Hüseyin Bahri Alptekin’s works on view at MoMA

on Wednesday, 23 December 2015. Posted in January, ---2016---

Related Article: Nilbar Güres receives Belvedere Contemporary Art Award 2015

Hüseyin Bahri Alptekin’s works 'Pension Cadiz', 'Hotel Bristol' and 'Hotel Estambul', all from the H-Fact: Hospitality/Hostility series (2003-07) are currently on view at the 'Scenes for a New Heritage' collection exhibition at MoMA in New York until 10 April 2016.

Alptekin’s work ‚Hospitality/Hostility’ refers to hotel signs, which reappear in Alptekin’s works in various media over the course of his career. The artist started taking photographs of hotel signs in Istanbul, which showed names of international places such as Bristol, Cadiz, Berlin, Dallas or Padova in the 1980s. The artist was fascinated by the aesthetics of the side-streets rather than the grand boulevards. The project grew over the following decades with international travels, eventually turning into plexi hotel sign installations. These signs tell the story of Alptekin’s encounters and travels and relate to ideas of nomadism, relocation as well as memories and longing of certain places.

‚Scenes for a New Heritage’ is the new reinstallation of MoMA’s Contemporary Galleries. This cross-medium selection of works, created in the past three decades by more than 30 international artists, represents a wide range of approaches to the political, social, and cultural flux that have shaped the current global landscape. Some of these artists use the lens of history—reflecting on past events or centuries-old artistic traditions—as a means of assessing current conditions. In 'Scene for a New Heritage', the project that lends the exhibition its title, Croatian artist David Maljković uses an abandoned socialist monument to imagine an alternate future, one informed by events of the past but never realized. Other artists fight to stave off collective amnesia through projects of commemoration; trace the crosscurrents of trade; follow patterns of migration to swelling urban centers; or explore channels for capturing, circulating, and distributing images in today’s highly digitized society—from mobile phones to online platforms. Made under a diverse range of geographic, political, social, and aesthetic circumstances, the works in the exhibition propose one perspective on the Museum’s collection; seen alongside one another, they allow for a reflection not only on their discrepancies, differences, and contradictions, but also on their shared concerns.

Artist, writer, lecturer and curator Hüseyin Bahri Alptekin (b.1957, Ankara d. 2007, Istanbul) studied Aesthetics, Philosophy of Art and Sociology in Ankara and Paris. He then worked as a photographer for SIPA Press and wrote for various publications as an art and design critic in addition to lecturing at Ankara Bilkent University and İstanbul Bilgi University. Starting in the early 1990s, Alptekin focused on art practice guided by travel, personal histories and archives that explored the effects of globalization, immigration, exile, cross cultural image circulation and anonymous production. His diverse body of work – consisting of photo installations, collages, videos, objects and, once, a life-size truck overloaded with colorful plastic soccer balls – represents a multi-layered, complex visual language. From 2000-2004 Alptekin ran a non-profit artists’ collective called ‘Sea Elephant Travel Agency’ (SETA).Inspired by Jules Verne’s novel Kéraban-le-Têtu, he gathered artists, curators, musicians, architects, historians and scientists to board a boat that sailed from Istanbul to various ports around the Black Sea, following the route of the novel’s protagonist. The online version of SETA, launched by InEnArt and SALT Research in memory of Alptekin in the Spring of 2013, invites artists and art professionals to participate in an ongoing visual and performing arts laboratory that aims to transcend labels and borders.

