Basak Senova | Universität für Angewandte Kunst Wien (original) (raw)
Books by Basak Senova
Sediment, 2024
This publication captures the process and the content of the 'Sediment' project. Developed by Dic... more This publication captures the process and the content of the 'Sediment' project. Developed by Dicle Bestas and Basak Senova, 'Sediment' reflects on the impact of socio-political, ecological, and economic issues on the environments we inhabit. The project's starting point was based on comprehensive curatorial research in the archive of Loading, a non-profit art space focused on Diyarbakir and its surrounding areas in southeastern Turkey, which provides a layered perspective on the local art scene along with the socio-political and environmental issues affecting the Kurdish-inhabited regions. The strong positioning of women artists in the archive shaped the project. The Sediment exhibition, documented in this publication, is one of the research outcomes. The exhibition brought together names from the archive and two artists from Graz and Skopje by including locations from the Hevsel Gardens in the Tigris river basin to the ancient city of Hasankeyf, as well as the rivers Vardar and Mur.
Timeless Curiosities, 2024
In her text, Basak Senova reflects on the evolution of digital culture, tracing her personal and ... more In her text, Basak Senova reflects on the evolution of digital culture, tracing her personal and professional journey from the early days of the internet in Türkiye to her involvement in curating digital art projects. She discusses the profound impact of technological advancements on art production, perception, and interaction, highlighting the role of interactivity, archives, and new media in shaping contemporary art. Senova also connects the themes of urgency, databases, and technological adaptation with the works presented in the "Timeless Curiosities" exhibition, underscoring the ongoing transformation of our perceptions in the digital age.
This text was written for the publication of the "Timeless Curiosities" exhibition, curated by Nilay Dursun and Ümit Mesci, at Istanbul Modern in 2024. Edited by Alican Kutlay, the publication was released by Istanbul Modern, Istanbul, under ISBN 978-975-6167-96-0.
Massimo Ricciardo: Encounters in an Archive. Objects of Migration / Photo-Objects of Art History, 2023
"Forking Paths. Reading an Exhibition as a Curatorial Act ". Massimo Ricciardo: Encounters in an ... more "Forking Paths. Reading an Exhibition as a Curatorial Act ". Massimo Ricciardo: Encounters in an Archive. Objects of Migration / Photo-Objects of Art History, ed. by Costanza Caraffa and Almut Goldhahn.
ISBN : 9788897753902
Navigating themes of migration presents challenges for artists and curators, from deciphering complex socio-political contexts to avoiding stereotypical assumptions. Balancing sensitivity to personal experiences is crucial to prevent normalization of hardships, discrimination, and indifference. Despite numerous artistic initiatives, maintaining the original intent can be difficult. However, projects that achieve a discerning and critical approach effectively highlight the urgency of the topic. Massimo Ricciardo’s exhibition "Objects of Migration, Photo-Objects of Art History: Encounters in an Archive," curated by Constanza Carafa and Almut Goldhahn at the Kunsthistorisches Institut in Florenz—Max-Planck-Institut's Photothek, exemplifies this effort.
Art Rethinks Transformation for Training was coordinated by Roberto Albergoni and Peter M. Boenis... more Art Rethinks Transformation for Training was coordinated by Roberto Albergoni and Peter M. Boenisch. Funded by the Erasmus+ Programme of the European Union, ART4T was organised and promoted by MeNO (Italy) in partnership with Aarhus University (Denmark). ART4T explored innovative non-formal training methodologies in the field of interdisciplinary contemporary art, based on sharing the process of artistic creation between teachers and learners. To foster innovation, ART4T involved training sessions and production-oriented learning activities founded on shared creative processes. The programme followed experimental educational models and tools. The training programme ran both in Italy and Denmark through three interconnected curricula, which were based on artistic research, production, and practices with two artists-Gry Worre Hallberg/Sisters Hope (Copenhagen) and Egle Oddo (Palermo/Helsinki), and a curator-Başak Şenova (Istanbul/ Vienna). The programme started with online (Zoom) planning meetings among the coordinators and the mentors. The call for ART4T, which attracted a high number of applications, followed these meetings and consequently 20 participants were selected. The first phase of the training also started with online (Zoom) lectures and workshops, including the hybrid Presentation of ART4T Project at Chiesa dei SS. Euno e Giuliano and simultaneously online (Zoom) on 25th May 2022. Then, the second phase was realised in Palermo (between 14-25 September 2022) with workshops, lectures, field research, assignments, activities, workshops, performances, and an exhibition. ART4T produced three types of artistic outcomes in Palermo: (i) performances of the mentor artists: Gry Worre Hallberg/Sisters Hope and Egle Oddo; (ii) performances of the participants in two venues: Palazzo Sant'Elia and Chiesa dei Santi Euno e Giuliano; (iii) an exhibition: "Liquid Saturation" took place at Palazzo Sant'Elia in Palermo under the coverage of the BAM-Biennale Arcipelago Mediterraneo, curated by Andrea Cusumano (September 2022-January 2023). The third phase started with online (Zoom) lectures in preparation for workshops in Denmark. In Denmark, ART4T was realised sequentially in two cities: Copenhagen and Aarhus. In Copenhagen, Gry Worre Hallberg/Sisters Hope organised a workshop at Sisters Hope Home, dedicated to reflective intensification. Then in Aarhus, Egle Oddo and Başak Şenova conducted workshops and peer-to-peer tutorials. Aside from these scheduled training secessions some expeditions, lectures, and workshops were presented by Peter M. Boenisch, Miranda Laurence, and Barbara Simonsen in Aarhus. A public programme, designed by the participants, took place at Aarhus University on 25th January 2023. Now, this publication concludes ART4T by documenting the process through the accumulation of notes, dialogues, and observations by the mentors and the participants. Unfortunately, due to budget limitations, the visuals-which are the integral documents of the entire process-were not included in this publication. If possible, future iterations will hopefully compensate for this important component. ART4T has been a productive journey. It has been a learning curve not only for the participants, but also for the mentors and the coordinators. Diverse perceptions, responses and actions for political, ecological, social, cultural, physical, and psychological inquiries have led the programme to become a rich resource for collective and creative ways of producing.
di'van | A Journal of Accounts. Art | Culture | Theory. , 2018
An article on Heba Y. Amin’s Project Operation Sunken Sea” Senova, Basak. 2018. “Flipping the H... more An article on Heba Y. Amin’s Project Operation Sunken Sea”
Senova, Basak. 2018. “Flipping the History: A Collection of Notes and Quote Responses on Heba Amin’s Project Operation Sunken Sea”. di'van | A Journal of Accounts. Art | Culture | Theory. No 4, p. 54-62. ISSN 2207-1563
The Lines of Passage (in medias res) , 2016
The Lines of Passage (in medias res) book accompanied the exhibition which demonstrated a variety... more The Lines of Passage (in medias res) book accompanied the exhibition which demonstrated a variety of connections among narratives of memory and expressions of differing intensities and approaches through artworks selected from the permanent collection of the Elgiz Museum in Istanbul.
