Sonntag, 28. September 2008

Samstag, 10. Mai 2008

HERE..THERE..ABROAD.. will take place at rum46, Aarhus, Denmark

HERE..THERE..ABROAD..
reference point : Turkey
29.09 - 05.10.2008 rum46 Aarhus, Denmark

Curator: Fatos Ustek
Artists: Asli Sungu, Canan Senol, Erinc Seymen, Esra Ersen, Isil Egrikavuk, Isidora Ficovic, Nevin Aladag, Sefer Memisoglu, Solmaz Shahbazi

rum46
Studsgade 46, st. tv.
8000 Århus C
Denmark
Phone: +45 86208625
rum46@rum46.dk
www.rum46.dk


Here..There..Abroad.. has been realised as video days in Germany – Stuttgart and Berlin- by the invitation of ifa (Institut Fur Auslandbeziehungen) and have hosted 11 video screenings and a performance by Turkish artists. In Rum 46, Here..There..Abroad.. will be realised as an exhibition hosting nine positions which relate to each other and to the concept of the exhibition on various levels. Rum 46 will be hosting six video screenings, an installation, an artist talk and a performance by artists who are related to Turkey. (i.e. have born in Turkey or have produced in Turkey, have lived or living in Turkey…)

Here..There..Abroad.. will be a group exhibition based on unique presentations of each work and each position. The experiencing of each work will be a priorily defined through the setting in the space and the program. Each work will be shown once – except the solo installation by Isidora Ficovic- and at a particular time. The audience will be expected to see the works from beginning to end and to participate in the evaluation of those artistic practices. Additionally, the exhibition is structured around speeches that will be held by the curator and the question and answer sessions that will be opened after each screening / presentation. The talks that will be held will be on the concept of the exhibition and the position of each work in the exhibition, its relation to the concept and other works. The overall structure is formed with the tendency of triggering a possible dialogue of which the concept posits to and of which the issues that will be evoked throughout.

Moreover Here..There..Abroad will be hosting special projects that will be realised for rum46. Nevin Aladag will realise a special performance, Isidora Fcivovic will be realising a publication for take away for the audience which is related to her video piece positioned as an installation.


CONCEPT
Here..There..Abroad.. is a gathering of various perspectives and standings of artists who are reflecting upon their today. The different positions of the contemporary artists have a sort of correspondence to the space they reflect upon. The artists realize themselves and their productions respectively, as the breadth of interest in space is matched by the breadth of its spatialization. In social theory and post-modern literary criticism, spatial metaphors have become a predominant means by which social life is understood. 'Theoretical spaces' have been explored, mapped, charted, contested, de-colonized, and everyone seems to be 'travelling' under the influence of epochs of simultaneity, juxtaposition, and the places near and far, side-by-side and dispersed. The internationalisation of concepts and discourses has a function of producing closures and distances. The understanding of global in the context of local and the local in relation to global not only produce multiplicities but also lead to singularities in the course of meaning and attribution.
Here, there, abroad is a tricothomy of positioning. For to grasp certainty of where one stands, one shall define, where is here or what is abroad. The reference point is not only needed to clarify the geographical position but also enables starting up of a dialogue or discussion. Thus Turkey stands out as the reference of the exhibition. Not as a totality or as a country as such but by the variety of projections upon, towards, out of that specific geographical entity. Therefore, the exhibition is not a representation of a nation but of a selection of representations of today’s socio-political, cultural circumstances.

HERE..THERE..ABROAD aims to underline the permeable borderline between here and there, between there and abroad. A proposal of inter-changeability of structures for a better understanding of the self, of the other and of we...

Mittwoch, 16. Januar 2008

HERE..THERE..ABROAD takes place..

20,22,23. November.2007 ifa-gallery, 17 Charlottenplatz Stuttgart
29.November,2007 ifa gallery 139-140 Linienstr. Berlin

Curator : Fatos Ustek
Artists : 2/5BZ aka Serhat Köksal, Ali Demirel, Asli Çavusoglu, Asli Sungu, Canan Senol, Erinç Seymen, Esra Ersen, Isil Egrikavuk, Nevin Aladag, Sefer Memisoglu, Özlem Günyol & Mustafa Kunt

Samstag, 12. Januar 2008

Concept

HIER…DORT…AUSWÄRTS
Türkische Videotage

Das Festival HIER…DORT…AUSWÄRTS zeigt eine Vielfalt künstlerischer Positionen. Zwölf Videoarbeiten und eine Performance eröffnen einen notwendigen Dialog, in dem es um die Suche nach sinnvollen Perspektiven auf Gemeinschaft, Gesellschaft und Alltagserfahrung geht. Alle beteiligten KünstlerInnen sowie die Kuratorin würden entlang der üblichen Kategorisierungen als „türkisch“ identifiziert. Die tatsächlichen, oftmals hybriden biografischen Hintergründe der vorgestellten KünstlerInnen stellen solche nationalen Zuschreibungen jedoch gerade in Frage.

