Armory Focus: Middle East, North Africa, and the Mediterranean

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Last Masterpiece by Ömer Uluc sold at Antik A.S.

Taking place from 5-8 March, the curated section of The Armory Show on Pier 94 highlights the gallery and artistic landscape of a chosen geographic region. For the sixth Focus edition in 2015, Omar Kholeif, Curator at the Whitechapel Gallery, London, will curate Armory Focus: Middle East, North Africa, and the Mediterranean (“Focus: MENAM”). Examining contemporary cultural and artistic practice from this dynamic part of the world, Focus: MENAM will present an exciting selection of gallery presentations as well as not-for-profit institutions, site-specific projects, and a dedicated symposium. Istanbul based galleries Galerist (Nil Yalter), NON (Lawrence Abu Hamdan, Meriç Algün Ringborg) and Pi Artworks (Susan Hefuna) are part of the section.

Armory Show Focus MENAM 2015

14th Istanbul Biennial - Saltwater: a Theory of Thought Forms

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Asli Cavusoglu participates in the NEW Museum Triennial 2015

The title and framework of the 14th Istanbul Biennial, drafted by Carolyn Christov-Bakargiev with a number of alliances, was announced in September 2014. The biennial, organised by the Istanbul Foundation for Culture and Arts (İKSV), will be open to the public from 5 September to 1 November 2015 and will be a city-wide exhibition held in a variety of different venues.


“Saltwater: a Theory of Thought Forms. The 14th Istanbul Biennial looks for where to draw the line, to withdraw, to draw upon, and to draw out. It does so offshore, on the flat surfaces with our fingertips but also in the depths, underwater, before the enfolded encoding unfolds. This international exhibition of art will present new works by over fifty visual artists and other practitioners, including oceanographers and neuroscientists, in a city-wide project on the Bosphoros that considers different frequencies and patterns of waves, the currents and densities of water, both visible and invisible, that poetically and politically shape and transform the world. With and through art, we mourn, commemorate, denounce, try to heal, and we commit ourselves to the possibility of joy and vitality, leaping from form to flourishing life.” (Christov-Bakargiev)


Also participating in the programme of the conference are İKSV Chairman Bülent Eczacıbaşı, General Manager Görgün Taner and Istanbul Biennial Director Bige Örer. Following a welcome by Bige Örer, the exhibition “drafter” Carolyn Christov-Bakargiev announces the title “Saltwater: A Theory of Thought Forms. The 14th Istanbul Biennial” and gives brief information about the conceptual framework of the exhibition. The media conference continues with the screening of Tide Table (2003) by William Kentridge, and an excerpt from Pink Boat (1993 / video 2014) by Füsun Onur, and concludes with a reading in Italian by Nanni Balestrini of his short novel Carbonia (2009-2010, published 2012), also read in English by Christov-Bakargiev and in Turkish by Münevver Çelik from Otonom Publishing. The reading of the full text of Carbonia continues from 9 pm onwards on Wednesday, 10 September with the attendance of the author at Otonom, who recently published the book in Turkish.


For the 14th Istanbul Biennial, Christov-Bakargiev has been seeking the artistic advice of Cevdet Erek, the intellectual rigor of Griselda Pollock, the sensitivity of Pierre Huyghe, the curatorial imagination of Chus Martínez, the mindfulness of Marcos Lutyens, the acute gaze of Füsun Onur, the political philosophies of Anna Boghiguian, the youthful enthusiasm of Arlette Quynh-Anh Tran, and the wise uncertainties of William Kentridge. Manifold qualities and agencies come as the process develops. New qualities and alliances that have been recently made include the radical reading of Elvan Zabunyan, The extensive knowledge of the oceans of Emin Özsoy, the narrative possibilities of Aslı Çavuşoğlu, the expanding collections of Emre Hüner, the heartfelt relations of Merve Kılıçer, and the perception of beauty of Russell Storer.

The Istanbul Biennial advisory board members include Adriano Pedrosa, Başak Şenova, İnci Eviner, Iwona Blazwick, and Ute Meta Bauer.

14th Istanbul Biennial - Saltwater: a Theory of Thought Forms
Büyük Ada, August 18, 2014. Photo: Francis Alÿs

Last masterpiece by Ömer Uluç sold at Antik A.Ş

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: 14th Istanbul Biennial - Saltwater: a Theory of Thought Forms

‚Ölüdeniz,’ the last masterpiece by leading Turkish painter Ömer Uluç, who died in 2010, was sold for 950,000 Turkish Liras at the 283rd auction of the Antik A.Ş. Auction House held at Antik Palace in November 2014. The opening price for Uluç’s “Ölüdeniz” was 700,000 liras. Depicting the artist’s own life, the piece is one of the biggest (in size) masterpieces in Turkish art, measuring 250 x 880 cm.

