kimliklerini hkmsz klan psikolojik
etkileri zerine dnceler gelitiriyor.
Akdenizde kk bir adada bulunan
Santo Stefano Hapishanesi, talyada
mebbet hapis cezasna arptrlan
tutuklular iin zel olarak ina edilen ve
panoptik bir yapya sahip ilk hapishane.
Bina, Napolideki San Carlo Opera binas
rnek alnarak tasarlanm. Jeremy
Benthamn Panoptikon tasarmlaryla
ayn dnemin rn olan bu yap,
merkezi bir noktadan tm hcrelerin
grlmesine olanak salayarak tutuk-
lular zerinde srekli bir gzetlenme
hissi yaratyor. Kaplarn modern bir
hapishane olarak 1793 ylnda aan Santo
Stefano 1965 ylna kadar kullanld.
ounluu anarist ve komnist liderler
1978de Molfetta, talyada dodu. Amsterdam, Hollandada yayor ve alyor.
Born in 1978 in Molfetta, Italy. Lives and works in Amsterdam, the Netherlands.
R
O
S
S
E
L
L
A

B
I
S
C
O
T
T
I
T
h
e

P
r
i
s
o
n

o
f

S
a
n
t
o

S
t
e
f
a
n
o
,

2
0
1
1
S
a
n
t
o

S
t
e
f
a
n
o

H
a
p
i
s
h
a
n
e
s
i
,

2
0
1
1
Galata Rum lkretim Okulu Galata Greek Primary School
In The Prison of Santo Stefano Biscotti
produced imprints of spatial segments of
the prisons foors with lead sheets and
flmed the process with 8 mm footage.
This process the carrying of the raw
material to the island by hand, hammering
and reshaping it, and taking it back to
the mainland symbolizes the prisons
existential conditions on many levels:
it recalls the hard physical labour involved,
represents the permanent marks
the prison could leave on the body,
and evokes a concrete sensation of
the prisons spatial restrictions through
the sculptures shown as full-scale maps of
one cell and a fragment of the courtyard.
Biscotti is after the traces of the bodies
who lived inside and capturing their
resistance through fragility. In the flm,
the making of the sculptures is
accompanied by a political action
(Bringing fowers to the cemetery of the
detainees that died in life imprisonment)
that was initiated by the artist and Nicola
Valentinoformer political prisoner
with a life sentenceand supported by
detainees of different Italian prisons.
During 2012 and 2013, the unmarked
graves of the islands cemetery were
named thanks to a map drawn by an
anarchist that had visited the island
shortly after the prisons closure, and
the action grew into the movement
Liberi dallergastolo (Free from life
imprisonment).
Javier Villa and vl Durmuolu
.
olmak zere talyann birok siyasi
figr burada hapis yatt.
Santo Stefano Hapishanesinde Biscotti,
kurun plakalar kullanarak hapisha-
nedeki zeminin meknsal kesitlerinin
kalplarn retti ve bu retim srecini
8 mm filme kaydetti. Bu sre, birok
farkl katmanda hammaddenin adaya
elle tanmas, ekile dvlerek yeniden
ekillendirilmesi ve daha sonra anaka-
raya geri gtrlmesi hapishanenin
varolusal koullarn simgeliyor: Bu
hapishanedeki ar fiziksel alma
koullarn hatrlatyor, hapishanenin
bedende brakt kalc izleri gsteriyor,
ve bir hcrenin ve avlunun bir blmnn
bire bir lekli haritalarn tasvir eden
heykeller araclyla hapishanenin
meknsal kstlamalarna dair somut bir
his uyandryor. Biscotti bu hapishanede
yaayanlarn bedenlerinden arta kalan
izlerin ve krlganlk araclyla onlarn
direniini yakalamann peinde. Filmde
heykellerin retimine, sanatnn ve
mebbet hapse arptrlm eski bir siyasi
tutuklu olan Nicola Valentinonun n
ayak olduu ve eitli talyan hapisha-
nelerindeki mahkmlarn destekledii
politik bir eylem elik ediyor (Mebbet
hapis cezasn ekerken hayatn kaybeden
mahkmlarn mezarlarna iek gtr-
me). Hapishanenin kapanmasndan
ksa bir sre sonra aday ziyaret eden bir
anaristin izdii bir harita sayesinde,
2012 ve 2013 yllar ierisinde adadaki
mezarlkta yer alan isimsiz mezarlara
isim koymak mmkn olmu ve bu eylem
byyerek Liberi dallergastolo (Meb-
betten kurtulua) hareketine dnm.
Javier Villa ve vl Durmuolu
T
h
e

P
r
i
s
o
n

o
f

S
a
n
t
o

S
t
e
f
a
n
o
,

2
0
1
1
S
a
n
t
o

S
t
e
f
a
n
o

H
a
p
i
s
h
a
n
e
s
i
,

2
0
1
1
R
O
S
S
E
L
L
A

B
I
S
C
O
T
T
I
Galata Rum lkretim Okulu Galata Greek Primary School
SERKAN TAYCAN
S
h
e
l
l

#

0
1
,

2
0
1
0
K
a
b
u
k

#

0
1
,

2
0
1
0
Serkan Taycan, who often produces series
of photographs exploring issues of
urbanization, the home, and belonging,
delves into the relationship between
the process of photographing and
the resulting images that straddle
the boundary between documentation and
fction. Taycan has transformed the tension
between images and complementary
maps and texts into his work material.
Homeland (2009) consists of square-format
photographs Taycan took across Anatolia,
Turkey. Each image is quite independent
isolated from the rest of the series,
for lack of a better wordthrough Taycans
specifc framing and composition, serves
as a testament on its own; Homeland reads
as a series of statements and moments,
which makes it inherently photographic.
Shell (20102012), on the other hand,
takes on a formalist, painterly approach
to make unassuming statements about
the rapid, horizontal growth of Istanbul.
Formed during the months of travelling to
many new housing-project construction
sites, quarries on the periphery of the city,
Taycans back and forth movement was
represented in the gallery space by
the newspaper/poster that not only had
texts from two different perspectives
a sociologist and a visual artistbut
also a map that documented where he had
been. As photographs, on a very basic
level, are always marks of light that betray
where the photographer and the subject
have been, this map was essentially
a subversive gesturea double underscore.
Genellikle kentleme, ev ve aidiyet gibi
konular inceleyen fotoraf serileri
reten Serkan Taycan, fotoraf ekme
sreci ile bu srecin sonucunda ortaya
kan, belgesel ile kurgu arasndaki
snrda gezinen imgeler arasndaki
ilikiyi aratryor. Taycan, imgeler ve bu
imgeleri tamamlayan harita ve metinler
arasndaki gerilimi yaptnn malzemesi
haline getiriyor.
Memleket (2009) Taycann Anadolunun
farkl blgelerinde ektii kare format
fotoraf lardan oluuyor. Taycann
kendine zg kadraj ve kompozisyonu
sayesinde, her imge birbirinden olduka
bamsz deyim yerindeyse serinin geri
kalanndan yaltlm-, tek bana bir
tanklk deeri tayor; Memleket serisi,
yaptn zne fotografik bir nitelik
kazandracak ekilde, bir dizi nerme ve
an olarak okunabiliyor.
Kabuk (2010-2012) ise stanbulun hzl,
yatay bymesi hakknda mtevaz
saptamalarda bulunmak adna formalist,
resimsel bir yaklam benimsiyor.
Birok yeni konut projesi inaatlarn ve
ehrin eperindeki ta ocaklarn ziyaret
ettii aylar boyunca ekillenen bu seride,
Taycann gidip gelileri galeri mekann-
da iki farkl sosyolog ve grsel sanat-
perspektifin kaleminden metinlerin yan
sra, sanatnn gezdii yerleri belgeleyen
bir haritann da yer ald bir gazete/
afi ile temsil edilmiti. Eer fotoraf her
zaman, en temel dzeyde, fotorafnn
ve konusunun bulunduu yeri ele veren
bir k iziyse, bu harita da bu durumun
1978de Gaziantep, Trkiyede dodu. stanbul, Trkiyede yayor ve alyor.
Born in 1978 in Gaziantep, Turkey. Lives and works in Istanbul, Turkey.
S
E
R
K
A
N

T
A
Y
C
A
N
Galata Rum lkretim Okulu Galata Greek Primary School
S
h
e
l
l

M
a
p
,

2
0
1
2
K
a
b
u
k

H
a
r
i
t
a
,

2
0
1
2
The project titled Between Two Seas
(2013) that Serkan Taycan produced
for the 13
th
Istanbul Biennial is about
Kanal Istanbul, one of the mega urban
transformation projects that the city of
Istanbul is going through. Taycan takes
a closer look at Kanal Istanbul and
experiences by walking this Crazy project
that is planned to be opened between the
Sea of Marmara and the Black Sea and
contain two cities with a population of one
million in each. The artist walks on this
route of 69 kilometres for four days, and
aiming to share his experience with the
viewer and all interested Istanbulites he
photographs each kilometre of the path
that he has opened by his act of walking.
As is the case with such mega projects
planned with a top-down approach without
taking into consideration that which is
local and micro, Kanal Istanbul project as
well pays no regard to the existing history,
life, fora or topography of the place. By
mapping this route that contains cultural
and historic elements such as Istanbuls
oldest settlement Yarmburgaz Cave
as well as old quarries, lignite mines,
water basin, and inner city orchards, and
sharing on this map the texts of a work he
co-produced with the urban sociologist
Jean Franois Prouse, Taycan is inviting
Istanbulites to experience this area which
is faced with the very imminent threat of
obliteration. Merve nsal
altn ikinci kez izen, dzen bozucu
bir jest oluturuyor.
Serkan Taycann 13. stanbul Bienali
iin hazrlad ki Deniz Aras (2013)
isimli proje, stanbulun iinden
gemekte olduu kentsel dnmn
mega projelerinden Kanal stanbulla
ilikili. Taycan, Marmara Deniziyle
Karadeniz arasnda almas ve birer
milyon nfuslu iki kenti barndrmas
planlanan bu lgn projeye yakndan
bakyor, yryerek deneyimliyor. 69
kilometrelik bu hatt 4 gn boyunca
yryen sanat, her kilometrede yr-
yyle at patikay fotoraf layarak
deneyimini izleyiciyle ve ilgilenen btn
stanbullularla paylamay hedef liyor.
Yerel ve mikro olan hesaba katmadan
tepeden inmeci bir tavrla planlanan bu
tr mega projelerde olduu gibi, Kanal
stanbul projesinde de buradaki tarih,
yaant, f lora ya da topografi gzetilmi-
yor. stanbulun en eski yerleimi Yarm
Burgaz Maarasnn da iinde yer ald
eski taocaklar, linyit madenleri, su
havzas, kentii bostanlar gibi kltrel
ve tarihi dokular barndran bu hatt
haritalatrarak, ve kent sosyolou Jean
Franois Prousela yapt almann
metinlerini bu haritada paylaarak,
stanbullular ok yakn tarihte yok olma
tehlikesiyle kar karya olan bu blgeyi
deneyimlemeye aryor. Merve nsal
S
E
R
K
A
N

T
A
Y
C
A
N
Galata Rum lkretim Okulu Galata Greek Primary School
SULUKULE
PLATFORMU
S
U
L
U
K
U
L
E

P
L
A
T
F
O
R
M
U
A

h
o
u
s
e

i
s

d
e
m
o
l
i
s
h
e
d

e
a
c
h

d
a
y
,

r
h
y
t
h
m

c
l
a
s
s
e
s

g
o

o
n
.
,

2
0
0
9
H
e
r

g

n

b
i
r

e
v

y

y
o
r
,

r
i
t
i
m

d
e
r
s
l
e
r
i

s

y
o
r
.
,

2
0
0
9
Asl Kyak ngin, Derya Nket zer, Funda Oral, Nejla Osseiran, Deniz Mukan
Sulukule Platformu Ocak 2007de stanbul, Trkiyede kuruldu. stanbul,
Trkiyede bulunuyor. Sulukule Platform founded in January 2007 in Istanbul,
Turkey. Based in Istanbul, Turkey.
The frst target of large-scale urban trans-
formation in Istanbul was the Sulukule
neighbourhood, one of the oldest Roma
settlements in the world.
1
Located within
the conservation zone of the World
Heritage Site Istanbul city walls, it was not
only the harbinger of urban transformation
policies and implementations, but also
became renowned through the innovative
urban struggle practice developed by
the Sulukule Platform.
By asking Will they be able to change
the name Sulukule? (2007-2013),
members of the Sulukule Platform discuss
these processes of transformation,
and open to debate the platforms own
horizontal and open structure and
transformative activities that are not
restricted to the demolition of the residents
homes, and practiced in interaction with
the community. The platform poses
the question What renders an urban
struggle successful, what makes it a
failure? both to itself and to the audience.
The life force of the demolished place,
the new values society gains through the
struggle, and the ensuing transformation
are ingrained in memory, and transmitted.
Thus, the name Sulukule now forms
stanbulda byk lekli kentsel dnm-
leri balatan srecin ilk uygulama alan,
dnyann en eski Roman yerleimlerinden
olan Sulukule mahallesiydi.
1
Dnya Miras
Alanlarndan, stanbul kara surlarnn
koruma bandnda yer alan Sulukule, hem
kentsel dnm politikalar ve uygula-
malarnn habercisi oldu, hem de Sulukule
Platformunun gelitirdii yeniliki kent
mcadelesi pratiiyle gndeme geldi.
Sulukule Platformu yeleri Sulukulenin
adn deitirebilecekler mi? (2007-2013)
diye sorarak, bu dnm srelerini
aktaryor. Platformun yatay, ak ve
pozitif eylemlilii benimseyen yapsn ve
ykmdan sonra da toplulukla ilikileri
srdrerek yrtt dntrc,
destekleyici faaliyetlerini tartmaya
ayor. Bir kentsel mcadeleyi baarl
ya da baarsz klan nedir? sorusunu
hem kendine, hem izleyenlere soruyor.
Yklp yok edilen yerin kapsad yaam
gc, uruna verilen mcadelenin toplulu-
a kazandrd yeni deerler ve gerekle-
tirdii dnm toplumsal bellee kaznr,
yeni pratiklerin referans olarak gelecee
tanr. Sulukule ismi de artk yeni mcadele
pratiklerinin de temel referanslarndan
birini oluturuyor. Sulukule Mcadelesinin
1 Ypranan Tarihi ve Kltrel Tanmaz Varlklarn Yenilenerek Korunmas ve Yaatlarak Kullanlmas balkl
5366 sayl yasa Aralk 2005te karld. Yasann ilk uygulama yeri Sulukule oldu. Tarlaba ve Balat Sulukuleyi
izledi. Law No. 5366 on Conservation by Renovation and Use by Revitalization of the Deteriorated Historical and
Cultural Immovable Property was enacted in December 2005. The frst area of implementation of the law was Sulukule.
Tarlaba and Balat followed.
Galata Rum lkretim Okulu Galata Greek Primary School
S
U
L
U
K
U
L
E

P
L
A
T
F
O
R
M
U

W
e
l
c
o
m

t
o

D
e
a
d

C
i
t
i
.

,

2
0
0
9

i
r
e

O

g
e
l
d
i
n
i
z
.

,

2
0
0
9
a fundamental reference in new struggle
practices. The impact of the Sulukule
Struggle has no doubt gained fresh
importance following the Gezi Resistance.
Demolition in Sulukule began in 2007.
Chamber of Architects, Urban Planners,
and the Platform had appealed to the
Administrative Court for the cancellation of
the project. The court did not grant a stay
of order. In 2012, the local court revoked
the joint project on the grounds that it was
not in the public interest. Meanwhile, new
houses had nearly been completed. Despite
the court decision, the houses were handed
over to their owners. The people of Sulukule
who had been forced out did not leave the
neighbourhood. They have settled in streets
closest to their demolished homes. Through
the Platforms activities, children get music
and dance classes, academic support; and
women get vocational training. The new lives
of the people of Sulukule, launched with new
spirit right beside their former homes, when
juxtaposed with the soulless new housing
project built by the regeneration project,
demonstrates how futile the implementation
of urban transformation is.
Will they be able to change the name
Sulukule? presents the Sulukule process
and the ongoing struggle via a timeline to
trigger a debate on what was lost in the
demolition, and what has emerged anew,
transmitting the key points of the process.
Further topics of exploration include the
right to the city, the right to housing and
property, the right to education, the right to
cultural identity and the legal negotiation
between the government and the Platform.
yansmalar Gezi Direniinin ardndan hi
phesiz tekrar nem kazanyor.
Sulukulede ykmlar, 2007 ylnda balad.
Mimarlar Odas, ehir Planclar Odas
ve Sulukule Platformu projenin iptali
iin dare Mahkemesine bavurmutu.
Mahkeme yrtmeyi durdurma karar
vermedi. Ancak 2012de Fatih Belediyesi
dare Mahkemesinin verdii nihai kararda
proje kamu yarar olmad gerekesiyle
iptal edildi. Bu arada btn binalar
yklm, yeni evler neredeyse bitmiti.
ptal kararna ramen proje tamamland.
Evlerinden edilen Sulukuleliler mahalleyi
terk etmediler. Yklan evlerinin hemen
yanndaki sokaklara yerleip yaamaya
devam ediyorlar. Platform almalar
kapsamnda mzik ve dans eitimi
veriliyor; 100 dolaynda ocuun okulla
olan balarn srdrmeleri salanyor,
kadnlara meslek becerisi kazandrlyor.
Sulukulelilerin yeni bir nefesle ait olduk-
lar yerde balattklar yeni hayatlarnn
yannda yenileme projesinin yaratt
yeni sitenin tanmszl kentsel dnm
olgusunun nafileliini sergiliyor.
Sulukulenin adn deitirebilecekler
mi? Sulukule srecini ve devam eden
mcadeleyi bir zaman izelgesinde
sunarken ykmla kaybolan ve yeni
doan tartyor, bu srecin kilit nok-
talarn aktaryor. Kent hakk, barnma
hakk, mlkiyet hakk, eitim hakk,
kltr-kimlii ile yaama hakk, soyut
ve somut mirasn korunmas ve hukukun
ileyii alannda iktidarn ve Platformun
karlkl olarak att admlar, sorular
eliinde irdeleniyor.
* Trkeden ngilizceye eviri Nazm Dikba. Translation from Turkish to English Nazm Dikba.
Galata Rum lkretim Okulu Galata Greek Primary School
TORIL
JOHANNESSEN
O
l
a

a
n

s
t

P
o
p

l
e
r

Y
a
n

l
g

l
a
r
,

2
0
1
2
E
x
t
r
a
o
r
d
i
n
a
r
y

P
o
p
u
l
a
r

D
e
l
u
s
i
o
n
s
,

2
0
1
2
T
O
R
I
L

J
O
H
A
N
N
E
S
S
E
N
1978de Trondheim, Norvete dodu. Bergen, Norvete yayor ve alyor.
Born in 1978 in Trondheim, Norway. Lives and works in Bergen, Norway.
Toril Johannessen places topics such as
sustainability, perception, and economy
in a realm somewhere in between art,
technology, and science. Many of her
pieces are conceived around the
unmarked, unseen, or unnamed at the
intersections of the aforementioned
felds. The result is the establishment
of connections where there were none
before, engendering new correlations
between disciplines, such as the history
of science and the capitalist market.
While the work concerns interrelations
across felds and the development of
knowledge, it also questions how it is
that knowledge develops and suggests
that this evolution might not necessarily
be a given.
Extraordinary Popular Delusions (2012)
is an installation that layers art, science,
economy, and spiritualism. It borrows
its title from the book Extraordinary
Popular Delusions and the Madness
of Crowds (1841) by Charles Mackay,
in which the author negates what he
considers widely held misapprehensions,
particularly fnancial bubbles. In
Extraordinary Popular Delusions,
Johannessen seizes on two collective
delusions: manipulations of perception
and notions about how contemporary
conditions enter society.
The piece consists of a solargram showing
the sun cast through a custom-built
projector reminiscent of the oldest
historical magic lantern. Precinematic
projections of this kind were developed
Toril Johannessen srdrlebilirlik,
alg ve ekonomi gibi kavramlar sanat,
teknoloji ve bilim arasnda bir blgeye
yerletiriyor. Sanatnn birok yapt
yukarda bahsi geen alanlarn
kesiimlerinin iaretlenmemi,
grlmeyen veya isimlendirilmemi
halleri etrafnda ekillendiriliyor.
Sonu ise, aralarnda daha nce
herhangi bir balant kurulmam olan
bilim tarihi ve kapitalist piyasa gibi
alanlar arasnda balantlar oluturarak
disiplinler arasnda yeni korelasyonlar
yaratmak. Yapt, bir yandan alanlar
arasnda karlkl ilikiler oluturma
ve bilginin geliimiyle ilgili, ama te
yandan bilginin nasl olup da gelitiini
sorgulayarak bu evrimin biiminin
verili olmadn ortaya koyuyor.
Olaanst Popler Yanlglar (2012)
sanat, bilim, ekonomi ve ruhanilik
katmanlarn bir araya getiren bir ensta-
lasyon. Yapt baln Charles Mackayin
kitab Olaanst Popler Yanlglar
ve Kalabalklarn lgnlndan (1841)
alyor. Yazar bu kitapta yaygn bo
inanlar, zellikle de piyasa balonlar
hakknda gerekleri ortaya serer.
Johannessen ise, Olaanst Popler
Yanlglarda iki kolektif yanlgy
ele alyor: alg maniplasyonlar ve
gncel koullarn topluma nasl
szdna dair kanlar.
Yapt, en eski, tarihi byl feneri
andran zel retim bir projeksiyon
cihazndan gnei gsteren bir
solargramn grntsn yanstyor.
Galata Rum lkretim Okulu Galata Greek Primary School
O
l
a

a
n

s
t

P
o
p

l
e
r

Y
a
n

l
g

l
a
r
,

2
0
1
2
E
x
t
r
a
o
r
d
i
n
a
r
y

P
o
p
u
l
a
r

D
e
l
u
s
i
o
n
s
,

2
0
1
2
T
O
R
I
L

J
O
H
A
N
N
E
S
S
E
N
during the seventeenth century and
were then, as in Johannessens piece,
powered by oil lamps. Johannessen
entwines the sun, the quintessential
source of energy, and oil, extracted from
the depths of the earth. The installation
also includes a video and four prints. The
text-based video shows Johannessens
dialogue with late physicist Niels Bohr by
way of a clairvoyant medium, discussing
energy as a physical phenomenon but
also indirectly as a spiritual phenomenon.
The four corresponding prints delineate
concepts of energy cycles that diverge
from the frst law of thermodynamics
(the law of conservation of energy).
Principal to Extraordinary Popular
Delusions is the exploration into the
methodologies of natural sciences and
their infuence on other felds. It shows
a shifting of systems and symbols,
conveying a consideration into
new fringe sciences, including
thermoeconomics. Thermoeconomics
applies thermodynamics to economic
theory and is a discipline belonging
to cycle research, which attempts to
understand the unifying forces that
regulate unrelated cycles, such as
sunspot activity and the stock market.
Theodor Ringborg
Bu tr sinemadan nceki dneme ait
projeksiyon cihazlar on yedinci yzylda
gelitirilmiti ve k kayna olarak gaz
lambas kullanyordu. Johannessen en
temel enerji kayna gne ile dnyann
derinliklerinden kartlan kandil yan
eletiriyor. Enstalasyonda ayrca bir
video ve drt adet bask da yer alyor.
Metin temelli videoda Johannessen m-
teveffa fiziki Niels Bohr ile bir medyum
araclyla fiziksel bir fenomen olarak
ama dolambal biimde de ruhani bir
fenomen olarak enerji zerine sohbet
ediyor. Bununla birlikte sunulan drt
bask ise termodinamiin ilk yasasndan
yani enerjinin korunumu yasasndan
treyen enerji dngs kavramlarn
aklyor.
Olaanst Popler Yanlglarn
temelinde doa bilimlerinin yntemlerine
ve dier alanlar zerindeki etkilerine
ynelik bir aratrma ve keif abas
yatyor. Yapt hareketli bir sistemler ve
simgeler dizisi sunuyor, aralarnda
termoekonominin de bulunduu bir
takm yeni snr-bilimleri de deer-
lendirmeye alyor. Termoekonomi,
termodinamik kanunlarn ekonomik
kurama uygulayan, gneteki lekelerin
etkinlikleri ve borsa gibi birbiriyle
ilikisi olmayan dngleri dzenleyen
birletirici kuvvetleri anlamaya alan
dng aratrmalar alanna ait bir
disiplin. Theodor Ringborg
Galata Rum lkretim Okulu Galata Greek Primary School
VERMEIR &
HEIREMANS
R
e
z
i
d
a
n
s

(

r

d

n
y
a

z
e
r
i
n
e

b
i
r

b
a
h
i
s
)
,

2
0
1
2
T
h
e

R
e
s
i
d
e
n
c
e

(
a

w
a
g
e
r

f
o
r

t
h
e

a
f
t
e
r
l
i
f
e
)
,

2
0
1
2
V
E
R
M
E
I
R


&

H
E
I
R
E
M
A
N
S
Vermeir & Heiremansn (Katleen
Vermeir ve Ronny Heiremans) videolar
gnmzn byk oranda kresellemi
dnyasnda ekonomi, meknsallk ve
toplumsal gereklik arasndaki karmak
ilikiyi aratryor. Finansal yaplarn
mekanizmasna ve kltrel sreleri nasl
retip vcuda getirdiklerine odaklanan
ikili, kentsel dnm, toplumsal stat
ve fetiizm arasndaki giderek daha da
birbirine dolanan iliki zerine sorular
soruyor. kili, finansal pazarlarn kaygan
doasn irdeliyor ve kresel ekonominin
niteliklerinin nasl yeni bir benlik algs
modeli rettiini sorguluyor. Sanatlar
hem toplumsal kurallara, hem de
bugnn sanatsal ve sanatsal olmayan
dnyalarnda deerin nasl retildiine
dair fikir yrtmek amacyla finansal
aralar, tarihsel gndermeler, teknoloji
ve sinema dilinden faydalanyor.
kili, 2012 tarihli ve yer yer Goethenin
Faustundaki iddiay da hatrlatan
Rezidans (br dnya zerine bir bahis)
balkl video projesi iin iki ayr rol,
bir kapitalisti ve bir sanaty canland-
ran inli sanat ve mimar Ma Wen ile
birlikte alt. Bu karakterlerin ilki,
dnyay finansal bir mercein ardndan
gren ve srekli yaratc snfn
ekonomik katks konusundaki derin
grlerini izleyiciyle paylaan
oportnist bir kltr giriimcisi.
Ma Wenin dier rol bu para merkezli
gerekliin teki yzn temsil eden
uzun sal bir sanat: bu sanat, sermaye
birikimine muhalif kimliiyle
The videos and installations of Vermeir &
Heiremans (Katleen Vermeir and Ronny
Heiremans) investigate the complex
relationship between economy, spatiality,
and social reality in todays highly
globalized world. Focusing on the
mechanism of fnancial structures and
the ways in which they produce and
generate cultural processes, the duo
raises questions about the ever-growing
entanglement between urban develop-
ment, social status, and fetishism. They
explore the shifting nature of fnancial
markets in relation to subjectivity and
ask how the characteristics of the global
economy produce new modes of self-
perception. The artists employ fnancial
tools, historical references, technology,
and cinematic language to refect on social
codes as well as on the production of value
in todays artistic and non-artistic realms.
In their 2012 video project The Residence
(a wager for the afterlife), in parts evoking
the wager in Goethes Faust, Vermeir &
Heiremans collaborated with the Chinese
artist and architect Ma Wen, who plays
two roles: a capitalist and an artist.
The frst character, an opportunist cultural
entrepreneur, perceives the world through
a fnancial lens and constantly shares his
insights on the economic contribution of
the creative class. Ma Wens second role
as a long-haired artist represents the other
side of this money-oriented reality: as
a dissident of the ongoing accumulation
of wealth, he fnds himself excluded both
physically and symbolically from
2006da Brksel, Belikada kurulan sanat kolektifi. almalarn Brksel,
Belikada srdryor. Artists collective founded in 2006 in Brussels, Belgium.
Based in Brussels, Belgium.
Galata Rum lkretim Okulu Galata Greek Primary School
T
h
e

R
e
s
i
d
e
n
c
e

(
a

w
a
g
e
r

f
o
r

t
h
e

a
f
t
e
r
l
i
f
e
)
,

2
0
1
2
R
e
z
i
d
a
n
s

(

r

d

n
y
a

z
e
r
i
n
e

b
i
r

b
a
h
i
s
)
,

2
0
1
2
V
E
R
M
E
I
R


&

H
E
I
R
E
M
A
N
S
the gated communities that comprise
this fashy world. The project features two
additional fctional characters: a wealthy
investor and a woman named Lady Credit,
an emblematic fgure, performed by one
actress who plays all the dozen female
roles in the flm.
Filmed in China and Belgium,
The Residence narrates a compressed
and frenetic plotthe entrepreneur is
commissioned by the investor to develop
a house for his afterlifethat takes place
in an excessive, pretentious, and
glamorous environment (full of expensive
apartments, fancy interiors, and fashion
shows). Accordingly, the text that is
represented by the different fgures is
as corrupted as the world they live in:
it is not an original script but rather
an assemblage of quotes from different
sources. These sources may include
lifestyle magazines or literary works.
When juxtaposed with the visuals,
these textual and verbal layers intensify
the artifcial feeling The Residence
aims to convey. Yael Messer
bu gsterili dnyay oluturan
gvenlikli yerleimlerden hem fiziksel
hem de simgesel olarak dlanyor.
Projede iki kurgu karakter daha yer
alyor: biri varlkl bir yatrmc, dieri
ise Lady Credit (Kredi Hanm) isminde
filmdeki bir dzine kadn karakterin
tamamn canlandran simgesel bir
kadn figr.
ekimleri inde ve Belikada gerek-
letirilen Rezidans (lks apartmanlar,
haval i meknlar ve moda defileleriyle
dolu) abartl, sahte ve aaal bir ortam-
da geiyor ve sktrlm ve hummal
bir olaylar rgsne sahip filmde,
yatrmc, giriimciden lmnden
sonraki hayat iin bir ev ina etmesini
istiyor. Buna uygun olarak, farkl
figrler tarafndan temsil edilen metin
en az bu figrlerin iinde yaad dnya
kadar yozlam: bu orijinal bir
senaryo deil, aralarnda yaam tarz
dergileri veya edebi yaptlarn da olduu,
farkl kaynaklardan derlenmi alntlar-
dan oluan bir buket. Bu metin ve
sz katmanlar grsellerle yan yana
gelince Rezidansn iletmeye alt
yapaylk hissini artryor. Yael Messer
Galata Rum lkretim Okulu Galata Greek Primary School
VOLKAN ASLAN
S
k
e
t
c
h

f
o
r

G
a
m
e
s

G
a
m
e
s

G
a
m
e
s
,

2
0
1
3
O
y
u
n
l
a
r

O
y
u
n
l
a
r

O
y
u
n
l
a
r

i

i
n

e
s
k
i
z
,

2
0
1
3
Volkan Aslan is preoccupied with objects
that are made to speak. Collecting and
assembling found objects and images
ranging from flm stills and photographs
to fea market knickknacks and old
tableshe gives agency to these objects
that are often considered as merely
human imprints or traces. In Aslans
installations, found objects do not simply
document the past or testify to a nostalgic
moment as they occupy the position of
the witness, but more importantly, they
are placed in the templates he creates
from scratch, and thereby made to tell new
stories. His ready-mades produce their
own constituency as they are distanced,
if not detached, from their own past, and
assume an audience who is invited to
construct new memories and identities to
the objects on display.
For the 13
th
Istanbul Biennial, Aslan
creates a familiar, if not everyday, object:
fve interlocking rings coloured blue,
yellow, black, green, and redmimicking
the renowned symbol of the Olympic
Games since 1920. Games Games
Games (2013) immediately refers to
the institutional identity of the international
sporting event, yet Aslan creates a twist
by using fading neon lights and a display
that looks as if it can collapse any time,
pointing to vulnerability rather than
a presumed idealism for peace and
development. Games Games Games
dangles from a wooden beam at
the top-foor of the Galata Greek Primary
School, as if it is trying to hold on to
the support structure of the building.
V
O
L
K
A
N

A
S
L
A
N
1982de Ankara, Trkiyede dodu. stanbul, Trkiyede yayor ve alyor.
Born in 1982 in Ankara, Turkey. Lives and works in Istanbul, Turkey.
Volkan Aslann derdi nesneleri
konuturmak. Film kareleri ve fotoraf-
lardan bit pazarndan toplanm vr-
zvra ve eski masalara, bulunmu nesne
ve imgeleri biriktirerek ve yeni ilikiler
iinde bir araya getirerek normalde
insanlarn artlarnda brakt basit
izler olarak grlen bu nesneleri birer
iletiim mecras haline getiriyor. Aslann
enstalasyonlarnda bulunmu nesneler
sadece gemii belgelemeye veya tank
olduklar nostaljik bir an ifade etmeye
yaramyor, sanatnn oluturduu yeni
ablon ierisinde yeni hikyeler de
anlatyorlar. Aslann hazr yaptlar
kendi gemileriyle aralarna mesafe
koyduklar, hatta bu gemiten koptuklar
lde kendi dnyalarn oluturuyorlar,
ve izleyiciyi sunulan bu nesnelere yeni
anlar ve kimlikler atfetmeye davet
ediyorlar.
Aslan 13. stanbul Bienali iin tandk,
hatta gndelik bir nesneyi, 1920den beri
Olimpiyat Oyunlarnn mehur sembol
olan birbirine gemi mavi, sar, siyah,
yeil ve krmz be halkay tasarlyor.
Oyunlar Oyunlar Oyunlar (2013), ilk
bakta bu uluslararas spor etkinliinin
kurumsal kimliine gnderme yapyor.
Ancak Aslan kulland soluk neon
klar ve her an yklacakm gibi
grnen sergileme biimiyle beklenmedik
bir mdahalade bulunuyor ve varsaylan
bar ve ilerleme idealizmi yerine, hasar
grebilirlie iaret ediyor. Oyunlar
Oyunlar Oyunlar, sanki binann tayc
yapsna tutunmaya alr gibi,
Galata Rum lkretim Okulunun en
Galata Rum lkretim Okulu Galata Greek Primary School
S
e
r
g
i

S
a
l
o
n
u
,

2
0
0
9
E
x
h
i
b
i
t
i
o
n

H
a
l
l
,

2
0
0
9
Rather than being a contained sculpture in
itself, neon rings also create an atmosphere,
playing with the perception of space.
Aslans gesture suggests the potential
urban residues of the Olympic Games that
has recently turned into a city branding
strategy, causing arbitrary demolitions,
large-scale constructions, and idle
buildings designed for this mega event.
The use of a known template in Games
Games Games recalls a previous work,
Exhibition Hall (2009) where Aslan
mounted a signboard in an empty space,
using golden-colored metal letters that
read the sculptures own title, often used
in exhibition spaces of local municipalities
in Istanbul. With Games Games Games,
the artist further complicates the absurd
gesture of highlighting the institutions
attempt to predefne spaces. This time,
he distorts the symbol of the object he
usesthe Olympic ringsand assigns
an unexpected symbol that evokes
a potential failure. The artist thus invites
the viewer not only to question the objects
function but also the power structures
that lie behind it. zge Ersoy
st katnda tahta bir kiriten sarkyor.
Yalnzca kendi halinde bir heykel
olmaktan ziyade, neon halkalar mekn
algsyla da oynayarak bir atmosfer
yaratyor. Aslann jesti, son dnemde
ehirleri markalatrma stratejilerinden
birine dnen Olimpiyat Oyunlarnn
muhtemel kentsel tortularna iaret
ediyor: keyfekeder ykmlar, byk
lekli inaat projeleri, ve bu mega-
etkinlik iin tasarlanan ve sonrasnda
terk edilen binalar.
Oyunlar Oyunlar Oyunlardaki bilindik
ablon kullanm sanatnn bir baka
iini, Sergi Salonunu (2009) hatrlatyor;
bu yapt iin Aslan bo bir mekna,
yerel belediyelerin sergi meknlarnda
kullanlan altn rengi harf lerle heykelin
baln yazmt. Sanat Oyunlar
Oyunlar Oyunlarla ise kurumlarn
meknlar nceden tanmlamak iin
gsterdii absrd abay daha da
karmak bir balama yerletiriyor. Bu
sefer, kulland nesnenin Olimpiyat
halkalarnn semboln bozuyor ve bu
nesneye, muhtemel bir baarszla atfta
bulunan beklenmedik bir sembol
yklyor. Sanat izleyiciyi sadece
nesnenin ilevini deil, onu destekleyen
iktidar yapsn da sorgulamaya davet
ediyor. zge Ersoy
V
O
L
K
A
N

A
S
L
A
N
Galata Rum lkretim Okulu Galata Greek Primary School
WANG QINGSONG
F
o
l
l
o
w