Die Internationalisierung von Konzepten und Diskursen produziert ebenso viel Nähe wie Distanz. Die Interpretation des Globalen im Kontext des Lokalen und die gleichzeitige Bezugnahme des Lokalen auf das Globale bringen dabei nicht nur Vielfalt hervor, sondern produzieren auch Idiosynkrasien von Sinn und Bezugnahme. Die Auseinandersetzung mit den verschiedenen Realitäten künstlerischer Praxis tritt der Versuchung entgegen, dieser komplexen Sinnproduktion durch vereinfachende Festlegungen beizukommen.

HIER…DORT…AUSWÄRTS gliedert sich in drei Werkgruppen, die direkt oder indirekt auf den Rahmen gebenden Titel Bezug nehmen. Die mit HIER überschriebene Sektion zeigt Arbeiten, die im lokalen Kontext des Künstlers/der Künstlerin entstanden sind; die unter dem Titel DORT gezeigten Arbeiten setzen sich mit Phänomenen auseinander, die nicht das unmittelbare Umfeld des Künstlers/der Künstlerin bestimmen, die sie/ihn also eher aus der Distanz interessieren; die unter AUSWÄRTS versammelten Arbeiten setzen sich mit Erfahrungen auseinander, die mit oder im „Ausland“ gemacht wurden.

Die zeitgenössischen künstlerischen Positionen des Festivals werden also in Bezugnahme auf den Raum präsentiert, auf den sie reflektieren und der sich in ihnen reflektiert. Durch das Leben und Arbeiten an einem Ort gestalten

KünstlerInnen den geographischen und konzeptionellen Raum. Die künstlerische Praxis erweitert die Formen der Wahrnehmung von und Bezugnahme auf geteilte Räume.

In der Soziologie und der postmodernen Literaturkritik sind Raummetaphern zu einem bevorzugten Mittel für die Beschreibung des gesellschaftlichen Lebens geworden. „Theoretische Räume“ werden erforscht, vermessen, kartographiert, erkämpft, de-kolonisiert, und alle Welt scheint unterwegs zu sein auf einer Reise zwischen Simultanitäten und Gegensätzen, Nähe und Distanz, Miteinander und Zerstreuung. HIER…DORT…AUSWÄRTS zeigt das Politische und Bedenkliche, ebenso wie den Humor, das Abenteuer, das Subversive und die Abhängigkeiten in dieser Bezugnahme auf den Raum. Das Festival möchte die Durchlässigkeit zwischen Hier und Dort, Dort und Auswärts sichtbar machen und zu einem besseren Verständnis dessen Eigenen, des Anderen und des Wir beitragen.

BURADA..ORADA..DISARDA
Video Günleri

Burada..Orada..Dışarıda baslikli video festivali, farkli açilarin, yaklasimlarin, duruslarin, degerlendirmelerin ve önermelerin yer aldigi bir seçkiden oluşuyor. On iki - geleneksel bakis açisiyla Türk olarak nitelendirilecek- sanatçinin videolari ve bir performansdan olusan festival, diyalogun gerekliligini, birarada olma, ait olma kavramlarinin cok geçişli bir zeminde nerelerde konumlanabilecegini isaretleyen bir seçki.

Kapali ve birbirine uzak anlam alanlarinin olusmasinda içerik ve diskurun uluslararasilastirilmasi rol oynamaktadir. Globalin yerel baglamda anlasilmasi, yerelin globale tasinmasi bize salt üretkenlik ve çogalma saglamamakta, aksine anlam ve baglam tekilliklerine yol açmakta. Bu karmasik yapinin olasi standartlastirma ve kaliplama yatkinligina net bir yaklasim sunabilmek için sanat üretimine açik bir söz hakki verilmesi önemli. Çagdas sanatçilarin üretmekte olduklari içerigin ve onun mekan birlikteliginin farkli konumlanmalarini içeren festivalde, bahsi geçen mekan fiziksel, mimari yapıdan çok anlam ve baglamin üretildigi, yayginlastirildigi, çogaltildigi alanlar olarak yer almaktadir. Üç bölümden olusan festivalin her bölümü basligi ile dogrudan veya dolayli olarak ilgi kuruyor.. Üç bölümde gerçeklesecek olan festivalin ilk bölümü BURADA basligi altinda sanatçilarin yerel baglamlarinda ürettikleri isleri, ORADA bölümü sanatçilarin ilgi alanlarinin yönelttigi dogrultuda ürettigi videolari ve DISARIDA bölümü sanatçilarin disarisi üzerine deneyimlerini kapsamaktadir.

