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Open Dialogue Istanbul and Open Space Istanbul are excited to be presenting " Transient Bodies: A series of conferences " along with a live performance by VestAndPage in collaboration with Francesco Kiais and Burçak Konukman taking place in Istanbul between the dates 22nd-24th April 2016. The project will be realised in collaboration with The Art Department & LUX (artists' moving image), Hosted by SALT and with in-kind support of Alt. The aim of the programme is to focus on performance and Live Art, with a strong educational purpose and a propositive reflection on the reasons of making art today. CONCEPT In times of radical change such as ours, every discipline of the human knowledge and activity is put in front of the possibility to remain isolated in itself or, conversely, to intervene into reality, becoming actively part of a historical process. Geographically positioned between Asia and Europe, Istanbul is a swarming city home to some 17 million inhabitants, with migration flowing through it constantly. Istanbul, which was founded around 660 BC as Byzantium, developed to become one of the most significant cities in history, consisting of an amalgamation of cultures and histories. The reason to why Istanbul is the focus of the project is because it is a representative of more than one culture. In a City of historical significance, and which is playing one more time a central role between east and west, north and south, we would like to start involving people who have different roles in the landscape of Performance and Live Art, with the ambition of touching different regions (not only geographical, but also of thought and action) for to compose a mosaic of poetic, philosophical, critical and artistic approaches. With the movements such as; isolation, contested borders, and multiple diasporas, the meaning of a place, home and belonging have recently become more and more ambiguous. This lecture series is inspired by the concept of alienation, search of identity for the individual in a system of politics, religion, social of political that is constantly changing. The performance and live art is now globally a widespread phenomenon, with infinite facets, impossible to define within absolute boundaries, and that is offering infinitive possibilities for interpretation. The concept 'Transient Bodies' aims to offer a way of reading this form of art, based on the ephemeral and on overcoming the barriers between disciplines, cultures and people, providing a view of international scope. Through a careful selection of artists, curators and academicians from the global cultural scene, The 'Transient Bodies' project aims to offer a rich variety of events, ranging from aesthetics to the social, from the ethics to the poetics, touching different areas of today's interests.
Five selected interviews given by VestAndPage on Performance art issues and their artistic activity between 2009 and 2014. 1. For eBENT by Carlos Pina, 2009 2. For CIPAF by Karolina Lambrou, 2013 3. For IPA by Hatice Utkan, 2013 4. For VIVO/VOD by Jeremy Todd, 2014 5. For PERFORMANCE IS ALIVE by Quinn Dukes, 2015
Edited by Michelle Antoinette and Caroline Turner, this volume draws together essays by leading art experts observing the dramatic developments in Asian art and exhibitions in the last two decades. The authors explore new regional and global connections and new ways of understanding contemporary Asian art in the twenty-first century. The essays coalesce around four key themes: world-making; intra-Asian regional connections; art’s affective capacity in cross-cultural engagement; and Australia’s cultural connections with Asia. In exploring these themes, the essays adopt a diversity of approaches and encompass art history, art theory, visual culture and museum studies, as well as curatorial and artistic practice. With introductory and concluding essays by editors Michelle Antoinette and Caroline Turner this volume features contributions from key writers on the region and on contemporary art: Patrick D Flores, John Clark, Chaitanya Sambrani, Pat Hoffie, Charles Merewether, Marsha Meskimmon, Francis Maravillas, Oscar Ho, Alison Carroll and Jacqueline Lo. Richly illustrated with artworks by leading contemporary Asian artists, Contemporary Asian Art and Exhibitions: Connectivities and World-making will be essential reading for those interested in recent developments in contemporary Asian art, including students and scholars of art history, Asian studies, museum studies, visual and cultural studies.
Art and the Uncanny (organization by Gerry Kisil)
On the Uncanny in the Encounter between the Living and the Inanimate in Performed Immobility.pdf2017 •
In The Uncanny, Freud undertook to determine the sources of this feeling by referring to Jentsch’s work, the conclusions of which he contradicts. e feeling of the uncanny that arises from the short story The Sandman by Ho mann would not be due to the object, which one endows with a soul, but rather to the set of choices made by the author, which would explain why the same object can appear, or not, to be uncanny depending on the context. ough they are not as such a source of the uncanny, the representations that blur the distinction between the living and the inanimate appear to be a favoured vehicle to stimulate this feeling, as is borne out by several examples from literature and the visual arts. Horst Bredekamp describes these representations as “living images,” which he classi es into three groups. For this presentation, we will draw on the group of schematic images, and more speci cally the tableaux vivants that make it up. We will study a selection of performances carried out from the mid 1990s to today in which the performers’ immobility draws an operative force from the tableau vivant. The use that is made of inaction and movement will be examined in order to envision how the indetermination that is thereby created fosters a feeling of the uncanny. In his study on the movement of statues, Kenneth Gross for his part suggests that the encounter between human life and the world of objects serves to go beyond systems of opposites and to ensure a survival of life in death. Following Gross, we could thus put forward that the performances under study, in which individuals remain inactive, make up a way of embodying opposites and death by picturing, at least a partial, deliverance from it.