ISBN: 978-605-62509-1-0
The artists selected from the collection were Pinar Yolaçan, Oleg Dou, Cindy Sherman, Azade Köker, Bedri Baykam, Bengü Karaduman, Ferhat Özgür, Gilbert & George, Hale Tenger, Tracey Emin, Mateo Mate, Burak Delier, Gülsün Karamustafa, İhsan Oturmak, Kendell Geers, Komet, Nan Goldin, Nilbar Güres, Özlem Günyol, Rebecca Horn, Tomur Atagök, Veljko Zejak, Ola Kolehmainen, Benji Boyadgian and Hera Büyüktasçiyan
Lines of Passage (in medias res) formed a constellation reflecting on the trajectories of memory and perception. Within the exhibition, potential encounters between the selected artworks and spaces designated an ever-changing dynamic which was based on personal narratives, consciousness, psychological and cognitive recognition. The exhibition suggested various paths of understanding through its scenography and potential dialogues of historically and politically charged geographies. It was nurtured by a selection of core works encompassing a cross-section of narratives. Each work in the exhibition connected to another with non-linear narratives employing the in medias res, either through content-based or form-based links.
We Are All In This Alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial., 2015
The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of... more The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial.
Senova, Basak. 2015. “We are all in this alone”, “A (reconstructed) conversation, “The works and the space”. We are all in this alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial. Ed. Basak Senova. National Gallery of Macedonia, Skopje. p.13-14, 23-29, 87-89. ISBN 978-608-4693-58-1
“The Jerusalem Show VII” Exhibition Guide. The Al-Ma’mal Foundation for Contemporary Art, presented within the framework of the second Qalandiya International in 2014, edited by Anthony Downey, Basak Senova, and Stephanie Bailey, Ibraaz.org. , 2014
“The Jerusalem Show VII” Exhibition Guide. The Al-Ma’mal Foundation for Contemporary Art, presen... more “The Jerusalem Show VII” Exhibition Guide. The Al-Ma’mal Foundation for Contemporary Art, presented within the framework of the second Qalandiya International in 2014.
This online catalogue was produced in collaboration with Ibraaz, media partner of The Jerusalem Show VII: FRACTURES, and was edited by Anthony Downey, Basak Senova, and Stephanie Bailey. It was designed by Basak Senova and Begum Satiroglu, with the online management of Ajay Hothi.
FRACTURES was composed of seven chapters—“Intensities,” “Details,” “Intervals,” “Measures,” “Lines,” “Writing,” and “Fabric”—presented simultaneously at 12 venues in Jerusalem’s old city.
The main venue was at the Al-Ma’mal Foundation’s building, a refurbished tile factory near the New Gate. The other sites were three hammams from the Ottoman period: Hammam Sitna Mariam, Hammam el Ein, and Hammam al Shifa; the Patriarch’s Pool; two Mameluke period buildings: the Khaldi Library; and the African Cultural Center. Other places were also used through the collaboration of individuals and institutions including the Swedish Christian Study Center, Anadiel Gallery, Arab Catholic Scout Center, Austrian Hospice, Nicola Zaphirades Shop, and Saint Francis Shop.
Participating artists of The Jerusalem Show VII: FRACTURES are: Adel Abidin (Iraq/Finland), Bashar Alhroub (Palestine), Benji Boyadgian (Palestine), Ceren Oykut (Turkey), Cevdet Erek (Turkey), Conor McGrady (Ireland), Gülsün Karamustafa (Turkey), Hera Büyüktaşçıyan (Turkey), Hiraki Sawa (UK/Japan), Jesper Just (Denmark/USA), Jonathan Loppin (France), Jumana Manna (Palestine), Majd Abdel Hamid (Palestine), Noor Abuarafeh (Palestine), Paul Devens (The Netherlands), Pekka Niittyvirta (Finland), Raqs Media Collective (India), Rula Halawani (Palestine), Sille Storihle (Norway/Germany), Tom Nicholson (Australia), Uriel Orlow (Switzerland/UK), and Zehra Şonya (Cyprus).
Participating artists of the Fabric Chapter with artist books are Anita Di Bianco (USA), Banu Cennetoğlu (Turkey), Cevdet Erek (Turkey), Ciprian Homorodean (Romania), Daniel Knorr (Romania/USA), Hani Amra (Palestine), Jill Magid (USA), Maxime Hourani (Lebanon), Tom Nicholson (Australia), Raqs Media Collective (India), and Uriel Orlow (Switzerland/UK).
In the Line Chapter with the screenings Anne Barlow (Scotland/USA) presents works by Basim Magdy (Egypt), Brad Butler (UK), Karen Mirza (UK), Luiz Roque (Brazil), Minouk Lim (South Korea), Tintin Wulia (Indonesia/Australia),and Wura-Natasha Ogunji (Nigeria/USA); Yazid Anani (Palestine) presents a YouTube selection featuring notorious works by Carolee Schneemann (USA), Marie Menken (USA), Maya Deren (Ukraine/USA), Alexander Hammid (Austria/USA), William K.L. Dickson (UK), William Heise (USA), and James White (USA); Branko Franceschi (Croatia) presents works by Boris Cvjetanović (Croatia), Ibro Hasanović (Bosnia and Herzegovina), Željko Kipke (Croatia), Zlatko Kopljar (Croatia), and Mladen Miljanović (Bosnia and Herzegovina); and Basak Senova (Turkey) presents works by Ali Cherri (Lebanon), Fatma Bucak (Turkey), Hiraki Sawa (Japan/UK), and Yane Calovski (The Republic of Macedonia).
The Jerusalem Show VII: FRACTURES Children’s Activity Book is designed and illustrated by Erhan M... more The Jerusalem Show VII: FRACTURES Children’s Activity Book
is designed and illustrated by Erhan Muratoğlu, written by Basak Senova
and Tom Nicholson, translated by Jack Persekian, supported by Kamel
Lazaar Foundation, 2014.
Also downloadable on ibraaz.org: https://www.ibraaz.org/publications/6
Curated_by: Spinning on An Axis. Benji Boyadgian and Yane Calovski, 2014
Senova, Basak and Stephane Ackermann. 2014. “Spinning on An Axis. Benji Boyadgian and Yane Calovs... more Senova, Basak and Stephane Ackermann. 2014. “Spinning on An Axis. Benji Boyadgian and Yane Calovski”. Curated by_Vienna: Century of the Bed. Eds. Manisha Jothady. MVD Austria and Bundeskanzleramt, Austria. p. 4-6. ISBN 978-3-86984-528-9
A short curatorial text on the exhibition "Spinning on an Axis" that took place at MAM Mario Mauroner Contemporary Art in the context of "curated by_vienna: The Century of the Bed.
Helsinki Photography Biennial Edition HPB14 Ecological Fallacy | Objects on Oil CONTENTS, 2014
Helsinki Photography Biennial is a series of events organized by the Union of Artist Photographer... more Helsinki Photography Biennial is a series of events organized by the Union of Artist Photographers in the spring of even years, which showcases Finnish and international photographic art. In 2014 the biennial is produced by the Union of Artist Photographers and Photographic Gallery Hippolyte in collaboration with the Finnish Museum of Photography. The special issue follows the structure of the biennial: Ecological Fallacy,
curated by Basak ¸Senova (with a special section co-curated by Branko Franceschi) begins after the foreword, followed by the artistic-scientific section by Mustarinda, called Objects on Oil. The sections approach the theme of the biennial from slightly different points of view, and are in dialogue on many levels. The schedule of the biennial, along with the exhibitions and events locations, as well as the authors of the
texts and the organizers, are introduced at the end.