Festival, çagdas sanatçilarin üretmekte olduklari içerigin ve onun mekan birlikteliginin farkli konumlanmalarini içermekte. Burada, bahsi geçen mekan fiziksel, mimari yapilanmadan çok anlam ve baglamin üretildigi, yayginlastirildigi, çogaltildigi alanlar olarak tanimlanmaktadir.
Sosyal teori ve post-modern eleştirinin bize sundugu gibi uzamsal metaforlar günlük yasamin anlasilmasinda etkin bir rol oynamaktadir. Teorik mekanlar kesfedilmis, düzlemlere oturtulmus, karsilastirilmis, kolonizasyonundan arindirilmis olarak tanimlanmakta ve herkes bu tanimin içinde rahat ve ani hareketlerle seyahat etmekte.

Yanyanalik, uzak ve yakinda olanlar, yanyana ve ayri duranlar. BURADA..ORADA..DISARIDA..burasi ve orasi, orasi ve disarisi arasindaki geçirgen siniri belirtmeyi amaçliyor. Politik, nuktedan, ciddi, asiri, alternatif, alt-kültürden örnekleri bir araya getirerek, videolar ve sanatçilarin birlikteligi ile kendi, öteki ve biz yapilarinin içiçeligi üzerinden yeni bir anlayis sunuyor.

HERE..THERE..ABROAD
Turkish Video Days

The festival Here…There…Abroad... screens a variety of artistic positions. Twelve artist videos and a performance aim to underline the need for a dialogue and for establishing a meaningful perspective on togetherness, society, realms of everyday. All the participants as well as the curator would traditionally be categorized as Turkish. However, this ascription is juxtaposed by the actual artists’ varying, sometimes hybrid biographical backgrounds.

The internationalisation of concepts and discourses functions in producing closures and distances. The understanding of global in the context of local and the local in relation to global not only produce multiplicities but also lead to singularities in the course of meaning and attribution. Reflecting the complexity of scenes through art production is significant in order to challenge oversimplifying categorisations.

Here..There..Abroad.. has been structured in three parts, where every part hosts a group of works that are regularly and irregularly related to the framing theme. The section titled HERE will be hosting works that are realised in the localities of the artists, i.e. both in Turkey and Germany; THERE will be hosting works on issues that do not surround but have taken the interest or informed the imagination of the artist, and ABROAD will be works investigating experiences made “abroad”.
Thus in the festival, the different positions of the contemporary artists are presented in correspondence to the space they reflect upon. Living and working in a particular space, the artists’ conceptual practice effectively widens these spaces and the ways in which they are perceived.

In social theory and post-modern literary criticism, spatial metaphors have become a predominant means by which social life is understood. 'Theoretical spaces' have been explored, mapped, charted, contested, de-colonized, and everyone seems to be 'travelling' under the influence of epochs of simultaneity, juxtaposition, the places near and far, side by side and dispersed. Addressing issues of the political, the humorous, the serious, the cutting-edge, the alternative, the sub-cultural, the relational, HERE..THERE..ABROAD aims to underline the permeable borderline between here and there, between there and abroad. The festival calls for a better understanding of the self, of the other and of we.

Program

HERE..
Asli Sungu
Esra Ersen

THERE..
Sefer Memisoglu
Isil Egrikavuk
Ali Demirel
Canan Senol

ABROAD..
Asli Cavusoglu
Ozlem Gunyol & Mustafa Kunt
Erinc Seymen
Nevin Aladag

Asli Sungu

Arapsaci – Tangled Affair – Kraushaar, 2004, Dvd, 7’20“

Arapsaci by Asli Sungu, is constructed around a story that is told by the secondary person who have witnessed the event through hearing protagonists comments on what has taken place. The piece evolves around a break up of a relationship between relatives, which took place during a holiday taken together. The issues raised throughout the story telling are continuous and not easy to define which side has the right than the other. The indecisive situation with sad conclusions, both sides have driven for themselves. Series of happenings, behaviours leading to a cut off… The audience receives the conclusion of things within the information of what has lead to the end. The story is associated with the image entering the screen; a piece of clothing that is being hand-knit. The person who knits, is in conversation with the storyteller, thus she comments and asks for details of various parts of the story and for the reactions of the people who are involved in the story.
The story is an ordinary story, which is taking place in any cultural sphere with people from different backgrounds. The fact that social and political contexts are embedded into every realms of social interaction is being underlined.