Huseyin Bahri Alptekin H-Fact: Hospitality/Hostility, 2003-07
Hüseyin Bahri Alptekin, H-Fact: Hospitality/Hostility series, 2003-07, light boxes, dimensions variable Courtesy the estate of the artist, Galerie Martin Janda and Rampa

Turkey's project for the 15th International Architecture Biennial announced

on Sunday, 10 January 2016. Posted in January, ---2016---

Related Article: Hüseyin Bahri Alptekin’s works on view at MoMA in New York

Following an open-call and a two-stage evaluation, the selection committee has determined the project that will be exhibited at the Pavilion of Turkey at the 15th International Architecture Exhibition, la Biennale di Venezia taking place from 28 May - 27 November, 2016. Led by Mehmet Kütükçüoğlu, Ertuğ Uçar, and Feride Çiçekoğlu with the support of Namık Erkal and Cemal Emden, and created by the team composed of Hüner Aldemir, Hande Ciğerli, Gökçen Erkılıç, Nazlı Tümerdem and Yiğit Yalgın, the project this year’s Pavilion of Turkey has the title ‚Darzanà’.

Inspired by the Mediterranean’s former twin harbours of Venice and Istanbul, the project’s title, the word Darzanà, describes an inlet used for building ships in Ancient Greek, Latin, Jewish, Arabic, and Turkish cultures. The project aims to confront the Arsenale and the historic Istanbul shipyards at the biennial, carrying the Istanbul dock and its accompanying historic associations, exchanges, discussions, similarities, and visions of the future to a shipyard in Venice.

The Pavilion of Turkey exhibition is coordinated by the Istanbul Foundation for Culture and Arts, and realised under the co-sponsorship of Schüco Turkey and VitrA, and the auspices of the Ministry of Foreign Affairs and the Ministry of Culture and Tourism of the Republic of Turkey.

The Pavilion of Turkey opened at the 14th International Architecture Exhibition, la Biennale di Venezia in 2014 for the first time, upon a 20-year allotment of the Arsenale with İKSV’s initiation and the contribution of 21 supporters.

Darzana, Pavilion of Turkey 15th Architecture Biennial in Venice 2016
Darzanà, Pavilion of Turkey, 15th Architecture Biennial in Venice 2016, Photo: IKSV

Istanbul Galleries at Art Dubai 2016

on Saturday, 09 January 2016. Posted in January, ---2016---

Related Article: Hüseyin Bahri Alptekin's works on view at MoMA New York

The 2016 edition of Art Dubai, running from 16 – 19 March will host 5 galleries from Istanbul such as Zilberman, Rampa, Sanatorium, x-ist and Krampf Gallery.

Galeri Zilberman will exhibit Alpin Arda Bağcık, Extrastruggle and Walid Siti at the fair, while Sanatorium will have a solo exhibition of Ahmet Doğu İpek. Rampa brings major artists from Turkey such as Ahmet Oran, Selma Gürbüz Nevin Aladağ and Gülsün Karamustafa to Dubai and x-ist will show Murat Palta and Emin Mete Erdoğan. Krampf Gallery presents a solo show of Yassine Mekhnache.

Nevin Aladag

PATTERN MATCHING (PEPPER-SALT), 2012 Carpet collage 192 x 112 cm, 75.59 x 44.09 inches Courtesy the Artist and Rampa Istanbul at Art Dubai

Extrastruggle, Second Sight, 2013, Brass and car paint on polyester, 27x27x52 cm, Ed. 3+1 A.P. Zilberman Istanbul at Art Dubai

Ahmet Doğu İpek
Ahmet Doğu İpek, Sanatorium Istanbul at Art Dubai

Murat Palta
Murat Palta, Kill Bill, monoprint on fine art paper, 60 x 85 cm, 2012, x-ist Istanbul at Art Dubai

New Art Space 'Alt' Launches in Istanbul

on Tuesday, 22 March 2016. Posted in ---2016---, March

Related Article: Exhibition from Turkey to feature in 1st ever London Design Biennial

Alt ('below' in Turkish) art space opened in January 2016 on the premises of the historic Bomonti Beer Factory in Istanbul's Şişli district. Established by Pozitif and the Doguş Group, the new space is launching with the first solo exhibition of Rodney Graham in Turkey and a group exhibition titled 'If you can't go through the door, go through the window' with works by Aykan Safoğlu, Hasan Özgür Top and Hera Büyüktaşçıyan. Curated by Mari Spritito, the inaugural season of Alt will focus on contemporary issues of authorship.