Senova, Basak. 2013. “Scientific Inquiries/Bilimsel Sorgulamalar”. "Meridians/Meridyenler. Ali Ta... more Senova, Basak. 2013. “Scientific Inquiries/Bilimsel Sorgulamalar”. "Meridians/Meridyenler. Ali Taptık.”, “The Transparent Beehive Cabinet/Transparan Arı Kovanı. AnneMarie Maes”, “Higher Education Industrial Complex/Yükseköğretim Endüstriyel Kompleksi. Burak Arikan”, “I/P/O-cle. Candas Sisman”, “Inherent Light/Özündeki Işık. Hubert Czerepok”, “Public Education/Kamusal Eğitim. Mushon Zer-Aviv”, “Fuzzy Set/Bulanık Küme. Ilgen Arzik”. “Spatial Decisions/ Mekansal Kararlar”. Scientific Inquiries / Bilimsel Sorgulamalar .Ed. Basak Senova. Koç University, Istanbul.
p. 18-27, 28-39, 40-51, 52-63, 64-73, 74, 87-97, 101-115.
UNCOVERED Nicosia International Airport, 2013
UNCOVERED Nicosia International Airport Book 1. 2013. Eds. Basak Senova and Pavlina Paraskevaidou... more UNCOVERED Nicosia International Airport Book 1. 2013. Eds. Basak Senova and Pavlina Paraskevaidou. Phileleftheros Publishing Group, Nicosia.
It is the book of the UNCOVERED Nicosia International Airport project. The project was initiated in 2010, based on Cypriot artist Vicky Pericleous’s idea for an artistic intervention at Nicosia International Airport, subsequently submitted as a proposal to the UNDP by Özgül Ezgin and Argyro Toumazou in parallel to the peace-negotiations process. Following the initial state with the UN, as two curators, we – Basak Senova and Pavlina Paraskevaidou – were asked to work collaboratively on this project for 2011. After a research and working period of six months, we have developed a long-term research-based art and media project which has input and goals further than the initial idea. In this respect, by acknowledging the UN initiation and their support for the first exhibition, the project articulates itself through three terms – “memory construction,” “commons,” and “control mechanisms” – forming the conceptual springboard for the project, which begins by developing a space of encounter for cultural producers from across the divided island.
The Translation. Ed. Basak Senova and Adrian Notz. Cabaret Voltaire, Zurich, ISBN: 978-3-9524111-0-0, 2013
Tracing the reaction of Dada towards the horrors of war, The Translation project is a modest atte... more Tracing the reaction of Dada towards the horrors of war, The Translation project is a modest attempt to find correspondences in current parallel issues, detected and processed by contemporary artists with different realities and perspectives, who come from and work in different geographies. As this brief description aims to indicate, the focus of the project revolves around ideas of the responses to the axiomatic suppressions of all kinds, rather than as a blunt adjunct to the similar aesthetic and political tendencies of Dada.
In the context of The Translation project, Cabaret Voltaire in Zurich hosted the screening of Cabaret Crusades: The Horror Show File, (2010) by Wael Shawky, followed by an exhibition, which presents The Tower: A Songspiel, (2010) by Chto Delat?.
Senova, Basak, 2013. "The Translation", "The Conversation", "Wael Sawky on Translation", "Setting The Translation at CabareVoltaire". The Translation. Ed. Basak Senova and Adrian Notz. Cabaret Voltaire, Zurich p. 3-4, 5-14, 15-20, 29-30. ISBN: 978-3-9524111-0-0
Graphic Design: Basak Senova
Senova, Basak, 2012. Ed. Basak Senova. Zorlu Center Art Collection, Book for Artists Series, Ista... more Senova, Basak, 2012. Ed. Basak Senova. Zorlu Center Art Collection, Book
for Artists Series, Istanbul. ISBN: 978-605-633320-0-5
Graphic Design: Erhan Muratoglu
Obje’ct is the only book, published in the Zorlu Center Art Collection, Book for Artists Series. It is focusing on the work of artist Yane Calovski, who produced an object for this collection in 2011. Calovski’s conceptual work renders the incompleteness and lapsing of narratives and history. Therefore, in the same manner of an archaeologist, he is obsessed with researching and processing archives. His work is nurtured by the findings and missing links in an archive of any kind; sometimes the work is embodied in personal archives and narratives, and sometimes the work is set up in the public realm. Archives reveal and conceal personal and collective processes. Calovski’s research resonates between these acts of concealing and revealing; thus, his work enchants with the alchemy of turning lapses of memory and missing links into ephemeral sequences of events, situations, feelings, and objects.
Research is the key process for Calovski’s working methodology. His artistic practice covers diverse works that range from drawings, objects, photographs, video, sitespecific installations to performance. Accordingly, his work contextualizes and addresses the function of ideas in various forms of presentation, production, research, and analysis.
Obje’ct presents Yane Calovski in conversation with the editor, accompanied by an extended critical article on Calovski’s work by Astrid Wege and a fictional scenario by Sebastian Cichocki that aims to emphasize the unrecorded aspects of documenting art. The book introduces Calovki’s selected multilayered works since 1998 that have been exhibited at Tate Britain, Manifesta 7, European Kunsthalle, Kunshallen Brands, Baltic Art Center, Museum of Contemporary Art Skopje, and AR/GE Kunst Galleria Museo.
Adel Abidin. Symphony, 2011
This book, edited by Basak Senova, documents different perspectives on Adel Abidin’s four-part pr... more This book, edited by Basak Senova, documents different perspectives on Adel Abidin’s four-part project, which reflects the artist’s reaction to the horrific incident in Baghdad in March 2012, in which young people were stoned to death by religious extremists for emulating the ‘emo’ style. The project is the accumulation of a year long process of research and production with two separate phases. It began to take shape immediately after the incident and emerged first as a two-part project presented in different media. This first phase consisted of a sculpture-based installation and a video installation as part of the artist’s solo exhibition at Arter, Istanbul in November 2012. In the second phase, additional research led Abidin to discover fresh sources and new points of departure, bringing him deeper into his subject. Then he presented the second and final phase of the journey in a different location, in Lawrie Shabibi, Dubai. In this book, writers and curators such as Nat Muller, Arie Amaya-Akkermans, Daniella
Rose King, Didem Yazici, and the curator of the project, Basak Senova discuss and respond to this specific project. Through different viewpoints, they focus on Abidin’s artistic approach and working methodology, the works that the project inhabits, the curatorial approach and spatial design of the presentation along with the conceptual basis in a critical framework. The book starts with an interview with Abidin which reveals the evolution of his motives, ideas, and objectives.
The publication coincides with an exhibition of the same title by Adel Abidin and curated by Basak Senova at Lawrie Shabibi, Dubai 18 March - 18 April 2013. Copyright © 2011 Lawrie Shabibi, writers and artist.
Copy Editing and Proofreading: Abeer Seikaly; Graphic Design Joud Malhas; and Photography: Pekka Niittyvirta.