Esra Ersen

Brothers & Sisters, 2003, Dvd, 23’20“

Brothers & Sisters
is a result of a long term process that Esra Ersen strolled into with illegal immigrants living in Istanbul. The temporary state of the immigrants in Istanbul, which functions as an in-between stop for migration from Africa to Europe, are the main path designated throughout the documentary work. Ersen’s artistic practice which is structured upon interaction and reflecting the actualities has been a significant aspect for the pre-production of the piece. Ersen started filming after spending four months of a dialogue period with the participants of the documentary, and she is displaying the policies of otherification, the migration, the act of defining outsiders, the tendencies of civil inattentiveness. Through subjective stories, actual states of the immigrants, Ersen makes the status quo, which is valid in many countries of Europe, visible.

Sefer Memisoglu

Isimsiz – untitled, 2005, Dvd, 6’

Sefer Memisoglu goes through the notions of small historisations and fragmentary identities; brings out visual aspects of the activities that are taken from our immediate vicinity and everyday environment: the activities that are creating their own logic, poetry, or development of events. His video work Untitled evolves around the well-known specificities and abstracted visualizations of street kids –the children who are living on streets-, are given with close-ups, manipulations and a new character, but at the same time remain recognizable. The phenomenon of living on streets, being in the constant longing or of lacking are brought together under the pitoresque element of Istanbul: the Galata Tower. Galata Tower has been hosting the children under its premises, before the area got to be gentrified. Throughout the work, not only the constructed is put to test but also the familiar background phenomena are reconsidered, revived, reactivated, and re-deployed.

Isil Egrikavuk

Infamous Library, 2006, Dvd, 7’40“

Isil Egrikavuk takes the invisible, the hidden, the secured into consideration and displays through an interview with one of the protagonists of a specific event. The story that took place in an infamous library of the state which was erected at the time of a social crisis is an attempt to recover the unseen of the past, the infra-structure of power relations and their projection onto the society. As underlined in the piece, such a hideous event can take place or is taking place in any context, any society. The man who was taken from his house and imprisoned for two years in the archive of the state to function for the bringing out inner relations among society, is telling his story through the interrogation of the interviewer. The black outs used frequently throughout the film function as gaps for the audience to question and evaluate the truth of the story, its validity and to project on their personal backgrounds.

Ali Demirel

W..., 2001, Dvd, 6’15“

Ali Demirel
works with video and visualisation of large-scale electronic music events. Demirel uses repetition as the pattern of his video works, the polarization effect onto the images work as underlining the every small move, step, meaning production of a movement, speech, act. W... is a piece produced just after 9/11 took place in New York. The work being produced six years ago still carries its contemporariness and significance. The war the attempts or committing crimes are underlined through repetition of the speech hold by W. Bush about the war that already took place. The comment made in the past brought up to the present of 2001 implying the fact that the war is not over at all. Only the geographical positioning of cold war is due to change. The images appearing as cut out clips of actual news are displayed in a fragmented state as the sound is structured to imply the veining effect.

Canan Senol

Bir bardak sicak sekerli su – A Glass of hot water with sugar, 2002, Dvd, 22’40“

Canan Senol
works with various mediums as video, installation, photography and performance. A glass of hot water with sugar is a documentary on the prisoners who have resisted the decision of F-type prisons thus started the protest fasting-till-death. Senol realises the documentary with four prisoners who are in the operation titled Back to life. Back to life is a project held with the survivors of the fasting protest, which is placing them in a house for six months till they are cured. Four prisoners namely Ismail, Esma, Metin and Hulya are suffering from the Wernicke Korsakov illness due to the fact that during their protest they have taken only a glass of water with sugar as nutrition. Wernicke Korsakov, is a result of long-time-starvation and causes problems of seeing, hearing, walking also memory. Thus, if the central nerve system of the person is damaged, his/her memory will be malfunctioning and he/she will be in full need of help from outside. The very important fact is Wernicke Korsakov illness cannot be cured and the damage cannot be replaced, thus the four prisoners are imprisoned not only in a place but also in their childhood structures. The F-type prison phenomenon is a strongly discussed issue and has been collecting reactions from various people, societies, and countries.