Co-curated by Huma Kabakcı and Mine Küçük, a group exhibition titled “Past meets Present” presented a selection of works by 16 Turkish and international artists. All participating artists come from different artistic and cultural backgrounds yet their individual art practices are informed by a shared interest in the research, excavations and discoveries of historians, scientists and archaeologists. The group exhibition featured works by artists including; Sami Aslan, Burçak Bingöl, Hera Büyüktaşçıyan, Ahmet Civelek, Onur Hastürk, Patrick Hough, Bilal Hakan Karakaya, Seçil Kınay, Hasan Kıran, Maude Maris, Ardan Özmenoğlu, Murat Palta, Shahpour Pouyan, Gazi Sansoy, Elvan Tekcan and Pınar Yolaçan. “Past meets Present”’s curators, Huma Kabakcı and Mine Küçük, stated that their curatorial vision for the exhibition drew inspiration from the historical context of the exhibition space, which served as the Ottoman Post Office in the early 20th century, and from the international outlook of the Anna Laudel Contemporary gallery. Having long been influenced by the idea of redefining the past through contemporary art, the curators will invite visitors to explore and participate in a historical journey through contemporary art practice. “Past meets Present” presented a programme of parallel activities as part of the 15th Istanbul Biennial, including a Curatorial Tour, and Artist Talk and a performance installation entitled “Body – The Present Flowing into the Past” presented by TORK Dance Art. The exhibition titled “Past meets Present” was held across three floors of exhibition space at Anna Laudel Contemporary in Istanbul until 20 October, due to popular demand.
Curating and immaterial labor, curating vs art? Curating and immaterial art, propositions on curating, social change, new forms of curating
2013 •
Molds, used in a variety of artistic and artisanal practices, are understood as a means of creating an exact likeness. Through the use of the mold the maker is able to pull forth an (supposedly) unmediated image of a subject that already exists — the wrinkled face of a deceased person, the scales of a lizard, or the ornament of an ancient monument. But beyond the transmission of the form mediated by the mold, the touch of the mold to the subject it imprints has been seen in different historical moments as having particularly potent social power in not only capturing the subject’s likeness, but also its interior qualities. In the case of death masks, for instance, the mold that imprinted the face was also seen to facilitate the transfer of their essence into the cast positive, thereby making the absent person present. By freezing the fleeting subject, the mold thus creates temporal stasis. It is due to molds that we are able to study plaster casts of ancient monuments that have since been destroyed or worn away by time. Considering molds’ social, and not simply practical, function therefore opens up broader questions about mimesis, temporality, memory, and presence, as well as the influence of likeness and creativity upon them. This session seeks papers that explore the mold as more than a tool, but instead a means of making that is integral to the way in which the objects that result from it functioned and were understood. Following CAA guidelines, please send 1. an abstract of no more than 250 words 2. an email explaining your interest in the session, expertise in the topic, and availability during the conference. 3. a shortened CV to Hannah Wirta Kinney (Hannah.Kinney@history.ox.ac.uk) and Emily Knight (Emily.Knight@history.ox.ac.uk). The deadline for submission is August 14, 2017.
2014 •
SKIN OF THE GOAT is a compilation of essays, conversations and recipes from the artists, writers, researchers and participants who inhabited New York artist Robin Kahn’s The Art of Sahrawi Cooking project at dOCUMENTA(13) in Kassel, Germany, during the summer of 2013. The publication presents and utilises both itself and the activities of Kahn’s project as a case study in the field of artistic research, providing a provocative discussion in on-going concerns of contemporary art and curatorial practice. Illustrating and interrogating the relational politics of exchange and reciprocity, the book is to be read as a recipe book on ideas and notions that surround socially sited and hospitality based contemporary art strategies.
International Conference "From Malacca to Manchester: Curating Islamic Collections Worldwide"
Bringing Academic Research into the Museum: The Exhibition Trail Objects in Transfer in the Museum of Islamic Art in Berlin2017 •
2019 •
St Paul St Curatorial Symposium Proceedings
Kei Roto i Te Whare / On Housing2015 •
2015 •
Light, Illumination and Electricity
Recording in The Log. Light, Illumination and Electricity.2008 •
2017 •
2016 •
Tallinn: Tallinn University Press
Working with Feminism: Curating and Exhibitions in Eastern Europe2012 •