![Research paper thumbnail of Excerpts from the book "The Move" [only pages written by Basak Senova with the permission of the publisher, Arter]](https://attachments.academia-assets.com/63053418/thumbnails/1.jpg)
](The Move | Hamle , 2011
Edited by Basak Senova and Ilkay Baliç, designed by Esen Karol, the book accompanies "The Move" e... more Edited by Basak Senova and Ilkay Baliç, designed by Esen Karol, the book accompanies "The Move" exhibition at Arter featured Başak Şenova's conceptual framework text along with essays by Mia Jankowicz, Kerstin Stakemeier and Didem Yazici. The book also includes dialogues between the curator and each artist, Adel Abidin, Rosa Barba and Runa Islam as well as stills from and photos of the works in the exhibition.The book follows the curatorial methodology of the exhibition which was based on a calculated structure that extended its territories by referring to the game of chess.
Excerpts from Hamle | The Move book [only pages written by Basak Senova with the permission of the publisher, Arter.
"Soft Borders" was the main theme of the 4th Upgrade! International Conference & Festival on New ... more "Soft Borders" was the main theme of the 4th Upgrade! International Conference & Festival on New Media Art, that took place in São Paulo, Brazil, October 18-21, 2010 at UNESP, Campus São Paulo, Brazil 2010. Both the exhibition and the book has developed as the outcome of the 4th Upgrade! International gathering.
EXPOSIÇÃO SEÇÃO INTERNACIONAL
curadoria de Basak Senova e Elena Veljanovska
EXHIBITION INTERNATIONAL SECTION
curated by Basak Senova and Elena Veljanovska
October. 2010
4o Congresso & Festival de Artes de Novas Mídias da Upgrade! International Network 4th Upgrade! International Network Conference and Festival on New Media Art
Galeria de Arte da UNESP, Campus São Paulo, São Paulo, Brazil
Basak Senova and Burak Arıkan were supported by the Turkish Ministry of Foreign Affairs and Canan Pak. http://www.softborders.art.br/festival
Lapses/*4. 2009. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial. Ed. Basak Senova Trans. Nusin Odelli, First Vol. IKSV. Istanbul, 2010
Lapses/*4. 2010. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition o... more Lapses/*4. 2010. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial. Ed. Basak Senova. Trans. Nusin Odelli, First Vol. IKSV. Istanbul
The “Lapses” project featured a four volume book series. The first 3 volumes was an attempt to document the development phase of the project by congregating our sources, projects, plans, experiences and thoughts. It certainly is not a book series on how to read the works, but evidence of the process which has shaped the project. This process was nurtured by multiple fields such as philosophy, literature, film studies, communication studies, psychology and sociology, and has been inspired by various sources such as the writings of Paul Virilio, Jalal Toufic, William Chittick, Alex Galloway, Italo Calvino, Jorge Luis Borges and Susan Sontag.
The first volume explored the conceptual framework along with the artists, the artworks, the spatial design of the Pavilion and with insights on the overall production process. The notion of lapse can be read from two perspectives: the act of detecting lapses and the faculty of experiencing a lapse. In this respect, this volume was a tool to activate this act, while the second volume, edited by Jalal Toufic, discussed the phases and the perception of this experience in detail from a philosophical point of view. The third volume presents four case studies –indicating the networks related to the project, which are processed and discussed in the framework of the “Lapses” project. Finbally, the fourth volume intends to document the realization of the project in Venice through images and brief feedbacks from curators, artists, architects, writers, and academicians who have visited the pavilion. These feedbacks reflected on and respond to the works, artists, their methodologies, curatorial approach, and conceptual basis, along with the statement of the pavilion as a structure, spatial indications, and discursive aspects in a critical framework. The entire project was built on the questionings of memory. The last book carried the intention of recording the afterimage of the Lapses project as the last memory of the pavilion, which no longer exists.
Lapses/*3. 2009. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition o... more Lapses/*3. 2009. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial. Ed. Basak Senova. Trans. Nusin Odelli, First Vol. IKSV. Istanbul.
The “Lapses” project featured a four volume book series. The first three volumes was an attempt to document the development phase of the project by congregating our sources, projects, plans, experiences and thoughts. It certainly is not a book series on how to read the works, but evidence of the process which has shaped the project. This process was nurtured by multiple fields such as philosophy, literature, film studies, communication studies, psychology and sociology, and has been inspired by various sources such as the writings of Paul Virilio, Jalal Toufic, William Chittick, Alex Galloway, Italo Calvino, Jorge Luis Borges and Susan Sontag.
The first volume explored the conceptual framework along with the artists, the artworks, the spatial design of the Pavilion and with insights on the overall production process. The notion of lapse can be read from two perspectives: the act of detecting lapses and the faculty of experiencing a lapse. In this respect, this volume was a tool to activate this act, while the second volume, edited by Jalal Toufic, discussed the phases and the perception of this experience in detail from a philosophical point of view. The third volume presents four case studies –indicating the networks related to the project, which are processed and discussed in the framework of the “Lapses” project. Finally, the fourth volume intends to document the realization of the project in Venice through images and brief feedbacks from curators, artists, architects, writers, and academicians who have visited the pavilion. These feedbacks reflected on and respond to the works, artists, their methodologies, curatorial approach, and conceptual basis, along with the statement of the pavilion as a structure, spatial indications, and discursive aspects in a critical framework. The entire project was built on the questionings of memory. The last book carried the intention of recording the afterimage of the Lapses project as the last memory of the pavilion, which no longer exists.
The “Lapses” project featured a four volume book series. The first 3 volumes was an attempt to document the development phase of the project by congregating our sources, projects, plans, experiences and thoughts. It certainly is not a book series on how to read the works, but evidence of the process which has shaped the project. This process was nurtured by multiple fields such as philosophy, literature, film studies, communication studies, psychology and sociology, and has been inspired by various sources such as the writings of Paul Virilio, Jalal Toufic, William Chittick, Alex Galloway, Italo Calvino, Jorge Luis Borges and Susan Sontag.
The first volume explored the conceptual framework along with the artists, the artworks, the spatial design of the Pavilion and with insights on the overall production process. The notion of lapse can be read from two perspectives: the act of detecting lapses and the faculty of experiencing a lapse. In this respect, this volume was a tool to activate this act, while the second volume, edited by Jalal Toufic, discussed the phases and the perception of this experience in detail from a philosophical point of view. The third volume presents four case studies –indicating the networks related to the project, which are processed and discussed in the framework of the “Lapses” project. Finally, the fourth volume intends to document the realization of the project in Venice through images and brief feedbacks from curators, artists, architects, writers, and academicians who have visited the pavilion. These feedbacks reflected on and respond to the works, artists, their methodologies, curatorial approach, and conceptual basis, along with the statement of the pavilion as a structure, spatial indications, and discursive aspects in a critical framework. The entire project was built on the questionings of memory. The last book carried the intention of recording the afterimage of the Lapses project as the last memory of the pavilion, which no longer exists.
Sediment, 2024
This publication captures the process and the content of the 'Sediment' project. Developed by Dic... more This publication captures the process and the content of the 'Sediment' project. Developed by Dicle Bestas and Basak Senova, 'Sediment' reflects on the impact of socio-political, ecological, and economic issues on the environments we inhabit. The project's starting point was based on comprehensive curatorial research in the archive of Loading, a non-profit art space focused on Diyarbakir and its surrounding areas in southeastern Turkey, which provides a layered perspective on the local art scene along with the socio-political and environmental issues affecting the Kurdish-inhabited regions. The strong positioning of women artists in the archive shaped the project. The Sediment exhibition, documented in this publication, is one of the research outcomes. The exhibition brought together names from the archive and two artists from Graz and Skopje by including locations from the Hevsel Gardens in the Tigris river basin to the ancient city of Hasankeyf, as well as the rivers Vardar and Mur.