Asli Cavusoglu

Bir Turk Doktoru: Omer Ayhan – A Turkish Doctor: Omer Ayhan, 2004, Dvd, 11’

A Turkish Doctor Omer Ayhan by Asli Cavusoglu is a pseudo-documentary on a Turkish doctor who found the cure for the illness called Nortonomy. The video starts with clipping from one of the main tv channels in Turkey. Starting with the logo of the tv channel and announcement of the speaker who mentions Omer Ayhan as the pride of the whole nation, the narrative is a constructed one with strong aspects of insuring the audience that it has actually taken place. Cavusoglu depicts a narrative that is always focussed to be gained by societies. The projection of these internationalised achievements of a member of a society is a highly valued representation. Thus the intellect, achievement and influence on others are strong elements in putting the societies together.

Ozlem Gunyol & Mustafa Kunt

Section 1, 2005, Dvd, 4’44“

Ozlem Gunyol & Mustafa Kunt are recapturing scenes from a movie by Zeki Demirkubuz, titled Itiraf. The dialogue taken from the scenes of a break up of a young couple is fully taken in Section 1. Unlike the film, Gunyol and Kunt are showing the scene through the gap of the kitchen door. The camera is stable whereas the actors are restaging the tension in a different way than the film. The audience as the witness of such a dialogue are being taken in the scene and are left to take sides and produce understanding for each of the actors, artists. The artists who stage the dialogue as themselves with their real names and with a condition that raises a high tension at the doorstep of a break up. The camera situated on a voyeur position, is witnessing the dialogue through the door. Re-enacting a scene from a movie, plays a crucial role in order to reflect the fact that such dialogues and destruction to each other are taking place on an every day basis.

Erinc Seymen

Master Mick, 2005, Dvd, 9’56“

Erinc Seymen’s Master Mick
is a documentary on an S&M master called Master Mick. The documentary shot in Master Mick’s flat is a split screen production. While listening to the interview, the audience goes around the house and investigates the details. The setting of the bedroom, the tools of sexual intercourse are highly expressive in order to understand the practices of Master Mick. Seymen questions how to be a master and what does he do for a living, and investigates the realms of being a slave and being enslaved by a master and where joussiance is located in those practices.

Nevin Aladag

Voice Over, 2006, Dvd, 14’

Nevin Aladag
takes us to a journey of sounds. Strolling through the streets of Berlin on a winter day, stopping in a park on a rainy day, meeting with youngsters on streets… Voice over is more than a gathering of sounds but is a togetherness of voices. The wind whistling through harmonica, raindrops hitting the drums display togetherness with the songs sang by young boys in Turkish. Nevin Aladag dresses Berlin with voices of outside: the wind, the rain, the songs of the migrated. Voice over is a poetically posed question to re-evaluate where all these stand in our society today.

2/5 BZ aka Serhat Koksal

‘No Gasionalism No Pipeline Bridge’

Serhat Köksal founded his 2/5 BZ project in Istanbul in 1986. As a constantly evolving multimedia project, the output is in disparate formats: tapes, video collages, CD-ROMs, audio CDs, photocopied zines and live performances since 1991 . Serhat Köksal, aka 2/5 BZ, is performing on the subject of Turkish pop cinema and deconstruction, exotic tourism and anti-orientalism / anti-city myths, copy culture and remakes, the ethnic market and east-west gateway clichés , critical sound art and audiovisual experimentation using collage and cut-up techniques, found footage, field recordings and samples - in short: a critical and humorous re-use of mass culture.The audiovisual performance of Serhat Köksal aka 2/5 BZ entitled 'NO Touristik NO Exotic' has toured festivals, exhibitions and clubs in 16 countries and 75 cities in Europa ,Asia, North America .
2/5 BZ has performed at well-known festivals such as Club Transmediale in Berlin,Sonic Acts in Amsterdam , collaborated with numerous musicians such as Tim Hodgkinson and been presented, among others, by John Peel in his famous John Peel sessions on BBC .

The entry point to Serhat Köksal's new project ' NO Gasionalism NO Pipeline Bridge ' investigates cultural cliches and their effects on the economic and political situation of individuals with sound art and no exotic planetcore visuals ; '' Against the Wall and Against the Bridge in there.' He lives and works in Istanbul.

video

Venues





ifa gallery - Stuttgart




ifa gallery - Berlin

Opening Speech - Berlin

To come...

There / Opening Speech - Stuttgart

To come...

Abroad/ Opening Speech -Stuttgart

video

Press

Freitag, 11. Januar 2008

Special Thanks To:

Iris Lenz, Valerie Hammerbacher, Ev Fisher, Barbara Barsch, Verena, ifa-gallery Stuttgart, ifa-gallery Berlin, all people who have been involved in preperation of the festival, Tobias Hering