Y
o
u
,

2
0
1
3
K
e
n
d
i
n
i

T
a
k
i
p

E
t
,

2
0
1
3
Wang Qingsong trained as a painter
at the Sichuan Academy of Fine Art
(Chongqing, China) but turned to
photography during the late 1990s. His
distinct style of photography involves
orchestrating images like a flm director,
with large-scale stages, elaborate scenes,
and multiple actors. His sizeable colour
prints often hint at Chinas recent develop-
ments, such as its new material wealth,
its gaze toward the outside world, and
its rapidly growing consumer culture,
exemplifed by the proliferation of McDon-
alds and a new market-driven art scene.
At the 13
th
Istanbul Biennial Qingsong
presents three large prints: Follow Me
(2003), Follow Him (2010), and Follow
You (2013). Follow Me takes its title from
the popular English-language-teaching
program introduced by China State
Television (CCTV) in 1982. These were
the early days of economic reconstruction,
and many Chinese citizens glimpsed the
Western lifestyle through the program
how Westerners ate, dressed, and lived.
During the 1980s, Qingsong explains,
The English teaching TV programs
signifcance went far beyond learning
English. It helped Chinese people learn
about the West and the world, just after
China emerged from its closed-door
policy.
1
Mischievously critiquing Chinas
development and perhaps the Western
discourse of development itself, Qingsong
constructed a huge blackboard on which
he scribbled Chinese and English slogans
with words mainly taken from China-based
English-training textbooks and manuals.
Sichuan Gzel Sanatlar Akademisinde
(Chongqing, in) resim eitimi gren
Wang Qingsong, 1990larn sonunda
fotoraf sanatna ynelmi. Sanatnn
kendine zg fotoraflk slubu
imgelerin byk lekli sahneler,
karmak mizansenler ve ok sayda
oyuncu kullanarak bir film ynetmeni
gibi dzenlenmesi zerine kurulu. Byk
boy renkli basklar genellikle inde
son dnemde gerekleen gelimelere,
yeni zenginlik, d dnyaya bak ve
McDonalds ubelerinin yaylmas ve
yeni, pazar gdml sanat piyasasnn da
rnek oluturduu hzla byyen tketim
kltr gibi konulara iaret ediyor.
Qingsong 13. stanbul Bienalinde
byk bask sergiliyor: Beni Takip Et
(2003), Onu Takip Et (2010), ve Kendini
Takip Et (2013). Beni Takip Et baln
in Devlet Televizyonunda (CCTV) 1982
ylnda gsterilmeye balanan popler bir
ngilizce dil dersi programndan alyor.
Ekonomik yeniden yaplanmann ilk
zamanlarna denk gelen bu dnemde
birok in vatanda Batl yaam biimini
Batllarn nasl yemek yediini,
giyindiini ve yaadnbu program
sayesinde ilk defa grme frsat elde eder.
Qingsong 1980lerdeki bu durumu yle
anlatyor: ngilizce dil dersi programnn
nemi ngilizce renmenin ok
tesindeydi. Bu program, da kapallk
politikas sona erdikten sonra inlilerin
Bat ve dnyann geri kalan hakknda
bilgi edinmesini salad.
1
inin
kalknmasn ve hatta belki Batnn
kalknma sylemini de alayc bir
1966da Heilongjiang, inde dodu. Pekin, inde yayor ve alyor.
Born in 1966 in Heilongjiang, China. Lives and works in Beijing, China.
W
A
N
G

Q
I
N
G
S
O
N
G
Galata Rum lkretim Okulu Galata Greek Primary School
F
o
l
l
o
w

M
e
,

2
0
0
3
B
e
n
i

T
a
k
i
p

E
t
,

2
0
0
3
Follow Him speaks of the issue of
education in China. Things are taught
but not learnt, according to Qingsong.
Facts are transferred by teachers and
regurgitated by pupils and many people
fail to understand the real meaning of
things. Qingsongs work depicts a vast
amount of discarded textbooks, placing
a lonely fgure in the middle overcome
by the material. Follow You offers further
insight along the same line. But here,
we see what appear to be students;
all but one crouched over piles of books.
What is written in the back is characteristic
of this series of works and of Qingsongs
practice: an ironic critique of the modern
Chinese education system. Although
the students have exhausted themselves,
it reads, For sustained development.
Theodor Ringborg
slupla eletiren Qingsong, ounu
inde yaymlanan ngilizce ders kitaplar
ve rehberlerden alnm kelimelerle
oluturduu ince ve ngilizce sloganlar
karalad dev bir kara tahta ina etmi.
Onu Takip Et ise inde eitim konusu
zerine bir yapt. Qingsongun grne
gre, inde ders verilse de renme
gereklemiyor. retmenler olgular
rencilere aktaryor, renciler bu
olgular sindirmeden geri kusuyor
ve sonuta ou kii gerek ierii
renemiyor. Kendini Takip Et de ayn
dorultuda bir yapt. Ancak burada,
biri hari hepsi nlerindeki kitap
ynlarnn zerine kapanm. Snfn
arka duvarnda yazl olanlar ise hem
bu yapt dizisine hem de genel anlamyla
Qingsongun sanatsal pratiine zg,
inin modern eitim sisteminin ironik
bir eletirisini oluturuyor. renciler
yorgunluktan baylm da olsa, arkadaki
slogann beklentisi baki: Srdrlebilir
geliim iin. Theodor Ringborg
W
A
N
G

Q
I
N
G
S
O
N
G
1 http://www.wangqingsong.com/index.php?option=com_content&view=article&id=87&Itemid=15 Eriim:
20 Austos 2013. http://www.wangqingsong.com/index.php?option=com_content&view=article&id=87&Itemid=15
Accessed: 20 August 2013.
Galata Rum lkretim Okulu Galata Greek Primary School
ARTER
ARTER
ZEMN KAT
GROUND FLOOR
KAT 1
FLOOR 1
Lutz Bacher
Jimmie Durham
Jorge Mndez Blake
Hctor Zamora
Stephen Willats
Jos Antonio Vega Macotela
Jananne Al-Ani
Angelica Mesiti
Maider Lpez
Basel Abbas &
Ruanne Abou-Rahme
Didem Erk
Fernando Ortega
Carla Filipe
Praneet Soi
Cinthia Marcelle
0
1
2
3
4
5
0
4
5
6
6
1
2
3
6
7
8
9
10
11
12
13
14
KAT 2
FLOOR 2
KAT 3
FLOOR 3
10
7
8
9
9
8
14
13 12
12
11
ANGELICA MESITI
C
i
t
i
z
e
n
s

B
a
n
d
,

2
0
1
2
V
a
t
a
n
d
a

l
a
r

B
a
n
d
o
s
u
,

2
0
1
2
1976da Sidney, Avustralyada dodu. Sidney, Avustralya ve Paris, Fransada
yayor ve alyor. Born in 1976 in Sydney, Australia. Lives and works in Sydney,
Australia and Paris, France.
The intensity of Angelica Mesitis Citizens
Band (2012) derives from its exploration
of three body states combined. The frst
is an exploration of the body as a physical
entity where emotion and cognition
happen. The second is the demonstration
of the body as a site of frst person, with a
unique, inner life and cultural history. And
the third, the transformation of the body
as it engages with other bodies in the
phenomenal world; as Heidegger sug-
gests, being-in-the-world. This intensity is
multiplied through the transport of rhythm,
sound and music that fows into the social
space, carrying with it culture into culture.
Mesitis band is four individual flms,
documenting the performances of musi-
cians working outside offcial structures
of presentation. Cameroonian Geraldine
Zongo drums the water in a Parisian public
pool. Algerian Mohammed Lamourie sings
and plays his Casio keyboard in the Paris
Metro. Sudanese Asim Goreshi whistles
in his Brisbane taxi. And Mongolian
Bukhchuluun Ganburged (Bukhu) plays
the Mongolian morin khuur (horse head
fddle) and throat sings on a Sydney street
corner. Each player delivers a distinct
sound, refecting its cultural origin.
Mesitis video arrangement syncopates
all performances and compresses our
concentration. We witness each performer
individually, before the cacophony of
the four soundtracks together.

Angelica Mesitinin Vatandalar Bandosu
(2012) gcn ayr bedensel halin
birlemesinin kefinden alyor. Bu
hallerden ilki, duygu ve dncenin
meydana geldii fiziksel varlk olarak
bedenin kefi. kincisi, bedenin benzersiz
bir isel yaam ve kltrel tarihe sahip
bir birinci tekil ahs mekn olarak
gsterilmesi. ncs ise bedenin
olgular dnyasnda dier bedenlerle
ilikiye girerek dnmesi; Heideggerin
deyiiyle dnya-iinde-var-olma. Yaptn
younluu, bir kltr dier bir klt-
rn ierisine tayarak toplumsal mekna
akan ritim, ses ve mziin iletilmesiyle
katmerleniyor.
Mesitinin bandosu, yerleik sunum
yaplarnn dnda alan mzisyenlerin
performanslarn belgeleyen drt ayr
filmden oluuyor. Kamerunlu Geraldine
Zongo, Pariste, halka ak bir havuzda
sular dverek mzik yapyor. Cezayirli
Mohammed Lamourie, Paris metrosunda
Casio orgunu alarak ark sylyor.
Sudanl Asim Goreshi, Brisbanede tak-
sisinin iinde slk alyor. Moolistanl
Bukhchuluun Ganburged (Bukhu) ise
Sidneyde bir sokak kesinde bir Mool
algs olan morin khuura (at bal keman)
grtlaktan ark syleyerek elik ediyor.
Her mzisyen kendi kltrne zg,
farkl bir ses karyor.
Mesitinin tm performanslar senkop-
lad video kurgusu dikkatimizi daha
da younlatryor. Drt ses kaydnn
kakofonisinden nce, her mzisyenin
A
N
G
E
L
I
C
A

M
E
S
I
T
I
ARTER
V
a
t
a
n
d
a

l
a
r

B
a
n
d
o
s
u
,

2
0
1
2
C
i
t
i
z
e
n
s

B
a
n
d
,

2
0
1
2
Mesitis flms are portraits, and like
early portraiture, there is a kind of rural
topography in her backgrounds, while their
psychical foreground locates them in
a newer urban setting. Here however,
the background is located in the repertoire
of the imaginary. Asim Goreshis taxi and
suburban location seem to evaporate to
become a vast open plain through which
birds fy, trees futter, and wind blows.
These images are remembered and fow
from his variegated whistling. The Parisian
pool, the surrogate river, the original
home of Geraldine Zongos drumming,
is, through the arc of Zongos perfor-
mance, inundated with an imaginary of
another place.
Mesiti produces a hermetic space
in which her protagonists exist and to
which we direct our attention. Zongo,
Lamourie, Goreshi and Bukhu seem held
between places and cultures. While they
play their music, theirs is an authentic,
enchanted moment of inner life. They are
temporarily not-in-the-world (of Paris or
Brisbane or Sydney) but in themselves,
and returned to a place encoded in their
musical entrainment which keeps vivid
the places of exile. Mesitis flming,
a close up, focused on the face, exemplify-
ing the private moment, enhances this
out-of-place-ness.
1
Juliana Engberg
A
N
G
E
L
I
C
A

M
E
S
I
T
I
tek kiilik icrasn ayr ayr izliyoruz.
Mesitinin filmleri birer portre sunuyor
ve erken dnem portreciliinde olduu
gibi arka planlarnda bir tr krsal
topografya bulunuyor, psiik n plan
ise bu filmleri daha yakn bir dneme
ait kentsel bir manzaraya yerletiriyor.
Ancak bu yaptta arka plan hayalgc-
nn repertuvarna yerletirilmi. Asim
Goreshinin taksisi ve bulunduu banliy
mahallesi sanki buharlaarak kularn
uutuu, aa yapraklarnn titretii
ve rzgrn estii geni ak bir alana
dnyor. Bu imgeler Goreshinin ren-
garenk slnda akp gidiyor. Geraldine
Zongonun davul almaya balad asl
yer olan rman yerini tutan Paristeki
havuz ise Zongonun performans
araclyla baka bir yerin imgelemi ile
dolup tayor.
Mesiti iinde kahramanlarnn var
olduu byl bir mekn retiyor.
Zongo, Lamourie, Goreshi ve Bukhu
sanki meknlar ve kltrler arasnda
gidip geliyor. Mziklerini yaparken i
dnyalarnda hakiki, efsunlu bir an
yayorlar. Geici bir sre iin (Paris,
Brisbane veya Sidneydeki) dnyann-i-
inde-var-olmuyor, kendi ilerindeki
dnyaya, srgn edildikleri yerlerin
hatrasn canl tutan mzikal alkanlk-
larnda kodlanm bir yere dnyorlar.
Mesitinin yzlere odaklanan, zel
anlar temsil eden yakn plan ekimleri
bu bulunduu-yere-ait-olmama hissini
glendiriyor.
1
Juliana Engberg
1 Bu metin Rapture and Rupture (2012); Angelica Mesitis Citizens Bandden (yazar: Juliana Engberg, Sanat
Direktr, Avustralya Gncel Sanat Merkezi, Melbourne) alntdr. This text is an excerpt from Rapture
and Rupture (2012); Angelica Mesitis Citizens Band by Juliana Engberg, Artistic Director, Australian Centre for
Contemporary Art, Melbourne.
ARTER
BASEL ABBAS &
RUANNE
ABOU-RAHME
T
e
s
a
d

f
i

s
y
a
n
c

l
a
r
:

H
a
y
d
u
t
l
a
r

H
a
k
k

n
d
a
k
i

K

m

(
B

m

1
)
,

2
0
1
2
-
2
0
1
3
T
h
e

I
n
c
i
d
e
n
t
a
l

I
n
s
u
r
g
e
n
t
s
:

T
h
e

P
a
r
t

a
b
o
u
t

t
h
e

B
a
n
d
i
t
s

(
C
h
a
p
t
e
r

1
)
,

2
0
1
2
-
2
0
1
3
Abbas 1983te Lef koa, Kbrsta dodu; Abou-Rahme 1983te Boston, MA,
ABDde dodu. Ramallah, Filistinde yayor ve alyorlar. Abbas born in 1983
in Nicosia, Cyprus; Abou-Rahme born in 1983 in Boston, MA, USA. Live and
work in Ramallah, Palestine.
Basel Abbas and Ruanne Abou-Rahme
work collaboratively from their base
in Ramallah, Palestine across a range
of sound, image, installation, and
performance. Their practice, while
largely research based, also examines
the immersive, experiential possibilities
of sound, image and environment,
taking on the form of interdisciplinary
installations and live audio-visual
performances.They have exhibited and
performed internationally and most
recently founded the sound and image
performance collective Tashweesh.
Their work explores issues to do with
subjectivity, the politics of desire, dis-
aster, and space, and the absurdities of
contemporary practices of power. They
often fnd themselves investigating
spatio-temporal resonances in the
relation between the actual, imagined
and remembered. Their practice is
largely infuenced by different histories
and imaginaries, such as Walter
Benjamins writings from the 1930s,
produced during the height of European
fascism and Deleuze and Guattaris
criticism of capitalist desire production
and take on materialist psychiatry in the
late 1960s.
In The Zone (2011) and Lost Objects
of Desire (2010), the duo critically
examines the transformation of the
Palestine Liberation Organization (PLO)
from a revolutionary movement into
B
A
S
E
L

A
B
B
A
S

&

R
U
A
N
N
E

A
B
O
U
-
R
A
H
M
E
Basel Abbas ve Ruanne Abou-Rahme,
Filistinin Ramallah ehrindeki
atlyelerinde birlikte ses, imge,
enstalasyon ve performans mecralarn
kullanarak alyorlar. Arlkl
olarak aratrmaya dayanan pratik-
leri, bir yandan da sesin, imgenin ve
evrenin insan tamamen iine alan
deneysel olaslklarn inceliyor ve
disiplinleraras enstalasyon ve canl
grsel-iitsel performans biimlerini
alyor. Uluslararas alanda sergiler
ve performanslar gerekletiren ikili,
yakn zamanda Tashweesh adl ses ve
imge performans kolektifini kurdu.
kilinin almalar znellikle, arzu,
felaket ve mekn politikalaryla, ve
gnmzde gcn absrd uygulama
biimleriyle ilgileniyor. Sanatlar
oklukla, mevcut, hayl edilen ve
hatrlanan arasndaki ilikiye dhil
olan meknsal-zamansal salnmlar
inceliyorlar. Pratikleri, aralarnda
Walter Benjaminin 1930larda,
Avrupa faizmi zirvedeyken yazd
makalelerin, ve Deleuze ve Guatta-
rinin 1960larn sonunda gelitirdik-
leri materyalist psikiyatri anlay ile
getirdikleri kapitalist arzu retimi
eletirisinin de bulunduu farkl tarih
ve imgelemlerden esinleniyor.
Blge (2011) ve Arzunun Kayp Nesne-
lerinde (2010) ikili Filistin Kurtulu
rgtnn (FK) devrimci bir
hareketten bir otoriteye ve son
ARTER
HENZ SOMUTLAMAMI OLANIN ORTASINDA
T
h
e

I
n
c
i
d
e
n
t
a
l

I
n
s
u
r
g
e
n
t
s
:

T
h
e

P
a
r
t

a
b
o
u
t

t
h
e

B
a
n
d
i
t
s

(
C
h
a
p
t
e
r

2
)
,

2
0
1
2


(
v
i
d
e
o

s
t
i
l
l
)
T
e
s
a
d

f
i

s
y
a
n
c

l
a
r
:

H
a
y
d
u
t
l
a
r

H
a
k
k

n
d
a
k
i

K

m

(
B

m

2
)
,

2
0
1
2

(
v
i
d
e
o

k
a
r
e
s
i
)
an authority and eventually a security
regime, and with it the birth of new
political discourses and desires largely
centred on consumption. The Zone
evokes both the phantasmagoria of
the dream-world and the dystopia of
the catastrophe. Reality is much more
absurd, and far less rational or normal
than we assume it is,
1
say the artists,
who uncover the present moment to
suggest an alternative reality.
A line from their video and installation
The Incidental Insurgents (2012-2013)
presented at the 13
th
Istanbul Biennial
reads: We were lean young wolves, full
of pride and thought: dangerous types.
The two fgures of The Incidental
Insurgents, almost never seen in full
profle, could be nonaction heroes from
a dystopian computer game. Their
prolonged on-the-road presence is
a search that never comes to fruition,
but is also a mediation on the fgure of
the artist as a bandit whose uninten-
tionally and inherently radical gaze
generates a timeless zone between
the past and future. Abbas and Abou-
Rahme address the urgent question
of what needs to be said (and how
it would be heard) in their particular
political context rather than correcting
the Palestinian experience for Western
audiences.* vl Durmuolu
dnemde bir gvenlik rejimine
dnmesini ve bununla birlikte
byk oranda tketim zerine kurulu
yeni siyasal sylemler ve arzularn do-
uunu aratrp inceliyor. Blge, hem
bir rya aleminin fantazmagoryasn,
hem de felaketin distopyasn art-
ryor. Gereklik sandmzdan ok
daha absrd, ve ok daha az rasyonel
ve normal
1
diyen sanatlar, baka
tr bir gereklik ortaya koyabilmek
iin imdiki ann zerindeki rty
kaldrmaya alyorlar.
13. stanbul Bienalinde sergilenen
Tesadfi syanclar (2012-2013) ba-
lkl video ve enstalasyonlarnda geen
bir dize yle: Gurur ve fikir dolu,
srm gibi gen kurtlardk: tehlikeli
tiplerdik. Tesadfi syanclarn bir
btn olarak hi grlmeyen bu iki
figr pekl distopyac bir bilgisayar
oyununun sakin kahramanlar olabi-
lirler. Kahramanlarn yolda geirdik-
leri uzun sre, asla meyve vermeyen bir
araya iaret ediyor; ancak bir yandan
da kastsz, ikin radikal bakyla ge-
mi ve gelecek arasnda zamansz bir
alan yaratan haydut-sanat figrne
dair bir yorum gelitiriyor. Abbas ve
Abou-Rahme, Batl izleyicilerdeki
Filistin deneyimi algsn dzelterek
aktarmaktansa, kendi zgn siyasi
balamlarnda sylenmesi gerekene (ve
bunun kulaa nasl geleceine) dair
acil bir gndemi ele alyorlar.*
vl Durmuolu
1 Basel Abbas ve Ruanne Abou-Rahme ile The Zone zerine Bir Konuma, Jadaliyya ezine.
http://www.jadaliyya.com/pages/index/1642/a-conversation-with-basel-abbas-and-ruanne-abou-ra Eriim: 8
Austos 2013. A Conversation with Basel Abbas and Ruanne Abou-Rahme on The Zone, Jadaliyya ezine. http://www.
jadaliyya.com/pages/index/1642/a-conversation-with-basel-abbas-and-ruanne-abou-ra Accessed: 8 August 2013.
* Sanatlarn katklaryla. With contribution from the artists.
B
A
S
E
L

A
B
B
A
S

&

R
U
A
N
N
E

A
B
O
U
-
R
A
H
M
E
ARTER
CINTHIA MARCELLE
Cinthia Marcelles Confront [Confronto]
(2005) is part of her series Unus Mundus
(One World in Latin).

The 9 minute video is not about
the narrative it develops, nor is it about
video photography. Rather, it is
the recording of a carefully staged
intervention in public life and takes
the form of a training video, as if the artist
wanted to encourage others to copy
the experiment. This is the poetry of
Marcelles work, always beginning with
curiosity, with an idea or a thought
transformed into an experiment;
an experiment that ultimately translates
back into an image, a clear statement
that art is all about the act of setting out
to question things.
1
Cinthia Marcellein Yzle [Confronto]
(2005) adl videosu Unus Mundus
(Latince Tek Dnya) serisinin bir
paras.

Bu 9 dakikalk video kurduu anlatyla,
ya da video fotorafl ile ilgili deil.
Bundan ziyade kamusal hayata yaplan
zenle kurgulanm bir mdahalenin
kayd. Bir egzersiz videosu biimine
brnen yapt, sanat, bakalarn da
bu eylemi tekrar etmeye aryormu
izlenimi yaratyor. Marcellein alma-
larnn iirsellii tam da burada yatyor;
her zaman merak hissi ile balyorlar.
Bir fikir veya dnce bir deneye
dnyor; bu deney nihayetinde tekrar
bir imgeye tercme oluyor ve net bir
beyana dnyor: Sanat bir eyleri
sorgulama eyleminin ta kendisi.
1

C
o
n
f
r
o
n
t

[
C
o
n
f
r
o
n
t
o
]

f
r
o
m

t
h
e

s
e
r
i
e
s

U
n
u
s

M
u
n
d
u
s
,

2
0
0
5
Y

z
l
e

[
C
o
n
f
r
o
n
t
o
]
,

U
n
u
s

M
u
n
d
u
s

s
e
r
i
s
i
n
d
e
n
,

2
0
0
5
1974te Belo Horizonte, Minas Gerais, Brezilyada dodu. Belo Horizonte,
Minas Gerais, Brezilyada yayor ve alyor. Born in 1974 in Belo Horizonte,
Minas Gerais, Brazil. Lives and works in Belo Horizonte, Minas Gerais, Brazil.
C
I
N
T
H
I
A

M
A
R
C
E
L
L
E
1 Jochen Volz, Confronto on the Work of Cinthia Marcelle 9. Biennale de Lyon Katalou iinde. http://www.
galeriavermelho.com.br/en/artista/88/cinthia-marcelle/textos Eriim: 14 Austos 2013. Jochen Volz, Confronto
on the Work of Cinthia Marcelle in Catalogue of 9
th
Biennale de Lyon. http://www.galeriavermelho.com.br/en/
artista/88/cinthia-marcelle/textos Accessed: 14 August 2013.
ARTER
DIDEM ERK
Didem Erk, Syleme biimleri ve
olanaklar nelerdir? Harf ler ve metinler
nasl yapma edimleri olabilir? Bir
yant durumunda, birisi okur, dieri
de dinleyici olabilir. Bugn yaam
biimimizde canl, yzlemeli, kar
karya deneyimler iin yerler ve
biimler nelerdir? sorularn soruyor.
Erk, bu soruturmalarla bellek, dil ve
hayal gc yetilerimizin nelerden olu-
tuunu aratran mekn ile etkileimli
enstalasyonlar ele alan bir alma
biimi ortaya koydu. Erk, dili, adeta
fiziksel bir yer veya her tr deneyime
alabilen bir kap olarak deerlendire-
rek, dilin tekil ettii mekn ve orada
ne olduunu aratryor.
Erkin 13. stanbul Bienalinde sergilenen
almas Arivlerde izim bulunmasn
isterdim (Srkran | Secret Decipherer |
Mistiko Spastis), (2013) Kbrsn Lef koa
kentinde geirdii srede gelitirdii
ve devam eden bir proje. Erk, kenti bir
ktphane olarak grmeye, ve kentin
Kuzey ve Gney kesimlerinde dolamaya
ve okumaya balad. Kentin (dier kentler
gibi) hikyelerle dolu olduunu grd
ve dil bir yer olduundan, Lef koay
herhangi bir ktphane gibi, bir hikaye
kutusu gibi ele ald. Sanatnn Kuzey
ve Gney Kbrsta yapt performansn
video kaytlar sergi meknnda da ikili
video projeksiyonla kuzey ve gney
akslarnda gsterildi.

I

w
i
s
h

I

c
o
u
l
d

n
o
t

b
e

t
r
a
c
e
d

i
n

t
h
e

a
r
c
h
i
v
e
s

(
S

r
k

r
a
n

|

S
e
c
r
e
t

D
e
c
i
p
h
e
r
e
r

|

M
i
s
t
i
k
o

S
p
a
s
t
i
s
)
,

2
0
1
3

A
r

i
v
l
e
r
d
e

i
z
i
m

b
u
l
u
n
m
a
s

n

i
s
t
e
r
d
i
m

(
S

r
k

r
a
n

|

S
e
c
r
e
t

D
e
c
i
p
h
e
r
e
r

|

M
i
s
t
i
k
o

S
p
a
s
t
i
s
)
,

2
0
1
3
1986da stanbul, Trkiyede dodu. stanbul, Trkiye ve Helsinki, Finlandiyada
yayor ve alyor. Born in 1986 in Istanbul, Turkey. Lives and works in Istanbul,
Turkey, and Helsinki, Finland.
Didem Erk asks the questions What are
the forms and possibilities of saying?
How can letters and texts be acts of
making? In a situation of response,
someone may be the reader and the other
the listener. What are the places and
forms for live, confronting and face-to-face
experiences in our contemporary way of
living? Taking these inquiries she has
established a manner of working that
deals with site responsive installations
that explore what constructs our faculties
of memory, language and imagination.
Considering language as almost
a physical place or a door that can
open up to all kinds of experience,
Erk investigates the space that language
is, and what it holds.
Erks work exhibited at the 13
th
Istanbul
Biennial, I wish I could not be traced in
the archives (Srkran | Secret Decipherer
| Mistiko Spastis) (2013) is an ongoing
project she developed during her time in
Nicosia, Cyprus. She began viewing the
city as a library, and began reading and
walking along the North and South parts.
Finding the city to be full of stories (much
like any other city), and since language is
a place, Erk began treating Nicosia as
a library of sorts, a container of stories.
The records of the artists performance,
which she did in both Northern and
Southern Cyprus, were shown along the
north - south axes in the exhibition space
as well.
D

D
E
M

E
R
K
ARTER
I wish I could not be traced in the archives
(Srkran | Secret Decipherer | Mistiko Spastis), 2013
Arivlerde izim bulunmasn isterdim
(Srkran | Secret Decipherer | Mistiko Spastis), 2013
Sanat diyor ki: Bu; Lef koa kentinin
her iki kesiminde, Kuzeyde ve
Gneyde okuma ve dolama eklinde
performatif bir yaklamla kentle
yzleen bir proje
Kbrsl bir yazarn kendi ocukluk
travmalarn anlatt ve kurguyla i ie
gemi bir kitap bulmaya karar verdim.
Kentin iki ksmnda da bu kitab yksek
sesle okuyarak yrdm. Kendimi gezgin
bir okuyucu, kente srekli bastrlm
gemii hakknda hikayeler anlatan
seyyar bir anlatc olarak adlandrdm.
1

Theodor Ringborg
The artist states: It was a project which
confronts the city Nicosia with a performative
approach of reading and walking along at
both parts, North and South...
I decided to fnd a book which is written by
a Cypriot writer about his own childhood
traumas and intertwined with fction. I
walked and read the book aloud, in both
parts of the city. I named myself as an
itinerary reader, mobile storyteller to the
city about its own past that has been
always repressed.
1
Theodor Ringborg
D

D
E
M

E
R
K
1 Didem Erk, yazarla yazmasndan. Didem Erk, correspondence with the author.
ARTER
HECTOR ZAMORA
M
a
t
e
r
i
a
l

I
n
c
o
n
s
t
a
n
c
y

[
I
n
c
o
n
s
t

n
c
i
a

M
a
t
e
r
i
a
l
]
,

2
0
1
2
M
a
d
d
e
s
e
l

D
e

k
e
n
l
i
k

[
I
n
c
o
n
s
t

n
c
i
a

M
a
t
e
r
i
a
l
]
,

2
0
1
2
H

C
T
O
R

Z
A
M
O
R
A
Hctor Zamora creates installations,
mostly in the public arena, where he
investigates the organisation of
communities and how urban and
architectural environments are
expressions of a cultures sense of place.
Introducing temporary scenarios, he
intervenes with the social and physical
structures of urban spaces and responds
to the historical, cultural, or political
specifcs of the site. He twists collective
memories, desires, and fantasies,
providing room for new understanding.
His work Zeppelins Swarm (2009)
presented at the 53
rd
Venice Biennale
in 2009 envisioned a fctitious invasion
of zeppelins that simply appeared over
the rooftops one morning and lodged
themselves into the narrow streets of
Venice. The event was inexplicable.
It was captured on video and in photos,
and displayed on posters all over the city.
One actual zeppelin that got stuck in
between two proximate buildings became
a visual reminder of the curious incident.
While turning the city into a mise en
scne of a science fction story, Zamora
humorously comments on the tourist
invasions that have so completely come
to defne the citys character.
The zeppelins illustrate the artists
recurring interest in the question of weight
versus weightlessness. He emphasizes
materiality and uses that approach to
fnd subtle contradictions, such as
the contrast between the airiness of
the zeppelin balloons and the solid
Hctor Zamora genellikle kamusal
alanda oluturduu enstalasyonlarda
cemaatlerin rgtlenme biimlerini ve
kentsel ve mimari ortamlarn bir klt-
rn mekn anlayn nasl ifade ettiini
aratryor. Sanat, geici senaryolar
yaratarak, kentsel meknlarn toplumsal
ve fiziksel yaplarna mdahale ediyor
ve meknn tarihsel, kltrel veya siyasi
zelliklerine ynelik karlklar gelitiri-
yor; ortak hafzay, arzular ve fantezileri
dntrerek yeni kavray biimlerine
alan ayor.
Sanatnn 2009da 53. Venedik Biena-
linde sergiledii Zeplin Srs (2009)
balkl yapt, bir sabah birdenbire
atlarn zerinde beliriveren ve dar
sokaklarn zerinde konaklayan bir
zeplin srsnn ehri igalini tahayyl
ediyordu. Video ve fotoraf larla belgele-
nen, ehrin drt bir yanndaki afilerde
gsterilen olayn hibir aklamas yoktu.
Birbirine yakn iki bina arasna skp
kalm gerek bir zeplin bu tuhaf olayn
grsel hatrlatcs roln stleniyordu.
ehirde bir bilim kurgu hikyesinin
mizansenini yaratan Zamora, artk
ehrin karakterini belirleme konusunda
tartmasz sz sahibi olan bitmek bilmez
turist aknyla ilgili mizahi bir yorumda
bulunmu oluyordu.
Zeplinler sanatnn arla kar
hafif lik meselesine duyduu srekli
ilgiyi temsil ediyor. Zamora, maddenin
fiziksel niteliine vurgu yaparak,
zeplin balonlarnn hafif liiyle ehir
mimarisinin yekpare maddesellii
1974te Meksiko, Meksikada dodu. So Paulo, Brezilyada yayor ve alyor.
Born in 1974 in Mexico City, Mexico. Lives and works in So Paulo, Brazil.
ARTER, Mimar Sinan Gzel Sanatlar niversitesi / University of Fine Arts
M
a
d
d
e
s
e
l

D
e

k
e
n
l
i
k


[
I
n
c
o
n
s
t

n
c
i
a

M
a
t
e
r
i
a
l
]
,

2
0
1
2
M
a
t
e
r
i
a
l

I
n
c
o
n
s
t
a
n
c
y

[
I
n
c
o
n
s
t

n
c
i
a

M
a
t
e
r
i
a
l
]
,

2
0
1
2
H

C
T
O
R

Z
A
M
O
R
A
materiality of the city architecture.
By making heavy materials appear light
and light materials appear heavy, Zamora
challenges the viewers understanding of
stability and structure and addresses
the fragile nature of built systems.
Ceramic brick is another motif that
often reappears in Zamoras work. It is
a primary element of construction that
in its quotidian and universal nature is
unobtrusive, yet it contains an enormous
wealth of culture and history. In Material
Inconstancy [Inconstncia Material]
(2012), presented at the 13
th
Istanbul
Biennial, bricks are the focus of a dynamic
live performance. About 35 bricklayers
occupy the hall of a modernist building of
Mimar Sinan University in the centre of
Istanbul and toss bricks from one person
to the other in a continuous loop.
The performers accompany their
repetitious movements with the chanting
of poetry, a proverbial act that increases
productivity and reduces boredom while
creating a sense of companionship within
the group of workers. Along with the urban
transformations across the world,
Material Inconstancy is a choreography of
construction with which Zamora fore-
grounds the intimacy, the physicality, and
the delicacy of corporal confguration in
the construction of buildings and societies.
Rieke Vos
arasndaki ztlk gibi ince elikileri
ortaya karyor. Sanat, ar malzeme-
leri hafif, hafif malzemeleri arm gibi
gstererek izleyicinin istikrar ve yap ile
ilgili kavrayna meydan okuyor ve ina
edilen sistemlerin krlgan doasna dair
eletirel bir bak sunuyor.
Seramik tula Zamorann yaptlarnda
sk sk karmza kan bir dier motif,
ayrca gndelik ve evrensel doas ile
mtevaz ama muazzam bir kltrel ve
tarihsel zenginlik barndran temel bir
inaat malzemesi. 13. stanbul Bienalinde
sergilenen Maddesel Deikenlikte
[Inconstncia Material] (2012) tulalar
dinamik bir canl performansn odak
noktasn oluturuyor. Bu yapt iin 35
tulac Mimar Sinan niversitesinin
stanbulun merkezindeki modernist
binalarndan birinin salonunu kullana-
rak, srekli bir dng halinde tulalar
elden ele geiriyor. Performanslarn bu
tekrarlanan hareketlerine ark formunda
seslendirdikleri bir iir elik ediyor, bu
bilindik eylem iilerin verimliliini
arttryor, sklmalarn engelliyor ve
aralarnda bir dayanma ruhu yaratyor.
Tm dnyada sregelen kentsel dnm-
lerin yan sra, Maddesel Deikenlik,
Zamorann binalarn ve toplumlarn
inasnda oluan bedensel dizilimin
mahremiyetine, fizikselliine ve
hassasiyetine vurgu yapt bir inaat
koreografisi. Rieke Vos
ARTER, Mimar Sinan Gzel Sanatlar niversitesi / University of Fine Arts
JANANNE AL-ANI
First trained as a painter, Jananne Al-Ani
began to explore photography and flm
just prior to the start of the Gulf War. She
perceived the Western medias depiction
of the Middle East as a distortion at best,
utilizing the instruments of war to suggest
a place unpopulated, with neither a past
nor a future. Al-Ani states:
The prominent role of digital technology
in the 1991 Desert Storm campaign was
a watershed in the history of warfare and
changed the way war was to be seen
in the future. Within hours of the Iraqi
invasion of Kuwait, the Western media
machine had mobilized its forces and set
its sights frmly on the region. Through
the portrayal of the population, the culture
and, crucially, the landscape of the Middle
East, it revealed that the nineteenth-
century Orientalist stereotype of the Arab
and the desert remained frmly embedded
in Western consciousness. The site of the
war was shown to be a desert, a place
with no history and no population
an empty space, a blank canvas.
1
The two videos presented at the 13
th
Istanbul Biennial are part of a body of
work Al-Ani titled The Aesthetics of
Disappearance: A Land Without People
(2007-ongoing), a project that explores
the disappearance of the body in the
landscape of the Middle East. Shadow
Sites II (2011) responds, in many ways,
Resim eitimi alan Jananne Al-Ani,
Krfez Sava patlak vermeden hemen
nce fotoraf ve film mecralarn kefet-
meye balam. Sanat, Bat medyasnn
Ortadouyu betimleyiini en iyimser
ifadeyle arptlm bulduundan, blgeyi
ne gemii ne de gelecei olan halksz
bir corafya olarak gstermek iin sava
aralarn kullanmaya karar vermi.
Al-Ani yle diyor:
Djital teknolojinin 1991 l Frtnas
harekatnda yaygn kullanm sava
taktikleri tarihinde bir dnm noktas
oluturdu ve bu tarihten sonra savaa
bak deiti. Irakn Kuveyti igalinden
sadece birka saat sonra, Batnn medya
makinesi glerini hareket geirmi ve
baklarn kararllkla blgeye evirmi-
ti. Bu medya, blge halkn, kltrn,
ve en nemlisi, blgenin corafi yapsn-
resmedi biimiyle, 19. yzyln Araplarla
ve lle ilgili kalplam Oryantalist
imgelerinin Batnn bilincinde hl
son derece yerleik olduunu gsterdi.
Savan gerekletii yer bir l, yani
ne bir tarihe ne de bir halka sahip bir
mekn olarak sunulacakt bo bir
meknd buras, el dememi bir tuval.
1
13. stanbul Bienalinde yer alan iki
video Al-Aninin Ortadou corafyasnda
bedenin kayboluunu inceledii ve
Kayboluun Estetii: Halksz Bir Corafya
(2007-devam etmekte) baln verdii
E
x
c
a
v
a
t
o
r
s
,

2
0
1
0
K
a
z

l
a
r
,

2
0
1
0
1966da Kerkk, Irakta dodu. Londra, ngilterede yayor ve alyor.
Born in 1966 in Kirkuk, Iraq. Lives and works in London, UK.
J
A
N
A
N
N
E