Timeless Curiosities, 2024
In her text, Basak Senova reflects on the evolution of digital culture, tracing her personal and ... more In her text, Basak Senova reflects on the evolution of digital culture, tracing her personal and professional journey from the early days of the internet in Türkiye to her involvement in curating digital art projects. She discusses the profound impact of technological advancements on art production, perception, and interaction, highlighting the role of interactivity, archives, and new media in shaping contemporary art. Senova also connects the themes of urgency, databases, and technological adaptation with the works presented in the "Timeless Curiosities" exhibition, underscoring the ongoing transformation of our perceptions in the digital age.
This text was written for the publication of the "Timeless Curiosities" exhibition, curated by Nilay Dursun and Ümit Mesci, at Istanbul Modern in 2024. Edited by Alican Kutlay, the publication was released by Istanbul Modern, Istanbul, under ISBN 978-975-6167-96-0.
Massimo Ricciardo: Encounters in an Archive. Objects of Migration / Photo-Objects of Art History, 2023
"Forking Paths. Reading an Exhibition as a Curatorial Act ". Massimo Ricciardo: Encounters in an ... more "Forking Paths. Reading an Exhibition as a Curatorial Act ". Massimo Ricciardo: Encounters in an Archive. Objects of Migration / Photo-Objects of Art History, ed. by Costanza Caraffa and Almut Goldhahn.
ISBN : 9788897753902
Navigating themes of migration presents challenges for artists and curators, from deciphering complex socio-political contexts to avoiding stereotypical assumptions. Balancing sensitivity to personal experiences is crucial to prevent normalization of hardships, discrimination, and indifference. Despite numerous artistic initiatives, maintaining the original intent can be difficult. However, projects that achieve a discerning and critical approach effectively highlight the urgency of the topic. Massimo Ricciardo’s exhibition "Objects of Migration, Photo-Objects of Art History: Encounters in an Archive," curated by Constanza Carafa and Almut Goldhahn at the Kunsthistorisches Institut in Florenz—Max-Planck-Institut's Photothek, exemplifies this effort.
Art Rethinks Transformation for Training was coordinated by Roberto Albergoni and Peter M. Boenis... more Art Rethinks Transformation for Training was coordinated by Roberto Albergoni and Peter M. Boenisch. Funded by the Erasmus+ Programme of the European Union, ART4T was organised and promoted by MeNO (Italy) in partnership with Aarhus University (Denmark). ART4T explored innovative non-formal training methodologies in the field of interdisciplinary contemporary art, based on sharing the process of artistic creation between teachers and learners. To foster innovation, ART4T involved training sessions and production-oriented learning activities founded on shared creative processes. The programme followed experimental educational models and tools. The training programme ran both in Italy and Denmark through three interconnected curricula, which were based on artistic research, production, and practices with two artists-Gry Worre Hallberg/Sisters Hope (Copenhagen) and Egle Oddo (Palermo/Helsinki), and a curator-Başak Şenova (Istanbul/ Vienna). The programme started with online (Zoom) planning meetings among the coordinators and the mentors. The call for ART4T, which attracted a high number of applications, followed these meetings and consequently 20 participants were selected. The first phase of the training also started with online (Zoom) lectures and workshops, including the hybrid Presentation of ART4T Project at Chiesa dei SS. Euno e Giuliano and simultaneously online (Zoom) on 25th May 2022. Then, the second phase was realised in Palermo (between 14-25 September 2022) with workshops, lectures, field research, assignments, activities, workshops, performances, and an exhibition. ART4T produced three types of artistic outcomes in Palermo: (i) performances of the mentor artists: Gry Worre Hallberg/Sisters Hope and Egle Oddo; (ii) performances of the participants in two venues: Palazzo Sant'Elia and Chiesa dei Santi Euno e Giuliano; (iii) an exhibition: "Liquid Saturation" took place at Palazzo Sant'Elia in Palermo under the coverage of the BAM-Biennale Arcipelago Mediterraneo, curated by Andrea Cusumano (September 2022-January 2023). The third phase started with online (Zoom) lectures in preparation for workshops in Denmark. In Denmark, ART4T was realised sequentially in two cities: Copenhagen and Aarhus. In Copenhagen, Gry Worre Hallberg/Sisters Hope organised a workshop at Sisters Hope Home, dedicated to reflective intensification. Then in Aarhus, Egle Oddo and Başak Şenova conducted workshops and peer-to-peer tutorials. Aside from these scheduled training secessions some expeditions, lectures, and workshops were presented by Peter M. Boenisch, Miranda Laurence, and Barbara Simonsen in Aarhus. A public programme, designed by the participants, took place at Aarhus University on 25th January 2023. Now, this publication concludes ART4T by documenting the process through the accumulation of notes, dialogues, and observations by the mentors and the participants. Unfortunately, due to budget limitations, the visuals-which are the integral documents of the entire process-were not included in this publication. If possible, future iterations will hopefully compensate for this important component. ART4T has been a productive journey. It has been a learning curve not only for the participants, but also for the mentors and the coordinators. Diverse perceptions, responses and actions for political, ecological, social, cultural, physical, and psychological inquiries have led the programme to become a rich resource for collective and creative ways of producing.
di'van | A Journal of Accounts. Art | Culture | Theory. , 2018
An article on Heba Y. Amin’s Project Operation Sunken Sea” Senova, Basak. 2018. “Flipping the H... more An article on Heba Y. Amin’s Project Operation Sunken Sea”
Senova, Basak. 2018. “Flipping the History: A Collection of Notes and Quote Responses on Heba Amin’s Project Operation Sunken Sea”. di'van | A Journal of Accounts. Art | Culture | Theory. No 4, p. 54-62. ISSN 2207-1563
The Lines of Passage (in medias res) , 2016
The Lines of Passage (in medias res) book accompanied the exhibition which demonstrated a variety... more The Lines of Passage (in medias res) book accompanied the exhibition which demonstrated a variety of connections among narratives of memory and expressions of differing intensities and approaches through artworks selected from the permanent collection of the Elgiz Museum in Istanbul.
ISBN: 978-605-62509-1-0
The artists selected from the collection were Pinar Yolaçan, Oleg Dou, Cindy Sherman, Azade Köker, Bedri Baykam, Bengü Karaduman, Ferhat Özgür, Gilbert & George, Hale Tenger, Tracey Emin, Mateo Mate, Burak Delier, Gülsün Karamustafa, İhsan Oturmak, Kendell Geers, Komet, Nan Goldin, Nilbar Güres, Özlem Günyol, Rebecca Horn, Tomur Atagök, Veljko Zejak, Ola Kolehmainen, Benji Boyadgian and Hera Büyüktasçiyan
Lines of Passage (in medias res) formed a constellation reflecting on the trajectories of memory and perception. Within the exhibition, potential encounters between the selected artworks and spaces designated an ever-changing dynamic which was based on personal narratives, consciousness, psychological and cognitive recognition. The exhibition suggested various paths of understanding through its scenography and potential dialogues of historically and politically charged geographies. It was nurtured by a selection of core works encompassing a cross-section of narratives. Each work in the exhibition connected to another with non-linear narratives employing the in medias res, either through content-based or form-based links.