Ömer Uluç, Ölüdeniz, 2009

Ömer Uluç, Ölüdeniz, 2009, acrylic on felt, 250x880cm

Asli Cavusoglu participates in the New Museum Triennial 2015

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Nilbar Güres awarded Otto Mauer Preis 2014

A signature initiative of the New Museum, the Triennial is the only recurring international exhibition in New York City devoted to early-career artists from around the world.

It provides an important platform for an emergent generation of artists that is shaping the discourse of contemporary art. The Triennial’s predictive, rather than retrospective, model embodies the institution’s thirty-seven-year commitment to exploring the future of culture through the art of today. The 2015 Triennial is organized by Lauren Cornell, Curator, 2015 Triennial, Museum as Hub, and Digital Projects at the New Museum, and the iconic artist Ryan Trecartin, who was featured in the inaugural 2009 Triennial.

This third iteration of the Triennial is titled “Surround Audience” and will feature fifty-one artists and artist collectives from over twenty-five countries; for many of the participants, this will be their first inclusion in a museum exhibition in the United States.

Cornell and Trecartin have worked together for nearly a decade and they each bring a shared passion for probing the social and psychological effects of digital technology. For Cornell, “Surround Audience” is inspired in part by Trecartin’s own artistic practice, which, as she describes, “vividly manifests a world in which the effects of technology and late capitalism have been absorbed into our bodies and altered our vision of the world.” A tension between the newfound freedoms and threats of today’s society animates and anchors “Surround Audience.”

We are surrounded by a culture replete with impressions of life, be they visual, written, or construed through data. We move through streams of chatter, swipe past pictures of other people’s lives, and frame our own experiences as, all the while, our digital trails are subtly captured, tracked, and stored. This is a culture in which the radical multimedia environments envisioned by pioneering artists like Nam June Paik and Stan VanDerBeek are being lived out every day, albeit with much more complexity and compromise. With these transformations in mind, “Surround Audience” explores how artists are currently depicting subjectivity, unpacking complex systems of power, and claiming sites of artistic agency.

While issues around social media provide a point of departure for the exhibition, it is not the platforms themselves that are the exhibition’s primary focus, but rather the ways their associated effects intersect with life. Among the many narratives and ideas emerging from the works, there are three recurring lines of inquiry: First, how representations of the body and persona have evolved in an image-laden culture in which surveillance is widely dispersed and editorializing one’s life in public is the norm; second, if it might be possible to opt out of or reframe the pressures of increasingly corporatized and invasive spaces; and third, how artists are striving to embed their works in the world around them through incursions into media and activism.

The exhibition encompasses a variety of artistic practices, including sound, dance, comedy, poetry, installation, sculpture, painting, video, and one online talk show. If there is any aesthetic link between these diverse works it is in their energetic mutability of form. Together, these works speak to a newfound elasticity in our understanding of what mediums constitute contemporary art. Here, paintings evolve out of 3-D models, digital images erupt into sculpture, and sound becomes action. This is a group of works that attests to how form is continuously converted across word, image, and medium.

New Museum Triennial 2015

Nilbar Güres awarded Otto Mauer Preis 2014

on Wednesday, 14 January 2015. Posted in January , ---2015---

Related Article: Last masterpiece by Ömer Uluç sold at Antik A.Ş

Nilbar Güreş received the 2014 Otto Mauer Prize of 11.000 Euros, one of the most prestigious awards in the arts in Austria. The prize was presented to the artist on 9 December 2014 at a reception at the Erzbischöflicher Palais, Vienna.

The Jury was impressed by the confident work of the artist and pointed out her different cultural backgrounds as an advantage. They stated „Güreş has a strong personality and connects cultures through her work, encourages discourse and initiates communication processes.“

Nilbar Güres was born in 1977 in Istanbul and lives and works in Vienna and Istanbul. Her works include collages, videos, performances, photographs and objects. An exhibition with works by the artist will be on display at JesuitenFoyer in Vienna from 14 December until 1 February.

Nilbar Güres wins Otto Mauer Preis 2014
Nilbar Güreş, The Living Room from the ÇIRÇIR SERIES, 2010. Photo: Courtesy Galerie Martin Janda, Vienna/ Rampa istanbul

Nilbar Güres wins Otto Mauer Preis 2014
Nilbar Güreş. Photo: Courtesy the artist.

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