Alt art space presents Rodney Graham, the first solo exhibition of his seminal video and music in Turkey. Four of Graham's works, three of which comprise his trilogy: Vexation Island, 1997; How I Became a Ramblin' Man, 1999; and City Self/Country Self, 2000, as well as A Reverie Interrupted by the Police, 2003, will be on view for Alt's inaugural season dedicated to examining issues of authorship in art.

Rodney Graham, Vexation Island, 1997
Exhibition view of Rodney Graham exhibition at Alt Istanbul, Courtesy of the artist and Alt. Photo: Batu Tezyüksel

Alt art space presents 'If you can't go through the door, go through the window', an exhibition that celebrates ingenuity, and the complex ways individuals negotiate the established order in order to participate in society. Featuring works by Aykan Safoğlu, Hasan Özgür Top, and Hera Büyüktaşçıyan, If you can't go through the door, go through the window will be on view for Alt's inaugural season, which is dedicated to examining issues of authorship in art.

In the two-channel video installation Untitled (Gülşen & Hüseyin), 2015, Aykan Safoğlu traces the life story of his uncle Hüseyin, who immigrated to Germany to join the growing workforce of Turkish workers there in the early 1960s. On one screen, Safoğlu is seen directing his friend Gülşen Aktaş to pose as his uncle, in a recreation of an early photograph. Gülşen, who lives in Berlin, is prompted by the artist to participate in an exercise designed to elicit empathy for the character she is playing. The Turkish-born artist, who also lives in Germany, is looking for insight. The second screen tells of the ups and downs of Hüseyin's life as a cleaning person, in the form of scrawled statements and drawings on a bathroom wall. The intimacy of the juxtaposed storytelling modes relates to Safoğlu's own search for alternative modes of survival to meet the challenges of maintaining his identity in the face of dislocation and sexual bias.

Aykan Safoğlu, Untitled (Gülşen & Hüseyin), 2015
Aykan Safoğlu, Untitled (Gülşen & Hüseyin), 2015, Courtesy of the artist and Alt

Hasan Özgür Top's installation A Gift from the Middle East, 2013, is composed of ceramic tiles patterned in the style of Islamic chinaware, but picturing violent images of the Syrian civil war. Top has repurposed disturbing images from Youtube—in particular, of the destruction of the Great Mosque of Aleppo—in a way that is intended to bring sensitivity to the subject, and to reverse the "numbness" of oversaturation. A Gift from the Middle East is part of a larger project by the artist: his proposed restoration of the Aleppo Mosque using these memorial tiles as a gesture of rebuilding that also acknowledges wounds that may never heal.

Hasan Özgür Top, A Gift from the Middle East, 2013
Hasan Özgür Top, A Gift from the Middle East, 2013, Courtesy of the artist and Alt

In Hera Büyüktaşçıyan's sculptural intervention When things find their own cleft, 2016, red bricks spill out from a break in the white-cube exhibition space, evidencing the historical materials of the former factory building. The work is a fluid resurfacing of hidden histories—urban, social, individual, and political—resisting oppression simply in continuing to exist. It offers a metaphor for finding solutions, taking its name from the Turkish proverb "Water found its cleft," which refers to how water flows under, over, and around obstacles on its way to the sea. When things find their own cleft reminds us that we too are living through renovations, and that being present is a resourceful response to the hurdles of contemporary culture.

Hera Büyüktaşçıyan, When things find their own cleft, 2016
Hera Büyüktaşçıyan, When things find their own cleft, 2016, Courtesy of the artist and Alt

Gülsün Karamustafa at Hamburger Bahnhof

on Tuesday, 22 March 2016. Posted in ---2016---, March

Related Article: New Art Space 'Alt' Launches in Istanbul

From 10 June - 23 October 2016, Berlin's Hamburger Bahnhof will house a comprehensive solo exhibition of Gülsün Karamustafa's titled 'Chronographia'. Regarded as one of Turkey's most important artists of the 20th century, Karamustafa has been included in many international group exhibitions; 'Chronographia' will be her first extensive solo exhibition in a museum setting outside of Turkey to date.