A
L
-
A
N
I
1 David A. Bailey ve Gilane Tawadros der., Veil: Veiling, Representation, and Contemporary Art
(MIT Yaynlar, 2003). David A. Bailey and Gilane Tawadros ed., Veil: Veiling, Representation, and Contemporary
Art (MIT Press, 2003).
ARTER
to the long-distance satellite reconnais-
sance devices that can capture this
landscape from an aerial perspective.
We see from above, as the sun is
at its lowest point, each perturbation
and indentation in the ground making
shadows that reveal traces of buildings,
humans and nature. The landscape
appears fat and abstracted, its buildings
and inhabitants invisible. The shots evoke
the United States Air Force F-15E fghter
jet search-and-destroy raids on Iraqi
Scud missiles at the beginning of
the Gulf War: at frst it was reported that
they had launched hundreds of Scuds,
when in fact none had been released.
They had not seen what they thought
they saw.
In stark contrast to Shadow Sites II s
distant aerial perspective, the second
video Excavators (2010) shows up-close
a group of ants toiling in the sand, an
intimate activity taking place on the
ground. The flm draws our attention to
the continuous transformation the land
undergoes. Are the ants the makers of the
shapes we see in Shadow Sites II? And
moreover, are the ants the ones that will
be bombed, the invisible people that do
not register in the frantic search for military
targets? Theodor Ringborg
bir seriden. Glge Blgeler II (2011) ise
bu corafyay havadan grntleyebilen
uydudan gzetleme aralarna birok
farkl adan karlk vermeyi amalyor.
Gne en alak konumundayken yer
yzeyinde gerekleen, binalarn, insan-
larn ve doann izlerini ortaya karan
en ufak hareket ve ktleyi yukardan
grebiliyoruz. Corafya dz ve soyut,
binalar ve sakinleriyse grnmez gibi.
Bu grntler, Krfez Savann balan-
gcnda Amerika Birleik Devletleri Hava
Kuvvetlerine ait F-15E sava uaklarnn
Iraka ait Scud fzelerini bulup yok
etmek zere gerekletirdikleri saldrlar
hatrlatyor: ilk bata yzlerce Scud
fzesinin atelendii iddia edilmiti,
oysa bu bilgi yanlt, tek bir Scud
fzesi bile atelenmemiti. Grdklerini
zannettikleri eyi grmemilerdi.
Glge Blgeler IInin uzaktan ve
havadan bak asna tamamen zt bir
ekilde, ikinci video Kazclar (2010)
yerde gerekleen youn bir etkinlii,
kumda urap didinen bir grup
karncay yakn planda sunuyor. Film
dikkatimizi arazinin maruz kald
kesintisiz deiime yneltmemizi salyor.
Acaba Glge Blgeler IIde grdmz
ekilleri retenler karncalar m? Dahas
karncalar, askeri hedef leri bulmak iin
yrtlen zvanadan km arayta ra-
dara yakalanmayan grnmez ahslar,
yani bombalanacak kiileri mi temsil
ediyor? Theodor Ringborg
S
h
a
d
o
w

S
i
t
e
s

I
I
,

2
0
1
1
G

l
g
e

B

l
g
e
l
e
r

I
I
,

2
0
1
1
J
A
N
A
N
N
E

A
L
-
A
N
I
ARTER
JIMMIE DURHAM
J
I
M
M
I
E

D
U
R
H
A
M
1940ta ABDde dodu (ehir belirtilmedi). Berlin, Almanyada yayor ve alyor.
Born in 1940 in USA (city not specifed). Lives and works in Berlin, Germany.
T
h
e

D
o
o
r
m
a
n
,

2
0
0
9
K
a
p

,

2
0
0
9
Jimmie Durham, a sculptor, writer, and
poet, is also a staunch activist for Native
American rights. He worked as a full-time
organizer with the American Indian
Movement and served as the director of
the International Indian Treaty Council
and the councils representative to
the United Nations between 1973 and
1980, after which he refocused his
energies on his art. His work pinpricks
the accepted hierarchies of Western
culture and politics and also draws
attention to marginalized peoples and
indigenous cultures. Durhams bricolages
and performative actions wittily provoke
the status quo by critiquing Western
concepts of religious faith and political
power, which he sees as being disseminated
and validated through a nations use of
architecture and monuments.
Throughout his expansive body of work,
Durham has been consistently mindful
of locality, revealed in his meticulous
use of found matter from his immediate
surroundings. Natural materials, such
as stones, are often assembled with
human-made leftovers, such as piping,
metal scraps, and other miscellaneous
items, to playfully construct fgures
and structures from both Western and
non-Western cultures and beliefs. In
manipulating these found objects, Durham
forms relationships with them, animating
them and reactivating the agency of the
materials. Durham describes this rapport
in an interview: I especially like discarded
things that are not useful. When you go
to any place on the street and you see
Heykeltra, yazar ve air Jimmie Durham
ayn zamanda Amerika Yerlilerinin
haklarn kararllkla savunan bir
aktivist. Bir dnem ABD Kzlderilileri
Hareketinde rgtleme sorumlusu
olarak alan, Uluslararas Kzlderili
Antlamas Konseyinin yneticiliini ve
1973 ile 1980 yllar arasnda konseyin
Birlemi Milletler temsilciliini yrten
Durham, daha sonra tm enerjisini
sanatna odaklamaya karar verdi.
Sanatnn almalar Bat kltrnn
ve siyasetinin kabul gren hiyerarik
dzenini ineliyor ve dlanan halklara
ve yerli kltrlere dikkat ekiyor.
Durhamn brikolajlar ve performatif
eylemleri Batnn dini inan ve siyasi
gce dair kavramlarn eletirerek
statkoyu nktedan bir yaklamla
tahrik ediyor. Durham, uluslarn bu
kavramlar mimariyi ve antlar kullanarak
yaydn ve merulatrdn dnyor.
Durham, yakn evresinden toplad
bulunmu nesneleri titiz biimde
kullanmasnn da gsterdii zere,
tm almalarnda yerellik esini gz
nnde bulunduruyor. Ta gibi doal
malzemeleri sk sk boru, hurda metal ve
eitli dier insan eliyle yaplm artk
malzemelerle bir araya getirerek hem
Batl hem de Batl olmayan kltr ve
inanlarn figr ve yaplarn oyunbaz
bir anlayla ina etmek iin kullanyor.
Durham bu bulunmu nesneleri maniple
ederek onlarla iliki kuruyor, onlar can-
landryor ve malzemenin arac niteliini
tekrar harekete geiriyor. Durham bu
ilikiyi bir rportajda yle aklyor:
ARTER
J
I
M
M
I
E

D
U
R
H
A
M
T
h
e

D
o
o
r
m
a
n
,

2
0
0
9
K
a
p

,

2
0
0
9
something that was badly made and no
longer useful, its really comforting. I like
it very much. I love the object, and I feel
like the object loves me in a certain way
because its just so completely useless,
its just being there, its not going to bother
anybody, its not going to do anything...
I suppose what I like is specifcity.
1
The Doorman (2009) originated from
Durhams investigation in obsidian,
a Mexican black volcanic glass employed
in Aztec, Nahua, Toltec, and Huastec
cultures. In this work, it fnds form as
a red heart in the anthropomorphic
sculpture personifying Tezcatlipoca
(Smoking Mirror), a major deity in
the Aztec religion, whose name alludes
to the obsidian mirrors used in shamanic
rituals. Often associated with concepts
such as the world, discord, enmity, beauty,
and war and strife, and also portrayed
as a war-lord in the creation of life,
the fgure of Tezcatlipoca could be seen
as an embodiment of change through
confict
2
. Similarly, when obsidian
breaks, instead of destruction, a moment
of transformation occurs in Durhams
rendition of Tezcatlipoca, composed of
abandoned objects, where its form and
use are manifested anew. Christina Li
e yaramayan, pe atlm eylere zel
bir sevgi besliyorum. Sokan herhangi
bir yerinde kt tasarlanm, artk ie
yaramayan bir ey grmek gerekten mut-
luluk verici. ok houma gidiyor. Nesneyi
seviyorum, nesnenin de ilevselliini
tamamyla yitirdii iin beni bir ekilde
sevdiini hissediyorum, orada ylece
duruyor, kimseye bir rahatszlk verecei,
kalkp bir ey yapaca yok. Sanrm
benim sevdiim ey bu zgllk hali.
1
Kapc (2009) balkl yapt Durhamn
Aztek, Nahua, Toltek ve Huastek
kltrlerinde kullanlan siyah volkanik
bir cam olan obsidyen zerine yrtt
aratrmann sonucunda ortaya km.
Bu yaptta obsidyen, Aztek dininin
nemli tanrlarndan biri olan ve ismi
aman ritellerinde kullanlan obsidyen
aynalara gndermede bulunan Tezkatli-
pokay (Dumanl Ayna) temsil eden insan
biimindeki bir heykelde krmz bir kalp
olarak kullanlm. Genellikle dnya,
uyumazlk, dmanlk, gzellik ve sava
ve atma kavramlaryla ilikilendirilen,
ayrca yaamn yaradlnda bir kumandan
olarak da resmedilen Tezkatlipoka figr,
atma araclyla deiimin bedensel
temsili olarak da grlebilir
2
. Benzeri
ekilde, Durhamn pe atlm nesneleri
bir araya getirerek oluturduu Tezkatlipoka
yorumunda obsidyen krldnda ykma
deil, biim ve kullanmnn tekrar ama
farkl ekilde ele alnd bir dnm
anna vesile olur. Christina Li
1 Jimmie Durham, Richard W. Hill ile sylei, Kamloops Sanat Galerisi, internet zerinden yayn, http://www.
kag.bc.ca/docs/4ead93f01d99df02.mp3 Eriim: 16 Austos 2013. Jimmie Durham Interviewed by Richard W. Hill,
Kamloops Art Gallery, podcast audio, http://www.kag.bc.ca/docs/4ead93f01d99df02.mp3 Accessed: 16 August 2013.
2 Mary Miller ve Karl Taube, The Gods and Symbols of Ancient Mexico and Maya (Londra: Thames and Hudson,
1993):164. Mary Miller and Karl Taube, The Gods and Symbols of Ancient Mexico and Maya (London: Thames and
Hudson, 1993): 164.
ARTER
JOSE ANTONIO
VEGA MACOTELA
T
i
m
e

E
x
c
h
a
n
g
e

1
4
8
,

2
0
0
8
Z
a
m
a
n

T
a
k
a
s

1
4
8
,

2
0
0
8
J
O
S

A
N
T
O
N
I
O

V
E
G
A

M
A
C
O
T
E
L
A
Time has been appropriated by
institutions, says artist Jos Antonio Vega
Macotela, whose main topic of investiga-
tion is time.
1
Following this statement,
his works explore the fexible, subjective,
and untamed nature of time, and the ways
in which it shapes human interaction. His
projects often employ informal systems of
exchange in which everyday objects are
used to refect on the intangibility of time.
Macotelas practice varies in shape and
form: it can be an object, a gesture,
a collaborative action, or a flm. However,
it is geographically specifc and takes place
in Latin America, and mostly in Mexico.
For the ambitious project Time Exchange
(2006-2010), Macotela visited the
overpopulated male section of the Santa
Marta Acatitlan jail in Mexico City once
a week for fve years, spending hundreds
of hours with its inmates. He encouraged
some of them to participate in a unique
time exchange: Macotela performed tasks
the prisoners could not carry out within the
confnes of the jail, and in return they
completed creative tasksusing their
material and social surroundings
as requested by the artist. The criteria
were that the duration of the two actions
be identical and that they take place at
the exact same day and hour. For
instance, in Time Exchange 148 the
inmate El super-ratn asked Macotela to
Kurumlar zaman kendilerine
uyarladlar, diyor temel aratrma
alan zaman olan sanat Jos Antonio
Vega Macotela.
1
Sanatnn yaptlar, bu
nermenin nda zamann esnek,
znel ve boyunduruk altna alnmam
doasn ve insanlar aras etkileimi nasl
ekillendirdiini inceliyor. Sanatnn
projeleri genellikle, gndelik hayat
gerelerinin zamann ele avuca smazl
zerine dnmek iin kullanld
gayriresmi takas sistemlerinden yarar-
lanyor. Macotelann pratiinin ekli ve
biimi eitlilik gsteriyor: bir nesne,
bir hareket, ortak bir eylem veya bir
film olabiliyor. Ancak sanatnn
yaptlar tek bir corafya ile snrl,
ileri Latin Amerika ve genellikle de
Meksika ile ilgili.
ddial projesi Zaman Takas (2006-2010)
iin Macotela, Meksikodaki Santa Marta
Acatitlan Hapishanesinin kapasitesinin
ok zerinde tutuklu barndran erkek
koularn be yl boyunca her hafta
ziyaret ederek mahkumlarla yzlerce saat
zaman geirdi ve bazlarna benzersiz
bir zaman takas teklif etti: Macotela,
tutuklularn hapishane koullarnda
gerekletiremeyecei baz ileri onlar
adna gerekletirecek, bunun karlnda
tutuklular da Macotelann talep ettii
baz yaratc etkinlikleri kendi malze-
melerini ve sosyal evrelerini kullanarak
1980de Meksiko, Meksikada dodu. Meksiko, Meksikada yayor ve alyor.
Born in 1980 in Mexico City, Mexico. Lives and works in Mexico City, Mexico.
1 Antonio Vega Macotela, (Gabriella Gmez-Montun aktarmyla) Mexican Rashes: Contraband, Commerce,
and Art in One of Mexicos Most Overcrowded Prisons, Vice (Meksika says), 6 ubat 2008, http://www.vice.com/
read/mexican-rashes-137-v15n6 Eriim: 17 Austos 2013. Antonio Vega Macotela (as told to Gabriella Gmez-Mont),
Mexican Rashes: Contraband, Commerce, and Art in One of Mexicos Most Overcrowded Prisons, Vice (The Mexican
Issue), February 6, 2008, http://www.vice.com/read/mexican-rashes-137-v15n6 Accessed: 17 August 2013.
ARTER
witness his infant sons frst steps.
In exchange, during the same three
hours, El super-ratn collected and made
a composition of the cigarette butts that
he found in his cell. While Macotela was
spying on Eduardos ex-lover for Time
Exchange 231, Eduardo created a visual
representation of the prison in the form of
a board game, using a combination of both
his and his current lovers hair.
These exchanges, which occurred
365 times, quickly became an intimate
and binding act between the artist and
the participants. The project circumvented
the prisons walls, fences, and bars
by creating an alternative economy of
time that is both strict and amiable. The
byproducts of the exchanges
the objects, drawings, and found
materials that make up the prisoners
creationsare the works on display.
They dare the audience to rethink the
notions of time and exchange and the
subversive potential they hold in todays
capitalist and obedient societies.
Yael Messer
yerine getireceklerdi. Eylemlerin takas
edilme lt, iki eylemin sresinin de
ayn uzunlukta olmas ve tam olarak ayn
gn ve saatte gerekletirilmesiydi. r-
nein, Zaman Takas 148 iin Sper-fare
adl tutuklu Macoteladan olunun
ataca ilk admlara tanklk etmesini
istedi. Bunun karlnda, ayn saat
boyunca Sper-fare hcresinde bulduu
sigara izmaritlerini toplad ve onlarla
bir kompozisyon oluturdu. Dier bir
rnekte Macotela, Zaman Takas 231 iin
Eduardo adl tutuklunun eski sevgili-
sini gzetlerken, Eduardo da imdiki
sevgilisinin salarn ve kendi salarn
kullanarak hapishanenin bir masa oyunu
biiminde maketini yaratt.
365 defa gerekleen bu takaslar sanat
ve katlmclar arasnda hzla samimi bir
ba kurulmasn salad. Proje, hem kat
kurallara sahip, hem de dosta bir hava
tayan alternatif bir zaman ekonomisi
yaratarak hapishanenin duvarlarn,
dikenli telleri ve parmaklklar at.
Burada sergilenen ise takaslarn sonucun-
da ortaya kan rnler tutuklularn
yaptlarn oluturan nesneler, izimler ve
bulunmu malzeme. Bu yaptlar izleyiciyi,
zaman ve takas kavramlarn ve gnmz
kapitalist, itaatkar toplumlarnda bu
kavramlarn tad ykc potansiyeli
yeniden dnmeye cesaret etmeye
aryor. Yael Messer
Z
a
m
a
n

T
a
k
a
s

5
5
,

2
0
0
6
T
i
m
e

E
x
c
h
a
n
g
e

5
5
,

2
0
0
6
J
O
S

A
N
T
O
N
I
O

V
E
G
A

M
A
C
O
T
E
L
A
ARTER
PRANEET SOI
K
u
m
a
r
t
u
l
i

P
r
i
n
t
e
r
,

N
o
t
e
s

o
n

L
a
b
o
u
r
,

P
a
r
t

1
,

2
0
1
0
K
u
m
a
r
t
u
l
i

M
a
t
b
a
a
c

,

E
m
e
k

z
e
r
i
n
e

N
o
t
l
a
r
,

B

m

1
,

2
0
1
0
Initially trained as a painter, Praneet Soi is
an artist whose work unfolds around
a wide range of media, including painting,
drawing, collage, text, slide shows, and
performance-lectures. He is interested
in the way contemporary media imagery
functions and, specifcally, in the quality
of media to conjoin different realities and
visual narratives in our daily lives.
Soi often applies a cut-up technique to
media photographs and images of
trauma or labour, as a means to explore
the fragmentation and distortion of
the human body. His work raises
questions about corporality: both in
terms of the relationship we have with
the environment, as well as how
the body relates to daily activities and
labour routines.
At the 13
th
Istanbul Biennial, Soi presents
the work Kumartuli Printer, Notes on
Labour, Part 1 (2010). The slide-installation
follows the movements of a printer who
works in Kumartuli, an old quarter in the
city of Kolkata in West Bengal, India,
as he operates an outdated treadle printer.
It records the motions of the printers
hands as he feeds paper into the machine
and pulls out grainy prints depicting the
image of the printers hand in labour.
By reproducing the printers repetitive
routine, the sequence of images reveals
the entwined relationship between man
and machine, between crafted skill,
artistic choice and industrial technique.
Eitimini resim alannda tamamlayan
Praneet Soinin almalar, aralarnda
resim, izim, kolaj, metin, slayt
gsterileri ve performans-sunumlarn
da bulunduu birok mecra araclyla
ekilleniyor. Soi, gncel medyann
imgeleminin ileyiiyle ve zellikle de
medyann gndelik hayatmza dair
farkl gereklikleri ve grsel anlatlar
birletirme vasfyla ilgileniyor. Soi insan
bedeninin paralan ve bozuluunu
incelemek amacyla, travma veya emek
konularna dair medya fotoraf larna
ve grntlerine kes-yaptr tekniini
uyguluyor. Sanatnn yaptlar hem
bizim evreyle kurduumuz iliki, hem
de bedenin gnlk eylem ve alma
dzenleriyle kurduu iliki asndan
bedensellik hakknda sorular soruyor.
Soi, 13. stanbul Bienalinde Kumartuli
Matbaacs, Emek zerine Notlar,
Blm 1 (2010) balkl yaptn sergiliyor.
Bu slayt gsterisi, Hindistann Bat
Bengal blgesindeki Kalkta ehrinin
eski mahallelerinden Kumartulide artk
modas gemi pedall bir matbaa
makinesi kullanan bir matbaacnn
hareketlerini ieriyor. Yapt, matbaacnn
ellerinin makineye kt koyarken ve
alan elinin grntsnn bulunduu
grenli basklar makineden ekerken
yapt hareketi kaydediyor. Matbaacnn
tekrarlanan rutinini yeniden reten
grnt dizilimi; insan ve makine,
zanaat becerisi, sanatsal tercih ve
endstriyel teknik arasndaki i ie
gemi ilikiyi ortaya seriyor.
1971de Kalkta, Hindistanda dodu. Kalkta, Hindistan ve Amsterdam,
Hollandada yayor ve alyor. Born in 1971 in Kolkata, India. Lives and works
in Kolkata, India and Amsterdam, the Netherlands.
P
R
A
N
E
E
T

S
O
I
ARTER
Together with the slide-show, Soi
presents a series of prints and graphic
compositions that he developed over
the course of his long-term engagement
with the printer. For the prints they used
images from the printers collection of
blocks and cheap, coloured sheets of
paper used to print receipts. These
compositions test the limits of the
technical possibilities available within
this Spartan workshop and explore
the parameters of visual language both
in terms of medium specifcity, as well as
in the broader context of culture.
Kumartuli Printer highlights the labour
conditions within the one-man industrial
workshops, a common phenomenon
in third-world economies that often struggle
to compete with post-industrial modes of
production. The artwork recognizes both
the obsolescent craft and the graphic
language that are characteristic of
the printers practice. The artists
engagement with the printer, and
the ensuing work, is ongoing. Rieke Vos
Slayt gsterisinin yan sra Soi matbaacyla
uzun soluklu ilikisi sresince rettii
bir dizi bask ve grafik kompozisyonu da
sergide sunuyor. Basklarda matbaacnn
kalp koleksiyonundan imgeler ve fatura
basmaya yarayan ucuz, renkli kt
tabakalar da kullanlm. Bu kompo-
zisyonlar bu sade ve disiplinli atlyedeki
mevcut teknik olanaklarn snrlarn
zorluyor ve hem kullanlan mecrann
kendine has zellikleri, hem de daha
geni kltrel balam asndan grsel
dilin parametrelerini kefe giriiyor.
Kumartuli Matbaacs post-endstriyel
retim biimleriyle rekabet etmekte
genellikle zorluk eken nc dnya
ekonomilerinde sk rastlanan bu tek
kiilik endstriyel atlyelerdeki ar
alma artlarnn altn iziyor.
Bu sanat yapt hem bu yok olmaya yz
tutmu zanaat, hem de matbaacnn
mesleinin ayrt edici bir zellii
olan grafik dili gzler nne seriyor.
Sanatnn matbaacyla ve matbaacnn
retimiyle ilikisi devam ediyor.
Rieke Vos
K
u
m
a
r
t
u
l
i

P
r
i
n
t
e
r
,

N
o
t
e
s

o
n

L
a
b
o
u
r
,

P
a
r
t

1
,

2
0
1
2
K
u
m
a
r
t
u
l
i

M
a
t
b
a
a
c

,

E
m
e
k

z
e
r
i
n
e

N
o
t
l
a
r
,

B

m

1
,

2
0
1
2
P
R
A
N
E
E
T

S
O
I
ARTER
STEPHEN WILLATS
H
o
m
e
o
s
t
a
t

D
r
a
w
i
n
g

#
1
,

1
9
6
8
H
o
m
e
o
s
t
a
t

i
z
i
m

#
1
,

1
9
6
8
Life does not exist on a two dimensional
basis, Stephen Willats wrote in a brief
1961 manifesto. When one walks down
a street the sensation is not only a visual
one, but a tactile and sound experience.
The artist can no longer concern himself
with illusions, he must work on a realistic
basis.
1
A pioneer of conceptual art
in England, Willats has opposed the notion
of the artist as the sole author and has
pursued civic engagement as he explored
the social function of art. The 13
th
Istanbul
Biennial includes a selection of Willatss
early works, in which he envisioned himself
as constructor of interactive models and
an instigator of change in society.
During the earlier stages of his practice,
Willats borrowed models from cybernetics,
information theory, and computing to create
a new language to defy conventional art
forms: the diagram became central to
his artistic production. His sketch Art,
Society, Feedback from 1963 is a diagram
that illustrates a non-mediated, dynamic,
rather than mechanical and static,
relationship and exchange between
the artist and the social context.
The sketch is a conceptual model that
informs the interactive and participatory
works the artist made in collaboration
with people outside the conventional
art audience.

Hayat iki boyutlu bir temele dayanm-
yor, demiti Stephen Willats 1961 tarihli
ksa manifestosunda. nsan sokakta
yrrken sadece grsel deil, ayn
zamanda dokunsal ve iitsel heyecanlar
da duyar. Sanat artk yanlsamalarla
ilgilenmeyi brakmal, gereki bir temeli
esas alarak almaldr.
1
Kavramsal
sanatn ngilteredeki nclerinden
Willats, yaptn tek sahibi olarak sanat
kavramna kar km, sanatn toplumsal
ilevini incelerken sivil bir sorumluluk
benimsemitir. 13. stanbul Bienali
Willatsn kendisini etkileimli modeller
icat eden ve toplumda deiimi balatacak
bir sanat olarak deerlendirdii erken
dnem yaptlarndan bir seki sunuyor.
Willats, erken dnem yaptlarnda,
geleneksel sanat biimlerine kafa tutacak
bir dil yaratmak iin sibernetik, biliim
kuram ve programlama alanlarndan
modeller dn ald: Diyagram sanatsal
retiminin merkezine oturdu. 1963
tarihli Sanat, Toplum, Geri Besleme
balkl eskizi, sanat ve toplumsal
balam arasnda mekanik ve duraan
deil, aracsz, dinamik bir ilikiyi ve
alverii tasvir eden bir diyagram.
Bu eskiz, sanatnn bilindik izleyici
kitlesinin dnda kalan insanlarla
birlikte rettii etkileim ve katlma
dayal yaptlara ereve oluturan bir
kavramsal model.
1943te Londra, ngilterede dodu. Londra, ngilterede yayor ve alyor.
Born in 1943 in London, UK. Lives and works in London, UK.
S
T
E
P
H
E
N

W
I
L
L
A
T
S
1 Stephen Willats, The Old Artists, Manifesto Metni, 1961, http://stephenwillats.com/texts/
manifesto-text-1961/ Eriim: 6 Austos 2013. Stephen Willats, The Old Artists, Manifesto Text, 1961,
http://stephenwillats.com/texts/manifesto-text-1961/ Accessed: 6 August 2013.
ARTER
T
h
e

T
w
i
n

T
o
w
e
r
s
,

1
9
7
7

k
i
z

K
u
l
e
l
e
r
,

1
9
7
7
In his works, the artist uses daily life
as a site of investigation: he meets
with participants to gather information
about their immediatebe it domestic
or professionalsurroundings. Willats
intervenes on photographic prints by
incorporating participants perceptions
of and remodelling proposals for their
existing physical and social environments.
He displays these works at residential
areas and local libraries, encouraging
viewers to compare different responses to
social patterns, settings, and interactions.
In addition to other works from his
earlier period, exhibited at the 13
th
Istanbul
Biennial is The Twin Towers (1977), an
abstracted model of resistance against
housing estates that reject the complexity
of their inhabitants by imposing social
behaviours. Each foor of the two rectan-
gular towers in the drawing represents a
framework related to a social problem: the
left block points at existing conditions,
and the right one proposes new
conditions. Willats considers the tower
block as a medium through which
individuals can imagine new realities
by creating forms of resistance against
the determinism of mechanically planned
environments. zge Ersoy
Sanat yaptlarnda gndelik hayat
bir aratrma alan olarak kullanr:
Yakn evreleri hakknda ister aile
ister i evresi olsun bilgi toplamak
zere katlmclarla buluur. Willats,
katlmclarn mevcut fiziksel ve toplumsal
evreleriyle ilgili alglarn ve yeniden
biimleme nerilerini kompozisyona
dhil etmek amacyla fotoraf basklara
mdahalede bulunur. Daha sonra
bu yaptlar yerleim blgelerinde ve
mahalle ktphanelerinde sergileyerek
izleyicileri toplumsal kalplar, konumlar
ve etkileimler konusundaki farkl
tepkileri karlatrmaya tevik eder.
13. stanbul Bienalinde, Willatsn dier
erken dnem ilerinin yan sra, kiz
Kuleler (1977) balkl yapt sergileniyor.
kiz Kuleler, sakinlerinin eitliliini
reddederek onlara toplumsal davran
biimleri dayatan toplu konutlara kar
soyut bir direni modeli olarak
tanmlanabilecek bir diyagram.
izimdeki bu iki dikdrtgen kulenin
her kat toplumsal bir soruna ilikin bir
ereve sunuyor: Soldaki blok mevcut
koullara iaret ederken, sadaki blok
yeni ihtimallere dair neride bulunuyor.
Willats, gkdeleni bireylerin, makine
gibi planlanm evrelerin kaderciliine
kar direni biimleri yaratarak yeni
gereklikler dlemelerine imkn
tanyacak bir mecra olarak deerlendiriyor.
zge Ersoy
S
T
E
P
H
E
N

W
I
L
L
A
T
S
ARTER
SALT
BEYOLU
SALT
BEYOLU
3
0
1
2
3
Lutz Bacher
Halil Altndere
Diego Bianchi
Amar Kanwar
1
0
2
SALT Beyolu
AMAR KANWAR
New Delhibased flmmaker Amar
Kanwars investigative flm-essays
narrate stories of individual resistance
against social and political injustices in
India, articulated through poetry and
visceral imagery. Kanwars commitment
to human rights and activism was shaped
by two events that took place in 1984: the
assassination of Indian Prime Minister
Indira Gandhi by her Sikh bodyguards,
which resulted in mass retaliation against
Sikhs in Delhi, and the Bhopal disaster,
the gas leak incident, which exposed half
a million people to toxic gases and killed
thousands. Through his work Kanwar
uncovers stories of the marginalized and
dispossessed who are victims of poverty,
state and sexual violence, border conficts,
and the racial and caste discrimination in
the Indian subcontinent. By summoning
and juxtaposing ignored narratives with
the countrys ongoing quest for economic
progress, Kanwar highlights the inequality
in Indias social and territorial histories that
are often overshadowed by political and
economical processes.
The Torn First Pages (20042008) is
a nineteen-channel video installation
dedicated to Burmese bookseller Ko Than
Htay, who was imprisoned for tearing out
the frst pages of any book that contained
propaganda for the ruling Burmese
military junta. The Torn First Pages is
a tribute to non-violent struggle against
state repression.
Kanwars contribution to the 13
th
Istanbul
Biennial, The Scene of Crime (2012),
Amar Kanwarn aratrmac film-
kompozisyonlar iirsel, etkileyici imgeler
araclyla Hindistanda toplumsal ve
siyasal adaletsizliklere kar verilen
bireysel direni mcadelelerini anlat-
yor. Kanwar 1984te patlak veren iki
olayn ardndan kendini insan haklar
mcadelesine ve aktivizme adam:
Hindistan Babakan ndira Gandhiye
kar Sih korumalarnn gerekletirdii,
Delhide Sihlere kar kitlesel misilleme
hareketleriyle sonulanan suikast ve
yarm milyon insan zehirli gaza maruz
brakarak binlerce kiinin lmne
sebep olan Bhopal felaketi. Kanwar
yaptlar araclyla yoksulluk, devlet
iddeti, cinsel iddet, snr atmalar
ve Hindistan ve evresinde gerekleen
rk ve kast sistemine dayal ayrmcln
kurbanlar olan toplum dna itilmi,
haklar ellerinden alnm birey ve grup-
larn hikyelerini gn yzne karyor.
Kanwar, gz ard edilen anlatlar bir
araya getirip lkenin ekonomik ilerleme
araylaryla elikileri gsterecek ekilde
yerletirerek, Hindistann, genellikle
siyasal ve ekonomik srelerin glgesinde
kalan toplumsal ve blgesel tarihindeki
eitsizliklerin altn iziyor.
Yrtlm lk Sayfalar (2004-2008)
Burmada iktidardaki askeri cuntann
propagandasn ieren kitaplarn ilk say-
falarn yrtp kard iin hapse atlan
Burmal kitap Ko Than Htay hakknda
on dokuz kanall bir video enstalasyonu.
Yrtlm lk Sayfalar devlet basksna
kar verilen iddet kart mcadeleye
bir vg ve sayg duruu nitelii tayor.
S
u

M
a
h
a
l
i
,

2
0
1
1
T
h
e

S
c
e
n
e

o
f

C
r
i
m
e
,

2
0
1
1
1964te Yeni Delhi, Hindistanda dodu. Yeni Delhi, Hindistanda yayor ve
alyor. Born in 1964 in New Delhi, India. Lives and works in New Delhi, India.
A
M
A
R

K
A
N
W
A
R
SALT Beyolu
A
M
A
R

K
A
N
W
A
R
is a flm set in Odisha in eastern India,
the battleground of conficting interests
over natural resources between the
government, corporations, and local
communities. The artist began flming in
the area in 1999, and Kanwars resulting
piece documents grasslands, trees, and
riversidyllic images that are abrasively
interrupted by pixelated footage of clashes
and ominously grey industrial plants.
The flm unfolds accompanied with the
narrative of romance and murder.
It becomes quickly apparent that these
industries pose an imminent threat to
the peasants livelihoods, as the land
becomes the only eyewitness to
the crimes and corruption the local
communities experience. In place of
investigative journalism as the repository
of inconvenient truths, the flms reliance
on poetry to narrate unspeakable crimes
committed in Odisha expatiates upon
the transformative political potential in
the poetic form. Kanwar writes about this
piece, The validity of poetry as evidence
in a trial, the discourse on seeing, on
understanding, on compassion, on
the issues of justice, sovereignty, and
self-determinationall come together in a
constellation of moving and still images.
1

The ongoing civil resistance and activism
in Odisha is a reminder of the many illegal
land grabs still happening daily, which
continue to be hushed and legitimized in
the guise of global economic development.
Christina Li
Kanwarn 13. stanbul Bienalinde
sunduu yapt Su Mahalli (2012) ise
hkmet, byk irketler ve yerel halk
arasnda doal kaynaklarn kullanm
konusunda karlarn att bir sava
alanna dnen dou Hindistandaki
Odishada geen bir film. Sanat
blgede ekimlere 1999 ylnda balad,
Kanwarn filminde cenneti andran
ayr, aa, nehir grntleri birdenbire
piksellenmi atma ve uursuz sanayi
tesisi grntleriyle kesiliyor. Filme
bir ak ve cinayet anlats elik ediyor.
zleyici ksa srede bu sanayi tesislerinin
kyllerin yaamna dorudan bir tehdit
oluturduunu anlyor, yerli halkn kar
karya kald su ve yolsuzluklarn tek
tan ise etraf larndaki arazi. Filmin
Odishada ilenen korkun sular an-
latmak iin uygunsuz gerekleri pepee
sralayan aratrmac gazetecilik yerine
iire yaslanmas, iirsel biimin
dntrc siyasi potansiyelini de ortaya
koyuyor. Kanwar, bu yapt hakknda
unlar sylyor: iirin bir mahkemede
kant olarak geerlilii, grme, anlama,
ef kat ve adalet, egemenlik ve kendi
kaderini tayin hakk zerine retilen
sylem btn bunlar hareketli ve sabit
imgelerden oluan bir yldz kmesinde
bir araya geliyor.
1
Odishada sren sivil
direni ve eylemlilik, blgede hl her
gn gerekleen ve kresel ekonomik
ilerleme maskesi altnda merulatrlan
yasad arazi gaspn bize hatrlatmaya
devam ediyor. Christina Li
T
h
e

S
c
e
n
e

o
f

C
r
i
m
e
,

2
0
1
1
1 Amar Kanwar, dOCUMENTA (13) The Guidebookda alntland ekliyle (Ostfildern: Hatje Cantz Verlag:
2012): 208. Amar Kanwar as quoted in dOCUMENTA (13) The Guidebook (Ostfldern: Hatje Cantz Verlag: 2012): 208.
S
u