We Are All In This Alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial., 2015
The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of... more The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial.
Senova, Basak. 2015. “We are all in this alone”, “A (reconstructed) conversation, “The works and the space”. We are all in this alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial. Ed. Basak Senova. National Gallery of Macedonia, Skopje. p.13-14, 23-29, 87-89. ISBN 978-608-4693-58-1
“The Jerusalem Show VII” Exhibition Guide. The Al-Ma’mal Foundation for Contemporary Art, presented within the framework of the second Qalandiya International in 2014, edited by Anthony Downey, Basak Senova, and Stephanie Bailey, Ibraaz.org. , 2014
“The Jerusalem Show VII” Exhibition Guide. The Al-Ma’mal Foundation for Contemporary Art, presen... more “The Jerusalem Show VII” Exhibition Guide. The Al-Ma’mal Foundation for Contemporary Art, presented within the framework of the second Qalandiya International in 2014.
This online catalogue was produced in collaboration with Ibraaz, media partner of The Jerusalem Show VII: FRACTURES, and was edited by Anthony Downey, Basak Senova, and Stephanie Bailey. It was designed by Basak Senova and Begum Satiroglu, with the online management of Ajay Hothi.
FRACTURES was composed of seven chapters—“Intensities,” “Details,” “Intervals,” “Measures,” “Lines,” “Writing,” and “Fabric”—presented simultaneously at 12 venues in Jerusalem’s old city.
The main venue was at the Al-Ma’mal Foundation’s building, a refurbished tile factory near the New Gate. The other sites were three hammams from the Ottoman period: Hammam Sitna Mariam, Hammam el Ein, and Hammam al Shifa; the Patriarch’s Pool; two Mameluke period buildings: the Khaldi Library; and the African Cultural Center. Other places were also used through the collaboration of individuals and institutions including the Swedish Christian Study Center, Anadiel Gallery, Arab Catholic Scout Center, Austrian Hospice, Nicola Zaphirades Shop, and Saint Francis Shop.
Participating artists of The Jerusalem Show VII: FRACTURES are: Adel Abidin (Iraq/Finland), Bashar Alhroub (Palestine), Benji Boyadgian (Palestine), Ceren Oykut (Turkey), Cevdet Erek (Turkey), Conor McGrady (Ireland), Gülsün Karamustafa (Turkey), Hera Büyüktaşçıyan (Turkey), Hiraki Sawa (UK/Japan), Jesper Just (Denmark/USA), Jonathan Loppin (France), Jumana Manna (Palestine), Majd Abdel Hamid (Palestine), Noor Abuarafeh (Palestine), Paul Devens (The Netherlands), Pekka Niittyvirta (Finland), Raqs Media Collective (India), Rula Halawani (Palestine), Sille Storihle (Norway/Germany), Tom Nicholson (Australia), Uriel Orlow (Switzerland/UK), and Zehra Şonya (Cyprus).
Participating artists of the Fabric Chapter with artist books are Anita Di Bianco (USA), Banu Cennetoğlu (Turkey), Cevdet Erek (Turkey), Ciprian Homorodean (Romania), Daniel Knorr (Romania/USA), Hani Amra (Palestine), Jill Magid (USA), Maxime Hourani (Lebanon), Tom Nicholson (Australia), Raqs Media Collective (India), and Uriel Orlow (Switzerland/UK).
In the Line Chapter with the screenings Anne Barlow (Scotland/USA) presents works by Basim Magdy (Egypt), Brad Butler (UK), Karen Mirza (UK), Luiz Roque (Brazil), Minouk Lim (South Korea), Tintin Wulia (Indonesia/Australia),and Wura-Natasha Ogunji (Nigeria/USA); Yazid Anani (Palestine) presents a YouTube selection featuring notorious works by Carolee Schneemann (USA), Marie Menken (USA), Maya Deren (Ukraine/USA), Alexander Hammid (Austria/USA), William K.L. Dickson (UK), William Heise (USA), and James White (USA); Branko Franceschi (Croatia) presents works by Boris Cvjetanović (Croatia), Ibro Hasanović (Bosnia and Herzegovina), Željko Kipke (Croatia), Zlatko Kopljar (Croatia), and Mladen Miljanović (Bosnia and Herzegovina); and Basak Senova (Turkey) presents works by Ali Cherri (Lebanon), Fatma Bucak (Turkey), Hiraki Sawa (Japan/UK), and Yane Calovski (The Republic of Macedonia).
The Jerusalem Show VII: FRACTURES Children’s Activity Book is designed and illustrated by Erhan M... more The Jerusalem Show VII: FRACTURES Children’s Activity Book
is designed and illustrated by Erhan Muratoğlu, written by Basak Senova
and Tom Nicholson, translated by Jack Persekian, supported by Kamel
Lazaar Foundation, 2014.
Also downloadable on ibraaz.org: https://www.ibraaz.org/publications/6
Curated_by: Spinning on An Axis. Benji Boyadgian and Yane Calovski, 2014
Senova, Basak and Stephane Ackermann. 2014. “Spinning on An Axis. Benji Boyadgian and Yane Calovs... more Senova, Basak and Stephane Ackermann. 2014. “Spinning on An Axis. Benji Boyadgian and Yane Calovski”. Curated by_Vienna: Century of the Bed. Eds. Manisha Jothady. MVD Austria and Bundeskanzleramt, Austria. p. 4-6. ISBN 978-3-86984-528-9
A short curatorial text on the exhibition "Spinning on an Axis" that took place at MAM Mario Mauroner Contemporary Art in the context of "curated by_vienna: The Century of the Bed.
Helsinki Photography Biennial Edition HPB14 Ecological Fallacy | Objects on Oil CONTENTS, 2014
Helsinki Photography Biennial is a series of events organized by the Union of Artist Photographer... more Helsinki Photography Biennial is a series of events organized by the Union of Artist Photographers in the spring of even years, which showcases Finnish and international photographic art. In 2014 the biennial is produced by the Union of Artist Photographers and Photographic Gallery Hippolyte in collaboration with the Finnish Museum of Photography. The special issue follows the structure of the biennial: Ecological Fallacy,
curated by Basak ¸Senova (with a special section co-curated by Branko Franceschi) begins after the foreword, followed by the artistic-scientific section by Mustarinda, called Objects on Oil. The sections approach the theme of the biennial from slightly different points of view, and are in dialogue on many levels. The schedule of the biennial, along with the exhibitions and events locations, as well as the authors of the
texts and the organizers, are introduced at the end.
Senova, Basak. 2013. “Scientific Inquiries/Bilimsel Sorgulamalar”. "Meridians/Meridyenler. Ali Ta... more Senova, Basak. 2013. “Scientific Inquiries/Bilimsel Sorgulamalar”. "Meridians/Meridyenler. Ali Taptık.”, “The Transparent Beehive Cabinet/Transparan Arı Kovanı. AnneMarie Maes”, “Higher Education Industrial Complex/Yükseköğretim Endüstriyel Kompleksi. Burak Arikan”, “I/P/O-cle. Candas Sisman”, “Inherent Light/Özündeki Işık. Hubert Czerepok”, “Public Education/Kamusal Eğitim. Mushon Zer-Aviv”, “Fuzzy Set/Bulanık Küme. Ilgen Arzik”. “Spatial Decisions/ Mekansal Kararlar”. Scientific Inquiries / Bilimsel Sorgulamalar .Ed. Basak Senova. Koç University, Istanbul.
p. 18-27, 28-39, 40-51, 52-63, 64-73, 74, 87-97, 101-115.