Gülsün Karamustafa (b. 1946) is regarded as one of the most important artists of the second half of the 20th century in Turkey, where her work has been a decisive influence on younger generations of Turkish artists since the 1990s. Internationally her work has been shown in numerous exhibitions.

Karamustafa's oeuvre stretches from the middle of the 1970s to the present day and encompasses various media, including painting, installation, performance art and video. In terms of content, the main emphasis of her work lies on questions of migration, politically-induced nomadism, pop culture, feminism and gender, and critical analysis of the Western view on Middle-Eastern countries. While the media-specificity and materiality of her work since the 1970s have seen an evolutionary development in art-historical terms, the same themes permeate all phases and forms of her creative output and are of unmistakable relevance to current debates. The exhibition in the Hamburger Bahnhof, including about 100 works, is designed to make these ramifications and cross-connections visible by showing the works not in chronological order, but in a thematic arrangement which brings them into dialogue with each other.

A catalogue accompanying the exhibition will be published by Verlag für Moderne Kunst.

Gülsün Karamustafa, Trellis of My Mind (Detail), 1998
Gülsün Karamustafa, Trellis of My Mind (Detail), 1998, Courtesy the artist and Rampa

Exhibition from Turkey at 1st London Design Biennial

on Tuesday, 22 March 2016. Posted in ---2016---, March

Related Article: Guggenheim NY acquires work by Ergin Çavuşoğlu

Held from 7-27 September 2016 under the theme ’Utopia by Design’, the inaugural London Design Biennial will be held at Somerset House and bring together installations and exhibitions from up to 40 countries. The biennial will be produced by the team who created the London Design Festival such as Sir John Sorrel (President), Dr. Christopher Turner (Director) and Ben Evans (Executive Director).

Embracing a national representation model, the London Design Biennale will bring together installations from up to 40 countries and Turkey’s contribution will be coordinated by The Istanbul Foundation for Culture and Arts (İKSV). The Foundation has formed a Selecting Committee, under the leadership of artist and communication advisor Paul McMillen, with the participation of Koleksiyon’s furniture designer and brand director Koray Malhan, and architect Zehra Uçar. The committee invited internationally renowned multidisciplinary design studio Autoban. Founded by Seyhan Özdemir and Sefer Çağlar in 2003, Autoban is an Istanbul-based multi-disciplinary studio working across architecture and interiors, product and experiential design, with a portfolio that demonstrates their unique design approach on both local and international scale.

For its inaugural year, the London Design Biennale invites participating countries to explore the theme, ’Utopia by Design’. 2016 marks the 500th anniversary of the publication of Sir Thomas More’s classic, Utopia (1516), a work of political philosophy that describes a fictional country and the ethnography of its contented inhabitants. Occupying the whole of the Somerset House site, the first ever London Design Biennale will bring together the world’s most exciting and innovative designers and will be a stage for debate, discussion and collaboration. Interrogating the history of the utopian idea and exploring the role of design in solving some of humanity’s most pressing issues, the London Design Biennale will be a laboratory of ideas that might contribute to making the world a better place.

Seyhan Özdemir and Sefer Çağlar, founders of Autoban Istanbul
Seyhan Özdemir and Sefer Çağlar, founders of Autoban Istanbul

Istanbul Galleries at Art Basel Hong Kong 2016

on Tuesday, 22 March 2016. Posted in January, ---2016---

Related Article: Gülsün Karamustafa to open solo show at Hamburger Bahnhof

The 2016 edition of Art Basel Hong Kong, running from 24-26 March will host 2 galleries from Istanbul such as Dirimart and Pi Artworks.

Dirimart Pi Artworks presents Dhaka-based Bangladeshi artist Tayeba Begum Lipi's solo project as part of the fair's 'Insights' section on Level 3.