M
a
h
a
l
i
,

2
0
1
1
SALT Beyolu
DIEGO BIANCHI
During the last decade, the work of Diego
Bianchi emerged as a magnifying and
distorting lens of urban life that focused
on the formal and mostly chaotic traces of
consumerism, specifcally the remnants of
the neoliberal economic damage of
the last post-crisis period (after 2001)
in Argentina. Bianchis practice proposes
an apotheosis of everyday situations,
such as the derailment of human excess
and the anarchic situation that follows;
the destructive force of nature and time;
and the assortment of colours, textures,
and volumes of commodities. His works
vary from small interventions and
documentation of a citys constellations
of everyday leftovers to autonomous
sculptures or human-scale monuments
of decay turning into expanded physical
and mental landscapes, with both natural
and human-made references: hurricane,
swamp, personal Wikipedia, school,
market area, among others. In these
landscapes Bianchis practice arises as
an impulse that destroys any serenity,
any asepsis, any perceptive complacency.
Like a collision, his works confront us with
what Maurice Blanchot would call the
sovereignty of the accidental, in all its
fury and madness.
1
The body, which has
always been part of Bianchis installations,
became a more concrete presence recently,
frst as limbs that animate and complement
the objects and afterwards as fctional or
Son on yl ierisinde Diego Bianchinin
yaptlar, tketim toplumunun biimsel
ve genellikle de kaotik izlerine, zellikle
de Arjantinde 2001de yaanan son krizin
ardndan gelen dnemde oluan neoliberal
ekonomik hasarn kalntlarna odak-
lanan, grnty hem yaklatran hem
de arptan, kentsel yaama evrilmi
bir mercek olarak belirdi. Bianchinin
pratii insann ifrat seviyesine gelerek
raydan kmas ve ardndan ortaya
kan anarik hal, doann ve zamann
ykc gc ve metalarn renk, doku ve
hacimlerinin eitlilii gibi gndelik
durumlarn yceltilmesini iliyor.
Sanatnn yaptlar ehrin gndelik
artklarnn oluturduu kmeye yaplan
kk mdahalelerden ve bunlarn
belgelenmesinden zerk heykellere veya
rmln hem doal hem de insan
eliyle yaplm (kasrga, bataklk, kiisel
Wikipedia, okul, pazar yeri ve benzerleri)
geni fiziksel ve zihinsel peyzajlara
dnmnn insan leinde retilmi
antlarna uzanan bir eitlilik ieriyor.
Bu peyzajlarda Bianchinin pratii her
tr dinginlii, arndrlml ve algsal
kaytszl yok eden bir drt olarak
ortaya kyor. Tpk bir arpmann tm
hiddet ve lgnl gibi, sanatnn yapt-
lar bizi Maurice Blanchotnun tesadfi
olann hakimiyeti diye niteledii ey ile
kar karya brakyor.
1
Bianchinin
enstalasyonlarna her zaman dhil olan
S
t
a
t
e

o
f

S
p
a
m

[
E
s
t
a
d
o

d
e

S
p
a
m
]
,

2
0
1
3

(
d
e
t
a
i
l
)
S
p
a
m

D
u
r
u
m
u

[
E
s
t
a
d
o

d
e

S
p
a
m
]
,

2
0
1
3

(
d
e
t
a
y
)
D
I
E
G
O

B
I
A
N
C
H
I
1969da Buenos Aires, Arjantinde dodu. Buenos Aires Arjantinde yayor
ve alyor. Born in 1969 in Buenos Aires, Argentina. Lives and works in
Buenos Aires, Argentina.
1 Ins Katzenstein, Irreversible, Enlarge Diego Bianchi Works 2003.2010 iinde, (der.) Diego Bianchi
(Buenos Aires: KBB / Toit du Monde, 2011), 263. Ins Katzenstein, Irreversible in Enlarge Diego Bianchi Works
2003.2010, ed. Diego Bianchi (Buenos Aires: KBB / Toit du Monde, 2011), 263.
SALT Beyolu
nonfction scenes inside a corrosive and
volcanic interpretation of reality.
Bianchis project for the 13
th
Istanbul
Biennial is an installation inspired by any
given citys brash commercial activity
and activated by performative situations.
Market or Die (2013) is an absurd
enlargement of the present day market,
where anything can be sold and bought.
Employing the structure of shop windows
and street stalls, the artist composes
surrealistic connections that shelter found
objects or detritus that could be called
underclass: commodities that have lost
value or functionality and were removed
from circulation. The installation is
completed through the presence of
a displaced individual or situation from real
life, sustaining the behaviour, activity, or
social function they would have outside of
art. The peculiar connections the objects
present are balanced with a hyperrealistic
momentum, in which no blind spots can
remainwhether between fction and
reality or art and the socialit is just
a condensed mass with the force to
break through any perceptual naturalisation.
Javier Villa
beden son dnemde daha somut bir mev-
cudiyet kazand, nce nesneleri harekete
geiren ve onlara eklemlenen uzuvlar
vard, ardndan da gerekliin andrc
ve takn yorumu iinde kurgusal veya
kurgusal olmayan sahneler geldi.
Bianchinin 13. stanbul Bienali iin
hazrlad proje ise herhangi bir ehirde
gerekleen yalapap ticari faaliyetlerden
ilham alan ve edimsel durumlarn
etkinletirdii bir enstalasyon. Ya Pazar
Ya lm (2013) gnmzn her eyin
alnp satlabildii piyasalarnn absrd
boyutlarda bytlm bir hali. Dkkan
vitrinlerinin veya sokak tezghlarnn
yapsn eserine uyarlayan sanat,
bulunmu nesnelere veya alt snf
olarak nitelendirilebilecek dkntlere
snak oluturan srrealist balantlar
tasarlyor: deerini veya ilevini kaybetmi
ve dolamdan kaldrlm metalar.
Enstalasyon gerek hayattan alnma,
yerinden edilmi bir birey veya durumun
sanat dnda sergileyecei davran,
etkinlik veya toplumsal ilevi srdren
mevcudiyetiyle tamamlanyor. Yaptta
yer alan nesnelerin tuhaf balantlar,
ierisinde kurgu ve gereklik veya sanat
ile toplumsal arasnda hibir kr
noktann varln srdremeyecei
hiperrealist bir ivme ile dengeleniyor.
Yapt, herhangi bir algsal benimsetme
abasn ykp geecek gce sahip
younlatrlm bir ktle. Javier Villa
I
n
t
o

t
h
e

W
i
l
d

M
e
a
n
i
n
g
,

2
0
1
3

(
d
e
t
a
i
l
)
V
a
h

i

A
n
l
a
m

i
n
e

D
o

r
u
,

2
0
1
3

(
d
e
t
a
y
)
D
I
E
G
O

B
I
A
N
C
H
I
SALT Beyolu
5533 5533
MAXIME HOURANI
T
h
e

M
o
u
n
t
a
i
n
s

o
f

M
a
r
a
a
s
h
,

2
0
1
3
M
a
r
a
a
s
h

n

D
a

l
a
r

,

2
0
1
3
1982de Beyrut, Lbnanda dodu. Beyrut, Lbnanda yayor ve alyor.
Born in 1982 in Beirut, Lebanon. Lives and works in Beirut, Lebanon.
Maxime Houranis creative practice
is self-refexive and socially critical.
Skepticism, activism, experimentation,
and performance are underlying themes
in his work, which blurs the line between
art, political action, and life. Houranis
approach to the three is consistent:
he uses art as a vehicle for commentary
and critique, approaches activism creatively
through art projects, and lives life as
an extension and an impetus of artistic,
activist production. Creative activism
is his way of life, which he employs to
question habitual or normative channels of
activism. His projects often take the form
of performative acts that extend from or
relate to a particular space or place. They
also conceptually engage the chronotopic
explorations that excavate and interweave
layers of histories, forms, relations, and
investigate meanings embedded within
geographies, while underscoring latent
and evident power dynamics.
For the 13
th
Istanbul Biennial, Hourani
is creating a book of songs and places.
Houranis intervention deals with contentious
sites at a time when the increasingly
gentrifed historical centre of the city has
come under extreme scrutiny. By directly
addressing the ignored infrastructural and
sociocultural changes taking place in
the city, the work sheds light on them and
opens up a platform for inquiries about
how such areas and transformations,
in all their layers and complexities, can be
investigated, analyzed, and challenged.
It highlights the relationship, tension, and
disconnection between the urban and
Maxime Hourani, yaratc pratiini
kendisi ve yaptlar zerine dnerek
ve toplum ile ilgili eletirel bir yaklam
gelitirerek oluturuyor. Sanat, politik
eylem ve hayat arasndaki izgiyi
bulanklatran yaptlarnn temelinde
phecilik, aktivizm, deneysellik ve
performans gibi temalar yer alyor.
Houraninin bu temaya bantl ve
tutarl bir yaklam var: Sanat yorum
ve eletiri arac olarak kullanyor,
aktivizme sanat projeleri araclyla
yaratc bir gzle yaklayor, ve hayat
sanatsal, aktivist retimin hzyla,
bunlarn bir devam olarak yayor.
Houraninin yaam biimi, aktivizmin
allagelmi veya normatif kanallarn
sorgulamak iin uygulad, yaratc bir
aktivizm. Sanatnn projeleri genellikle
belirli bir yer veya meknla ilgili, veya
bir yer veya mekndan hareketle olutu-
rulan performatif eylemler; bu projeler
ayn zamanda tarih, biim ve iliki
katmanlarn kazmaya veya birbirine
rmeye girien kronotopik keif ler
gerekletirir ve gizli ve ak iktidar
dinamiklerini vurgulayarak corafyalarla
zdelemi anlamlar aratrr.
Hourani, 13. stanbul Bienali iin bir
arklar ve meknlar kitab hazrlad.
Sanatnn mdahalesi nezihletirme
srecinin giderek hzland ehir
merkezinde olup bitenlerin youn ve
detayl bir incelemeye tabi tutulduu bu
dnemde tartmaya konu olan alanlara
odaklanyor. Yapt, ehirde gerekleen
ve gz ard edilen altyapsal ve sosyokl-
trel deiiklikleri gndemine tayor,
M
A
X
I
M
E

H
O
U
R
A
N
I
5533
M
A
X
I
M
E

H
O
U
R
A
N
I
the provincial by inverting the hierarchy
among them and also questions
the development of the peri-urban as
the city expands.
Houranis project postulates and favours
the cross-disciplinary, qualitative, and
subjective as effective modes of inquiry,
expression, assessment, and protest.
He invited musicians from Turkey to
engage with visual artists, architects,
activists, and cultural practitioners in order
to contest the transformation of certain
peripheral areas in Istanbul. The participants
visited these sites and conducted their
own research, drawing on site-analysis
methodologies. The musicians worked
with the other participants, incorporating
their fndings into song-writing workshops,
through which they produced a repertoire
of urban resistance songs. 5533*, an
activated space for production, exhibitions
and discourse founded and maintained by
artists initiative, hosts the team throughout
the biennial, who will present their fndings
through words and images and perform
the songs. Nadia El Issa
onlara k tutuyor ve bu tr blgelerin
ve dnmlerin, tm katmanlar ve
karmaklklaryla nasl aratrlabile-
ceine, zmlenebileceine ve bunlara
nasl direnilebileceine dair bir inceleme
zemini ayor. Kent ile tara arasndaki
hiyerariyi tersine evirerek iki yap arasn-
daki iliki, gerginlik ve balantszln
altn iziyor, ve ehir geniledike ortaya
kan periferik-kentsel alann geliimini
sorguluyor.
Houraninin projesi etkili aratrma,
ifade, deerlendirme ve protesto kipleri
olarak tercihini disiplinleraras, niteliksel
ve znel olandan yana kullanyor. Sanat
bu proje iin Trkiyeli mzisyenleri,
grsel sanatlar, mimarlar, aktivistler
ve kltr alanlaryla bir araya
getirerek ve mekn analizi yntemlerini
kullanarak stanbulun belli eper
blgelerindeki dnme ynelik kendi
aratrmasn gelitirecek bir ekip
oluturdu. Mzisyenler, dier katlm-
clarla beraber alarak elde ettikleri
bulgular beste atlyelerinde kullandlar
ve bir kentsel direni arklar repertuar
oluturdular. Bienal sresince bulgu-
larn kelimeler ve imgeler araclyla
sunacak ve arklarn seslendirecek
ekibe, sanat inisiyatifi tarafndan
kurulan ve idame ettirilen, retim, sergi
ve sylem amal alan 5533* ev sahiplii
yapacak. Nadia El Issa
T
h
e

M
o
u
n
t
a
i
n
s

o
f

M
a
r
a
a
s
h
,

2
0
1
3
M
a
r
a
a
s
h

n

D
a

l
a
r

,

2
0
1
3
* 5533n etkinlikleri Volkan Aslan, Nancy Atakan ve Filiz Avunduk tarafndan srdrlmektedir.
5533 activities are conducted by Volkan Aslan, Nancy Atakan and Filiz Avunduk.
5533
JEAN GENET
Jean Genet, primarily known as an author,
poet, playwright, and political activist,
was one of the most prominent and
controversial fgures of early to mid 20
th

century Europe.

He was one of the pioneers of avant-garde
theatre. His only flm A song of love
[Un chant damour] (1950) is featured
in the 13
th
Istanbul Biennial as a special
screening. The silent flm, set in a French
prison, was banned at its time for its very
explicit sexual content. In A song of love,
Genet returns to his much visited motifs of
the other, and master / slave and subject /
object dichotomies, using a different
medium.
Arlkl olarak yazar, air, oyun yazar
ve siyasal eylemci olarak bilinen Jean
Genet, erken ve orta dnem 20. yzyl
Avrupasnn en nde gelen ve tartmal
figrlerinden biri ve avangard tiyatronun
nclerindendi.

Genetnin tek filmi Ak bir ark
[Un chant damour] (1950) 13. stanbul
Bienaline zel bir gsterimle dhil
oluyor. Bir Fransz hapishanesinde geen
sessiz film, cinsellii aka ilemesi ne-
deniyle yapld dnemde yasaklanmt.
Ak bir arkda Genet, ska kulland
teki konulu motif lerine ve efendi /
kle ve zne / nesne dikotomilerine baka
bir mecra yoluyla geri dnyor.
1910da Paris, Fransada dodu. 1986da Paris, Fransada ld.
Born in 1910 in Paris, France. Died in 1986 in Paris, France.
A