UNCOVERED Nicosia International Airport, 2013
UNCOVERED Nicosia International Airport Book 1. 2013. Eds. Basak Senova and Pavlina Paraskevaidou... more UNCOVERED Nicosia International Airport Book 1. 2013. Eds. Basak Senova and Pavlina Paraskevaidou. Phileleftheros Publishing Group, Nicosia.
It is the book of the UNCOVERED Nicosia International Airport project. The project was initiated in 2010, based on Cypriot artist Vicky Pericleous’s idea for an artistic intervention at Nicosia International Airport, subsequently submitted as a proposal to the UNDP by Özgül Ezgin and Argyro Toumazou in parallel to the peace-negotiations process. Following the initial state with the UN, as two curators, we – Basak Senova and Pavlina Paraskevaidou – were asked to work collaboratively on this project for 2011. After a research and working period of six months, we have developed a long-term research-based art and media project which has input and goals further than the initial idea. In this respect, by acknowledging the UN initiation and their support for the first exhibition, the project articulates itself through three terms – “memory construction,” “commons,” and “control mechanisms” – forming the conceptual springboard for the project, which begins by developing a space of encounter for cultural producers from across the divided island.
The Translation. Ed. Basak Senova and Adrian Notz. Cabaret Voltaire, Zurich, ISBN: 978-3-9524111-0-0, 2013
Tracing the reaction of Dada towards the horrors of war, The Translation project is a modest atte... more Tracing the reaction of Dada towards the horrors of war, The Translation project is a modest attempt to find correspondences in current parallel issues, detected and processed by contemporary artists with different realities and perspectives, who come from and work in different geographies. As this brief description aims to indicate, the focus of the project revolves around ideas of the responses to the axiomatic suppressions of all kinds, rather than as a blunt adjunct to the similar aesthetic and political tendencies of Dada.
In the context of The Translation project, Cabaret Voltaire in Zurich hosted the screening of Cabaret Crusades: The Horror Show File, (2010) by Wael Shawky, followed by an exhibition, which presents The Tower: A Songspiel, (2010) by Chto Delat?.
Senova, Basak, 2013. "The Translation", "The Conversation", "Wael Sawky on Translation", "Setting The Translation at CabareVoltaire". The Translation. Ed. Basak Senova and Adrian Notz. Cabaret Voltaire, Zurich p. 3-4, 5-14, 15-20, 29-30. ISBN: 978-3-9524111-0-0
Graphic Design: Basak Senova
Senova, Basak, 2012. Ed. Basak Senova. Zorlu Center Art Collection, Book for Artists Series, Ista... more Senova, Basak, 2012. Ed. Basak Senova. Zorlu Center Art Collection, Book
for Artists Series, Istanbul. ISBN: 978-605-633320-0-5
Graphic Design: Erhan Muratoglu
Obje’ct is the only book, published in the Zorlu Center Art Collection, Book for Artists Series. It is focusing on the work of artist Yane Calovski, who produced an object for this collection in 2011. Calovski’s conceptual work renders the incompleteness and lapsing of narratives and history. Therefore, in the same manner of an archaeologist, he is obsessed with researching and processing archives. His work is nurtured by the findings and missing links in an archive of any kind; sometimes the work is embodied in personal archives and narratives, and sometimes the work is set up in the public realm. Archives reveal and conceal personal and collective processes. Calovski’s research resonates between these acts of concealing and revealing; thus, his work enchants with the alchemy of turning lapses of memory and missing links into ephemeral sequences of events, situations, feelings, and objects.
Research is the key process for Calovski’s working methodology. His artistic practice covers diverse works that range from drawings, objects, photographs, video, sitespecific installations to performance. Accordingly, his work contextualizes and addresses the function of ideas in various forms of presentation, production, research, and analysis.
Obje’ct presents Yane Calovski in conversation with the editor, accompanied by an extended critical article on Calovski’s work by Astrid Wege and a fictional scenario by Sebastian Cichocki that aims to emphasize the unrecorded aspects of documenting art. The book introduces Calovki’s selected multilayered works since 1998 that have been exhibited at Tate Britain, Manifesta 7, European Kunsthalle, Kunshallen Brands, Baltic Art Center, Museum of Contemporary Art Skopje, and AR/GE Kunst Galleria Museo.
Adel Abidin. Symphony, 2011
This book, edited by Basak Senova, documents different perspectives on Adel Abidin’s four-part pr... more This book, edited by Basak Senova, documents different perspectives on Adel Abidin’s four-part project, which reflects the artist’s reaction to the horrific incident in Baghdad in March 2012, in which young people were stoned to death by religious extremists for emulating the ‘emo’ style. The project is the accumulation of a year long process of research and production with two separate phases. It began to take shape immediately after the incident and emerged first as a two-part project presented in different media. This first phase consisted of a sculpture-based installation and a video installation as part of the artist’s solo exhibition at Arter, Istanbul in November 2012. In the second phase, additional research led Abidin to discover fresh sources and new points of departure, bringing him deeper into his subject. Then he presented the second and final phase of the journey in a different location, in Lawrie Shabibi, Dubai. In this book, writers and curators such as Nat Muller, Arie Amaya-Akkermans, Daniella
Rose King, Didem Yazici, and the curator of the project, Basak Senova discuss and respond to this specific project. Through different viewpoints, they focus on Abidin’s artistic approach and working methodology, the works that the project inhabits, the curatorial approach and spatial design of the presentation along with the conceptual basis in a critical framework. The book starts with an interview with Abidin which reveals the evolution of his motives, ideas, and objectives.
The publication coincides with an exhibition of the same title by Adel Abidin and curated by Basak Senova at Lawrie Shabibi, Dubai 18 March - 18 April 2013. Copyright © 2011 Lawrie Shabibi, writers and artist.
Copy Editing and Proofreading: Abeer Seikaly; Graphic Design Joud Malhas; and Photography: Pekka Niittyvirta.
The Move | Hamle , 2011
Edited by Basak Senova and Ilkay Baliç, designed by Esen Karol, the book accompanies "The Move" e... more Edited by Basak Senova and Ilkay Baliç, designed by Esen Karol, the book accompanies "The Move" exhibition at Arter featured Başak Şenova's conceptual framework text along with essays by Mia Jankowicz, Kerstin Stakemeier and Didem Yazici. The book also includes dialogues between the curator and each artist, Adel Abidin, Rosa Barba and Runa Islam as well as stills from and photos of the works in the exhibition.The book follows the curatorial methodology of the exhibition which was based on a calculated structure that extended its territories by referring to the game of chess.
Excerpts from Hamle | The Move book [only pages written by Basak Senova with the permission of the publisher, Arter.
"Soft Borders" was the main theme of the 4th Upgrade! International Conference & Festival on New ... more "Soft Borders" was the main theme of the 4th Upgrade! International Conference & Festival on New Media Art, that took place in São Paulo, Brazil, October 18-21, 2010 at UNESP, Campus São Paulo, Brazil 2010. Both the exhibition and the book has developed as the outcome of the 4th Upgrade! International gathering.