Insights presents precisely curated projects focused on artists from Asia and the Asia-Pacific region (broadly defined as from Turkey to New Zealand, the Middle East to the Indian sub-continent). The projects featured in this sector may include solo shows, exceptional art-historical material and strong thematic group exhibitions. Galleries from Asia and the Asia-Pacific region as well as non-Asian galleries with an exclusively Asian program are also eligible to apply for this sector.

Tayeba Begum Lipi, Reversed Reality, 2016

Tayeba Begum Lipi, Reversed Reality, 2016 Courtesy the Artist and Pi Artworks

Zilberman Gallery in Berlin

on Tuesday, 22 March 2016. Posted in May, ---2016---

Related Article: New Art Space 'Alt' Launches in Istanbul

In October 2016, Zilberman Gallery will officially open the doors to its new gallery space and artist studio in a turn-of- the-century building of Berlin’s Charlottenburg neighbourhood. Home to one of the first galleries of modern art more than a hundred years ago, this area is once again housing some of the most exciting contemporary art spaces in the city. Zilberman Gallery will offer artists the opportunity to live and work in Berlin as part of its new artist-in-residence programme, wich will be a hallmark of its activities in Germany.

Zilberman Gallery in Berlin
Zilberman Gallery Space in Berlin, 2016

Zilberman Gallery in Berlin
Zilberman Gallery Space in Berlin, 2016

CANAN and Cevdet Erek shortlisted for 4th Jameel Prize

on Tuesday, 22 March 2016. Posted in May, ---2016---

Related Article: Cevdet Erek to Represent Turkey at the 57th Venice Biennial

London’s Victoria and Albert Museum (V&A) has announced a shortlist of 11 artists and designers for the 4th edition of the Jameel Prize, including CANAN and Cevdet Erek. The prize’s corresponding exhibition will be held at Pera Museum in Istanbul, marking its first ever launch at an external venue. Organised by V&A in partnership with Art Jameel, the exhibition will be on view from 8 June - 14 August 2016.

The eleven shortlisted artists and designers are David Chalmers Alesworth, Rasheed Araeen, Lara Assouad, CANAN, Cevdet Erek, Sahand Hesamiyan, Lucia Koch, Ghulam Mohammad, Shahpour Pouyan, Wael Shawky and Bahia Shehab.

Over 280 nominations for the Jameel Prize 4 were received from countries as far ranging as Afghanistan, Mali, Puerto Rico and Thailand. A panel of judges, chaired by V&A Director, Martin Roth, selected the shortlist. Works on show will range from delicate paper collages to an animated video installation with marionettes and from ceramics, calligraphy and sculpture to artist’s books.

Cevdet Erek, Ruler
Cevdet Erek, Ruler Day Night (Start 14 September) (2011) Wood, ink, Perspex Courtesy of the artist and AKINCI, Amsterdam Photo: Peter Cox

CANAN, Resistance on Istiklal Street (2014) Ink, colours and gold on paper Courtesy of the artist and Rampa Photo: André Carvalho and Tugba Karatop - Chroma

Artists from Turkey at Manifesta 11

on Tuesday, 03 May 2016. Posted in May, ---2016---

Related Article: CANAN and Cevdet Erek shortlisted for 4th Jameel Prize

Ahmet Ögüt and Aslı Çavuşoğlu will participate in this year’s edition of Manifesta taking place in Zurich, Switzerland from 11 June – 18 September.

Ögüt’s work 'Silent University' is part of 'The Historical Exhibition: Sites Under Construction', a show which gathers artworks and non-art-specific materials from the past 50 years. Meanwhile, Çavuşoğlu has been researching how representations of landscapes feed into the construction of national identity. Approaching this issue through the lost continent of Mu, which according to myth sunk into the Pacific, she is working with a picture restorer to search for the hidden landscape in Swiss landscape paintings - both uncovering the layers beneath and altering each picture’s surface. For there is an idealised image of Switzerland that is just as non-existent as Mu. Atatürk, founder of the Turkish state, thought Mu was the cradle of Turkish civilisation. The Alps, too, play a large part in Switzerland’s self-perception as a fortified and independent nation.