s
o
n
g

o
f

l
o
v
e

[
U
n

c
h
a
n
t

d

a
m
o
u
r
]
,

1
9
5
0
A

k

b
i
r

a
r
k

[
U
n

c
h
a
n
t

d

a
m
o
u
r
]
,

1
9
5
0
J
E
A
N

G
E
N
E
T
E kratrler: Fulya Erdemci ve Andrea Phillips
13. stanbul Bienali Kamusal Program Kamusal Simya, kamusalln sanatsal ve siyasi bir
ara olarak kresel finansal emperyalizm ve yerel toplumsal krlma balamnda nasl tekrar
kullanma sokulabilecei sorusunu masaya yatrd. Kamusal Simya program kapsamnda
etkinlik gerekletirildi. Hem Trkiyeden hem de dnyann drt bir yanndan katlmclar
basmakalp kamu kavramn dntren siyasi ve iirsel simyann nasl ilediini aratrd.
Bienal sresince kamusal program, farkl bir formatta, sanat performanslar, atlye
almalar ve mzik atlyeleriyle devam edecek.
8-10 ubat 2013
ehri Kamusallatrmak
KAMUSAL PROGRAM
13. stanbul Bienali Kamusal Program:
Kamusal Simya
ehri Kamusallatrmak k noktas olarak
ehirdeki son derece gerek ve vahi kentsel
dnm ald. Hem stanbuldan hem de
baka ehir ve lkelerden gelen katlmclar,
kentsel dnm, kamusal alann yaratl
ve bastrlmas ile kapitalizm arasndaki
iliki zerinde dnmeye ve tartmaya
arld.
PROGRAM
Giri
Fulya Erdemci & Andrea Phillips
iir okumas
Lale Mldr (air)
Kolektif Hayal Gcmz Nerede? Mimari ve
Kamunun Krizi
Teddy Cruz (mimar, Kaliforniya niversitesi,
San Diego Grsel Sanatlar Blm Kamusal
Kltr ve ehircilik profesr, Kentsel
Ekolojiler Merkezi (CUE) kurucularndan)
Doalama
Cevdet Erek (sanat ve mzisyen,
T TM Konservatuar ve Mimarlk
Fakltesi, retim yesi)
Olaslklar Makinesi: Kentselleme
Tartmalarnda Dnm Noktas, Sanat ve
Kent Hakk
Resimli konuma: Christoph Schfer
(kavramsal sanat, harika tasarmc, eitim
ovmeni ve davetsiz ehir planlamac)
Panel: Agorafobi: stanbulda kentsel
dnm
Yaar Adnan Adanal (geliim planlama-
cs, aratrmac; reclaimistanbul.com ve
mutlukent.wordpress.com)
Sedat Doan (Kapitalizmle Mcadele
Dernei, adilmedya.comda yazar)
Betl Tanbay (Taksim Platformu, akade-
misyen)
lhan Tekeli (ehir ve blge planlamacs,
sosyal bilimci)
Erbay Yucak (hukuk danman, Bir Umut
Dernei)
Kuzeybat stanbulun Yeni Beliren
eperlerine Doru: Yeni stanbulun
arpc geliimi
Jean-Franois Perouse ile Kuzeybat stanbul
kentsel dnm alanlar turu
PUBLIC PROGRAMME
13
th
Istanbul Biennial Public Programme:
Public Alchemy
Co-curated by Fulya Erdemci and Andrea Phillips
The 13
th
Istanbul Biennial Public Programme, titled Public Alchemy, examined the ways in which
publicness can be reclaimed as an artistic and political tool in the context of global fnancial im-
perialism and local social fracture. Three event series were realized in scope of Public Alchemy.
This series of lectures, workshops, seminars, performances, and poetry readings examined how
a political, poetic alchemy is at work, both in Turkey and across the world, in which conventional
concepts of the public are being transformed. During the Biennial, the Public Programme will
continue in a different format with workshops, artist and music performances.
8-10 February 2013
Making the City Public
Making the City Public took as its starting point
the very real and violent transformation of
urban neighbourhoods in Istanbul. Speakers
from Istanbul and other locations were invited
to speculate on the relationships between
urban transformation, the invention and
suppression of public space, and capitalism.
PROGRAMME
Introduction
Fulya Erdemci & Andrea Phillips
Poetry reading
Lale Mldr (poet)
Where is Our Collective Imagination?
Architecture and the Crisis of the Public
Teddy Cruz (architect, University of California,
San Diego, co-founder of CUE/Center for
Urban Ecologies)
Improvisation
Cevdet Erek (artist and musician, lecturer
at ITU TM Conservatoire and Architecture
Faculty)
A Machine of Possibilities: the urban turn,
art and the right to the city
Lecture illustrated by hand: Christoph Schfer
(conceptual artist, sparkling draughtsman,
educational entertainer, urban writer and
uninvited city planner)
Panel discussion: Agoraphobia: urban
transformation in Istanbul
Yaar Adnan Adanal (development planner,
researcher, blogging at reclaimistanbul.com
and mutlukent.wordpress.com)
Sedat Doan (Association of Struggle Against
Capitalism, writer at adilmedya.com)
Betl Tanbay (Taksim Platform, academic)
lhan Tekeli (city and regional planner, social
scientist)
Erbay Yucak (Legal Advisor, Bir Umut
Association)
Towards the emerging peripheries of
North-West Istanbul: the striking making
of the New Istanbul
Tour to northwest Istanbul urban transforma-
tions with Jean-Franois Prouse
22-23 Mart 2013
Kamuya Hitap Etmek
Kamuya Hitap Etmekte ehirde konumak
ve dinlemek, sz hakk, farkl seslerin
rgtlenmesinde mzik ve iirin rol ve top-
lumsal tartma alanlarnn yaratlmasnda
medyann stlenecei roln nemi incelendi.
Bu sorular inde medya haklarnn
gelitirilmesi iin yaplan ar, Trkiye
medyasnda ifade zgrl tartmalar,
Birleik Krallkta medyann gerekletirdi-
i ihlaller karsnda sradan vatandalarn
haklar balamnda tartmak ve ayrca
Bugn ifade zgrl kavramnn iini ne
dolduruyor? sorusunu sormak istedik.
PROGRAM
iir okumas
Ahmet Gntan iirleri Frat Demir (air ve
sanat eletirmeni) ve Burak Fidan (yazar ve
yaync)
Zihinsel evrenin Siyaseti
Adbusters (kltrel frekans bozucu ve
yaynclar)
Kitlesel Medyadan Halk Medyasna?
Teknoloji, Kriz ve letiim Siyaseti
Dan Hind (yazar)
rgtl Ses / rgtl Dinleyicilik: Kolektif
Bir Pratie Doru
Robert Sember (ses-sanat kolektifi Ultra-
redin yesi, kamusal salk aratrmacs ve
yerel rgtleyici)
10-11 Mays 2013
Kamusal Sermaye
Kamusal Sermaye sanatsal ve kratryel re-
timin finansallama ile ilikisini tartmaya
at. Etkinlikler kapsamnda gncel sanat
piyasasnn sanatsal ve kratryel retimi
nasl ekillendirdii, sanat kurumlarnn
nasl ortak ve paylalan alanlar olutura-
bilecei ve parann, grnte zerk olan
kltrel retimi nasl etkiledii sorguland.
PROGRAM
Sunum-performans: Sanat Evi Endeksi
Vermeir & Heiremans
Zenginlik: Sanatsal Emek ve Herkesin
Eriebildii Kaynaklar [the Commons]
Alberto Lpez Cuenca (Amricas Puebla
niversitesi, Meksika)
Gncel Sanat / Pazar / ktidar
Sunum: Suhail Malik
(Goldsmiths Koleji, Londra niversitesi)
Tartma: Haldun Dostolu
(Galeri Nev stanbul)
Panel: Kamusal Kurum / zel Sermaye
Vasf Kortun / SALT, stanbul
Maria Lind / Tensta Konsthall, Stokholm
Barnabs Bencsik / Ludwig Mzesi,
Budapete
Kuba Szreder / Free/Slow University of
Warsaw (zgr/Yava niversite, Varova)
KAMUSAL PROGRAM
22-23 March 2013
Public Address
Public Address examined speaking and lis-
tening in the city, the right to have a voice, the
role of music and poetry in the establishment
of different voices, and the crucial role that
the media can play in creating public forums.
We aimed to discuss these questions in the
context of calls for an opening up of media
rights in China, debates about free speech in
the media in Turkey, and the rights of private
citizens against media intrusion in the United
Kingdom. We wanted to ask: What constitutes
free speech today?
PROGRAMME
Poetry reading
Ahmet Gntans poems by Frat Demir (poet
and art critic) & Burak Fidan (writer and
publisher)
The Politics of the Mental Environment
Adbusters (culture jammers and publishers)
From Mass Media to Public Media?
Technology, Crisis and the Politics of
Communication
Dan Hind (writer)
Organized Sound / Organized Listening:
Toward a Collective Practice
Robert Sember (member of the sound-art
collective Ultra-red, public health researcher
and community organizer)
10-11 May 2013
Public Capital
Public Capital explored the relationship
between artistic and curatorial production and
contemporary fnancialisation. The events
questioned how the contemporary art market
shapes artistic and curatorial production,
how institutions are able to generate spaces
of commonality, and how money impacts
ostensibly autonomous cultural production.
PROGRAMME
Lecture-performance: Art House Index
Vermeir & Heiremans
Wealth: Work, Walls, Artistic Labour and
the Commons
Alberto Lpez Cuenca (Universidad de las
Amricas Puebla, Mexico)
Contemporary Art / Market / Power
Lecture: Suhail Malik
(Goldsmiths, University of London)
Discussant: Haldun Dostolu
(Galeri Nev stanbul)
Panel discussion: Public Institution /
Private Capital
Vasf Kortun / SALT, stanbul
Maria Lind / Tensta Konsthall, Stockholm
Barnabs Bencsik / Ludwig Museum,
Budapest
Kuba Szreder / Free/Slow University of
Warsaw
PUBLIC PROGRAMME
Kratrler: Fulya Erdemci, Yael Messer ve Gilad Reich
Asistan kratr: Ece oluk
13. stanbul Bienalinin Ben Kentli-Vatanda Deil miyim? Barbarlk, Sivil Uyan ve
ehir balkl film program stanbul Bienali ve stanbul Film Festivali ibirliinde hayata
geirildi. 32. stanbul Film Festivali kapsamndaki bu program, stanbul Bienali iin de bir
giri nitelii tad ve bienalin ana temas olan politik bir forum olarak kamusal alan fikrini
sorgulamay amalad.
Program, vatandalk/kentlilik, kamusal alan, demokrasi ve sanat gibi temalara odaklanan
belgeseller, filmler ve video yaptlarndan oluuyordu. Programda klasik filmlerin yan sra
son dnemde ekilen arpc belgeseller ve siyasetin poetikasna odaklanan video yaptlar yer
ald. Filmler, kamusal alan kolektif bir hayalgc, kendi kendine rgtlenme ve ortak retim
ile ilgili yeni alternatif ler neren kltrel, toplumsal ve politik bir angajman ve muhalefet
mekn olarak dnmeyi salayacak bir platform sundu.
Ben Kentli-Vatanda Deil miyim? Barbarlk, Sivil Uyan ve ehir amzda uygarln
snrlarn sorgulayan ve eitli sinema pratiklerini ieren 17 film ve videoyu bir araya getirdi.
Program, neoliberal sistemin istikrarszlatrc gcne ve barbarlk, aktivizm ve sivil
katlm gibi kavramlarn yeniden tanmland farkl tepkilere odakland. Ayn zamanda,
programn paras olarak sinemaclar Dmitry Vilensky (Chto Delat?), Paul Poet ve Berke
Ban katlmyla bir panel gerekletirildi.
FLM PROGRAMI
13. stanbul Bienali Film Program
Ben Kentli-Vatanda Deil miyim? Barbarlk,
Sivil Uyan ve ehir
30 Mart 14 Nisan 2013
13. stanbul Bienali Film Program
Bu Bir Kap Joost Conijn, Hollanda,
Fas (1997)
1960 Yaz Jean Rouch ve Edgar Morin,
Fransa (1960)
Dammi I Colori Anri Sala, Arnavutluk
(2003)
naat Var Jos Luis Guern, spanya (2001)
Beyaz Kadna Dokunma! Marco Ferreri,
Fransa, talya (1974)
Yok Edici Melek Luis Buuel,
spanya - Meksika (1962)
Gravity Hill Haber Filmi No.5 Jem Cohen,
ABD (2011)
Yarn Andrey Gryazev, Rusya (2012)
Ah Gzel stanbul Atf Ylmaz, Trkiye (1966)
Gizli Topluluk Egle Budvytyte, Hollanda
(2006) Sa Agnieszka Polska, Polonya (2012)
Artklar Alex Mallis, ABD (2011)
Kaliforniya Ryas Bregtje van der Haak,
Hollanda (2010)
Sktrma Mika Rottenberg, ABD (2010)
gal Avi Lewis, Kanada (2004)
Kule Chto Delat (Ne Yapmal?), Rusya (2010)
Yabanclar dar! Paul Poet, Avusturya
(2002)
Curators: Fulya Erdemci, Yael Messer and Gilad Reich
Assistant curator: Ece oluk
The 13
th
Istanbul Biennials flm programme Am I Not a Citizen? Barbarism, Civic Awakening,
and the City was a collaboration between the Istanbul Biennial and the Istanbul Film Festival.
As part of the 32
nd
Istanbul Film Festival, the programme served as a prelude to the biennial
exhibition, and aimed to incite refections on the overarching theme of the biennial; the public
domain as a political public forum.
The programme brought together documentaries, feature flms, and video art works tackling
themes of citizenship, the public domain, democracy, and art. It featured canonical flms, as
well as recent documentaries, and focused on the poetics of politics through video works.
The flms offered a platform to contemplate the public domain as a site of cultural, social and
political engagement and insurrection, proposing new alternatives for collective imagination,
self-organisation, and co-production.
Am I Not a Citizen? Barbarism, Civic Awakening and the City featured 17 flms and video art
works with diverse cinematic practices that question the limits of civilization in our day and
age. It focused on the destabilizing force of this current system and diverse responses through
which notions of barbarism, activism, and civic participation are redefned. The programme also
included a panel discussion with flmmakers Dmitri Vilensky (Chto Delat?), Paul Poet and Berke
Ba.
FILM PROGRAMME
The 13
th
Istanbul Biennial Film Programme
Am I Not a Citizen? Barbarism, Civic
Awakening, and the City
30 March 14 April 2013
The 13
th
Istanbul Biennial Film Programme
Cest Une Hek Joost Conijn, The Netherlands,
Morocco (1997)
Chronicle of a Summer Jean Rouch and
Edgar Morin, France (1960)
Dammi I Colori Anri Sala, Albania (2003)
En Construccin (Work in Progress)
Jos Luis Guern, Spain (2001)
Dont Touch the White Woman!
Marco Ferreri, France, Italy (1974)
Exterminating Angel Luis Buuel,
Spain - Mexico (1962)
Gravity Hill Newsreel No.5 Jem Cohen,
USA (2011)
Tomorrow Andrey Gryazev, Russia (2012)
Oh Beautiful Istanbul Atf Ylmaz, Turkey (1966)
Secta Egle Budvytyte, The Netherlands (2006)
Hair Agnieszka Polska, Poland (2012)
Spoils - Extraordinary Harvest Alex Mallis,
USA (2011)
California Dreaming Bregtje van der Haak,
The Netherlands (2010)
Squeeze Mika Rottenberg, USA (2010)
The Take Avi Lewis, Canada (2004)
The Tower: A Songspiel Chto Delat
(What Is To Be Done?), Russia (2010)
Auslnder Raus! Schlingensiefs Container
(Foreigners out! Schlingensiefs
Container) Paul Poet, Austria (2002)
YNETM KURULU
BOARD OF DIRECTORS
Bakan / Chairman
Blent Eczacba
Bakan Yardmclar / Vice Chairmen
Ahmet Kocabyk
Prof. Dr. Mnir Ekonomi
yeler / Members
Nuri olakolu
Hayri ulhac
Ahmet Misbah Demircan
Oya Eczacba
Melih Fereli
Gencay Grn
Tayfun ndirka
Do. Yekta Kara
Oya nl Kzl
Ergun zen
Ethem Sancak
Dr. Mimar Kadir Topba
Kurumsal Kimlik Danman /
Corporate Identity Advisor
Blent Erkmen
Hukuk Danmanlar / Legal Advisors
Esat Berksan
Sadife Karata Kural
dari ler Danman /
Administrative Affairs Advisor
Rfat ktem
YRTME KURULU
EXECUTIVE BOARD
Bakan / Chairman
Blent Eczacba
yeler / Members
Ahmet Kocabyk
Prof. Dr. Mnir Ekonomi
DENETLEME KURULU
AUDITORS
Selahattin Beyazt
Rza Kutlu Ik
YNETM
MANAGEMENT
Genel Mdr / General Director
Grgn Taner
Genel Mdr Yardmcs /
Assistant General Director
mr Bozkurt
Mali ve dari ler Bakan /
Head of Finance and Administration
Ahmet Balta
nsan Kaynaklar ve dari ler
Direktr / Human Resources
and Administration Director
Semin Aksoy
Pazarlama Direktr /
Marketing Director
Tuba Tortop
Medya likileri Direktr /
Media Relations Director
Aye Bulutgil
stanbul Mzik Festivali Direktr /
Istanbul Music Festival Director
Dr. Yeim Grer Oymak
stanbul Film Festivali Direktr /
Istanbul Film Festival Director
Azize Tan
stanbul Bienali Direktr /
Istanbul Biennial Director
Bige rer
stanbul Tiyatro Festivali Direktr /
Istanbul Theatre Festival Director
Yard. Do. Dr. Leman Ylmaz
stanbul Caz Festivali Direktr /
Istanbul Jazz Festival Director
Pelin Opcin
stanbul Tasarm Bienali Direktr /
Istanbul Design Biennial Director
Deniz Ova
Salon KSV Direktr /
Salon KSV Director
Bengi nsal
KSV Tasarm Maazas Direktr/
KSV Design Store Director
Aylin Kutnay
Ynetici Asistan / Executive Assistant
Mukadder Bico
KSV
stanbul Kltr Sanat Vakf
Istanbul Foundation for Culture and Arts
Kratr / Curator
Fulya Erdemci
Danma Kurulu /
Advisory Board Members
Carolyn Christov-Bakargiev
Melih Fereli
Hou Hanru
Jack Persekian
KRATRYEL EKP
CURATORIAL TEAM
Aratrma Kratrleri /
Research Curators
Yael Messer
Rieke Vos
Kratryel birlikiler /
Curatorial Collaborators
Danae Mossman
Javier Villa
Adnan Yldz
Film Program E Kratrleri /
Film Programme Co-Curators
Yael Messer
Gilad Reich
Film Program Asistan Kratr /
Film Programme Assistant Curator
Ece oluk
Kamusal Program E Kratr /
Public Programme Co-Curator
Dr. Andrea Phillips
Sosyal Medya Kratr /
Social Media Curator
vl Durmuolu
Sanat Yazarl Atlyesi E Kratrleri /
Writing Workshop Co-Curators
Dr. Andrea Phillips
Nermin Saybal
Sanat Yazarl Atlyesi Asistan /
Writing Workshop Assistant
Glce Marabac
Direktr / Director
Bige rer
Sergi Yneticisi ve Kratryel
Asistan / Exhibition Manager and
Curatorial Assistant
Kevser Gler
Sergi Teknik Koordinatr ve Mimari
Tasarm Uygulama / Exhibition Technical
Coordinator and Architectural Design
Application
Duygu Doan
Proje Koordinatr / Project Coordinator
Demet Yldz
Editr / Editor
Liz Erevik Amado
Grafik Tasarm / Graphic Design
Ruben Pater
LAVA design, Amsterdam
Grafik Tasarm Asistanlar /
Graphic Design Assistants
zge Gven, Andrea Marciuc,
Bruno Landowski
eviriler / Translations
Nazm Dikba
Editr Yardmclar / Copy Editors
Lindsey Westbrook
Linda Lee
idem ztrk
Konuk Arlama / Hospitality
Yusuf Bahar
idem alayan
Nakliye / Logistics
Naime Srenkk
Prodksiyon Asistan /
Production Assistant
Melda Ttncolu
Proje Koordinasyon Asistanlar /
Project Coordination Assistants
Lale Mukara
Yeim Birhekimolu
Sergi Teknik Koordinasyon Asistanlar /
Exhibition Technical Coordination
Assistants
Yaar Kayhan
Selen Erkal
Video Projeleri / Video Projects
Burcu Turan
Yayn Asistanlar / Publication Assistants
Ceren Yartan
Glce Marabac
Sergi Asistan Koordinasyonu /
Exhibition Assistant Coordination
Tuna Ortayl
Proje Asistan / Project Assistant
Bengi Oya
Rehberli Turlar / Guided Tours
Mine Kk
Teknik Altyap web /
Technical Infrastructure website
SPRIGS (Amsterdam, Kosovo)
www.spigs.eu
Stajyerler / Interns
Asl Arslanbek, Didem Balatloullar,
Ecegl Bayram, lke ener,
Ledn Kzlrmak, Milan Ther,
Zeynep Uur
Mekn Sorumlular / Venue Managers
Melis Turanlgil, Antrepo no.3
Selen Erkal, Galata Rum lkretim Okulu
Teknik Ekip Destek /
Technical Team Support
Hasan Basri Akdeniz, Nihan Arsoy,
Gngr Gn, Boran Gngr,
Kamer ncedursun, Halil pir,
Mustafa Kablan, Ali Ulu Kutal
Burak zakr, eref Pehlivan
Deniz Sad, Deniz Tertemiz,
Sergen Tertemiz, Sebahattin Tertemiz
Orhan Ylmaz
13. stanbul Bienali Ekibi
13
th
Istanbul Biennial Team
BIENNIAL TEAM
BENAL EKB
MAL LER
FINANCE
Yneticiler / Managers
Ahmet Buruk (Bte ve Muhasebe Budget
and Accounting)
Hasan Alkaya (Satn Alma ve Yurtd
Projeler Purchasing and International
Projects)
Baak Sucu Yldz (Finans Finance)
Muhasebe / Accounting
Emine Tre
Figen Kyc
Kadir Altoprak
Deniz Ylmaz
Davetiye Sorumlusu / Invitations
Berfin Kl
NSAN KAYNAKLARI
VE DAR LER
HUMAN RESOURCES
AND ADMINISTRATION
Direktr / Director
Semin Aksoy
nsan Kaynaklar Uzman
Human Resources Specialist
Seda Ycesoy akrolu
Bina Ynetimi ve Gvenlik /
Building Administration and Security
Ersin Klkan
Bilgi Teknolojileri Destek Sorumlusu /
IT Support Technician
Kadir Ayyldz
Danma Grevlileri / Reception Officers
Nilay Kartal
eyma Arslan
Depo Sorumlular / Shopkeepers
Muzaffer Sayan
Kadir Gelmen
erif Kocaman
Yardmc Hizmetler / Services
Azmi Aksun
zden Atukeren
Hatice Bayman
Aydn Kaya
Hayrullah Nianc
Serap Srgit
Akn Bircan
brahim akmak
SPONSORLUK
PROGRAMI
SPONSORSHIP
PROGRAMME
Koordinatrler / Coordinators
Yasemin avuolu
Zeynep Pekgz
Asl Yurdanur
Sponsorluk likileri Sorumlular /
Sponsorship Relations Associates
Zeynep Karaman
Ezgi Ylmaz
Asistan / Assistant
Gzde Koca
PAZARLAMA
MARKETING
Direktr / Director
Tuba Tortop
Direktr Yardmcs / Assistant Director
Eda Soydan Sevim
letiim Planlama Koordinatr /
Communications Planning Coordinator
rem Akev Ulu
Pazarlama Sorumlusu /
Marketing Associate
Merve Gndz
Lale Kart yelik Program
Yneticisi / Tulip Card Membership
Programme Manager
Dilan Beyhan
ye likileri Asistan /
Member Relations Assistant
Yldz Lale Yldrm
Bilet Sat Operasyonlar Yneticisi /
Ticket Sales Operations Manager
Sinem Yayla
Bilet Sat Asistanlar /
Ticket Sales Assistants
Ercan Kaya
Naime Srenkk
Berivan ite
Saha Operasyonlar Sorumlusu /
Field Operations Associate
Bar Atasoy
Kurumsal Sat Sorumlusu /
Corporate Sales Representative
Bengi Doralp
Dijital Medya Sorumlusu /
Digital Media Associate
Emre Erbirer
CRM Sorumlusu / CRM Associate
zge Gen
Gie Grevlisi / Box Officer
Evrim Fato Araz
MEDYA LKLER
MEDIA RELATIONS
Direktr / Director
Aye Bulutgil
Koordinatrler / Coordinators
Berna zdemir
zlem Bekirolu
Elif Obdan (Uluslararas Basn
International Press)
13. stanbul Bienali Ekibi
13
th
Istanbul Biennial Team
Medya Grsel Ariv Asistan /
Media Visual Archives Assistant
Mehmet Mungan
Asistanlar / Assistants
Ayen Grkan
Melike Kuru (Uluslararas Basn
International Press)
Ariv Fotoraflar / Archives Photos
Ali Gler
Video ekimleri / Video Recordings
Hamit akr
Sait akr
KSV STDYO
KSV STUDIO
Ynetici / Manager
Seluk Metin
Asistan / Assistant
Inay Gnlalan
KURUM KML
VE YAYINLAR
CORPORATE IDENTITY
AND PUBLICATIONS
Ynetici / Manager
Didem Ermi
Editrler / Editors
Cneyt Tabanolu
Ceren Yartan
Yayn Operatr / Publications Operator
Ferhat Balamir
Grafiker / Graphic Designer
Polin Kuyumciyan
Web Sitesi Yneticisi / Webmaster
Sezen zgr
KLTR POLTKALARI
VE SOSYAL SORUMLULUK
PROJELER
CULTURAL POLICY
DEVELOPMENT AND SOCIAL
RESPONSIBILITY PROJECTS
Koordinatr / Coordinator
zlem Ece
PRODKSYON
PRODUCTION
Ynetici / Manager
Umut Kur
Teknik Sorumlu / Technical Supervisor
Gkhan Urulu
Prodksiyon Asistan / Production
Assistant
Erdal Hamamc
Saha Asistan / Field Assistant
Nihat Karakaya
BLG VE BELGE
MERKEZ
INFORMATION &
RECORDS CENTRE
Sorumlu / Associate
Esra ankaya
KSV TASARIM
KSV DESIGN
Direktr / Director
Aylin Kutnay
rn ve Tasarm Mdr /
Product and Design Manager
Esra stnda
Maaza Sorumlusu / Store Supervisor
Duygu Kktomurcuk
Sat Sorumlusu / Sales Representative
enay Savut
SALON
SALON
Direktr / Director
Bengi nsal
Prodksiyon Sorumlusu /
Production Manager
Egemen Eti
Operasyon Koordinatr /
Operations Coordinator
Deniz Kuzuolu
BIENNIAL TEAM
DN VERENLER / LENDERS
dn Verenler
Lenders
.artSmer (Istanbul, Turkey)
Abraaj Capital Art Prize
Afshan Almassi
Alberto Sendrs Gallery
(Buenos Aires, Argentina)
Alison Jacques Gallery (London, UK)
Andrea Rosen Gallery
(New York, NY, USA)
Anna Schwartz Gallery
(Melbourne / Sydney, Australia)
Barbara Weiss Gallery (Berlin, Germany)
Cesar Reyes
Coleo Museu de Arte Contempornea
da Universidade de So Paulo
(So Paulo, Brazil)
Collection Jose Noe Suro
David Zwirner
(New York, NY, USA / London, UK)
Elipsis Gallery (Istanbul, Turkey)
Ellen de Bruijne Projects
(Amsterdam, the Netherlands)
Erste Bank (Vienna, Austria)
Eugenio Lpez
Galeri Man (Istanbul, Turkey)
Galeri Zilberman (Istanbul, Turkey)
Galeria Graa Brando (Lisbon, Portugal)
Galeria Helga De Alvear (Madrid, Spain)
Galeria Lucia de la Puente (Lima, Peru)
Galeria Luisa Strina (So Paulo, Brazil)
Galeria Nuno Centeno (Porto, Portugal)
Galeria Vermelho (So Paulo, Brazil)
Galerie Buchholz
(Berlin / Cologne, Germany)
Galerie Laurent Godin (Paris, France)
Galerie Michel Rein (Paris, France)
Galerie Polaris (Paris, France)
Galerie ak | Branicka (Berlin, Germany)
Gallery NEV (Istanbul, Turkey)
gb agency (Paris, France)
Gladstone Gallery (New York, NY, USA
and Brussels, Belgium)
Greene Naftali Gallery
(New York, NY, USA) and
Hollybush Gardens (London, UK)
HONF Foundation
Hopkinson Mossman
(Auckland, New Zealand)
Jacky Maglia - Succession Jean Genet
Jubilee
Kisterem (Budapest, Hungary)
KOW Gallery (Berlin, Germany)
Krobath
(Vienna, Austria / Berlin, Germany)
Krome Gallery (Berlin, Germany)
kurimanzutto (Mexico City, Mexico)
La Coleccin Jumex (Ecatepec, Mexico)
LABOR Mexico (Mexico City, Mexico)
Les Films de la Pliade
Les Films du Jeudi
Limited Editions
Luciana Brito Gallery (So Paulo, Brazil)
MAMCO Museum Geneva
(Geneva, Switzerland)
Marian Goodman Gallery
(New York, NY, USA / Paris, France)
Meessen de Clercq (Brussels, Belgium)
Mima & Cesar Reyes Collection
(San Juan / Naguabo, Puerto Rico)
Nettie Horn (London, UK)
Newman Popiashvili Gallery
(New York, NY, USA)
Nicole Klagsbrun Gallery
(New York, NY, USA)
NON Gallery (Istanbul, Turkey)
Pace Gallery (London, UK)
Pilot Gallery (Istanbul, Turkey)
Raster Gallery (Warsaw, Poland)
Ronald Feldman Fine Arts
(New York, NY, USA)
Salonul de Proiecte (Bucharest, Romania)
Sfeir-Semler Gallery(Hamburg, Germany /
Beirut, Lebanon)
Stedelijk Museum
(Amsterdam, the Netherlands)
Stowarzyszeniem Przyjaci Akademii
Ruchu (Warsaw, Poland)
Suha Shoman
The Amal Kenawy Estate
The Chartwell Collection
(Auckland, New Zealand)
The Estate of Gordon Matta-Clark
Travesia Quatro (Madrid, Spain)
Vehbi Ko Foundation
Contemporary Art Collection
Victoria Miro (London, UK)
Wilfried Lentz Rotterdam
(Rotterdam, the Netherlands)
Sayn mer elik, Kltr ve Turizm Bakan
TC stanbul Valilii
stanbul Bykehir Belediye Bakanl
TC Babakanlk Bamavirlii
TC Babakanlk Tantma Fonu Kurulu
TC Babakanlk D Tantm
Bamavirlii
TC Babakanlk Gmrk Mstearl
TC Kltr ve Turizm Bakanl
Mstearl
TC Kltr ve Turizm Bakanl Mstear
Yardmclklar
TC Dileri Bakanl Yurtd Tantma ve
Kltr leri Genel Mdrl
TC Kltr ve Turizm Bakanl Kltr
Varlklar ve Mzeler Genel
Mdrl
TC Kltr ve Turizm Bakanl Yatrm
letmeler Genel Mdrl
TC Babakanlk Tantma Fonu Kurulu
Temsilcilii
TC Kltr ve Turizm Bakanl Tantma
Genel Mdrl
TC stanbul Valilii l Kltr ve Turizm
Mdrl
Trkiye Denizcilik letmeleri A
Trkiye Denizcilik letmeleri A stanbul
Liman letmesi Mdrl
Trkiye Radyo Televizyon Kurumu Genel
Mdrl
Trk Hava Yollar Genel Mdrl
Devlet Hava Meydanlar letmesi Genel
Mdrl Atatrk Havaliman
Mlki dare Amirlii
stanbul Gmrkler Bamdrl
stanbul Bykehir Belediyesi Emlak
Mdrl
stanbul Bykehir Belediyesi Kentsel
Tasarm Mdrl
stanbul Bykehir Belediyesi Kltrel ve
Sosyal ler Daire Bakanl
stanbul Bykehir Belediyesi Kltr A
Genel Mdrl
stanbul Bykehir Belediyesi Yap leri
Mdrl
Gmrkler Genel Mdrl Geici
Muafiyetler ube Mdrl
stanbul l Emniyet Mdrl
Beyolu Belediye Bakanl
Beyolu Kaymakaml
Beyolu Emniyet Mdrl
Eminn Belediye Bakanl
Atatrk Havaliman Giri Gmr
Mdrl
Atatrk Havaliman k Gmr
Mdrl
Atatrk Havaliman Yolcu Salonu Gmrk
Mdrl
5533 (Nancy Atakan, Volkan Aslan,
Filiz Avunduk)
ACAX | Agency for Contemporary Art
Exchange department of Ludwig
Museum - Museum of Contemporary
Art, Budapest (Rita Klmn,
Petra Csizek)
Accin Cultural Espaola (AC/E)
(Marta Rincn Areitio,
Diana Jimnez Gil, Raquel Mesa)
Adam Mickiewicz Institute
(Joanna Kiliszek, Olga Wysocka,
Ewa Borysiewicz)
Adbusters Media Foundation
(Kalle Lasn, Darren George Fleet,
Pedro Inoue Sardenberg )
Adnan Orak
Adriano Pedrosa
Ahmet Gntan
Ahmet stanbulluolu
Albert Saydam
Alberto Lpez Cuenca
Ali Artun
Alpay Balkan
Amanda Abi Khalil
Anna Schwartz Gallery (Anna Schwartz)
Annamria Molnr
ARTER (Baak Doa Temr,
Itr Bayburtluolu, dil Kartal,
lkay Bali, Nilfer Konuk)
Artis (Tali Cherizli)
Arts Council Norway
Arzu Nuholu
Arzu Soysal
Arzu Yaynta
ATLAS (zcan Yksek, Hseyin Kee)
Australia Council for the Arts
(Julie Lomax, Vanessa Lloyd)
Australian Embassy, Ankara
(Ian David Grainge Biggs,
Elif Barutcuoglu-Wade, Sarah Kelly)
Aye Serap Alakavuk
BAM - Flemish institute for visual,
audiovisual and media art
(Lissa Kinnaer)
Barbarewines
Bardhyl Fejzullahu
Barnabs Bencsik
Benice Lojistik (Burak G,
nder rdk)
Berke Ba
Betl Tanbay
Bilge Uurlar
British Council (Margaret Jack
Obe, Gregory Nash,
Didem Yaln Kurel, Cansu Ataman,
Karen Brodie, Funda Kkylmaz,
Buket irin)
Burak Delier
Burak Fidan
Blent Erkmen
Blent Tanju
Calouste Gulbenkian Foundation
(Rita Fabiana, Lus Gil,
Leonor Nazar)
Camila Rocha
Carolyn Christov-Bakargiev
CEC ArtsLink (Fritzie Brown,
Tamalyn Miller, Maxim Tumenev)
Cevdet Erek
Cihan Baysal
Cihan Tunbilek
City of Bergen
Conaculta (Luisa Elena Gonzlez Valdz,
Jos Luis Martnez Hernndez,
Araceli Diana Snchez Guzmn,
Iotza Xandhi Perez Colin)
Conseil des arts et des lettres du Qubec
Consulate General of Argentina
(Ernesto Pfirter, Mercedes Parodi,
Beatriz Lozoya Hortelano,
Berna Uzel)
Consulate General of Brazil In Istanbul
(Luiz Henrique Pereira da Fonseca,
Sena Belkayal)
Consulate General of Sweden Istanbul
Creative New Zealand - Arts Council
of New Zealand Toi Aotearoa
(Stephen Wainwright,
Kate Montgomery, Dianna Snethlage,
Emma Ward, Rachel Driscoll)
Creative Scotland (Amanda Catto,
Carol Ashworth, Sarah MacIntyre,
David Taylor, Scott Donaldson)
idem ahin
Dan Hind
Danish Agency for Culture (Tine Vindfeld)
Deniz nceday
Didem Doan
Difo Lab (Coar Kulaksz)
Dmitri Vilensky
TEEKKRLER
KSV zel Teekkrlerini Sunar
KSV Extends Special Thanks To
dOCUMENTA (13)
DutchCulture, Centre for International
Cooperation (Laurens Runderkamp,
Deborah Doting, Veysel Yce)
Ege Yazgan
Emre Arolat
Emre Baykal
Eser Yazc
Erbay Yucak
Ercan Cinkaya
Eren Erdem
Etxepare Basque Institute (Aizpea Goenaga
Mendiola, Elena Arrieta, Olatz
Erdozia Ibaez, Itziar Bueno)
Felix Media
Feride Nagehan ztrk
Frat Demir
Flemish Audiovisual Fund (VAF)
Flemish Film Fund
Flemish Community Arts&Heritage
(Hilde Lievens)
Format Matbaa
Fundacin/Coleccin Jumex
(Eugenio Lpez, Patrick Charpenel,
Mara Del Sagrario Jurez)
Fsun Eczacba
Galata Rum lkretim Okulu
(Meri Komorosano)
Galerie Laurent Godin
(Isabelle Chen, Laurent Godin)
Goethe-Institut stanbul
(Claudia Hahn-Raabe,
idem kik, Tijen Togay)
Guillermo Faivovich
Gl Kank
Halil Akyaka
Haldun Dostolu
Hali Tersanesi (Sleyman Gen,
Yusuf Bak)
Hayrettin Gn
Herkes iin Mimarlk
Hou Hanru
IASPIS (Lisa Rosendahl)
Ignacio Liprandi Gallery
(Ignacio Liprandi,
Daniela Riva Rossi)
Ins Katzenstein
Institut Franais (Brnice Gulmann,
Ekim ztrk, Zeynep Peker,
Adeline Blanchard)
Institut fr Auslandsbeziehungen
(Elke aus dem Moore, Ingrid Klenner,
Sandra Mller, Katrin Rollny)
svire Ticaret Odas Dernei
(Doan Takent)
Italian Institute of Culture in Istanbul
(Maria Luisa Scolari, Tanju ahan)
dris Yldz
lhan Tekeli
T (ner Gnavd)
Jack Persekian
Japonya Bakonsolosluu
(Ishikawa Shiho, Akiko Yamada)
Jean-Franois Perouse
Katsia Filmes
Korhan Gm
Kurimanzutto (Amelia Hinojosa,
Martha Reta)
Kuba Szreder
Laki Vingas
Laznia Centre for Contemporary Art
(Ewa Chudecka, Ania Szynwelska)
Levent Soysal
Manuel tak
Maria Lind
Mario Diel
Mart Otel (Natali K. Boyaciyan,
Hanife Arslantrk, Sumru Genman)
Mas Matbaaclk (Bahadr Otmanl,
Menderes Cokun, Murat etin)
Meessen De Clercq (Olivier Meessen,
Jan de Clercq)
Meksika Bykelilii
(Jaime Garca Amaral, Jos de Jess
Cisneros Chvez)
Melani Setiawan
Melih Fereli
Merve nsal
Mimar Sinan niversitesi
(Yaln Karayaz, zlem Ataman,
Nilay Tmen)
Mondriaan Fund (Birgit Donker,
Coby Reitsma, Haco de Ridder,
Mayke Jongsma, Laia Frijhoff )
Murat Cemal Yalntan
Murat Gven
Mveddet Yldz
Nahuel Ortiz Vidal
Natasha Sidharta
Nato Thompson
Netherlands Consulate General in Istanbul
(Jeroen Gankema, Recep Tuna)
Netherlands Institute in Turkey
(Fokke Gerritsen, Gher Grmen)
Nevzat Sayn
Nida Bekta
mer Kanpak
zge Ersoy
zge Gven
Paul Poet
Pelin Tan
Perihan Maden
Pickles PR (Rhiannon Pickles,
Juan Snchez, Caroline Widmer,
Marie Egger)
Pinchuk Art Foundation
Rasha Salti
Ren Block
Robert Sember
Roberto Jacoby
Rodrigo Moura
Rosa Martnez
Royal Norwegian Embassy in Ankara
(Lise Albrechtsen, Melida Tznolu)
Ruen Grlk Yarpnar
S. Metin Karaku
SAHA (Merve alar)
SALT Beyolu (Ceylan Yceoral,
Deniz Tezuan, Derya Acar Erg,
Duygu Demir, Merve Elveren,
November Paynter, Zeynep Akan)
Sam Bardaouil
Santa Tur (Sevil opar, ala Cmert,
Sevcan lhan)
Sedat Doan
Sergi Kur (ener ardak)
Sirkeci Postanesi (Bayram Deniz,
Hakan Alp)
SKOR | Foundation for Art and Public
Domain (Adri Duivesteijn,
Auke de Vries,
Gert-Jan van der Vossen,
Harmke van der Vossen,
Josja van der Veer, Joep van Lieshout,
Wouter Vanstiphout, Bert Mulder,
Tati Freeke-Suwarganda, Leonard
Freeke, Hedwig Saam, Astrid
Schumacher, Mrs Gabrielle de Nijs
Bik, Esther Ruiten)
Stedelijk Museum Amsterdam
(Hendrik Folkerts)
Suhail Malik
Suna Erturul
Sreyyya Evren
Swiss Arts Council Pro Helvetia
(Jelena Delic, Helen Muggli)
TANAS (Barbara Heinrich,
Katrin Isabel Seemann, Karin Barth)
TBA21 (Francesca von Habsburg,
Daniela Zyman, Igor Ramrez
Garca-Peralta)
Teddy Cruz
Temel Gentan
The Australian Centre for
Contemporary Art
The Australian Film Television
and Radio School
The Danish Arts Council (Rikke Bjrnbl)
The Ford Foundation (Noha El-Mikawy,
Laila Hourani, Nancy Khouzam,
Marina Dawoud)
The Japan Foundation (Tae Mori,
Tsuyako Kurosawa)
The Karpidas Foundation
The Marmara, Taksim (Bike Grsel,
Ata Eremsoy, Eda Katalan)
The Office for Contemporary Art Norway
(Anne Charlotte Hauen)
The Romanian Cultural Institute
(Silvana Rachieru, Alexandru
Balasescu, Seila Suliman,
Costin Zamfir)
The Sofa Otel (Ali Greli,
Dilara Hepen ztekin)
The University of Auckland, Elam School
of Fine Arts (Peter Robinson, Echo
Janman, James Speers, Kim Ellis)
Tijana Stepanovi
Till Fellrath
Timuin Okdelen
Trkan Fsun Gle
Ufuk ahin
Uur Tanyeli
Vasf Kortun
Vederlagsfondet
Victoria Noorthoorn
Yalm Canveren
Yaar Adnan Adanal
Yusuf Pinhas
Zeynep Berik
ACKNOWLEDGEMENTS
.-_-.
.sezgi3.0:
maddeden tamamen
bamszlatrlm, sfr-
baytlk sanat yapt_, 2010
.sezgiler (joseph beuysun
ardndan)_ serisinden digitiple,
.tar.gz arivi olarak datlan
masast dosyas, sfr-bayt,
kullanlan iletim sistemi ve
temaya bal olarak eitli
biimlerde
http://intuitions.httpdot.net/
intuition3-0_/
.copyleft!_ , .-_-. , 2010
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
.intuition3.0:
totally dematerialized, zero-
byte work of art_, 2010
digitiple from the series
.intuitions (after joseph
beuys)_, desktop folder
distributed in .tar.gz archive,
zero-byte, in various forms
according to the used OS and
themes
http://intuitions.httpdot.net/
intuition3-0_/
.copyleft!_ , .-_-. , 2010
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
.baka bir internet mmkn!_,
2010
CSS1 satr ii stili ieren html5
dosyas
http://anotherinternet.httpdot.
net
.copyleft!_ , afak atalba,
.-_-. , 2010
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
.another internet is possible!_,
2010
html5 file with CSS1 inline
style
http://anotherinternet.httpdot.
net
.copyleft!_ , afak atalba,
.-_-. , 2010
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
dm Kokesch
simsiz, 2013
Ses yerletirmesi (1754), Cecil
Taylor - Conquistador mzii
eliinde: kontrplak, akrilik,
metal destekler, hoparlrler,
amplifikatr, mp3 alar
Deiebilir ykseklik x 68
x 90 cm
Kisteremin izniyle (Budapete,
Macaristan)
Fotoraf: Mikls Surnyi
Untitled, 2013
Sound installation (17:54
min.) with the music Cecil
Taylor - Conquistador:
plywood, acrylic, metal stands,
loudspeakers, amplifier, mp3
player
Variable height x 68 x 90 cm
Courtesy Kisterem (Budapest,
Hungary)
Photo: Mikls Surnyi
simsiz, 2012
Kontrplak, akrilik, alminyum
destekler
300 x 300 x 300 cm
Kisteremin izniyle (Budapete,
Macaristan)
Fotoraf: dm Kokesch
Untitled, 2012
Plywood, acrylic, aluminium
stands
300 x 300 x 300 cm
Courtesy Kisterem (Budapest,
Hungary)
Photo: dm Kokesch
Agnieszka Polska
Sa [Wosy], 2012
Yksek znrlkl video, 46
Galeri Zak | Branickann
(Berlin, Almanya) izniyle
Hair [Wosy], 2012
HD video, 46 min.
Courtesy Galerie ak |
Branicka (Berlin, Germany)
Akademia Ruchu /
Wojciech Krukowski
Avrupa [Europa], 1976
A. Sternn 1927 tarihli iirine
dayanmaktadr
16 mm film, 3
Akademia Ruchunun izniyle
Europe [Europa], 1976
Based on a 1927 poem by
A. Stern
16 mm film, 3 min.
Courtesy Akademia Ruchu
Tkezleme I [Potkniecie I],
1977
16 mm film, 1
Akademia Ruchunun izniyle
Stumble I [Potknicie I], 1977
16 mm film, 1 min.
Courtesy Akademia Ruchu
Alice Creischer &
Andreas Siekmann
Yrtc Hayvanlarn Midesinde,
2012/2013
Video, 20
Galeri Barbara Weiss (Berlin,
Almanya) ve KOW Galerinin
(Berlin, Almanya) izinleriyle
In the Stomach of the
Predators, 2012/2013
Video, 20 min.
Courtesy Galerie Barbara
Weiss (Berlin, Germany)
and KOW Gallery (Berlin,
Germany)
Amal Kenawy
Koyunlarn Sessizlii, 2009
Performans ve DVDye
aktarlm video, PAL, 4:3,
851
Amal Kenawy terekesinin
izniyle
Silence of Sheep, 2009
Performance and video
transferred to DVD, PAL, 4:3,
8:51 min.
Courtesy the Amal Kenawy
Estate
Amar Kanwar
Su Mahalli, 2011
Yksek znrlkl video
yerletirmesi, renkli, sesli, 42
Sanatnn ve Marian Goodman
Galerinin (New York, NY,
ABD / Paris, Fransa) izinleriyle
Fotoraf: Henrik Stomberg
The Scene of Crime, 2011
HD video installation, colour,
sound, 42 min.
Courtesy the artist and Marian
Goodman Gallery (New York,
NY, USA / Paris, France)
Photo: Henrik Stomberg
Anca Benera &
Arnold Estefan
Eit Uzaklk lkesi, 2012
devam etmekte
Kark malzemeyle yerletirme:
yksek znrlkl video
(337), duvar zerine izim,
boya, tahta panel, belge
fotokopileri
Sanatlarn ve Salonul
de Proiectenin (Bkre,
Romanya) izinleriyle
Fotoraf: Anca Benera &
Arnold Estefan
The Equitable Principle,
2012ongoing
Mixed-media installation:
HD video (3:37 min.), wall
drawing, paint, wood board,
photocopies of documents
Courtesy the artists
and Salonul de Proiecte
(Bucharest, Romania)
Photo: Anca Benera & Arnold
Estefan
Angelica Mesiti
Vatandalar Bandosu, 2012
Drt kanall yksek
znrlkl video
FOTORAF KNYELER
Fotoraf ve Rprodksiyon Bilgileri
Photo and reproduction credits
yerletirmesi, 16:9, renkli, sesli,
2125
Sanatnn ve Anna Schwartz
Galerinin (Melbourne / Sidney,
Avustralya) izinleriyle
Citizens Band, 2012
Four channel HD video
installation, 16:9, colour,
sound, 21:25 min.
Courtesy the artist and Anna
Schwartz Gallery (Melbourne /
Sydney, Australia)
Annika Eriksson
Ben hep burada olan kpeim
(dng halinde), 2013
Yksek znrlkl video, 7
dng halinde
Galeri NON (stanbul, Trkiye)
ve Krome Galerinin (Berlin,
Almanya) izinleriyle
I am the dog that was always
here (loop), 2013
HD video, 7 min. loop
Courtesy NON Gallery
(Istanbul, Turkey) and Krome
Gallery (Berlin, Germany)
Aye Erkmen
Plan B, 2011
Yerletirme: su artma
birimleri, borular ve kablolar
eitli boyutlarda
Fotoraf: Roman Mensing /
artdoc.de
Trkiye Pavyonu, Venedik
Bienali 54. Uluslararas Sanat
Sergisi
Plan B, 2011
Installation: water purification
units with extended pipes and
cables
Dimensions variable
Photo: Roman Mensing /
artdoc.de
The Pavilion of Turkey,
The 54th International Art
Exhibition, Venice Biennale
Stoned, 2003
Kireta, elik halat, zincir,
elik kiri, kar arlklar, mevcut
cam tavan, mevcut beton duvar
Yerletirme grnts: Galerie im
Taxipalais (Innsbruck, Avusturya)
Galeri Barbara Weissn (Berlin,
Almanya) izniyle
Fotoraf: Rainer Iglar
Stoned, 2003
Limestone, three steel ropes,
chain, steel beam, counter-
weights, existing glass roof,
existing concrete wall
Installation view: Galerie im
Taxipalais (Innsbruck, Austria)
Courtesy Galerie Barbara Weiss
(Berlin, Germany)
Photo: Rainer Iglar
Basel Abbas &
Ruanne Abou-Rahme
Tesadfi syanclar: Haydutlar
Hakkndaki Ksm (Blm 1),
2012-2013
Yerletirme: belgeler,
grseller, kiisel eyalar,
alma masalar, sandalyeler,
masa, tabureler, ofis dolab,
muhafaza kutular, tek bir vinil
plak ile plakalar, hoparlrler,
bilgisayar, dng halinde video
(3551), sesli
Sanatlarn izinleriyle
Yerletirme Grnts: 6.
Jerusalem Sergisi, Al Maamal
Gncel Sanat Vakf, Kuds
The Incidental Insurgents:
The Part about the Bandits
(Chapter 1), 2012-2013
Installation: documents,
images, personal items,
desks, chairs, table, stools,
office cabinet, storage boxes,
record player with single vinyl,
speakers, desktop computer,
video on loop (35:51 min.),
sound on
Courtesy the artists
Installation view: The 6th
Jerusalem Show, Al Maamal
Foundation for Contemporary
Art, Jerusalem
Tesadfi syanclar: Haydutlar
Hakkndaki Ksm (Blm 2),
2012-2013 (video karesi)
Video/ses yerletirmesi: 1
kanall yksek znrlkl
video, 2 kanall ses+subwoofer,
6
Sanatlarn izinleriyle
The Incidental Insurgents:
The Part about the Bandits
(Chapter 2), 2012-2013 (video
still)
Video/sound installation:
1 channel HD video, 2 channel
sound+subwoofer, 6 min.
Courtesy the artists
Basim Magdy
Dnyay Anlamak iin 13 Temel
Kural, 2011
Yksek znrlkl videoya
aktarlm Super 8 film, 516
.artSmer (stanbul, Trkiye)
ve Newman Popiashvili
Galerinin (New York, NY,
ABD) izinleriyle
13 Essential Rules for
Understanding the World,
2011
Super 8 film transferred to HD
video, 5:16 min.
Courtesy .artSmer (Istanbul,
Turkey) and Newman
Popiashvili Gallery (New York,
NY, USA)
Her nce Jest, 2012-devam
etmekte
Fuji Kristal Ariv kd
zerine 40 renkli bask ve
gm harf lerle tipo bask
ereveli olarak her biri 52
x 45 cm
Sanatnn ve .artSmerin
(stanbul, Trkiye) izinleriyle
Fotoraf: Rdvan Bayrakolu
Every Subtle Gesture, 2012
ongoing
40 colour prints on Fuji Crystal
Archive paper and Letterpress
silver text
Each 52 x 45 cm framed
Courtesy the artist and
.artSmer (Istanbul, Turkey)
Photo: Rdvan Bayrakolu
Bertille Bak
Koruyucu Acil Durum Ik
Sistemi, 2010
Video, 7
Nettie Hornun (Londra,
ngiltere) ve sanatnn
izinleriyle
Video kareleri: Bertille Bak
Safeguard Emergency Light
System, 2010
Video, 7 min.
Courtesy Nettie Horn (London,
UK) and the artist
Stills: Bertille Bak
Carla Filipe
Rorschach Enstalasyonu
[Instalao Rorschach],
20112013
Pleksiglas raf lar zerinde kitap
kurtlar tarafndan yenmi 10
isimsiz kitap
eitli boyutlarda
Galeri Nuno Centeno (Porto,
Portekiz) ve Galeri Graa
Brandonun (Lizbon,
Portekiz) izinleriyle
Fotoraf: Pedro Magalhes
Rorschach Installation
[Instalao Rorschach],
20112013
10 untitled books eaten by
bookworms on Plexiglas
shelves
Dimensions variable
Courtesy Galeria Nuno
Centeno (Porto, Portugal)
and Galeria Graa Brando
(Lisbon, Portugal)
Photo: Pedro Magalhes
Bo Eller: El sadece i yapmak
iin kullanlan bir organ
deil, ayn zamanda o iin bir
rndr [Mos vazias: a mo
no s um orgo de trabalho,
mas tambm produto deste],
2011
41 adet kullanmdan kalkm
ahap ve demir ileme aleti
eitli boyutlarda
Galeri Nuno Centeno (Porto,
Portekiz) ve Galeri Graa
Brandonun (Lizbon,
Portekiz) izinleriyle
Fotoraf: Pedro Magalhes
Empty Hands: the hand is
not only an organ for work
but it is also a product of
it [Mos vazias: a mo no
s um orgo de trabalho, mas
tambm produto deste], 2011
41 obsolete working tools of
iron and wood
Dimensions variable
Courtesy Galeria Nuno
Centeno (Porto, Portugal)
and Galeria Graa Brando
(Lisbon, Portugal)
Photo: Pedro Magalhes
Carlos Eduardo
Felix da Costa (Cadu)
Mevsimler [Estaes],
2012/2013
Kark malzeme
eitli boyutlarda
Fotoraf: Cadu
Seasons [Estaes],
2012/2013
Mixed media
Dimensions variable
Photo: Cadu
Christoph Schfer
Park Fiction Artk Gezi Park
Hamburg, 16 Haziran 2013
Yeniden adlandrma duyurusu
Gezi Park Fiction St. Paulinin
izniyle
Fotoraf: Margit Czenki
Park Fiction is Now Gezi Park
Hamburg, June 16, 2013
Renaming annunciation
Courtesy Gezi Park Fiction
St. Pauli
PHOTO CREDITS
Photo: Margit Czenki
Nika Ayaklanmas, Ocak 2013
Kt zerine pastel/akrilik
Yaklak olarak 160 x 200 cm
Sanatnn izniyle
Nika Riots, January 2013
Pastel/acrylic on paper
Approximately 160 x 200 cm
Courtesy the artist
Cinthia Marcelle
Yzle [Confronto], Unus
Mundus serisinden, 2005
Video, 750 dng halinde
Galeri Vermelhonun (So
Paulo, Brezilya) izniyle
Confront [Confronto] from the
series Unus Mundus, 2005
Video, 7:50 min. loop
Courtesy Galeria Vermelho
(So Paulo, Brazil)
Cinthia Marcelle &
Tiago Mata Machado
Yzyl [O Sculo], 2011
Video, 937 dng halinde
Sanatlarn ve Galeri
Vermelhonun (So Paulo,
Brezilya) izinleriyle
Video kareleri: Lucas Barbie ve
Fernando Mendes
The Century [O Sculo], 2011
Video, 9:37 min. loop
Courtesy the artists and
Galeria Vermelho (So Paulo,
Brazil)
Stills: Lucas Barbie and
Fernando Mendes
Claire Pentecost
toprak-erg, 2012
Toprak, kt zerinde grafit
ve toprak, cam zerinde altn,
bitkiler, tel it, yabani ot
kontrol rts
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Claire Pentecost
soil-erg, 2012
Soil, graphite, and soil on
paper, gold on glass, plants,
wire fencing, weed cloth
Dimensions variable
Courtesy the artist
Photo: Claire Pentecost
David Moreno
Sessizlik, 19952012
Buluntu kitap sayfalar ve kttan
koniler
eitli boyutlarda
Wanda Svevo Tarihsel Arivi / So
Paulo Bienali Vakfnn izinleriyle
Fotoraf: Leo Eloy / So Paulo
Bienali Vakf
Yerletirme grnts: 30.
So Paulo Bienali (So Paulo,
Brezilya), 2012
Silence, 19952012
Found book pages and paper
horns
Dimensions variable
Courtesy Arquivo Histrico
Wanda Svevo / Fundao
Bienal de So Paulo
Photo: Leo Eloy / Fundao
Bienal So Paulo
Installation view: 30th So
Paulo Biennial (So Paulo,
Brazil), 2012
Sessizlik, 19952012
Buluntu kitap sayfalar ve
kttan koniler
eitli boyutlarda
Fotoraf: David Moreno
Silence, 19952012
Found book pages and paper
horns
Dimensions variable
Photo: David Moreno
Didem Erk
Arivlerde izim bulunmasn
isterdim (Srkran | Secret
Decipherer | Mistiko Spastis),
2013
Performans ve video
yerletirmesi, 30
Sanatnn izniyle
Fotoraf: Didem Erk ve zgr
Demirci
Montaj: Didem Erk ve zgr
Demirci
Kamera: zgr Demirci
I wish I could not be traced in
the archives (Srkran | Secret
Decipherer | Mistiko Spastis),
2013
Performance and video
installation, 30 min.
Courtesy the artist
Photo: Didem Erk and zgr
Demirci
Editing: Didem Erk and zgr
Demirci
Camera: zgr Demirci
Diego Bianchi
Spam Durumu [Estado de
Spam] (detay), 2013
Yerletirme / performans
Yerletirme grnts: Alberto
Sendrs Galeri (Buenos Aires,
Arjantin)
Alberto Sendrs Galerinin
(Buenos Aires, Arjantin) izniyle
Fotoraf: Gabriel Cano
State of Spam [Estado de
Spam] (detail), 2013
Installation / performance
Installation view at Alberto
Sendrs Gallery (Buenos
Aires, Argentina)
Courtesy Alberto Sendrs
Gallery (Buenos Aires,
Argentina)
Photo: Gabriel Cano
Vahi Anlamn ine Doru
(detay), 2013
Yerletirme
eitli boyutlarda
Yerletirme grnts: Visual
Arts Center, Austindeki Teksas
niversitesi (Austin, TX, ABD)
Austindeki Teksas niversitesi
Grsel Sanatlar Merkezinin
(Austin, TX, ABD) izniyle
Fotoraf: Sterling Allen
Into the Wild Meaning
(detail), 2013
Installation
Dimensions variable
Installation view at Visual
Arts Center, The University
of Texas at Austin (Austin,
TX, USA)
Courtesy Visual Arts Center,
The University of Texas at
Austin (Austin, TX, USA)
Photo: Sterling Allen
Edi Hirose
Nueva Esperanza 4446,
Genileme [Expansin]
serisinden, 2009devam
etmekte
Pamuklu kt zerine HDR
mrekkep bask dijital fotoraf
50 x 60 cm
Nueva Esperanza 4446,
from the series Expansion
[Expansin], 2009ongoing
Digital photo printed on cotton
paper with HDR ink
50 x 60 cm
Nueva Esperanza 1888,
Genileme [Expansin]
serisinden, 2009devam
etmekte
Pamuklu kt zerine HDR
mrekkep bask dijital fotoraf
60 x 50 cm
Nueva Esperanza 1888,
from the series Expansion
[Expansin], 2009ongoing
Digital photo printed on cotton
paper with HDR ink
60 x 50 cm
Elmgreen & Dragset
Paris Gnlkleri, 2003
Performans yerletirme
eitli boyutlarda
Sanatlarn izinleriyle
Fotoraf: Elmgreen & Dragset
Yerletirme grnts: Galeri
Emmanuel Perrotin (Paris,
Fransa)
Paris Diaries, 2003
Performance installation
Dimensions variable
Courtesy the artists
Photo: Elmgreen & Dragset
Installation view at Galerie
Emmanuel Perrotin (Paris,
France)
Falke Pisano
Bozulmu Bedenler atlam
Zihinler (Er M., Hasta A. &
Gezgin H.), 2012
ki video, Kompozisyonun
Bozulmas, 1516;
Kompozisyon, 1110,
ezamansz
Ellen de Bruijne Projectsin
(Amsterdam, Hollanda),
Hollybush Gardensn (Londra,
ngiltere) ve sanatnn
izinleriyle
Disordered Bodies Fractured
Minds (Private M., Patient A. &
Traveller H.), 2012
Two videos, Disorder of
Composition, 15:16 min.;
Composition, 11:10 min.,
asynchronous
Courtesy Ellen de Bruijne
Projects (Amsterdam, the
Netherlands), Hollybush
Gardens (London, UK), and
the artist
Fernanda Gomes
Fernanda Gomes, 2013
eitli malzeme
eitli boyutlarda
Galeri Luisa Strinann (So
Paulo, Brezilya) ve Alison
Jacques Galerinin (Londra,
ngiltere) izinleriyle
Fotoraf: Fernanda Gomes
Fernanda Gomes, 2013
Medium variable
Dimensions variable
Courtesy Galeria Luisa Strina
(So Paulo, Brazil) and Alison
Jacques Gallery (London, UK)
Photo: Fernanda Gomes
FOTORAF KNYELER
Fernando Ortega
Orta Boy Bir Nehri Geen
Kk Bir Kayk iin Mzik,
2012
8 fotoraf, 2 matbu mektup ve
bir CD fotoraf
Fotoraf larn her biri 64,3
x 91 cm
Mektuplarn her biri 29,7 x
21 cm
CD fotoraf 21 x 29,7 cm
Sanatnn ve
kurimanzuttonun (Meksiko,
Meksika) izinleriyle
Music for a Small Boat
Crossing a Medium Size
River, 2012
Set of 8 photographs, 2 printed
letters, and a CD photograph
Each photo 64.3 x 91 cm
Each letter 29.7 x 21 cm
CD photograph 21 x 29.7 cm
Courtesy the artist and
kurimanzutto (Mexico City,
Mexico)
Ksa Yol I, 2010
Kromojenik bask
43,78 x 58,58 cm
ereveli olarak 45,78 x
60,58 cm
Sanatnn ve
kurimanzuttonun (Meksiko,
Meksika) izinleriyle
Short Cut I, 2010
C-Print
43.78 x 58.58 cm
45.78 x 60.58 cm framed
Courtesy the artist and
kurimanzutto (Mexico City,
Mexico)
Fernando Piola
Tutoia Operasyonu, 2007/2012
Vinil ve fotoraf lar
170 x 350 cm
So Paulo niversitesi Gncel
Sanat Mzesi Koleksiyonunun
(So Paulo, Brezilya) izniyle
Fotoraf: Everton Ballardin
Tutoia Operation, 2007/2012
Vinyl and photographs
170 x 350 cm
Courtesy Coleo Museu
de Arte Contempornea da
Universidade de So Paulo
(So Paulo, Brazil)
Photo: Everton Ballardin
Kzl Meydan Projesi,
2005/2013
Vinil ve fotoraf lar
153 x 495 cm
Fotoraf: Marcello Kawase
Red Square Project,
2005/2013
Vinyl and photographs
153 x 495 cm
Photo: Marcello Kawase
Freee (Dave Beech,
Andy Hewitt, Mel Jordan)
syan etmek yetmez: Ya da
zenginlere ne yapacaz? (syan
Gzeldir: Tottenham), 2013
Yapma iekten slogan-heykel,
tanklar, fotoraf
eitli boyutlarda
Freee sanat kolektifinin izniyle
Fotoraf: Ben Fitton
Protest is not enough: or what
are we going to do with the
rich? (Protest is Beautiful:
Tottenham), 2013
Silk flower slogan-sculpture,
witnesses, photograph
Dimensions variable
Courtesy Freee art collective
Photo: Ben Fitton
Ortak Bir Zemine Doruda
Yeni Bir Kamu iin
Manifestonun sz korosunca
okunmas, Clapham Common
Orkestra Sahnesi, Londra, 2012
Belgesel fotoraf lar
eitli boyutlarda
Freee sanat kolektifinin izniyle
Fotoraf: Ying Tan ve Amy
McDonnell
Spoken choir reading of The
Manifesto for a New Public, for
Towards a Common Ground,
Clapham Common Bandstand,
London, 2012
Documentary photographs
Dimensions variable
Courtesy Freee art collective
Photo: Ying Tan and Amy
McDonnell
Tarihi Srkleyen syandr,
2008
Ak hava ilan panosu posteri
300 x 600 cm
Freee sanat kolektifinin izniyle
Fotoraf: Andy Hewitt
Protest Drives History, 2008
Billboard poster
300 x 600 cm
Courtesy Freee art collective
Photo: Andy Hewitt
Goldin+Senneby
Uzun Pozisyonu Ksaltmak,
2013
Jo Randerson (oyun yazar),
smail Ertrk (kltrel
ekonomist), Ybodon (bilgisayar
bilimcisi), Anna Heymowska
(set tasarmcs), Johan Hjerpe
(grafik tasarmc), Aye Draz
(oyuncu) ile birlikte
Drama provalar ve finansal
speklasyon
Shorting the Long Position,
2013
with Jo Randerson
(playwright), smail Ertrk
(cultural economist), Ybodon
(computer scientist), Anna
Heymowska (set designer),
Johan Hjerpe (graphic
designer), Aye Draz (actor)
Theatrical rehearsals and
financial speculation
M&A, 2013
Paul Leong (yatrm bankeri),
Jo Randerson (oyun yazar),
Ybodon (bilgisayar bilimcisi),
Anna Heymowska (sahne
tasarmcs), Johan Hjerpe
(grafik tasarmc), Stephen
Bain (oyuncu) ile birlikte
Drama provalar ve finansal
speklasyon
Fotoraf: Sam Hartnett /
ArtspaceNZ
M&A, 2013
with Paul Leong (investment
banker), Jo Randerson
(playwright), Ybodon
(computer scientist), Anna
Heymowska (set designer),
Johan Hjerpe (graphic
designer), Stephen Bain
(actor)
Theatrical rehearsals and
financial speculation
Photo: Sam Hartnett /
ArtspaceNZ
Gonzalo Lebrija
Lamento, 2007
Seramik
60 x 25 x 25 cm
Jose Noe Suro Koleksiyonu,
Galeri Laurent Godin (Paris,
Fransa) ve Travesia Quatronun
(Madrid, spanya) izinleriyle
Fotoraf: Galeri Laurent
Godin (Paris, Fransa) ve
Travesia Quatronun (Madrid,
spanya) izinleriyle
Lamento, 2007
Ceramic
60 x 25 x 25 cm
Courtesy Collection Jose Noe
Suro, Galerie Laurent Godin
(Paris, France), and Travesia
Quatro (Madrid, Spain)
Photo: courtesy Galerie
Laurent Godin (Paris, France)
and Travesia Quatro (Madrid,
Spain)
Gordon Matta-Clark
Konik Kesiim, 1975
Cibachrome bask
76,2 x 101,6 cm
Gordon Matta-Clark
terekesinin ve David Zwirnern
(New York, NY, ABD / Londra,
ngiltere) izinleriyle
Conical Intersect, 1975
Silver dye bleach print
(Cibachrome)
76.2 x 101.6 cm
Courtesy The Estate of
Gordon Matta-Clark and David
Zwirner (New York, NY, USA /
London, UK)
Yarlma, 1974
Cibachrome bask
68 x 99 cm
Gordon Matta-Clark
terekesinin ve David Zwirnern
(New York, NY, ABD / Londra,
ngiltere) izinleriyle
Splitting, 1974
Silver dye bleach print
(Cibachrome)
68 x 99 cm
Courtesy The Estate of
Gordon Matta-Clark and David
Zwirner (New York, NY, USA /
London, UK)
Guillaume Bijl
PHEL, 19802013
(nesneler)
Kark malzemeyle yerletirme
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Guillaume Bijl
SUSPECT, 19802013
(objects)
Mixed-media installation
Dimensions variable
Courtesy the artist
Photo: Guillaume Bijl
PHEL, 19802013 (duvar
metni)
Kark malzemeyle yerletirme
eitli boyutlarda
Sanatnn izniyle
SUSPECT, 19802013 (wall
text)
Mixed-media installation
Dimensions variable
Courtesy the artist
PHOTO CREDITS
Halil Altndere
Gvenlik, 2012
Balmumu heykel
120 x 40 x 30 cm
Vehbi Ko Vakf ada Sanat
Koleksiyonunun izniyle
Guard, 2012
Wax sculpture
120 x 40 x 30 cm
Courtesy Vehbi Ko
Foundation Contemporary Art
Collection
Harikalar Diyar, ubat 2013
Video, 825
Sanatnn ve Pilot Galerinin
(stanbul, Trkiye) izinleriyle
Wonderland, February 2013
Video, 8:25 min.
Courtesy the artist and Pilot
Gallery (Istanbul, Turkey)
Hanna Farah Kufr Birim
arptlm 1 [Mshwashi 1],
20022013
Fotoraf
42 x 30 cm
Sanatnn izniyle
Fotoraf: Hila Lulu Lin, Koza
[Sharnaqa] projesi
Distorted 1 [Mshwashi 1],
20022013
Photograph
42 x 30 cm
Courtesy the artist
Photo: Hila Lulu Lin, Cocoon
[Sharnaqa] project
arptlm 9 [Mshwashi 9],
20022013
Fotoraf
42 x 30 cm
Sanatnn izniyle
Fotoraf: Hila Lulu Lin, Koza
[Sharnaqa] projesi
Distorted 9 [Mshwashi 9],
20022013
Photograph
42 x 30 cm
Courtesy the artist
Photo: Hila Lulu Lin, Cocoon
[Sharnaqa] project
Hctor Zamora
Maddesel Deikenlik
[Inconstncia Material], 2012
Tulaclar, tulalar
eitli boyutlarda
Sanatnn ve Luciana Brito
Galerinin (So Paulo,
Brezilya) izinleriyle
Fotoraf: Caio Caruso
Material Inconstancy
[Inconstncia Material ], 2012
Bricklayers, bricks
Dimensions variable
Courtesy the artist and
Luciana Brito Gallery (So
Paulo, Brazil)
Photo: Caio Caruso
Hito Steyerl
Mze bir sava alan mdr?,
2013
Akademik olmayan sunumun
video belgelemesi
Yaklak olarak 40
Stedelijk Mzesinin
(Amsterdam, Hollanda)
Kamusal Program izniyle
Fotoraf: Ray Anastas
Is a museum a battlefeld?,
2013
Video documentation of
nonacademic lecture
Approximately 40 min.
Courtesy the Public Program
at the Stedelijk Museum
Amsterdam (Amsterdam, the
Netherlands)
Photo: Ray Anastas
HONF Foundation
DIAMANYET (C/SM) TR
HONF Vakf tarafndan
gelitirilen Etkileimli Medya
Projesi, 20122013
Yaam formu, kendin-yap
elektronik aletler ve sentetik
yaam formu
620 x 400 x 250 cm
HONF Vakfnn izniyle
v.u.f.o.c laboratuvar ve
DORXLAB ibirliiyle
DIAMANYET (C/SM) TR
13. stanbul Bienali iin
retilmi bir projedir: peyzaj,
kent mimarisi ve etkileimli
medya zerine aratrmalar
DIAMAGNETI (C/SM)
SPECIES an Interactive
Media Project developed by
HONF Foundation, 20122013
Life form, DIY electronic
devices, and synthetic life form
620 x 400 x 250 cm
Courtesy HONF Foundation
In collaboration with v.u.f.o.c
lab and DORXLAB
DIAMAGNETI (C/SM)
SPECIES is a project for the
13
th
Istanbul Biennial: research
on landscapes, urban
architecture and interactive
media
nci Eviner
Ortak Eylem Aygt: Bir Ett,
2013
Yerletirme ve canl performatif
aratrma
Sanatnn ve Galeri NEVin
(stanbul, Trkiye) izinleriyle
Co-action Device: A Study,
2013
Installation and performative
live research
Courtesy the artist and Gallery
NEV (Istanbul, Turkey)
Huzursuzluun Tasnifi, 2013
Kt zerine mrekkep
eitli boyutlarda
Sanatnn ve Galeri NEVin
(stanbul, Trkiye) izinleriyle
Taxonomies of Malaise, 2013
Ink on paper
Dimensions variable
Courtesy the artist and Gallery
NEV (Istanbul, Turkey)
pek Duben
Manuscript 1994, 19931994
No. 1-2-3, Canson kt zerine
akrilik boya, al, parmen
kolaj
(3) 39,04 x 30,05 cm
Sanatnn ve Galeri
Zilbermann (stanbul,
Trkiye) izinleriyle
Fotoraf: Doug Beube
Manuscript 1994, 19931994
No.1-2-3, acrylic paint,
molding paste, vellum on
Canson paper
(3) 39.04 x 30.05 cm
Courtesy the artist and Galeri
Zilberman (Istanbul, Turkey)
Photo: Doug Beube
Manuscript 1994, 19931994
Platform, alminyum, cam
223 x 183 x 50,70 cm
Sanatnn ve Galeri
Zilbermann (stanbul,
Trkiye) izinleriyle
Fotoraf: Cemil Akgl
Manuscript 1994, 19931994
Platform, aluminum, glass
223 x 183 x 50.70 cm
Courtesy the artist and Galeri
Zilberman (Istanbul, Turkey)
Photo: Cemil Akgl
Jananne Al-Ani
Kazclar, 2010
Dijitale aktarlm Super 16
mm film, 224
Sanatnn izniyle
Excavators, 2010
Digitised Super 16 mm film,
2:24 min.
Courtesy the artist
Glge Blgeler II, 2011
Tek kanall dijital film, 838
Sanatnn ve Abraaj Capital
Sanat dlnn izinleriyle
Fotoraf: Adrian Warren
Shadow Sites II, 2011
Single channel digital film,
8:38 min.
Courtesy the artist and Abraaj
Capital Art Prize
Photo: Adrian Warren
Jean Genet
Ak bir ark [Un chant
damour], 1950
Video, 26
Jacky Maglia Jean Genet
terekesinn izniyle
A song of love [Un chant
damour], 1950
Video, 26 min.
Courtesy Jacky Maglia
Succession Jean Genet
Jean Rouch
lgn Efendiler [Les Matres
Fous], 1955
DVDye aktarlm video, 26
Pliade Filmin izniyle
Video kareleri: Pliade
Filmnin izniyle
The Mad Masters [Les Matres
Fous], 1955
Video transferred to DVD,
26 min.
Courtesy Les Films de la
Pliade
Stills: courtesy Les Films de
la Pliade
Jimmie Durham
Kapc, 2009
elik, altn, Murano cam ve
kark malzeme
162 x 81 x 70 cm
Sanatnn, kurimanzuttonun
(Meksiko, Meksika) ve Mima &
Cesar Reyes Koleksiyonunun
(San Juan / Naguabo, Porto
Riko) izinleriyle
Fotoraf: Michel Zab
The Doorman, 2009
Steel, gold, Murano glass, and
mixed media
162 x 81 x 70 cm
Courtesy the artist,
kurimanzutto (Mexico City,
Mexico), and Mima & Cesar
FOTORAF KNYELER
Reyes Collection (San Juan /
Naguabo, Puerto Rico)
Photo: Michel Zab
Ji Kovanda
Tiyatro, 1976
Fotoraf la belgeleme
30 x 21 cm
Erste Bankas (Viyana,
Avusturya), gb agency (Paris,
Fransa) ve Krobathn (Viyana,
Avusturya / Berlin, Germany)
izinleriyle
Theater, 1976
Photodocumentation
30 x 21 cm
Courtesy Erste Bank (Vienna,
Austria), gb agency (Paris,
France), and Krobath (Vienna,
Austria and Berlin, Germany)
Temas, 1977
Fotoraf la belgeleme
30 x 21 cm
Erste Bankas (Viyana,
Avusturya), gb agency (Paris,
Fransa) ve Krobathn (Viyana,
Avusturya / Berlin, Germany)
izinleriyle
Contact, 1977
Photodocumentation
30 x 21 cm
Courtesy Erste Bank (Vienna,
Austria), gb agency (Paris,
France), and Krobath (Vienna,
Austria / Berlin, Germany)
Jorge Galindo &
Santiago Sierra
Los Encargados, 2012
Video, 556
Sanatlarn ve Galeri Helga
De Alvearn (Madrid, spanya)
izinleriyle
Los Encargados, 2012
Video, 5:56 min.
Courtesy the artists and
Galeria Helga De Alvear
(Madrid, Spain)
Jorge Mndez Blake
airin Evi, 2013
Renkli boya kalemi, kt
150 x 100 cm
Sanatnn ve Meessen de
Clercqin (Brksel, Belika)
izinleriyle
The Poets House, 2013
Coloured pencil, paper
150 x 100 cm
Courtesy the artist and
Meessen de Clercq (Brussels,
Belgium)
ato [El Castillo], 2007
Tulalar, kitap
170 x 1500 x 40 cm
La Coleccin Jumexin izniyle
(Ecatepec, Meksika)