Asli Cavusoglu
Aslı Çavuşoğlu, Courtesy Manifesta & Evren Kıvançer

Ahmet Ögüt
Ahmet Ögüt, Silent University. Courtesy the artist and Manifesta

3rd Istanbul Design Biennial kicks off

on Wednesday, 12 October 2016. Posted in ---2016---, October

Related Article: Şakir Gökçebağ receives Leo-Breuer Award

3rd istanbul design biennial
Beatriz Colomina & Mark Wigley, Curators of the 3rd Istanbul Design Biennial photo: Mahmut Ceylan

Curated by Beatriz Colomina and Mark Wigley, the 3rd Istanbul Design Biennial titled ‘ARE WE HUMAN? : The Design of the Species : 2 seconds, 2 years, 200 years, 200,000 years’ runs from 22 October to 20 November 2016. A Biennial normally focuses on the last 2 years. The time frame for this exhibition will span from the last 2 seconds to the last 200,000 years. Ancient archaeological artefacts from Turkey and the region will be presented at the heart of the Biennial to reframe the latest real-time thinking about design. The exhibitions will be held in Alt Art Space, DEPO Galata Greek Primary School, Studio-X and the Istanbul Archaeology Museums.

The 3rd Istanbul Design Biennial explores the intimate relationship between the concepts of “design” and “human.” Design always presents itself as serving the human but its real ambition is to redesign the human. The history of design is therefore a history of evolving conceptions of the human. To talk about design is to talk about the state of our species. Humans have always been radically reshaped by the designs they produce and the world of design keeps expanding. We live in a time when everything is designed, from our carefully crafted individual looks and online identities, to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes. The average day involves the experience of thousands of layers of design that reach to outer space but also reach deep into our bodies and brains. We literally live inside design, like the spider lives inside the web constructed from inside its own body. But unlike the spider, we have spawned countless overlapping and interacting webs. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design. Design has become the world.

Design is the most human thing about us. Design is what makes the human. It is the basis of social life, from the very first artefacts to the exponential expansion of human capability. But design also engineers inequalities and new forms of neglect. More people than ever in history are forcibly displaced by war, lawlessness, poverty, and climate at the same time that the human genome and the weather are being actively redesigned. We can no longer reassure ourselves with the idea of “good design.” Design needs to be redesigned.

'ARE WE HUMAN?: The Design of the Species: 2 seconds, 2 years, 200 years, 200,000 years' invites a wide arrange of designers and thinkers from around the world to respond to a compact set of eight interlinked propositions:






These propositions will be explored over the coming year in events, classes, workshops, and online discussions – including open calls for responses to the propositions by short videos. This year of exploration around the world will culminate in a dense program of exhibitions, debates, broadcasts and publications during the six weeks of the biennial in Istanbul that opens on 22 October 2016.

This biennial is an archaeological project. It is not about celebrating particular designers or about visualizing remarkable futures. It will be a multi-media documentary about the state of design today, when everyday reality has outpaced science fiction. It will place the extreme condition of contemporary design into the context of the extended 200,000 year history of our species – from the first standardized ornaments and the footprints of the first shoes to the latest digital and carbon footprints. A biennial normally focuses on the last 2 years. The time frame for this exhibition will span from the last 2 seconds to the last 200,000 years. Ancient archaeological artefacts from Turkey and the region will be presented at the heart of the biennial to reframe the latest real-time thinking about design.

3rd istanbul design biennial
Sven Torfinn/Panos, Kenya, Kajiado District, 2011
Masai farmer using mobile phone to check the latest marked produce prices Courtesy İKSV

3rd istanbul design biennial
Fritz Kahn: Man Machine/Maschine Mensch, Ed. by Uta von Debschitz and Thilo von Debschitz, 2009 Courtesy İKSV

Şakir Gökçebağ receives Leo-Breuer Award

on Wednesday, 12 October 2016. Posted in ---2016---, October

Related Article: Aslı Çavuşoğlu’s Red/Red joins MoMA Collection

The prize is awarded every two years by the Landschaftsverband Rheinland in cooperation with the family Leo Breuer and the Gesellschaft für Kunst und Gestaltung in Bonn. The jury stated that the artist’s work stands for a „crucial further development of the theme of constructive art“.

istanbul codex imago mundi
Exhibition view of Şakir Gökçebağ 'Reorientation' at Kunstverein Ludwigshafen a. Rhein, 2016

Istanbul Dealers launch Gallery Weekend

on Wednesday, 12 October 2016. Posted in ---2016---, October

Related Article: Blok opens new Project Space

The fourteen Istanbul dealers artSümer, C.A.M. Gallery, Empire Project, Daire, Galerist, PG Art Gallery, Pi Artworks, KARE, Galeri Nev, Öktem&Aykut, Rampa, Sanatorium, Zilberman Gallery and x-ist, are launching a new initiative in order to boost the Turkish art scene to be held first from 30 September to 2 October 2016.

istanbul gallery weekend

Blok opens new project Space

on Wednesday, 12 October 2016. Posted in ---2016---, October

Related Article: 3rd Istanbul Design Biennial kicks off

The gallery based in Istanbul’s Çukurcuma district just opened a new project space in the ancient part of the city: Büyük Valide Han in Mahmutpaşa district. Constructed by the order of Kösem Valide Sultan in the 17th century, Büyük Valide Han is known as the biggest inn in Istanbul Hoping to establish an open space, Valide Han’s intended usage will include artist workshops and residency programs for artists creating space-specific works.

Blok wants to urge viewers to explore the inn with each project, and introduce new and in-depth points of view towards time and history. To achieve this, they hope to work with artists and researchers that can address the historical, sociological, and political complexity of Büyük Valide Han from various perspectives.

istanbul codex imago mundi
Blok project space at Büyük Valide Han in Mahmutpaşa district, Istanbul

Inci Eviner receives the 2017 Sharjah Biennial Prize

on Thursday, 23 March 2017. Posted in March, ---2017---

Related Article: Project for Turkey's Pavilion at the 57th Venice Biennial Announced

Inci Eviner receiving the 2017 Sharjah Biennial Prize
Inci Eviner receiving the 2017 Sharjah Biennial Prize

Sharjah Art Foundation announced the 2017 Sharjah Biennial Prize recipients on 10 March during the opening night of Sharjah Biennial 13: Tamawuj. The recipients of this year’s prize were İnci Eviner, Uriel Orlow, Dineo Seshee Bopape and Walid Siti. An honourary mention was awarded to the late artist Ali Jabri.

This year's biennial features two of Eviner's videos: Beuys Underground, a new work commissioned by the biennial, and Runaway Girls (2015).

İnci Eviner’s large body of work ranges from drawings and video to performative and collaborative practices. In her works, she explores politics of desire, space, subjectivity and its potentiality. As an artist, she is aware of the traumas we live with that demand a new kind of listening and witnessing. She follows the current practices of power on the female body and researches outside of the given identity that is in a continuous state of enactment.

The SB13 Prize jurors were Adriano Pedrosa, Artistic Director of Museu de Arte de São Paulo Assis Chateaubriand, Brazil; N'Goné Fall, independent curator and cofounder of GawLab Collective Dakar and Dr Youssef Aidabi, Advisor at the Dr Sultan Al Qasimi Centre for Gulf Studies.

The Sharjah Biennial Prize was established by Sharjah Biennial in 1993 and is now awarded by Sharjah Art Foundation. The honoured recipients are selected by a distinguished jury appointed by SAF. The Sharjah Biennial Prize is given upon the jury’s sole discretion and can be granted to any number of artists.

<<  4 5 6 7 8 [910  >>  

We use cookies to improve our website and your experience when using it. Cookies used for the essential operation of the site have already been set. To find out more about the cookies we use and how to delete them, see our privacy policy.

I accept cookies from this site.
EU Cookie Directive plugin by www.channeldigital.co.uk