The Castle [El Castillo], 2007
Bricks, book
170 x 1500 x 40 cm
Courtesy La Coleccin Jumex
(Ecatepec, Mexico)
Jos Antonio Vega Macotela
Zaman Takas 148, 2008
Mukavva zerine monte edilmi
sigara izmaritleri, Pleksiglas
ereve
erevesiz olarak 21 x 28 cm
ereveli olarak 29 x 22 x
3,5 cm
Time Exchange 148, 2008
Cigarette butts mounted on
cardboard, Plexiglas frame
21 x 28 cm (unframed)
29 x 22 x 3.5 cm (framed)
Zaman Takas 55, 2006
Mukavva zerine monte edilmi
2 adet renkli fotoraf
Tamam 70 x 90 cm
Time Exchange 55, 2006
2 colour photographs mounted
on cardboard
70 x 90 cm overall
Lale Mldr &
Kaan Karacehennem & Franz
von Bodelschwingh
Azl Yeil, 2013
Video, 13
Violent Green, 2013
Video, 13 min.
LaToya Ruby Frazier
Dedemin Yatak Odasnda
Otoportre (227 Holland
Caddesi), 2009
Arivsel mze mukavvas
zerine monte edilmi jelatin
gm bask
3 sergi kopyas + 2 sanat
kopyas
Bask 50,8 x 61 cm
ereveli olarak 63 x 73,5 cm
Sanatnn ve Michel Rein
Galerinin (Paris, Fransa)
izinleriyle
Fotoraf: Sanatnn ve Michel
Rein Galerinin (Paris, Fransa)
izinleriyle
Self Portrait In Gramps
Bedroom (227 Holland
Avenue), 2009
Gelatin silver print, mounted
on archival museum
cardboard, wooden frame
50.8 x 61 cm (print)
63 x 73.5 cm (framed)
Edition of 3 ex + 2 AP
Courtesy the artist and Galerie
Michel Rein (Paris, France)
Photo: courtesy the artist and
Galerie Michel Rein (Paris,
France)
Braddock Caddesi zerinde
U.P.M.C. Braddock Hastanesi
ve Beinci Cadde Tavernas,
2011
Arivsel mze mukavvas
zerine monte edilmi jelatin
gm bask, ahap ereve
Bask 50,8 x 61 cm
ereveli olarak 63 x 73,5 cm
8 sergi kopyas + 2 sanat
kopyas
Sanatnn ve Michel Rein
Galerinin (Paris, Fransa)
izinleriyle
Fotoraf: Sanatnn ve Michel
Rein Galerinin (Paris, Fransa)
izinleriyle
Fifth Avenue Tavern and
U.P.M.C. Braddock Hospital
on Braddock Avenue, 2011
Gelatin silver print, mounted
on archival museum
cardboard, wooden frame
50.8 x 61 cm (print)
63 x 73.5 cm (framed)
Edition of 8 ex + 2 AP
Courtesy the artist and Galerie
Michel Rein (Paris, France)
Photo: courtesy the artist and
Galerie Michel Rein (Paris,
France)
Lutz Bacher
Gkyznn El Kitab, 2011
erevelenmi ofset bask kitap
sayfalar
Bask 22,9 x 15,2 cm
ereveli olarak 25,4 x 17,8
x 2,5 cm
Sanatnn, Greene Naftali
Galerinin (New York, NY,
ABD) ve Galeri Buchholzun
(Berlin / Kln, Almanya)
izinleriyle
The Celestial Handbook, 2011
Framed offset book pages
22.9 x 15.2 cm (unframed)
25.4 x 17.8 x 2.5 cm (framed)
Courtesy the artist, Greene
Naftali Gallery (New York, NY,
USA) and Galerie Buchholz
(Berlin / Cologne, Germany)
Lux Lindner
BU KOCA BEN DEDN
EY HERHANG BIR KOCA
KILI SOLCU KADIN
KADAR SAKL OLABLR,
Arjantin Gerei zerine Bir
nceleme serisinden, 2006-2013
Tuval zerine akrilik
24 x 18 cm

THE BIG I COULD BE
SO CRAP AS ANY FAT
BOTTOMED FEMALE
LEFTIST from the series
Treatise on Argentine Reality,
20062013
Acrylic on canvas
24 x 18 cm
HAREKTTA LDRLD
(keder ve kehanetin sureti),
Arjantin Gerei zerine Bir
nceleme serisinden, 20062013
Tuval zerine akrilik
24 x 18 cm
KILLED IN ACTION (fgure of
sorrow and prophecy) from the
series Treatise on Argentine
Reality, 20062013
Acrylic on canvas
24 x 18 cm
Mahir Yavuz & Orkan Telhan
Klahl Yol: Toplumsal
Bellein Tahliyesi, 2013
Kark malzeme
(2) 250 x 110 x 110 cm
Fotoraf: Mahir Yavuz &
Orkan Telhan
The Road of Cones: The
Eviction of Social Memory,
2013
Mixed media
(2) 250 x 110 x 110 cm
Photo: Mahir Yavuz & Orkan
Telhan
Maider Lpez
Yollar Amak, 2013
3 video (2 video 2344,
ezamanl; 1 video 215) ve
duvar zerine vinil
Sanatnn izniyle
Making Ways, 2013
3 videos (2 videos 23:44 min.,
synchronous; 1 video 2:15
min.) and vinyl on wall
Courtesy the artist
Ataskoa (Trafik Kilit), 2005
Video (2031) ve fotoraf lar
(4) 130 x 86 cm photos, (1) 50 x
33 cm photo
Sanatnn izniyle
Ataskoa (Traffc Jam), 2005
Video (20:31 min.) and photos
PHOTO CREDITS
(4) 130 x 86 cm photos, (1) 50
x 33 cm photo
Courtesy the artist
Martin Cordiano &
Toms Espina
NFUZ ALANI [DOMINIO],
2011
Yerletirme
Yaklak olarak 270 x 650 x
500 cm
Afshan Almassi ve MAMCO
Mzesinin (Cenevre, svire)
izinleriyle
DOMINIO MAC/VALdaki
(Paris, Fransa) misafir
sanat program kapsamnda
retilmitir
Fotoraf: Martin Cordiano
ve Toms Espina
DOMAIN [DOMINIO], 2011
Installation
Approximately 270 x 650 x
500 cm
Courtesy Afshan Almassi and
MAMCO Museum Geneva
(Geneva, Switzerland)
DOMINIO was produced at
MAC/VAL (Paris, France) as
part of the residency program
Photo: Martin Cordiano and
Toms Espina
Maxime Hourani
Maraashn Dalar, 2013
ark kitab, basl malzeme
21,1 x 14,85 x 0,2 cm
The Mountains of Maraash,
2013
Songbook, printed matter
21.1 x 14.85 x 0.2 cm
Mere Phantoms
(Maya Ersan &
Jaimie Robson)
Montreal ve Glge, 2012
Etkileimli yerletirme: kt,
hareketli k, glge
Fotoraf: Mere Phantoms
Montreal in Shadow, 2012
Interactive installation: paper,
mobile light, shadow
Photo: Mere Phantoms
Asl Kalm Hikyeler, 2012
Etkileimli yerletirme: kt,
hareketli k, glge
Fotoraf: Warioda
Suspended Narratives, 2012
Interactive installation: paper,
mobile light, shadow
Photo: Warioda
Mierle Laderman Ukeles
Her Gn Bir Saat Bakm Sanat
Yapyorum, 55 Water Soka
zerindeki Whitney Mzesi
ehir Merkezi ubesi, NYC,
3,5 Milyon Fit Karelik Bina
boyunca, 16 Eyll 20 Ekim
1976
Renkli fotoraf lar, kolaj ile
izim, metin sayfalar, defter,
duyuru, etiketler, rozet
(12) 40,6 x 50,8 cm fotoraf,
(6) 20,3 x 25,4 cm fotoraf, (1)
25,4 x 20,3 cm fotoraf, (1) 27,9
x 21,6 cm izim/kolaj, (4) 21,6
x 27,9 cm metin sayfas, (1) 15,2
x 10,2 cm defter, (1) 22,9 x 15,2
cm sanatnn sergi duyurusu,
(1) grup 15,9 x 8,9 cm etiket
+ (1) 5,4 cm rozet (rozet &
etiketler bir panel zerinde,
20,3 x 25,4 cm)
Sanatnn ve Ronald Feldman
Fine Artsn (New York, NY,
ABD) izinleriyle
Fotoraf: Ronald Feldman Fine
Artsn (New York, NY, ABD)
izniyle
I Make Maintenance Art One
Hour Every Day, Whitney
Museum Downtown Branch
at 55 Water Street, NYC
throughout the 3.5 Million
Square Foot Building,
September 16 October
20, 1976
Colour photographs, drawing
with collage, text pages,
notebook, announcement,
labels, button
(12) 40.6 x 50.8 cm photos, (6)
20.3 x 25.4 cm photos, (1) 25.4
x 20.3 cm photo, (1) 27.9 x
21.6 cm draw/collage, (4) 21.6
x 27.9 cm text pages, (1) 15.2
x 10.2 cm notebook, (1) 22.9
x 15.2 cm artists exhibition
announcement, (1) set of 15.9
x 8.9 cm labels + (1) 5.4 cm
button (button & labels are on
one board 20.3 x 25.4 cm)
Courtesy the artist and Ronald
Feldman Fine Arts (New York,
NY, USA)
Photo: courtesy Ronald
Feldman Fine Arts (New York,
NY, USA)
Ykama, Wooster Sokaktaki
A.I.R. Galerinin nnde,
SoHo, New York, 1974
Siyah beyaz fotoraf lar, metin
(14) 40,6 x 50,8 cm fotoraf, (3)
50,8 x 40,6 cm fotoraf, (1) 27,9
x 21,6 cm metin
Sanatnn ve Ronald Feldman
Fine Artsn (New York, NY,
ABD) izinleriyle
Fotoraf: Ronald Feldman Fine
Artsn (New York, NY, ABD)
izniyle
Washing, in front of the A.I.R.
Gallery on Wooster Street in
SoHo, New York, 1974
Black & white photos, text
(14) 40.6 x 50.8 cm photos, (3)
50.8 x 40.6 cm photos, (1) 27.9
x 21.6 cm text
Courtesy the artist and Ronald
Feldman Fine Arts (New York,
NY, USA)
Photo: courtesy Ronald
Feldman Fine Arts (New York,
NY, USA)
Mika Rottenberg
Sktr, 2010
Tek kanall video yerletirmesi
(20), dijital kromojenik bask
Tamam eitli boyutlarda
Yerletirme grnts: Nicole
Klagsbrun Galeri ile birlikte
Mary Boone Galeri, 30 Ekim
18 Aralk 2010
Andrea Rosen Galeri (New
York, NY, ABD) ve Nicole
Klagsbrun Galerinin (New
York, NY, ABD) izinleriyle
Mika Rottenberg
Squeeze, 2010
Single channel video
installation (20 min.), digital
C-Print
Overall dimensions variable
Installation view, Mary Boone
Gallery in collaboration with
Nicole Klagsbrun Gallery,
October 30 December 18,
2010
Courtesy Andrea Rosen
Gallery (New York, NY, USA)
and Nicole Klagsbrun Gallery
(New York, NY, USA)
Mika Rottenberg
Mary Boone ve Kp, 2010
Dijital kromojenik bask
Bask 162,6 x 91,4 cm
ereveli olarak 165,7 x 95,3 cm
Andrea Rosen Galeri
(New York, NY, ABD) ve Nicole
Klagsbrun Galerinin (New
York, NY, ABD) izinleriyle
Mika Rottenberg
Mary Boone with Cube, 2010
Digital C-Print
162.6 x 91.4 cm (print)
165.7 x 95.3 cm (framed)
Courtesy Andrea Rosen
Gallery (New York, NY, USA)
and Nicole Klagsbrun Gallery
(New York, NY, USA)
Mika Rottenberg
Murat Akagndz
Frat Nehri zerindeki ekim
noktalarnn haritas, Aknt
(2013) iin
Map of shooting locations on
the river Euphrates for Stream
(2013)
Aknt, 2013
Be kanall video yerletirmesi,
her biri 30 dng halinde
Sanatnn ve Galeri Mannn
(stanbul, Trkiye) izinleriyle
Stream, 2013
Five channel video installation,
each 30 min. loop
Courtesy the artist and Galeri
Man (Istanbul, Turkey)
Mlkszletirme Alar
Mlkszletirme Alar,
2013devam etmekte
Kark malzeme
eitli boyutlarda
Networks of Dispossession,
2013ongoing
Mixed media
Dimensions variable
Nathan Coley
Bahemizi Ekip Bimeliyiz,
2006
Yap iskelesi ve kl metin
45 x 900 cm
Sanatnn izniyle
Fotoraf: Peter Dibdin
We Must Cultivate Our
Garden, 2006
Scaffolding and illuminated
text
45 x 900 cm
Courtesy the artist
Photo: Peter Dibdin
Yabanclarn Toplanmas, 2007
Yap iskelesi ve kl metin
45 x 800 cm
Whitworth Sanat Galerisi,
Manchester niversitesi
Koleksiyonu
Fotoraf: studioNathanColey
Gathering Of Strangers,
2007
Scaffolding and illuminated
text
45 x 800 cm
Collection of the Whitworth
Art Gallery, the University of
FOTORAF KNYELER
Manchester
Photo: studioNathanColey
Newspaper Reading Club
(Fiona Connor &
Michala Paludan)
Gazete Okuma Kulb Postas
- Yaknlklar, Farley Binas,
Los Angeles, 2011
eitli boyutlarda
Fotoraf: sanatlarn
izinleriyle
Newspaper Reading Club
Daily - Intimacies, the Farley
Building, Los Angeles, 2011
Dimensions variable
Photo: courtesy the artists
Gazete Okuma Kulb - Trista
Mallory ile Okuma, 1070
Lorimer Sk. Brooklyn, NY
11222, 4 Mays 2013
2 x A0 in situ poster
Yerletirme eitli boyutlarda
Newspaper Reading Clubn
ve Hopkinson Mossmann
(Auckland, Yeni Zelanda)
izinleriyle
Fotoraf: sanatlarn
izinleriyle
Newspaper Reading Club -
Reading with Trista Mallory,
1070 Lorimer St., Brooklyn,
NY 11222, May 4, 2013
2 x A0 posters in situ
Installation dimensions
variable
Courtesy Newspaper Reading
Club and Hopkinson Mossman
(Auckland, New Zealand)
Photo: courtesy the artists
Nicholas Mangan
ivisi km Dnya, 2012
Yksek znrlkl video,
renkli, sessiz, 12 dng
halinde
Hopkinson Mossman
(Auckland, Yeni Zelanda),
Chartwell Koleksiyonu
(Auckland, Yeni Zelanda) ve
LABOR Mexiconun (Meksiko,
Meksika) izinleriyle
A World Undone, 2012
HD video, colour, silent, 12
min. loop
Courtesy Hopkinson Mossman
(Auckland, New Zealand),
The Chartwell Collection
(Auckland, New Zealand)
and LABOR Mexico (Mexico
City, Mexico)
Madde, Madenin stnde
(ivisi km Dnya iin),
2012
Kromojenik bask
ereveli olarak 69 x 103 cm
Hopkinson Mossman
(Auckland, Yeni Zelanda) ve
LABOR Mexiconun (Meksiko,
Meksika) izinleriyle
Matter Over Mined (for A
World Undone), 2012
Cprint
69 x 103 cm (framed)
Courtesy Hopkinson Mossman
(Auckland, New Zealand)
and LABOR Mexico (Mexico
City, Mexico)
Nil Yalter & Judy Blum
Paris Ik ehri [Paris Ville
Lumire], 1974
20 Paris blgesi zerine
yerletirme: kuma zerine
fotoraf bask, izim, metin
2 x 12 m
Sanatlarn izinleriyle
Paris City of Light [Paris Ville
Lumire], 1974
Installation on 20 districts of
Paris: photos, drawings, and
texts on cloth
2 x 12 m
Courtesy the artists
Peter Robinson
Yap ve znellik, 2012
Kark malzeme
eitli boyutlarda
Hopkinson Mossmann
(Auckland, Yeni Zelanda)
izniyle
Fotoraf: Jennifer French
Structure and Subjectivity,
2012
Mixed media
Dimensions variable
Courtesy Hopkinson Mossman
(Auckland, New Zealand)
Photo: Jennifer French
Praneet Soi
Kumartuli Matbaacs, Emek
zerine Notlar, Blm 1, 2010
Slayt gsterisi, yaklak olarak
3 dng halinde
Sanatnn izniyle
Fotoraf: Praneet Soi
Kumartuli Printer, Notes on
Labour, Part 1, 2010
Slide show, approximately 3
min. loop
Courtesy the artist
Photo: Praneet Soi
Kumartuli Matbaacs, Emek
zerine Notlar, Blm 1, 2012
izim, kt zerine mrekkep
ve bask
(15) 22,5 x 18 cm bask, (1) 13,5
x 22,5 cm bask, (2) 21 x 29,7
cm izim
Sanatnn izniyle
Kumartuli Printer, Notes on
Labour, Part 1, 2012
Drawings, ink on paper, and
prints
(15) 22.5 x 18 cm prints, (1)
13.5 x 22.5 cm print, (2) 21 x
29.7 cm drawings
Courtesy the artist
Provo
Poster, 1967
Tasarm: Anti-Reklame Buro
Sneek
pek serigrafi, tek taraf l
79,8 x 54,9 cm
Poster, 1967
Design: Anti-Reklame Buro
Sneek
Silkscreen, one sided
79.8 x 54.9 cm
Poster, 1967
Tasarm: Willem (Bernard
Holtrop)
Ofset bask
43,1 x 61,3 cm
Poster, 1967
Design: Willem (Bernard
Holtrop)
Offset print
43.1 x 61.3 cm
Proyecto Secundario
Liliana Maresca
Liliana Maresca Ortaokulu
Projesi [Proyecto Secundario
Liliana Maresca], 2013
Video yerletirmesi, yaklak
olarak 20
Liliana Maresca Ortaokulu
Projesinin izniyle
Fotoraf: Liliana Maresca
Ortaokulu Projesi
Liliana Maresca Secondary
School Project [Proyecto
Secundario Liliana Maresca],
2013
Video installation,
approximately 20 min.
Courtesy Liliana Maresca
Secondary School Project
Photo: Liliana Maresca
Secondary School Project
Rietveld Landscape
Rietveld Landscape | Atelier
de Lyon
599. Snak, 2010
Rietveld Landscape |
Atelier de Lyon tarafndan
gerekletirilen proje
Rietveld Landscape | Atelier
de Lyon
Bunker 599, 2010
Project realized by Rietveld
Landscape | Atelier de Lyon
Youn Bakm iin teklif
29/3/2013, 2013
Grselletirme
eitli boyutlarda
Fotoraf: Rietveld Landscape
Intensive Care proposal
29/3/2013, 2013
Visualisation
Dimensions variable
Photo: Rietveld Landscape
Fotoraf: Ali Kazma, 7
Haziran 2013.
Photo: Ali Kazma, 2013, 7
June 2013
Rob Johannesma
Zaman Lekeleri, 2013
Be kanall yksek
znrlkl video
yerletirmesi, 117
Sanatnn izniyle
Fotoraf: Rob Johannesma
Spots of Time, 2013
Five channel HD video
installation, 117 min.
Courtesy the artist
Photo: Rob Johannesma
Rossella Biscotti
Santo Stefano Hapishanesi,
2011
Kurun plaka
2 x 222 x 500 cm
Wilfried Lentz Rotterdamn
(Rotterdam, Hollanda) izniyle
Fotoraf: Willem Vermaase
The Prison of Santo Stefano,
2011
Lead sheet
2 x 222 x 500 cm
Courtesy Wilfried Lentz
Rotterdam (Rotterdam, the
Netherlands)
Photo: Willem Vermaase
Santo Stefano Hapishanesi,
2011
Videoya aktarlm Super 8
PHOTO CREDITS
film, 10
Wilfried Lentz Rotterdamn
(Rotterdam, Hollanda) izniyle
The Prison of Santo Stefano,
2011
Super 8 film transferred to
video, 10 min.
Courtesy Wilfried Lentz
Rotterdam (Rotterdam, the
Netherlands)
Santiago Sierra
Kavramsal Ant, 2012
Poster, inkjet bask
180 x 90 cm
KOWun (Berlin, Almanya)
izniyle
Leipzig zgrlk ve Birlik
Ant iin gerekletirilen
tasarm yarmas iin proje
Conceptual Monument, 2012
Poster, inkjet print
180 x 90 cm
Courtesy KOW (Berlin,
Germany)
Project for the design
competition for the Leipzig
Freedom and Unity Memorial
Serkan Taycan
Kabuk # 01, 2010
Fotoraf arivsel pigment
bask
125 x 160 cm
Sanatnn ve Elipsis Galerinin
(stanbul, Trkiye) izinleriyle
Shell # 01, 2010
Photograph archival pigment
print
125 x 160 cm
Courtesy the artist and Elipsis
Gallery (Istanbul, Turkey)
Kabuk Harita, 2012
Basl malzeme
40 x 60 cm
Sanatnn ve SUPERPOOLun
izinleriyle
Shell Map, 2012
Published material
40 x 60 cm
Courtesy the artist and
SUPERPOOL
Shahzia Sikander
Paralaks, 2013
ok kanall yksek
znrlkl animasyon ve
boyutlu ses, 1530
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Ian Forster, Art21
Parallax, 2013
Multi channel HD animation
with surround sound, 15:30
min.
Dimensions variable
Courtesy the artist
Photo: Ian Forster, Art21
Yapm aamasnda olan
alma, 2013
3 kanall yksek znrlkl
animasyon
Work in progress, 2013
3 channel HD animation
Stephen Willats
Homeostat izim #1, 1968
Duvar izimi
Sanatnn ve Victoria
Mironun (Londra, ngiltere)
izinleriyle
Stephen Willats
Homeostat Drawing #1, 1968
Wall drawing
Dimensions variable
Courtesy the artist and
Victoria Miro (London, UK)
Stephen Willats
kiz Kuleler, 1977
Kat zerine ofset litograf
71 x 101,4 cm
Sanatnn ve Victoria
Mironun (Londra, ngiltere)
izinleriyle
Stephen Willats
The Twin Towers, 1977
Offset lithograph on paper
71 x 101.4 cm
Courtesy the artist and
Victoria Miro (London, UK)
Stephen Willats
Sulukule Platformu
Her gn bir ev yklyor, ritim
dersleri sryor., 2009
Fotoraf
eitli boyutlarda
Fotoraf: Nejla Osseiran
A house is demolished each
day, rhythm classes go on.,
2009
Photograph
Dimensions variable
Photo: Nejla Osseiran
l eire Ogeldiniz., 2009
Fotoraf
eitli boyutlarda
Fotoraf: Nejla Osseiran
Welcom to Dead Citi., 2009
Photograph
Dimensions variable
Photo: Nejla Osseiran
ener zmen
Optik Propaganda, 2012
Fotoraf
eitli boyutlarda
Sanatnn ve Pilot Galerinin
(stanbul, Trkiye) izinleriyle
Optical Propaganda, 2012
Photograph
Dimensions variable
Courtesy the artist and Pilot
Gallery (Istanbul, Turkey)
simsiz, 2005
Fotoraf
eitli boyutlarda
Sanatnn ve Pilot Galerinin
(stanbul, Trkiye) izinleriyle
Untitled, 2005
Photograph
Dimensions variable
Courtesy the artist and Pilot
Gallery (Istanbul, Turkey)
Tadashi Kawamata
Gecekondu iin plan, 2013
Fotoraf kolaj, kt zerine
mrekkep
Sanatnn izniyle
Fotoraf: Tadashi Kawamata
Plan for Gecekondu, 2013
Photo collage, ink on paper
Courtesy the artist
Photo: Tadashi Kawamata
Thomas Hirschhorn
Zaman izelgesi: Kamusal
Alanda Yapt, 2012
Mukavva, kt, fotoraf lar,
basklar, fotokopiler, bant,
tahta kalemi ve plastik folyo
240 x 958 cm
Sanatnn ve Gladstone
Galerinin (New York, NY,
ABD ve Brksel, Belika)
izinleriyle
Yerletirme grnts: 541
Bat 22. Sokak, New York, 15
Eyll 3 Kasm, 2012
Fotoraf: Ronald Amstutz
Timeline: Work in Public
Space, 2012
Cardboard, paper,
photographs, prints,
photocopies, adhesive tape,
markers, and plastic foil
240 x 958 cm
Courtesy the artist and
Gladstone Gallery (New
York, NY, USA, and Brussels,
Belgium)
Installation view at 541 West
22nd Street, New York City,
September 15 November
3, 2012
Photo: Ronald Amstutz
Spinoza Tiyatrosu, Bijlmer
Spinoza Festivali, Amsterdam,
2009
Fotoraf: Vittoria Martini
Sanatnn izniyle
Spinoza-Theater, The
Bijlmer Spinoza-Festival,
Amsterdam, 2009
Photo: Vittoria Martini
Courtesy the artist
Toril Johannessen
Olaanst Popler Yanlglar,
2012
Kark malzemeyle
yerletirme: byl fener
(projeksiyon makinesi), video
(24), 4 ereveli bask, gaz ya
ve petrol varili
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Toril Johannessen
Projeksiyon makinesinin
yapm fiziki Wolfgang
Engels (Carl von Ossietzky
niversitesi, Oldenburg,
Almanya) sayesinde
gereklemitir
dOCUMENTA (13) tarafndan
smarlanmtr
Extraordinary Popular
Delusions, 2012
Mixed-media installation:
magic lantern (projector),
video (24 min.), 4 screen
prints, oil, and oil barrel
Dimensions variable
Courtesy the artist
Photo: Toril Johannessen
With special thanks to
Dipl. Phys. Wolfgang
Engels (Carl von Ossietzky
University of Oldenburg,
Germany), responsible for the
construction of the projector
Commissioned by
dOCUMENTA (13)
Vermeir & Heiremans
Rezidans (br dnya zerine
bir bahis), 2012
Tek kanall video yerletirmesi
(37), modler mobilya paras
ile birlikte
Limited Editions ve Jubileenin
izinleriyle
Fotoraf: Kristien Daem
The Residence (a wager for
FOTORAF KNYELER
the afterlife), 2012
Single-screen video
installation (37 min.) including
modular furniture piece
Courtesy Limited Editions and
Jubilee
Photo: Kristien Daem
Volkan Aslan
Oyunlar Oyunlar Oyunlar iin
eskiz, 2013
Neon klar
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Kamusal Bilgi Alan
(retim aamasnda eskiz)
Sketch for Games Games
Games, 2013
Neon lights
Dimensions variable
Courtesy the artist
Photo: Public Domain
(production sketch)
Sergi Salonu, 2009
Metal harf ler
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Volkan Aslan
Exhibition Hall, 2009
Metal letters
Dimensions variable
Courtesy the artist
Photo: Volkan Aslan
Wang Qingsong
Kendini Takip Et, 2013
Kromojenik bask
180 x 300 cm
Follow You, 2013
C-print
180 x 300 cm
Beni Takip Et, 2003
Kromojenik bask
120 x 300 cm
Follow Me, 2003
C-Print
120 x 300 cm
Wouter Osterholt &
Elke Uitentuis
nsanlk Ant Yardm Eden
Eller, 2011/2013
2011de gerekletirilen
bir kamusal mdahalenin
belgelenmesi: yerletirme,
gazete, fotoraf lar
eitli boyutlarda
Sanatlarn izinleriyle
Monument to Humanity
Helping Hands, 2011/2013
Documentation of a public
intervention realized in 2011:
installation, newspaper,
photographs
Dimensions variable
Courtesy the artists
Yto Barrada
Beau Geste, 2009
Dijitale aktarlm 16 mm film,
4:3, renkli, sesli, 8
Galeri Polarisin (Paris,
Fransa), Sfeir-Semler
Galerinin (Hamburg, Almanya
/ Beyrut, Lbnan) ve Pace
Galerinin (Londra, ngiltere)
izinleriyle
Video kareleri: Yto Barrada
Beau Geste, 2009
16 mm film transferred to
digital, 4:3, colour, sound,
8 min.
Courtesy Galerie Polaris
(Paris, France), Sfeir-Semler
Gallery (Hamburg, Germany
/ Beirut, Lebanon), and Pace
Gallery (London, UK)
Stills: Yto Barrada
Zbigniew Libera
zgrln lk Gn, 2012
Pamuklu kt zerine pigment
mrekkep, dibond
135 x 250 cm
Fotoraf: Raster Galerinin
(Varova, Polonya) izniyle
First Day of Freedom, 2012
Pigment ink on cotton paper,
dibond
135 x 250 cm
Photo: courtesy Raster Gallery
(Warsaw, Poland)
Shakespeareden Afrika
Masallar, 2011
Pamuklu kt zerine pigment
mrekkep, dibond
100 x 84 cm
Fotoraf: Raster Galerinin
(Varova, Polonya) izniyle
African Tales by Shakespeare,
2011
Pigment ink on cotton paper,
dibond
100 x 84 cm
Photo: courtesy Raster Gallery
(Warsaw, Poland)
PHOTO CREDITS
STANBUL MODERN
SANAT MZES
ISTANBUL MUSEUM
OF MODERN ART
Erol Akyava- Retrospektif
Erol Akyava - Retrospective
29/05/2013 01/12/2013
Kratr / Curated by Levent
alkolu
YAP stanbul Modern: Ge Bakma
Dura / YAP Istanbul Modern: Sky
Spotting Stop
25/06/2013 20/10/2013
birliiyle / In collaboration
with MoMA / MoMA PS1
Tasarm / Designed by Sevince
Bayrak, Oral Gkta (SO? Mimarlk
ve Fikriyat / SO? Architecture and
Ideas)
Program Koordinatrleri / Program
Coordinators: elenk Bafra, Pelin
Dervi

YAP: Yeni Mimarlk Program 2013
Finalistleri Sergisi / YAP: Young
Architects Program 2013 Finalists
Exhibition
25/06/2013 20/10/2013
birliiyle / In collaboration
with MoMA / MoMA PS1, MAXXI,
CONSTRUCTO
Kratrler / Curated by elenk
Bafra, Pelin Dervi

Gemi ve Gelecek / Past and
Future
Kalc Koleksiyon / Permanent
Collection
Sanatlar / Artists: 136 sanatnn
180 almas / 180 works by 136
artists
Yakn Menzil / Close Quarters
09/05/2013 27/10/2013
Fotoraf Blm Yneticisi / Head
of Photography Department: Sena
akrkaya
Fotoraf Danma Kurulu /
Photography Advisory Board: Merih
Akoul, Orhan Cem etin, Murat
Germen, Stk Ksemen
Sanatlar / Artists: zgr Atlagan,
Fatma Belks, Dilan Bozyel, Yusuf
Daryerli, Cemil Batur Gkeer, Ege
Kanar, Korhan Karaoysal, Metehan
zcan, Civan zkanolu, Emir
zahin, Muhitin Eren Sulamac, zlem
imek, Sinan Tuncay, Gzde Trkkan,
Devin Yalkn, Begm Yamanlar, Sarp
Kerem Yavuz, Cemre Yeil
stanbul Modern Sanat Mzesi /
Istanbul Museum of Modern Art
Meclis-i Mebusan Cad. Liman
letmeleri Sahas Antrepo N
o
.4
www.istanbulmodern.org

PLATO SANAT
Balat Misafir Sanat Program
Sergisi / BALAT? Artist in
Residency Program Exhibition
26/06/2013 29/09/2013
Kratr / Curated by Marcus Graf
Sanatlar / Artists: Felix de la
Concha (ABD / USA), Elif Ssler
(Trkiye / Turkey)
Plato Sanat/T.C Plato Meslek
Yksekokulu / Plato Sanat/Plato
College for Higher Education
Ayvansaray Caddesi No:45 Balat
www.platosanat.org.tr

PROJE4L/ELGZ
ADA SANAT
MZES
PROJE4L/ELGZ
MUSEUM OF
CONTEMPORARY
ART
Elgiz Koleksiyonu Daimi
Koleksiyon
03/07/2013 31/12/2013
Sanatlar / Artists: Tracey
Emin, Daniele Buetti, Cindy
Sherman,Darren Almond, David
Tremlett, Sol Lewitt, Azade Kker,
Jan Fabbre, Jonathan Meese,
Elke Krystufek, Hiroshi Sugito,
Marcus Oehlen, Bjarne Melgaard,
Abdurrahman ztoprak, Adnan
oker, Burhan Doanay, Paul
McCarthy, David Salle, Barbara
Kruger, Luis Vidal, mer Ulu,
Julian Schnabel, Frank Nitzsche,
Bedri Baykam, Ergin avuolu
Mekn / Venue: Srekli Sergi Alan
/ Permenant Exhibition Space

Teras Sergileri
04/07/2013 02/11/2013
Mekn / Venue: Ak Hava Sergi
Alan / Open Air Exhibition Space

Elgiz 13
10/09/2013 19/10/2013
Sanatlar / Artists: Guillermo
Mora, Dennis Gn, Julian Opie, Can
Deer Frtun, Jacqueline Fraser,
Bjarne Melgaard, Rahmi Aksungur,
Aime Zito Lema, Xavier Veilhan,
Lisa Ruyter, Tony Cragg, Mimmo
Paladino, Sean Henry, Veljko Zejak,
Hande ekerciler, Gavin Turk,
Abdurrahman ztoprak, Stephane
Balkenhol, Gilbert & George
Mkan / Venue: Sreli Sergi Alan /
Temporary Exhibition Space

Seyhun Topuz Sergisi /
Seyhan Topuz Exhibition
24/10/2013 18/01/2014
Sanat / Artist: Seyhun Topuz
Mkan / Venue: Sreli Sergi Alan /
Temporary Exhibition Space

Proje4L/Elgiz ada Sanat
Mzesi / Proje4L/Elgiz Museum Of
Contemporary Art
Meydan Sok. Beybi Giz Plaza Maslak
www.elgizmuseum.org,
www.proje4l.org,
www.duniaa.com/proje4l,
www.facebook.com/proje4l,
twitter: @ElgizMuseum

P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
13.stanbul Bienali ile ezamanl gerekleen etkinliklerin listesidir.
Etkinlikler, al tarihine gre sralanmtr.
This is a list of events taking place simultaneously with the 13
th
Istanbul Biennial.
Events are listed by order of opening dates.
PARALEL ETKNLKLER
YAPI KRED KLTR
MERKEZ
Gei: Performans ve akan grnt
zerine bir proje / Transition:
A project on performance and
moving image
01/08/2013 15/05/2014
Brunch: 15/05/2014, 11.00
Kratrler / Curated by Baak
enova, Fatma Bucak
Sanatlar / Artists: Ali Cherri,
Ana Prvacki, Anahita Razmi, Anna
Konik, Bjorn Melhus, Fatma Bucak,
Guido van der Werve, Gne Terkol,
Harrold Offeh, Jesper Just, Lida
Abdul, Lucy Beech and Edward
Thomasson, Maria Jose Arjona,
Nicoline Van Harskamp, Nigel Rolfe,
Victor Alimpiev
Yap Kredi Kltr Merkezi / Yap
Kredi Cultural Center
stiklal Caddesi No:161-161A Beyolu
www.transitionprojectistanbul.com

PERA MZES
PERA MUSEUM
Connecting the Dots: Atlyeler
Marmara niversitesi Gzel
Sanatlar Fakltesi 6. Uluslararas
renci Trienali / Connecting
the Dots: Workshops Marmara
University Faculty of Fine Arts the
6th International Student Triennial
06/08/2013 22/09/2013
Trienal Bakan / Head of Triennial:
Prof. Dr. nci Deniz Ilgn
(Dekan / Dean)
Proje Bakan / Head of Project: Do.
Sevil Sayg (Dekan Yardmcs /
Vice Dean)
Atlye Yrtme Kurulu Bakan /
Head of Workshop Organization
Committee: Do. Rhan ahinolu
Sergi Seici Kurulu / Exhibition
Committee: Prof. Dr. nci Deniz
Ilgn, Yrd. Do. Kemal Grbz
Do. Sevil Sayg, Do. dil
Akbostanc, Do. Rhan ahinolu

Pera Film: Silahlara Veda, Sivil
Direni Hikayeleri / A Farewell to
Arms, Stories of Civil Resistance
04/09/2013 29/09/2013
Dzenleyen / Organised by Fatma
olakolu

Sophia Vari
08/10/2013 19/01/2014
Kratr / Curated by Marisa Oropesa
Pera Mzesi / Pera Museum
Merutiyet Caddesi No:65 Tepeba
www.peramuseum.org/

Bilinmeyen Gler / Unknown

Forces
28/08/2013 21/09/2013 (Pazartesi
hari her gn 10.00 19.00 aras
/ Between 10:00 19:00, closed
on Mondays) Al / Opening:
27/08/2013, 18.00
Kratr / Curated by Sunjung
Kim (*SEUNG H-Sang projesinin
kratrl Pai Hyungmin
tarafndan yaplmtr./ SEUNG
H-Sang project is curated by Pai
Hyungmin.)
Sanatlar / Artists: Caner Aslan,
Bae Young-whan, Alicia Frankovich,
Liam Gillick, Nilbar Gre, Yang
Ah Ham, Kim Beom, Joohyun
Kim, Meiro Koizumi, Aernout
Mik, Ahmet t, Fahrettin
renli, Nam June Paik, Park
Chan-Kyong, Tino Sehgal, Bruno
Serralongue, SEUNG H-Sang,* Do Ho
Suh, Tadasu Takamine, Koki Tanaka,
The Propeller Group, Vandy Rattana,
Apichatpong Weerasethakul, Haegue
Yang, Jun Yang
E organizasyon / Co-operated by
Samuso: Space for contemporary art
Co., Ltd., Artsonje Center
Dzenleyen Kurumlar / Organising
Institutions : Kore Ulusal Gzel
Sanatlar niversitesi, Mimar
Sinan niversitesi Gzel Sanatlar
Fakltesi/ Korea National University
of Arts, Mimar Sinan University
Faculty of Fine Arts
Dzenleyen / Organised by Istanbul-
Gyeongju Culture Expo 2013
Mekn / Venue: Tophane-i Amire
Kltr ve Sanat Merkezi / Tophane-i
Amire Culture and Arts Center
Boazkesen Cad. Defterdar Yokuu
No:2 Tophane Beyolu
www.samuso.org

GALERST

On the Eve
29/08/2013 20/09/2013
Al / Opening: 29/08/2013,
19.00 21.00
Sanat / Artist: Francesco Albano
Mekn / Venue: Tophane-i Amire
Tek Kubbe
Boazkesen Cad. Defterdar Yokuu,
No:2 Tophane Beyolu
Arslan Skan Kiisel Sergisi /
Arslan Skan Solo Exhibition
11/09/2013 12/10/2013
Al / Opening: 11/09/2013, 19.00
21.00
Sanat / Artist: Arslan Skan
Mekn / Venue: GALERST Tepeba
Merutiyet Cad. No:67/1 Tepeba
Beyolu
Nil Yalter Monografi Kitab
Lansman ve Sylei / Nil
Yalter Monograph Launch and
Conversation
16/09/2013, 19.00
Sanat / Artist: Nil Yalter
Katlmc / Participants: Derya
Ycel, Vasf Kortun
Mekn / Venue: SALT Beyolu
stiklal Caddesi, No:136 Beyolu
GALERST
www.galerist.com.tr

PST
Dnme Zaman / Reflection Time
01/09/2013 30/12/2013
Ziyaret Saatleri / Visiting Hours:
Randevuyla / By appointment only
Sanatlar / Artists: Osman Bozkurt,
Didem zbek
Dier Katlmclar / Other
Participants: PiST///, PIRPIR, LiST,
POST, PAST
PiST/// Disiplinleraras Proje Alan
/ PiST/// Interdisciplinary Project
Space
Dolapdere Caddesi, Dere Sokak No 8
A/B/C Pangalt
pist.org.tr

ARTSMER
Biz Vardk, Biz Yoktuk / Once
We Were, Once We Werent
05/09/2013 28/09/2013 (Saldan
cumartesiye 11.00 19.00 / Tuesday -
Saturday 11:00 19:00)
Sanat / Artist: Merve stnalp
Biz / Us
03/10/2013 09/11/2013 (Saldan
cumartesiye 11.00 19.00 / Tuesday -
Saturday 11:00 19:00)
Sanat / Artist: Burcu Gkek
artSmer
Kemanke Mah. Mumhane Cad.
Laroz Han No:67/A Karaky
www.artsumer.com

EGERAN GALER
Ters Ke / Reverse Corner
05/09/2013 05/10/2013
Sanat / Artist: Il Erikavuk
Egeran Galeri
Kemanke Mah. Tophane skele Cad.
No:12A Beyolu
www.egeran.com

P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
PARALLEL EVENTS
GALLERY MARQUSE
DANCE HALL
Hibir Yere Gitmek (Sergi) / Going
Nowhere (Exhibition)
06/09/2013 10/11/2013 (Pazar
gnleri 13.00 18.00 aras veya
randevu ile / Sundays between 13:00
and 18:00 or by appointment)
Al / Opening: 05/09/2013, 18.00
21.00
Kratr / Curated by Mark Van
Yetter
Sanatlar / Artists: Joerg Hiller,
Kitty Kraus, Sabri Atalay Yavuz
Tom Tom Mah. Kumbarac Yokuu
No:14 Beyolu
www.marquisedancehall.com

RODEO
James Richards
07/09/2013 - 27/10/2013
Sanat / Artist: James Richards
Sraselviler Cad. Yeni Hayat Apt.
No:49/1 Taksim
www.rodeo-gallery.com

AKBANK SANAT
Akbank Gnmz Sanatlar
dl Sergisi / Akbank
Contemporary Artists Prize
Exhibition
10/09/2013 12/10/2013
Sanatlar / Artists: Mkerrem Baki,
Serkan alkan, Trkay otuk,
Glderen Grenek, Berat Ik, Engin
Konuklu, Elif Kse, Suat t, Ceylan
ztrk, Kvlcm Harika Seydim,
Gamze Tadan, Serkan Taycan
Balamn Katmanlar: ehrin
Byleyicilii zerine (Panel)
/ Layers of the Context. On the
Fascination of Cities (Panel)
14/09/2013, 14.00
Konsept / Concept: Dr. Zoltn
Somhegyi
Katlmclar / Participants: Prof.
Dr. Michael Diers, Prof. Dr. Jale
Nejdet Erzen, Assist. Prof. Dr. Zoltn
Somhegyi, Do. Dr. pek Akpnar,
Dr. Emin Mahir Balcolu
Olay Ufku tesinde Bienaller
- kullancln yeni politikas
(Konferans) / Bienniales Beyond
the Event Horizon - new politics of
usership (Conference)
15/09/2013, 14.30
Konumac / Speaker: Stephen
Wright
Akbank Sanat
stiklal Caddesi No: 8 Beyolu
www.akbanksanat.com

S.. SAKIP SABANCI

MZES
Anish Kapoor stanbulda /
Anish Kapoor in Istanbul
10/09/2013 05/01/2014
Dzenleyen / Organised by Dr. Nazan
ler (S.. Sakp Sabanc Mzesi
Mdr / S.U. Sakp Sabanc Museum
Director)
Kratr / Curated by Sir Norman
Rosenthal
Sanat / Artist: Anish Kapoor
Sakp Sabanc Cad. No:42 Emirgan
muze.sabanciuniv.edu, facebook.com/
SakipSabanciMuzesi, twitter.com/
SSabanciMuze

DRMART
Liberty Park
10/09/2013 12/10/2013
Sanat / Artist: Bjrn Melhus
Mekn / Venue: Karaky, Klah,
Dirimart geici proje alan
/ Karaky, Klah, Dirimart
temporary project space
Murakp Sok. No:12/A Karaky

Some USA Stories
12/09/2013 12/10/2013
Sanat / Artist: Fabian Marcaccio
Mekn / Venue: Dirimart
Abdi peki Caddesi No:7/4 Nianta
Dirimart
www.dirimart.org

ELLIPSIS GALLERY
Gizli Yz (Fotoraf Sergisi)
/ Hidden Face (Photography
Exhibition)
10/09/2013 20/10/2013
Kratr / Curated by Yekhan
Pnarlgil
Sanat / Artist: ahin Kaygun
Hoca Tahsin Sokak No:16 Karaky
www.elipsisgallery.com,
twitter.com/ElipsisGallery

In Praise of Shadows
10/09/2013 30/09/2013 (Saldan
cumartesiye 10.00 19.00, pazar
gnleri ise 12.00 18.00 aras ziyaret
edilebilir / from Tuesday to Saturday
between 10:00 and 19:00, on Sundays
between 12:00 and 18:00)
Sanat / Artist: Allard Van Hoorn
Mekn / Venue: SumaHan Lounge
Yankkap Sokak No:3 Bankalar
Caddesi Beyolu

KUAD GALLERY
Marjinal Devrimler / Marginal
Revolutions
10/09/2013 10/11/2013
Kratrler / Curated by Gl an,
Max Presneill
Mekn / Venue: Kuad Gallery
Sleyman Seba Caddesi No:52
Akaretler Beikta
www.kuadgallery.com
I Am I Between Worlds and Between
Shadows
12/09/2013 10/11/2013
Al / Opening: 11/09/2013
Kratr / Curated by Beral Madra
Sanat / Artist: Kalliopi Lemos
Mekn / Venue: oakimion Kz Lisesi
/ Ioakimion High School
Tevkii Cafer Cadesi No:16 Fener
www.kalliopilemos.com,
www.kuadgallery.com

MASUMYET
MZES / MUSEUM
OF INNOCENCE
Masumiyet Mzesi Sesli Rehberi /
Museum of Innocence Audio Guide
10/09/2013 sresiz / permanent
Sanat / Artist: Orhan Pamuk
ukurcuma Caddesi Dalg kmaz
No:2 Beyolu
www.masumiyetmuzesi.org

MIXER
Hotel Italia
10/09/2013 29/09/2013
Al / Opening: 10/09/2013, 18.00
Kratr / Curated by Nostra Signora
Sanatlar / Artists: Philippe Berson,
Jesse Gagliardi, Cesare Inzerillo,
Simone Mannino, Riccardo Scibetta
Art Writing Trkiye / Turkey
16/09/2013 18/09/2013 (Henz
kesinlemedi / TBC)
Katlmc / Participant: Kathleen Madden
birlii ile / In collaboration with
Sothebys, Flint PR
Mixer, ArtInternational
Mekn / Venue: ArtInternational,
Hali Kongre Merkezi /
ArtInternational, Hali Congress Center
Stlce Mah. Eski Karaaa Cad.
Beyolu
P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
PARALEL ETKNLKLER
Kayt / Record
04/10/2013 10/11/2013
Kratr / Curated by znr Gzel
Karasu
Sanatlar / Artists: Can Erta,
Dilek ztrk, Emine Boyner, Hacer
Kroglu, Hlya Eidogan, Kerem
Ozan Bayraktar, Murat Germen,
Uygar Demolu, Ycel Zorlu
Tomtom Mahallesi Boazkesen
Caddesi No:45 Bodrum Kat Tophane
Beyolu
www.mixerarts.com

CARAVANSARA
Perembe Pazar Projects
10/09/2013 21/09/2013
Al / Opening: 10/09/2013, 18.00
21.00
Sanatlar / Artists: Pat Arnao
(ABD / US), Anita Bacic (Avustralya
/ AUS), Richard Bartle (ngiltere
/ UK) , Fiona Davies (Avustralya /
AUS), Suada Demirovic (Danimarka
/ DK), Joan Edlis (ngiltere / UK),
Korhan Erel (Trkiye / TR), Daisy
Frossard (ngiltere / UK), rni
Gudmundsson (zlanda, sve /IS,
SE), Sibel Horada (Trkiye / TR),
Laleh Torabi (Almanya / DE), Julie
Upmeyer (ABD / US), Anne
Weshinskey (ABD / US)
Bankalar Caddesi, Banka Sokak
No:3, Tan Han Karaky
www.caravansarai.info

SALT BEYOLU
SALT GALATA
Biri, Hibiri, Binlercesi / One, No
One and One Hundred Thousand
10/09/2013 26/12/2013
Sanat / Artist: Elio Montanari
Mekn / Venue: SALT Galata
Bankalar Caddesi No:11 Karaky
Vadedilmi Bir Sergi / A Promised
Exhibition
10/09/2013 05/01/2014
Sanat / Artist: Glsn Karamustafa
Mekn / Venue: SALT Beyolu
stiklal Caddesi No:136 Beyolu

Konuma: Glsn Karamustafa /
Talk: Glsn Karamustafa
12/09/2013, 19.00
Sanat / Artist: Glsn Karamustafa
Mekn / Venue: SALT Beyolu,
Ak Sinema / SALT Beyolu,
Walk-in Cinema
stiklal Caddesi No:136 Beyolu
Konuma: Catherine David, Elio
Montanari /
Talk: Catherine David, Elio
Montanari
13/09/2013, 19.00
Mekn / Venue: SALT Galata
Bankalar Caddesi No:11 Karaky
Union of the Imaginary
(VOTI) Panel
14/09/2013, 15.00 17.00
Mekn / Venue: SALT Galata
Bankalar Caddesi No:11 Karaky
SALT
saltonline.org

PLOT GALER
Sen Roln Oyna, Senaryo Arkadan
Gelir / Play your part now, then the
scenario will follow
10/09/2013 26/10/2013
Al / Opening: 12/09/2013,
17.00 22.00
Sanat / Artist: Burak Delier
Sraselviler Cad. No:83/2 Beyolu
www.pilotgaleri.com

Sidewalk
10/09/2013 30/09/2013 (Saldan
cumartesiye 10.00 19.00, pazar
gnleri ise 12.00 18.00 aras ziyaret
edilebilir / from Tuesday to Saturday
between 10:00 and 19:00, on Sundays
between 12:00 and 18:00)
Sanat / Artist: Lalin Akalan
Mekn / Venue: SumaHan Lounge
Yankkap Sokak No:3 Bankalar
Caddesi Beyolu

CO-PLOT
Suspended Song / Askdaki ark
10/09/2013 26/10/2013
Al / Opening: 12/09/2013
Sanatlar / Artists: z ztat, Merve
Ertufan, Bashir Borlakov, Fikret
Atay, Suat t, Elmas Deniz, rem
Tok, Fernando Sanchez Castillo, Ali
Miharbi, Gke Svari
Sraselviler Cad. No:85/A Beyolu
www.pilotgaleri.com

5533
imdi bizi gryorsunuz imdi
grmyorsunuz (tabela
yerletirmesi) / now you see us now
you dont (sign installation)
10/09/2013, 16.00 - 19.00
Sanatnn katlmyla tur / Tour
with the artist: 10/09/2013, 17.00
Kratr / Curated by Filiz Avunduk
Sanat / Artist: Annika Eriksson
M 5.Blok 5533 Unkapan
imc5533.blogspot.com

COLLECTORSPACE
Cervantes Koleksiyonu /
The Cervantes Collection
11/09/2013 19/10/2013 (aramba
Cumartesi gnleri 12.00 18.00
arasnda veya randevu ile / From
Wednesday to Saturday between
12:00 and 18:00, or by appointment)
Taksim-Gmsuyu Mah. nn Cad.
No:9/c Beyolu
www.collectorspace.org

SUMAHAN
Concrete Unit
11/09/2013 25/10/2013
Al / Opening: 10/09/2013, 18.00
21.00
Kratr / Curated by Lalin Akalan,
Luca Maffei
Sanatlar / Artists: Corrado Abate,
Margherita Chiarva, Federico De
Leonardis, Masbedo, Riccardo
Murelli, Agostino Osio
Yankkap Sokak No:3 Bankalar
Caddesi Beyolu
studiomaffeimilano.com/
concreteunit2013

STANBUL FRANSIZ
KLTR MERKEZ
INSTITUT FRANAIS
ISTANBUL
Video Art Sergisi: Sivil/Siz Alanlar
/ Video Art Exhibition: Espaces
In/Civils
11/09/2013 21/09/2013
Al / Opening: 11/09/2013, 18.00
Sanatlar / Artists: Lida
Abdul, Vahram Aghasyan, Allora &
Calzadilla, Fikret Atay, The Atlas
Group, Ursula Biemann, Dara
Birnbaum, Denicolai
& Provoost, Sebastian
Diaz-Morales, Peter
Downsbrough, Simonetta
Fadda, Group REP, Clarisse
Hahn, Jean Charles Hue, Bouchra
Khalili, Thomas Koner, Ugo La
Pietra, Fabrice Lauterjung, Maha
Maamoun, Dimitri
Makhomet, Franois
Nouguis, Paulien Oltheten, Javier
Tellez, Jack Beng Thi, Salla
Tykka, Nomeda & Gediminas
PARALLEL EVENTS
P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
Urbonas, Gillian Wearing, Artur
Zmijewski
Kratrler / Curated by Hilde
Teerlinck, Sayoko Nakahara,
Gauthier Melin (FRAC Nord-Pas
de Calais)
Video Art Sergisi / Video Art
Exhibition
11/09/2013 21/09/2013
Al / Opening: 11/09/2013, 18.00
Sanatlar / Artists: Seza Paker, Nil
Yalter
ada Dans - Solo / Contemporary
Dance Solo: + 1
20/09/2013, 19.00; 21/09/2013, 17.00
Sanat / Artist: Bahar Temiz

stanbul Fransz Kltr Merkezi /
Institut Franais Istanbul
stiklal Cad. No:4 Taksim
www.ifturquie.org

GALER NEV
STANBUL
Kitap / Book
11/09/2013 26/10/2013
Kratr / Curated by Rgis Durand
Sanat / Artist: Ali Kazma
stiklal Caddesi Msr Apt. No:163
K:4 D:23 Beyolu
www.galerinevistanbul.com

EKERBANK
Konferans: Sanatnn Eretilii /
Conference: Precarity of The Artist
Konferans Tarihi / Conference
Date: 11/09/2013, 18.00
Sergi Tarihleri / Exhibition Dates:
11/09/2013 02/11/2013
Kratr / Curated by Ali Akay
Katlmclar / Participants: Olga
Kisseleva, Ali Akay, Emin Mahir
Balcolu
Mkan / Venue: Akekran Yeni
Medya Sanatlar Galerisi / Akekran
New Media Arts Gallery
ekerbank /Akekran Yeni Medya
Sanatlar Galerisi / ekerbank /
Akekran New Media Arts Gallery
Tevikiye Cad. No:37/1 Nianta
www.acikekran.com.tr

PRAMD SANAT
Manyetik iirler / Magnetic Poems
11/09/2013 13/10/2013
Kratr / Curated by Bedri Baykam
Sanat / Artist: Hale Arpacolu
Mekn / Venue: Piramid Sanat Ana
Galeri
Feridiye Cad. No:23 Taksim
www.piramidsanat.com

NON-STAGE
NON-Stage Nevin Alada, Volkan
Aslan, ete-i Nisvan, Gabriel
Lester, Olof Olsson, Ahmet t
performanslarn sunar / NON-
Stage presents performances
by Nevin Alada, Volkan Aslan,
ete-i Nisvan, Gabriel Lester, Olof
Olsson, Ahmet t
11/09/2013 14/09/2013
Kratrler / Curated by Filiz
Avunduk, Derya Demir
Mekn / Venue: eitli
meknlar / Various venues
Adresler iin ltfen www.nonstage.
com sitesini ziyaret edin / Please
check www.nonstage.com for
addresses
Parti: Davulda Alican Tezer +
Bar Knn funk disko ve deep
house ile kark psychedelic
anadolu ezgileri / Party: Alican
Tezer on the drums + Bar K
mixing anatolian psychedelic folk
with funk disco and deep house
12/09/2013, 23.00
Mekn / Venue: Topless
stiklal Cad. Fita Binas No:12 Kat:
6 Beyolu
galerinon.com/tr/non-stage

RAMPA
Temizlik Bezi le / With a Cleaning
Cloth
11/09/2013 12/10/2013
Al / Opening: 14/09/2013, 19.00
21.00
Sanat / Artist: Cengiz ekil

Ak Telefon Kulbesi /
Open Phone Booth
11/09/2013 12/10/2013
Al / Opening: 14/09/2013, 19.00
21.00
Sanat / Artist: Nilbar Gre

Kitap Tantm/ Book Launch:
Nilbar Gre
14/09/2013, 18.00
Sanat / Artist: Nilbar Gre

Rampa
air Nedim Caddesi No:21/A
Akaretler Beikta
www.rampaistanbul.com

P ARTWORKS
Resim Sergisi / Painting
11/09/2013 26/10/2013
Al / Opening: 11/09/2013,
17.00 20.00
Sanat / Artist: Mehmet Ali Uysal
Mekn / Venue: Pi Artworks
Galatasaray
stiklal Cad. Msr Apt No:163/4
Galatasaray
www.piartworks.com

FCK LAB
016 Urban Songline
(Latitude: 41.041250
N - 41.041345 N /
Longitude:28.990245 E
- 28.990331 E)
12/09/2013, 17.00; 27/09/2013, 17.00
Performans sonras ses ve mimari
zerine bir panel gerekletirilecektir
/ The performance will be followed
with a panel on sound & architecture
Dzenleyen / Organised by Allard van
Hoorn, stanbul Teknik niversitesi
Mimarlk Fakltesi ve [f ]FLAT
Architectures ibirlii, Distractfold
Ensemblen katlm ile / Allard
van Hoorn in collaboration with
the Architectural Faculty of the
Istanbul Technical University, [f ]
FLAT Architectures and special
participation of Distractfold
Ensemble
Sanatlar / Artists: Allard van
Hoorn, Distractfold Ensemble
FCK Lab, stanbul Teknik
niversitesi Mimarlk Fakltesi
/ FCK Lab, Istanbul Technical
University Architectural Faculty
Mekn / Venue: T Takla
Kamps / TU Takla Campus
Takla Cad. Beyolu
www.allardvanhoorn.com,
www.distractfold.org.uk,
www.mim.itu.edu.tr/tr/,
www.f-f lat.com

GALER APEL
Apel 15, Yldnm Sergisi /
Anniversary Exhibition
12/09/2013 17/10/2013
Kratr / Curated by Nuran
Terizolu
Sanatlar / Artists: dil Akbostanc,
Aydan Baktr, Bayram Candan,
Sakine il, Smbl Eren, akir
Gkeba, Can Gknil, Aslmay Altay
Gney, Gler Gngr, Ycel Kale,
Kurucu Koanolu, Nermin Kura,
Azade Kker, Selin Levi, Suzy Hug
P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
PARALEL ETKNLKLER
Levy, Canan Pak, Leyla Sakpnar,
Emre Senan, Maria Sezer, Zeynep
Perinek Signoret, Elif Ssler, Rhan
ahinolu, Yldz ermet, Gamze
Tadan, Esma Paal Turam, Hande
Varsat,Y. Bahadr Yldz
Hayriye Cad. No:5/A Galatasaray
Beyolu
www.galleryapel.com

Color Temperature - China

Young Artists Project: Exchange
Exhibition of 27 of Chinas Finest
Young Artists
12/09/2013 20/09/2013
Kratrler / Curated by Jia Fangzhou
(in / China), Hakan Grsoytrak
(Trkiye / Turkey)
Sanatlar / Artists: Uluslararas bir
jri tarafndan 1000 aday arasndan
seilen 27 sekin inli gen sanat /
27 of Chinas most outstanding young
artists chosen by an international
jury of 1,000 candidates
China Young Artists Project
Office, China Arts & Entertainment
Group, Beautiful Asset Beijing
Art Industry Co. Ltd., CIEA-BA
Exhibition Co. Ltd., Mimar Sinan
University
Mekn / Venue: Osman Hamdi
Bey Salonu, Mimar Sinan Gzel
Sanatlar niversitesi / Osman Hamdi
Bey Hall, Mimar Sinan Fine Arts
University
Meclis-i Mebusan Caddesi Fndkl
www.cyap.cn

GALER ZLBERMAN
Despair & Metanoia
12/09/2013 26/10/2013
Al / Opening: 11/09/2013, 18.30
Sanatlar / Artists: kran Moral &
VALIE EXPORT
stiklal Cad. Msr Apt. No:163 D:10
Beyolu
www.galerizilberma

NON
Grnteki Yazar /
The Apparent Author
12/09/2013 02/11/2013
Sanat / Artist: Meri Algn
Ringborg
Tomtom Mahallesi Nur-i Ziya
Sokak No:16 Taksim Beyolu
galerinon.com

GALERBU
Hepimiz Gebeyiz / We are All
Nomads
12/09/2013 06/10/2013
Al / Opening: 20/09/2013
Sanatlar / Artists: K. Deniz Pireci,
etin Pireci
ahkulu Mah. Serdar- Ekrem Sok.
No:11 Galata Beyolu
www.galeribu.com,
www.facebook.com/galeri.bu

STANBUL TALYAN
KLTR MERKEZ /
ITALIAN INSTITUTE
OF CULTURE IN
ISTANBUL
Video Gsterimi / Video Screening:
The world has already been filmed.
Now it is time to transform it.
12/09/2013 (19.00 21.00) ve / and
13/09/2013 16/09/2013 (15.00
18.00)
Al / Opening: 12/09/2013, 19.00
Dzenleyen /Organised by Maria
Rosa Sossai, Cristina Dinello
Cobianchi (AlbumArte, Roma)
Sanatlar / Artists: Elisabetta
Benassi, Anna Franceschini, Pietro
Mele, Marinella Senatore, Giulio
Squillacciotti
Mkan / Venue: Casa dItalia
Ankara talya Bykelilii /
Embassy of Italy in Turkey
stanbul talyan Kltr Merkezi
/ Italian Institute of Culture in
Istanbul
Roma Kulb Dernei / Circolo
Roma
AlbumArte, Roma
Merutiyet Caddesi No:75 Tepeba
Beyolu
www.iicistanbul.esteri.it , www.
albumarte.org
Sergi / Exhibition: stanbul City
Hills - On the Natural History
of Dispersion and States of
Aggregation
13/09/2013 03/10/2013
(Pazartesiden cumaya 10.00 ile 17.00
aras aktr, 14/09/2013 gn 10.00
ila 16.00 arasnda ak olacaktr
/ Open from Monday to Friday,
between 10:00 and 17:00 and on
14/09/2013 between 10:00 and 16:00)
Al / Opening: 12/09/2013, 18.00
Dzenleyen /Organised by Maria
Rosa Sossai, Cristina Dinello
Cobianchi (AlbumArte, Roma)
Sanat / Artist: Margherita
Moscardini
Mkan / Venue: Casa dItalia
Ankara talya Bykelilii /
Embassy of Italy in Turkey
stanbul talyan Kltr Merkezi
/ Italian Institute of Culture in
Istanbul
Roma Kulb Dernei / Circolo
Roma
AlbumArte, Roma
Merutiyet Caddesi No:75 Tepeba
Beyolu
www.iicistanbul.esteri.it ,
www.albumarte.org

The Column (2013) One-off
screening
14/09/2013, 12.00
Dzenleyenler / Organised by Gabi
Scardi, Maria Rosa Sossai, Cristina
Dinello Cobianchi (AlbumArte,
Roma)
Sanat / Artist: Adrian Paci
Mkan / Venue: Casa dItalia
Ankara talya Bykelilii /
Embassy of Italy in Turkey
stanbul talyan Kltr Merkezi
/ Italian Institute of Culture in
Istanbul
Roma Kulb Dernei / Circolo
Roma
AlbumArte, Roma
talyan Ticaret Odas Dernei /
Italian Chamber of Commerce in
Turkey
Merutiyet Caddesi No:75 Tepeba
Beyolu
www.iicistanbul.esteri.it ,
www.albumarte.org

Mekn-odakl yerletirme
Site-specific art installation:
WATER. LIKE TEARS OF LOVE
15/09/2013 14/10/2013
Al / Opening: 14/10/2013, 20.00
Kratr / Curated by Laura Barreca
Dzenleyen / Organised by Aye
Pnar Akaln
Mekn / Venue: Kk Mustafa Paa
Hamam
Sanat / Artist: Angelo Bucarelli
Ankara talya Bykelilii /
Embassy of Italy in Turkey
stanbul talyan Kltr Merkezi
/ Italian Institute of Culture in
Istanbul
Mustantik Sokak, Cibali Fatih
www.iicistanbul.esteri.it,
www.angelobucarelli.com
m.eating
16/09/2013 15/11/2013
Al / Opening: 15/09/2013
(14.00ten itibaren / from 14:00)
Kratrler / Curated by Yasemin
Aslan Bakiri, Giorgia Simoncelli
Sanat / Artist: Mamouna Patrizia
PARALLEL EVENTS
P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
Guerresi
Mekn / Venue: Camhane
Arthemisia Group
Incipit Fabula Srl
stanbul talyan Kltr Merkezi /
Italian Institute of Culture in Istanbul
Balat Mahallesi, Mrsel Paa Cad,
Bulgar Kilisesi yan, Fener Balat
www.meating.eu

CDA-PROJECTS

Moving Spaces
12/09/2013 26/10/2013
Al / Opening: 11/09/2013, 18.30
Sanat / Artist: Azade Kker
stiklal Cad. Msr Apt. No:163/5
Beyolu
www.cda-projects.com

PROTOCINEMA
Trevor Paglen
12/09/2013 - 25/10/2013
Al / Opening: 12/09/2013, 18.00
20.00
Sanat / Artist: Trevor Paglen
Dolapdere Cad. Kk Akarca Sok.
No:11 Kurtulu
www.protocinema.org

MERKUR GALER
NTANTAI
Eikte / In the Threshold
13/09/2013 19/10/2013
Sanat / Artist: Volkan Kzltun
Mim Kemal ke Cad. Erenler Apt.
No:12/2 Nianta ili
www.galerimerkur.com

Green Flower Street

13/09/2013 - 12/11/2013
Al (n izleme Tarihi) / Opening
(Preview Date): 12/09/2013, 18.00
21.00
Kratr / Curated by Ariel
Roger-Paris
Dzenleyen / Organised by Tatiana
Kourochkina
Sanatlar / Artists: Mark Alexander,
Mcarthur Binion, Julia Dault, Anna
Franceschini, Kim Hioerthoy, Mari
Ito, Peter Lapsley, Daniel Lergon,
Nathaniel Robinson, Santiago
Rogado, Pietro Ruffo, Rowan Smith,
Morgane Tschiember, Rebecca
Turner, Alex Verhaest, Aids 3D
Lleci Hendek Sokak No:50 Galata

BORUSAN
CONTEMPORARY
Vicious Circular Breathing
14/09/2013 16/02/2014
Kratr / Curated by Kathleen Forde
Sanat / Artist: Rafael
Lozano-Hemmer

Segment #4
14/09/2013 16/02/2014
Kratr / Curated by Necmi Snmez
Sanatlar / Artists: Karma Sergi /
Group Exhibition

Borusan Contemporary
Baltaliman Hisar Cad. No:5 Perili
Kk Rumeli Hisar Saryer
www.borusancontemporary.com

Football Uniting - Three Sided

Football Match
14/09/2013, 16:00
Dzenleyen / Organised by InEnArt
(Interactive Enthusiasts in Art)
Online Platform
Katlmclar / Participants: Dynamo
Windrad (Almanya / Germany),
Philosophy Football FC (ngiltere /
UK), Gazoz Ligi (Trkiye / Turkey)
Diyalog Dernei
www.inenart.eu

KADR HAS
NVERSTES
REZAN HAS MZES
KADR HAS
UNIVERSITY REZAN
HAS MUSEUM
en Bilge / Joyful Wisdom
[ncesinde forum
gerekletirilecektir (13/09/2013,
17.00 19.00) / Preceding forum
discussion will be on 13/09/2013
between 17:00 19:00. Moderatr /
Moderated by Asl Narin]
14/09/2013 20/10/2013
Al / Opening: 13/09/2013
Kratr / Curated by Henk Slager
Sanatlar / Artists: Burak Delier,
Jalal Toufic, Tiong Ang, Marion
von Osten, Jan Kaila, Mick Wilson,
Aglaia Konrad, Lonnie van
Brummelen, Siebren de Haan
Mekn / Venue: Rezan Has Mzesi
Galeri Blm / Rezan Has Museum
Gallery

Douya Yneli / Facing East
14/09/2013 31/10/2013
Al / Opening: 13/09/2013
Kratrler / Curated by Emmanuel
Fremin, Asl nal
Sanat / Artist: Drew Tal
Mekn / Venue: Rezan Has Mzesi
Forum Galeri Blm / Rezan Has
Museum Forum Gallery

Kadir Has niversitesi Rezan Has
Mzesi / Kadir Has University Rezan
Has Museum
Kadir Has Cad. Cibali
www.rhm.org.tr; www.facebook.
com/RezanHasMuseum

Kitap Lansman / Book

Launch: Hans Ulrich Obrist
DurmaDurmaDurma
14/09/2013, 11.00 14.00
Yazar / Writer: Hans Ulrich Obrist
RES Yaynlar
Mkan / Venue: Salt Galata, Atlye
2&3
Bankalar Cad. No:11 Karaky

zel Koleksiyon Sergisi /Private

Collection Exhibition
14/09/2013 20/10/2013
Sanatlar / Artists: Sarah Morris,
Seyhun Topuz, Sekin Pirim, Haluk
Akake, Ramazan Bayrakolu,
Peter Halley, Sinan Demirta, Erin
Seymen, Frat Nezirolu, Julian
Schnabel, Glay Semerciolu, Yaam
amazser, Ardan zmenolu,
Mehmet Gleryz, Arzu Akgn,
Sema Kayan, Fulden Aran, Sabire
Susuz, Burcu Perin, Leyla Gediz,
Ali brahim cal, Mustafa Horosan,
Murat Pulat, Bahar Oganer, Ebru
Deki, Mbin Orhon, Selim Turan,
Hakk Anl, Nejad Melih Devrim,
Ahmet Elhan, Glah Bayraktar,
Tony Cragg, Ansen, lhan Koman,
Antony Gormley , Andreas Gursky
Papko Art Collection
Maka Cad. Ralli Apt. No:37/4
Tevikiye

MAKA MODERN
Percezioni Oniriche/ Ryalar/
Hayaller
14/09/2013 12/10/2013
Kratr / Curated by Aye Utku
Sanat / Artist: Lithian Ricci /
talyan Sanat, 6 ay sreli stanbul
ikametinde, ehrin zengin ve girift
kltr dokusundan etkilenmitir./
The Italian artist, during her 6
months residence in Istanbul, draws
inspiration from the inter-woven
P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
PARALEL ETKNLKLER
cultures that abide in the city.
Maka Caddesi, Narmanl Apt. No:24
Tevikiye
www.mackamodern.com

STOKLAR/ YETT/SRECE
WHILE/STOCKS/LAST
14/09/2013 20/10/2013
Al / Opening: 14/09/2013, 19.00
21.00
Dzenleyen / Organised by
doorandmountainproject, Jean Paul
Kapuda, Viron Erol Vert
Sanat / Artist: Viron Erol Vert
Galerist, Rum Vakflar Dernei
/ Galerist, Greek Foundations
Associations
Mekn / Venue: zel Zografyon
Rum Lisesi, Turnacba Sok. No: 27
Galatasaray
www.doorandmountainproject.com

In a Century...
15/09/2013 12/10/2013
Al / Opening: 14/09/2013
Dzenleyen / Organised by Merve
Kaptan
Sanatlar / Artists: Francesca
Banchelli, Emiliano Zelada
Mekn / Venue: Torna
Moda Caddesi, Kefeli Pasaj No:81/14
Moda Kadky
www.tornaistanbul.com

BONART
Drt stanbul
17/09/2013 30/09/2013
Kratr / Curated by Glseli nal
Sanatlar / Artists: smail Acar,
Devrim Erbil, Maria Kllolu,
Marco Veronese
Tevikiye Mahallesi Ahmet Fetgari
Sok. No:20/2 Tevikiye ili
www.galeribonart.com

BERGSEN&BERGSEN
GALER
Gidebileceimiz Bir Yer Biliyorum /
I Know a Place Where We Can Go
17/09/2013 26/10/2013 (Pazar hari
her gn saat 10.00-18.00 aras aktr
/ Open every day between 10:00
18:00 except Sundays)
Kratr / Curated by Frat Arapolu
Sanatlar / Artists: Juan Del
Gado, Simeon Stoilov, Maria
Papadimitriou, zgr Korkmazgil,
Didem nl, Gl Ilgaz, Yeni Ant,
Antonio Cosentino, Mustafa Pancar
Hosohbet Sok. No:30/A Selenium
Panorama Residence Gayrettepe

MAKA SANAT
GALERS
Sergi / Exhibition
17/09/2013 26/10/2013
Sanat / Artist: Serhat Kiraz
Mim Kemal ke Cad. No:31/A Maka
stanbul
www.mackasanatgalerisi.com

KARE SANAT
GALERS
KUYD / INSCRIPTION
18/09/2013 31/10/2013
n izleme / Preview: 17/09/2013,
18.00 20.00
Al / Opening: 18/09/2013, 18.00
20.00
Kratr / Curated by Anber Onar
Sanat / Artist: Emin izenel
Abdi peki Cad. Ada Apt. No:22/8
Nianta
www.kareartgallery.com

NAR ART SANAT

GALERS
Szle Dolu
18/09/2013 19/10/2013
Sanat / Artist: Nilhan Sesalan
Burhaniye Mah. Beybostan
Sok. No:41 A Blok Zemin Kat
Beylerbeyi skdar
www.narart.com.tr

RENART
Deneme III: Buradayz! / Rehearsal
III: We are still here!
19/09/2013 20/10/2013
Kratr / Curated by Sevil Dolmac
Sanatlar / Artists: Banu olak
Malloch, Luke Waller, Dilek
ztrk, Murathan zbek, Hossein
Edalatkhah, Bura Erol, Onur Frat
Fen, Yasin Ataylmaz
Hsrev Gerede Cad. Vinezade
Mahallesi Seyhanl Apt. No:39
www.rensanat.com

SMPERA
Solo (Performans) / Solo
(Performance)
19/09/2013, 19.00
Sanatlar / Artists: Yasin Doan,
Metehan Kayan, Glce Oral, Pnar
zer, Cemil Can Yusufolu
Dnm Muhteem Olacak
(Performans /Performance)
27/09/2013, 21.00 01/10/2013, 21.00
Sanatlar / Artists: Budalasultan
Kolektifi
Merdiven (Performans) / Stairs
(Performance)
18/10/2013, 19.00
Konsept ve Koreografi / Concept and
Choreography: Aylin Kalem, Beliz
Demirciolu Cihandide (boDig)
Kurulu / Organisation: boDig
SimPera
Evliya elebi Mah. Simal Sok. No:3A
Tepeba Beyolu
www.sim-pera.com

GALER G- ART
Ottomatik Dler / Ottomatic
Dreams
26/09/2013 13/11/2013
Al / Opening: 25/09/2013
Sanat / Artist: Can Yeilolu
(Onstone)
Harbiye Mah. Kadrgalar Cad. No:6
Maka (Gmall)
www.g-artgaleri.com

ARTCOLLECTION
Snrlar / Borders
10/10/2013 10/11/2013
Dzenleyen / Organised by Can
Kksal
Sanat Artist: Cokun Demirok

Tevikiye Mah. Atiye Sok. Yuva Apt.
Kat:2 Daire:4 Nianta
www.galleryartcollection.com

PARALLEL EVENTS
P
A
R
A
L
L
E
L

E
V
E
N
T
S
P
A
R
A
L
E
L

E
T
K

N
L

K
L
E
R
C
M
Y
CM
MY
CY
CMY
K
IKSV bienal_15.5x20cm tr.ai 1 8/21/13 4:22 PM
C
M
Y
CM
MY
CY
CMY
K
IKSV bienal_15.5x20cm tr.ai 1 8/21/13 4:22 PM
HAZIR
MISINIZ?
UPM, yeniliklerin temel alnd srdrlebilir bir gelecee giden yolu
ayor. Kalbimiz ktta, aklmz ise kdn geleceinde. Yenilenebilen,
geri dntrlebilen ve biyolojik olarak paralanabilen kt, gnmzn
gerek anlamda srdrlebilir sayl rnlerinden biridir. UPMnin etkileyici
evresel performansndan tam anlamyla yararlanmaya hazr msnz?
www.upmpaper.com
HAZIR
MISINIZ?
UPM, yeniliklerin temel alnd srdrlebilir bir gelecee giden yolu
ayor. Kalbimiz ktta, aklmz ise kdn geleceinde. Yenilenebilen,
geri dntrlebilen ve biyolojik olarak paralanabilen kt, gnmzn
gerek anlamda srdrlebilir sayl rnlerinden biridir. UPMnin etkileyici
evresel performansndan tam anlamyla yararlanmaya hazr msnz?
www.upmpaper.com
koctas.com.tr
SANAT SEVGS EVDE BALAR.
Ev gzelletirmeyi sanata eviren Kota,
sanat desteklemeye devam ediyor. Kota, 13. stanbul Bienalinde de
zel proje sponsoru olmaktan gurur duyuyor.
Scack evlerin
rzgarl gnleri
sevmesini
salayan kimya
yaratyoruz.
www.wecreatechemistry.com
BASFnin yeniliki zmleriyle retilen rzgar trbinleri,
yksek hzda rzgara ve sert hava koullarna dayanabiliyor.
rnlerimiz, rzgar trbinlerinin retim ve kurulum aamasnda
daha verimli, temelden kanat ularna kadar daha dayankl
olmasna yardmc oluyor. Bu ekilde iklim dostu bir enerji
kayna olarak rzgar gcnn geliimine destek oluyoruz.
Artk yksek hzda rzgar, temiz enerji anlamna geliyor.
nk BASFde biz kimya yaratyoruz.
Yap Kredi Kltr Sanat Yaynclk, Beyolu binasnn yenilenme srecinde, binann
inaat srasnda yaplacak olan, Transition/Gei projesine ev sahiplii yapyor.
1 Austos 2013te balayan, 15 Mart 2014te sona erecek olan ve canl performanslarla
performans gsterimlerinden (screening) oluan bu proje kapsamnda Ali Cherri, Ana
Prvacki, Anahita Razmi, Anna Konik, Bjorn Melhus, Fatma Bucak, Guido van der
Werve, Gne Terkol, Harrold Offeh, Jesper Just, Lida Abdul, Lucy Beech, Edward
Thomasson, Ana Prvacki, Maria Jose Arjona, Nicoline Van Harskamp, Nigel Rolfe ve
Victor Alimpiev gibi performans sanatnn nemli isimlerinden, yerli ve yabanc birok
sanatnn almalar izlenebilecek.

Sanat Fatma Bucak ve kratr Baak enovann bir yllk ibirlii ve aratrmas
sonucu, ortaya kan Transition/Gei, farkl aratrma alanlarn ve farkl yntemleri
takip eden sanatlar performans bal altnda bir araya getiriyor. Bu balamda
kimlik, cinsiyet ve vcut politikalarn, sosyal ve psikolojik alardan eletirel olarak ele
alan sanatlarn almalar projenin temelini oluturuyor.
Bu proje, Royal College of Art (Londra - ngiltere) ibirlii ile gelitirilmektedir.
www.transitionprojectistanbul.com
Blm 2
15 Eyll 2013, 11:00
Tartma Platformu
Yap Kredi Kltr Merkezi
stiklal Caddesi, No:161 Beyolu - stanbul
Kratrler: Baak enova ve Fatma Bucak
Yap Kredi Kltr Sanat Yaynclk, Beyolu binasnn yenilenme srecinde, binann
inaat srasnda yaplacak olan, Transition/Gei projesine ev sahiplii yapyor.
1 Austos 2013te balayan, 15 Mart 2014te sona erecek olan ve canl performanslarla
performans gsterimlerinden (screening) oluan bu proje kapsamnda Ali Cherri, Ana
Prvacki, Anahita Razmi, Anna Konik, Bjorn Melhus, Fatma Bucak, Guido van der
Werve, Gne Terkol, Harrold Offeh, Jesper Just, Lida Abdul, Lucy Beech, Edward
Thomasson, Ana Prvacki, Maria Jose Arjona, Nicoline Van Harskamp, Nigel Rolfe ve
Victor Alimpiev gibi performans sanatnn nemli isimlerinden, yerli ve yabanc birok
sanatnn almalar izlenebilecek.

Sanat Fatma Bucak ve kratr Baak enovann bir yllk ibirlii ve aratrmas
sonucu, ortaya kan Transition/Gei, farkl aratrma alanlarn ve farkl yntemleri
takip eden sanatlar performans bal altnda bir araya getiriyor. Bu balamda
kimlik, cinsiyet ve vcut politikalarn, sosyal ve psikolojik alardan eletirel olarak ele
alan sanatlarn almalar projenin temelini oluturuyor.
Bu proje, Royal College of Art (Londra - ngiltere) ibirlii ile gelitirilmektedir.
www.transitionprojectistanbul.com
Blm 2
15 Eyll 2013, 11:00
Tartma Platformu
Yap Kredi Kltr Merkezi
stiklal Caddesi, No:161 Beyolu - stanbul
Kratrler: Baak enova ve Fatma Bucak
Hatrlamay Unutma | Dont Forget to Remember
Volkan Aslan
ISBN 978-975-6959-67-1
Hayalet Grnt | Afterimage
Mat Collishaw
ISBN 978-975-6959-68-8
Haset, Husumet, Rezalet | Envy, Enmity, Embarrassment 2/2
ISBN 978-975-6959-65-7
Haset, Husumet, Rezalet | Envy, Enmity, Embarrassment 1/2
ISBN 978-975-6959-64-0
Hamle | The Move
Adel Abidin, Rosa Barba, Runa Islam
ISBN 978-975-6959-60-2
eylerin Sessiz ekli | The Silent Shape of Things
Sophia Pompry
ISBN 978-975-6959-59-6
Yara | The Wound
Berlinde De Bruyckere
ISBN 978-975-6959-58-9
Sahne | Stage
Nevin Alada
ISBN 978-975-6959-57-2
Hl Buradasn | You Are Still Here
Mona Hatoum
ISBN 978-975-6959-56-5
Siyaha zgrlk | Freedom to the Black
Erdem Helvacolu
ISBN 978-975-6959-53-4
Kutlu Ataman
Mezopotamya Dramaturjileri | Mesopotamian Dramaturgies
ISBN 978-975-6959-51-0
5 Kiilik Bufet | 5 Person Bufet
Deniz Gl
ISBN 978-975-6959-50-3
Beni Barna Bas | Hold Me Close to Your Heart
Patricia Piccinini
ISBN 978-975-6959-49-7
Grnmezlik Taktikleri | Tactics of Invisibility
ISBN 978-975-6959-47-3
kinci Sergi Kitap | Second Exhibition Book 2/2
ISBN 978-975-6959-44-2
kinci Sergi Kitap | Second Exhibition Book 1/2
ISBN 978-975-6959-41-1
Starter
ISBN 978-975-6959-36-7
ARTER
sanat iin alan
space for art
STKLAL CAD.
NO: 211
34433 BEYOLU
STANBUL, TR
ARTERDE
13. STANBUL BENAL
13
TH
ISTANBUL
BIENNIAL AT ARTER
14/09/20/10/2013
AILI SAATLER
OPENING HOURS
SALIPAZAR
TUESDAYSUNDAY
10:0019:00
GR CRETSZ
ADMISSION FREE
T: + 90 212 243 37 67
www.arter.org.tr
13. stanbul Bienali medya sponsoru
Hrriyet, sanatseverlere iyi seyirler diler.
13. stanbul Bienali medya sponsoru
Hrriyet, sanatseverlere iyi seyirler diler.
13. stanbul Bienali'nde sanatlar,
Anne, ben barbar mym? sorusuna
cevap aryor. Digiturk, ada sanat
desteklemeye devam ediyor.
13. stanbul Bienali'nde sanatlar,
Anne, ben barbar mym? sorusuna
cevap aryor. Digiturk, ada sanat
desteklemeye devam ediyor.
Reecting on all the news on the art world
from Antiquity to Contemporary
William Cobbing, Bamiyan Mirror Series 215, Afghanistan, 2009
WWW.THEARTNEWSPAPER.COM
Reecting on all the news on the art world
from Antiquity to Contemporary
William Cobbing, Bamiyan Mirror Series 215, Afghanistan, 2009
WWW.THEARTNEWSPAPER.COM
her saysnda
stil, yaratclk ve trendlerin peinde...
her saysnda
stil, yaratclk ve trendlerin peinde...
SANATLA
KMLK
KAZANAN
MEKANLAR
VOGUE.COM / VOGUE TRKYE iPAD
ve HAYATIN merkezinde
modann, SanaTn
baska
bir
gzle
bienal
VOGUE.COM / VOGUE TRKYE iPAD
ve HAYATIN merkezinde
modann, SanaTn
C
M
Y
CM
MY
CY
CMY
K
gk_bienal_rehber_ilan_Cp.pdf 1 23.08.2013 15:52
C
M
Y
CM
MY
CY
CMY
K
Wall-iksv ilan orj (15,5x20cm).pdf 1 8/15/13 9:54 AM
C
M
Y
CM
MY
CY
CMY
K
gk_bienal_rehber_ilan_Cp.pdf 1 23.08.2013 15:52
stanbul Kltr Sanat Vakf (KSV) 13. stanbul Bienalinin
gereklemesine destek veren tm kurum, kurulu ve
kiilere teekkr eder.
The Istanbul Foundation for Culture and Arts (KSV) would
like to thank all of the many institutions, corporations,
and individuals whose invaluable contributions have
made the 13
th
Istanbul Biennial possible.
aIcntt svonsoau
bennal sponsor
Ixsv
onc0 svonsoa
leadng sponsor
Ixsv
acsuI svonsoattai
offcal sponsors
Havayolu
Airline
letiim
Communication
Tayc
Carrier
aIcntt xontxttut svonsoau
bennal hotel sponsor
Ixsv, aIcntt ozct ocstcxItcaInc tccxx0a coca.
iksv thanks the specal supporters of the bennal.
KO HOLDNG

BOYNER HOLDNG
ECZACIBAI HOLDNG
NESRN ESRTGEN
a0v0x xttxiot autuntn xuauutta
hghest contrbutng nsttutons
xttxiot autuntn xuauutta
contrbutng nsttutons
xttxi stcttvtn xuaututta
contrbutng corporatons
tcxnotojIx 0a0ntca svonsoau
technologcal equpment sponsor
ozct vaojc svonsoattai
specal project sponsors
CANAN PAK
aIcntt ocstcxItcaI
bennal supporters
MT HERGNER
AYE BLGEN
ENDER ZEKE
atsin svonsoattai
press sponsors
tctcvIzvon svonsoattai
tv sponsors
Dijital
platform sponsoru
Digital
platform sponsoru
ocacI svonsoattai
magazne sponsors
atovo svonsoattai
rado sponsors
Ixsv
scavIs svonsoattai
servce sponsors
CRM Danmanl CRM Consultancy Stratejik Aratrma Strategic Research
CRM Yazlm CRM Programming
Isttnaut aIcnttInIn I vc oi oonttiu ttiutttainotxI
ocstcxtcaI IIn tccxx0a cocaIz.
we acknowledge ther knd support
towards the ndoor-outdoor promoton of stanbul bennal.
aIcntt xtuvtnvtsi
bennal campagn
RENC VE OCUK PROJELER / STUDENT AND CHILDRENS PROJECTS
Ko Holding Desteiyle
ocuklar Bienal ile Tanyor /
Young People Experience the
Biennial with the Support of
Ko Holding
Pace ocuk Sanat Merkezi ile
birlikte gelitirilen proje ile
ocuklarn sergi kltrn
gelitirmek, gncel sanata olan
ilgilerini artrmak ve onlar baz
temel sanat kavramlaryla tan-
trmak hedef leniyor. Yaplacak
etkinliklerle ocuklara, bienali
gezerken konutuklar ve ren-
diklerini pratie dntrme
frsat yaratlacaktr.
Young visitors to the biennial will
gain an enhanced understanding
of contemporary art and
exhibitions, thanks to a project
realized with the cooperation of
Pace Childrens Arts Center. The
biennial is happy to offer special
programme for the duration of
the exhibition that is intended to
help them get acquainted with
basic artistic terms and concepts.
While strolling through the
venues, they will talk about and
put into practice what they have
learned.
Mekn / Venue
Antrepo no.3
Ya gruplar / Age groups:
811 / 1214 / +15
Tarihler / Dates
Eitim program, 17 Eyllden
bienal sonuna kadar haftada 6
gn, sal, aramba, cumartesi ve
pazar gnleri 4 grup, perembe
ve cuma gnleri ise 3 grup
olarak uygulanacaktr. Devlet
okullarna sal, aramba ve
perembe gnleri iin kontenjan
ayrlmtr. 15 Ekim 2013 Sal ve
18 Ekim 2013 Cuma arasndaki
gnler Kurban Bayram dola-
ysyla alma olmayacaktr,
bunun yerine 11 Ekim Cuma
gn devlet okullarna zel
kontenjan alacaktr.
This special youth educational
programme will be held from 17
September until the end of the
biennial, six days a week, four
sessions on Tuesdays, Wednes-
days, Saturdays and Sundays,
and three sessions on Thursdays
and Fridays. A certain quota will
be reserved for state schools
on Tuesdays, Wednesdays and
Thursdays. There will be no
sessions between 15 October
and 18 October during the
holiday, and additional quota will
be added for state schools on 11
October 2013, Friday.
Atlye saatleri / Session hours
10.00-12.00, 12.30-14.30,
15.00-17.00, 15.45-17.45*
*15.45-17.45 grubu yalnzca sal,
aramba, cumartesi ve pazar
gnleri geerlidir.
*The 15.45-17.45 session will
only be available on Tuesdays,
Wednesdays, Saturdays and
Sundays.
Katlm / Participation
Gruplar en fazla 25 kiiden
oluaca iin rezervasyon
ncelii gzetilecektir.
Bu alma cretsiz gereklee-
cektir.
The sessions can accommodate
a maximum of 25 children,
so advance reservations are
advised. The sessions will be free
of charge.
Rezervasyon / Reservations
Hande Tnk
T: (0212) 334 08 24
M: (0549) 775 47 48
E-posta: hande.tonuk@iksv.org
(hafta ii / on weekdays
10.0018.00)
renci ve ocuk Projeleri
Student and Childrens Projects
Antrepo no.3
Meclis-i Mebusan Caddesi
Liman letmeleri Sahas
34433 Tophane
Galata zel Rum
lkretim Okulu
Galata Greek Primary School
Kemeralt Cad. No: 49
34425 Karaky Beyolu
ARTER
Asmal Mescit Mah.
stiklal Caddesi No: 211
34433 Beyolu
SALT Beyolu
Asmal Mescit Mah.
stiklal Cad. No:136
34430 Beyolu
5533
M 5.Blok
5533 Unkapan
Meknlardan Antrepo no.3,
Galata Rum lkretim Okulu,
ARTER, SALT Beyolu, 10.00-
19.00 saatleri arasnda pazartesi
hari dier gnler gezilebilecek.
5533 pazar gnleri kapaldr.
Bienal sergi meknlar al
haftasnda 16 Eyll 2013
Pazartesi gn ak olacaktr.
Antrepo no.3, Galata Greek
Primary School, ARTER, SALT
Beyolu are open all weekdays
except Mondays, 5533 is closed
only on sundays through 14
September 20 October from
10:00 to 19:00.
The exhibition is open on the
Monday of the opening week, 16
September.
Ziyareti Bilgileri
13. stanbul Bienali, bu yla
zel olarak cretsiz ziyaret
edilebilecek.
Visitor Information
The 13
th
Istanbul Biennial will be
free of charge.
Ko Holding Sponsorluunda
Rehberli Turlar
Her gn 11.00, 13.30,
15.00, 16.30
Rehberli turlar Antrepo no.3,
Galata Rum lkretim Okulu ve
ARTERde gerekletirilecek.
Rehberli tur bileti: 20 TL
(20 kii ve stndeki gruplar
iin 15 TL)
renci rehberli tur bileti:
10 TL (20 kii ve stndeki
gruplar iin 7 TL)
Rehberli turlarla ilgili bilgi iin:
rehberlitur@iksv.org
Guided Tours
Sponsored by Ko Holding
Daily at 11:00, 13:30, 15:00, 16:30
Guided tours of the exhibition
will be held at Antrepo no.3,
Galata Greek Primary School
and ARTER.
Guided tour ticket: 20 TL. (15 TL
for groups exceeding 20 people)
Guided tour for students: 10 TL
(7 TL for groups exceeding 20
students)
For information on guided tours:
guidedtours@iksv.org
Mekn ve Ziyareti Bilgisi
Venue and Visitor Information
MEKN VE ZYARET BLGLER
VENUES AND VISITOR INFORMATION
Bienal Rehberi
Bienal Rehberi, bienal
meknlarndan Antrepo no.3,
Galata zel Rum lkretim
Okulu, ve ARTERde; ayrca
KSV Tasarm Maazasnda
ve kitabevlerinde sata
sunulacaktr.
Biennial Guide
The Biennial Guide will be sold
at Antrepo no.3, Greek Primary
School, and ARTER; as well as
at KSV Design Store and
bookstores.
Lale yeleri
Rehberli tur biletlerinde Siyah
ve Beyaz Lale yeleri %25,
Krmz ve Sar Lale yeleri
%20 orannda indirimden
yararlanabilirler. Siyah, Beyaz
ve Krmz Lale yeleri rehberli
turlara katlm iin indirimli
olarak en fazla iki, Sar Lale
yeleri ise indirimli olarak en
fazla bir bilet satn alabilir.
www.lalekart.org
Tulip Members
Black and White Tulip Members
enjoy a discount of 25% for
guided tour tickets. Red and
Yellow Tulip Members enjoy a
20% discount for Guided Tour
tickets. Black, White and Red
Tulip Members can beneft from
the discount for two tickets,
Yellow Tulip Members can beneft
from the discount for one ticket.
www.lalekart.org
13b.iksv.org
facebook.com/istanbulbienali
@istanbulbienali
Anne, ben barbar mym? /
Mom, am I barbarian?
Rehber / Guide
Editr / Editor
Liz Erevik Amado
Editr Asistan / Assistant Editor
Glce Marabac
Dzeltmen / Copy Editor
idem ztrk, Linda Lee
Grafik Tasarm / Graphic Design
Ruben Pater, zge Gven (asistan / assistant)
LAVA Design, Amsterdam
ngilizce Trke eviri /
English Turkish translation
Nazm Dikba
Trke ngilizce eviri
(Sanat Metinleri) /
Turkish English Translation
(Artists Texts)
Sarah Neel Smith
Son okuma / Proofreading
Irazca Geray
Yayn Asistanlar / Publication Assistants
Demet Yldz, Ceren Yartan, Lale Mukara,
Didem Balatloullar
Kat / Paper
UPM Fine 80 gr/m
2
UPM Fine 300 gr/m
2
Film, Bask ve Cilt /
Prepress, Printing and Binding
MAS MATBAACILIK SAN. VE TC. A..
Hamidiye Mahallesi, Souksu Cad. No:3
Kathane-stanbul Tel: 0212 294 10 00
info@masmat.com.tr
Sertifika No: 12055
Katkda bulunan yazarlara ve metin
kullanmna izin veren btn kurum ve
kiilere teekkr ederiz.
We would like to thank contributing authors
and institutions and inviduals who have
provided permissions for excerpts.
ISBN 978-605-5275-11-2
stanbul Kltr Sanat Vakf
Istanbul Foundation for Culture and Arts
2013
Her hakk sakldr. Bu yaynn herhangi bir
blm stanbul Kltr Sanat Vakfnn izni
olmadan kayt, fotokopi ve bilgi depolama
dahil olmak zere hibir elektronik veya
mekanik yntemle yeniden baslamaz veya
oaltlamaz.
All rights reserved. No part of this
publication may be reproduced in any form
or by any electronic or mechanical means,
including photocopying, recording, or other
information retrieval systems, without the
written permission of Istanbul Foundation for
Culture and Arts.
Bandrol Uygulamasna likin Usul ve Esaslar
Hakknda Ynetmeliin beinci maddesinin
ikinci fkras erevesinde bandrol tamas
zorunlu deildir.
stanbul Bienali / Istanbul Biennial
stanbul Kltr Sanat Vakf / Istanbul
Foundation for Culture and Arts
Nejat Eczacba Binas
Sadi Konuralp Caddesi No: 5
ihane 34433 stanbul
T: +90 212 334 0700
F: +90 212 334 0716
E: ist.biennial@iksv.org
13b.iksv.org
Rehber
Guide
.-_-.
dm Kokesch
Agnieszka Polska
Akademia Ruchu
Alice Creischer &
Andreas Siekmann
Amal Kenawy
Amar Kanwar
Anca Benera &
Arnold Estefan
Angelica Mesiti
Annika Eriksson
Aye Erkmen
Basel Abbas &
Ruanne Abou-Rahme
Basim Magdy
Bertille Bak
Carla Filipe
Carlos Eduardo Felix
da Costa (Cadu)
Christoph Schfer
Cinthia Marcelle
Cinthia Marcelle &
Tiago Mata Machado
Claire Pentecost
David Moreno
Didem Erk
Diego Bianchi
Edi Hirose
Elmgreen & Dragset
Falke Pisano
Fernanda Gomes
Fernando Ortega
Fernando Piola
Freee (Dave Beech,
Andy Hewitt, Mel Jordan)
Goldin+Senneby
Gonzalo Lebrija
Gordon Matta-Clark
Guillaume Bijl
Halil Altndere
Hanna Farah Kufr Birim
Hctor Zamora
Hito Steyerl
HONF Foundation
nci Eviner
pek Duben
Jananne Al-Ani
Jean Genet
Jean Rouch
Jimmie Durham
Ji Kovanda
Jorge Galindo &
Santiago Sierra
Jorge Mndez Blake
Jos Antonio Vega Macotela
Lale Mldr &
Kaan Karacehennem &
Franz von Bodelschwingh
LaToya Ruby Frazier
Lutz Bacher
Lux Lindner
Mahir Yavuz & Orkan Telhan
Maider Lpez
Martin Cordiano &
Toms Espina
Maxime Hourani
Mere Phantoms
(Maya Ersan & Jaimie Robson)
Mierle Laderman Ukeles
Mika Rottenberg
Murat Akagndz
Mlkszletirme Alar
Nathan Coley
Newspaper Reading Club
(Fiona Connor &
Michala Paludan)
Nicholas Mangan
Nil Yalter & Judy Blum
Peter Robinson
Praneet Soi
Provo
Proyecto Secundario
Liliana Maresca
Rietveld Landscape
Rob Johannesma
Rossella Biscotti
Santiago Sierra
Serkan Taycan
Shahzia Sikander
Stephen Willats
Sulukule Platformu
ener zmen
Tadashi Kawamata
Thomas Hirschhorn
Toril Johannessen
Vermeir & Heiremans
Volkan Aslan
Wang Qingsong
Wouter Osterholt &
Elke Uitentuis
Yto Barrada
Zbigniew Libera
108
112
116
120
124
128
132
358
136
140
144
148
362
400
280
366
152
156
160
370
284
164
168
172
288
176
292
396
180
184
188
192
296
196
300
200
204
304
374
208
308

212
216
312
220
316
222
378
320
226
230
234
324
328
332
336
238
242
246
Sanat dizini
Artist index
40
44
256
48
52
56
386
60
344
260
64
348
264
268
68
72
76
352
80
84
88
354
390
92
272
276
96
100
104
REHBER
13
th

Istanbul
Biennial
13.
stanbul
Bienali
GUIDE
REHBER
13
th

Istanbul
Biennial
13.
stanbul
Bienali
GUIDE
REHBER
13
th

Istanbul
Biennial
13.
stanbul
Bienali
GUIDE