EXPOSIÇÃO SEÇÃO INTERNACIONAL
curadoria de Basak Senova e Elena Veljanovska
EXHIBITION INTERNATIONAL SECTION
curated by Basak Senova and Elena Veljanovska
October. 2010
4o Congresso & Festival de Artes de Novas Mídias da Upgrade! International Network 4th Upgrade! International Network Conference and Festival on New Media Art
Galeria de Arte da UNESP, Campus São Paulo, São Paulo, Brazil
Basak Senova and Burak Arıkan were supported by the Turkish Ministry of Foreign Affairs and Canan Pak. http://www.softborders.art.br/festival
Lapses/*4. 2009. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial. Ed. Basak Senova Trans. Nusin Odelli, First Vol. IKSV. Istanbul, 2010
Lapses/*4. 2010. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition o... more Lapses/*4. 2010. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial. Ed. Basak Senova. Trans. Nusin Odelli, First Vol. IKSV. Istanbul
The “Lapses” project featured a four volume book series. The first 3 volumes was an attempt to document the development phase of the project by congregating our sources, projects, plans, experiences and thoughts. It certainly is not a book series on how to read the works, but evidence of the process which has shaped the project. This process was nurtured by multiple fields such as philosophy, literature, film studies, communication studies, psychology and sociology, and has been inspired by various sources such as the writings of Paul Virilio, Jalal Toufic, William Chittick, Alex Galloway, Italo Calvino, Jorge Luis Borges and Susan Sontag.
The first volume explored the conceptual framework along with the artists, the artworks, the spatial design of the Pavilion and with insights on the overall production process. The notion of lapse can be read from two perspectives: the act of detecting lapses and the faculty of experiencing a lapse. In this respect, this volume was a tool to activate this act, while the second volume, edited by Jalal Toufic, discussed the phases and the perception of this experience in detail from a philosophical point of view. The third volume presents four case studies –indicating the networks related to the project, which are processed and discussed in the framework of the “Lapses” project. Finbally, the fourth volume intends to document the realization of the project in Venice through images and brief feedbacks from curators, artists, architects, writers, and academicians who have visited the pavilion. These feedbacks reflected on and respond to the works, artists, their methodologies, curatorial approach, and conceptual basis, along with the statement of the pavilion as a structure, spatial indications, and discursive aspects in a critical framework. The entire project was built on the questionings of memory. The last book carried the intention of recording the afterimage of the Lapses project as the last memory of the pavilion, which no longer exists.
Lapses/*3. 2009. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition o... more Lapses/*3. 2009. The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial. Ed. Basak Senova. Trans. Nusin Odelli, First Vol. IKSV. Istanbul.
The “Lapses” project featured a four volume book series. The first three volumes was an attempt to document the development phase of the project by congregating our sources, projects, plans, experiences and thoughts. It certainly is not a book series on how to read the works, but evidence of the process which has shaped the project. This process was nurtured by multiple fields such as philosophy, literature, film studies, communication studies, psychology and sociology, and has been inspired by various sources such as the writings of Paul Virilio, Jalal Toufic, William Chittick, Alex Galloway, Italo Calvino, Jorge Luis Borges and Susan Sontag.
The first volume explored the conceptual framework along with the artists, the artworks, the spatial design of the Pavilion and with insights on the overall production process. The notion of lapse can be read from two perspectives: the act of detecting lapses and the faculty of experiencing a lapse. In this respect, this volume was a tool to activate this act, while the second volume, edited by Jalal Toufic, discussed the phases and the perception of this experience in detail from a philosophical point of view. The third volume presents four case studies –indicating the networks related to the project, which are processed and discussed in the framework of the “Lapses” project. Finally, the fourth volume intends to document the realization of the project in Venice through images and brief feedbacks from curators, artists, architects, writers, and academicians who have visited the pavilion. These feedbacks reflected on and respond to the works, artists, their methodologies, curatorial approach, and conceptual basis, along with the statement of the pavilion as a structure, spatial indications, and discursive aspects in a critical framework. The entire project was built on the questionings of memory. The last book carried the intention of recording the afterimage of the Lapses project as the last memory of the pavilion, which no longer exists.
The “Lapses” project featured a four volume book series. The first 3 volumes was an attempt to document the development phase of the project by congregating our sources, projects, plans, experiences and thoughts. It certainly is not a book series on how to read the works, but evidence of the process which has shaped the project. This process was nurtured by multiple fields such as philosophy, literature, film studies, communication studies, psychology and sociology, and has been inspired by various sources such as the writings of Paul Virilio, Jalal Toufic, William Chittick, Alex Galloway, Italo Calvino, Jorge Luis Borges and Susan Sontag.
The first volume explored the conceptual framework along with the artists, the artworks, the spatial design of the Pavilion and with insights on the overall production process. The notion of lapse can be read from two perspectives: the act of detecting lapses and the faculty of experiencing a lapse. In this respect, this volume was a tool to activate this act, while the second volume, edited by Jalal Toufic, discussed the phases and the perception of this experience in detail from a philosophical point of view. The third volume presents four case studies –indicating the networks related to the project, which are processed and discussed in the framework of the “Lapses” project. Finally, the fourth volume intends to document the realization of the project in Venice through images and brief feedbacks from curators, artists, architects, writers, and academicians who have visited the pavilion. These feedbacks reflected on and respond to the works, artists, their methodologies, curatorial approach, and conceptual basis, along with the statement of the pavilion as a structure, spatial indications, and discursive aspects in a critical framework. The entire project was built on the questionings of memory. The last book carried the intention of recording the afterimage of the Lapses project as the last memory of the pavilion, which no longer exists.
"Soft Borders" was the main theme of the 4th Upgrade! International Conference &... more "Soft Borders" was the main theme of the 4th Upgrade! International Conference & Festival on New Media Art, that took place in São Paulo, Brazil, October 18-21, 2010 at UNESP, Campus São Paulo, Brazil 2010. Both the exhibition and the book has developed as the outcome of the 4th Upgrade! International gathering. <br>EXPOSIÇÃO SEÇÃO INTERNACIONALcuradoria de Basak Senova e Elena Veljanovska<br>EXHIBITION INTERNATIONAL SECTIONcurated by Basak Senova and Elena VeljanovskaOctober. 20104o Congresso & Festival de Artes de Novas Mídias da Upgrade! International Network 4th Upgrade! International Network Conference and Festival on New Media ArtGaleria de Arte da UNESP, Campus São Paulo, São Paulo, Brazil<br>
Flash art: The leading european art magazine, 2015
The article profiles the Istanbul, Turkey-based independent arts organization The Moving Museum, ... more The article profiles the Istanbul, Turkey-based independent arts organization The Moving Museum, which was founded by Aya Mousawi and Simon Sakhai, focusing on its residency program for artists, researchers and curators and its art exhibition program.
Flash art: The leading european art magazine, 2013
The article reviews the art exhibition "Envy, Enmity, Embarrassment," which featured wo... more The article reviews the art exhibition "Envy, Enmity, Embarrassment," which featured works by various contemporary artists including Sener Ozmen, Nilbar Gures and Erdem Tasdelen, held at the Arter - Space for Art located in Istanbul, Turkey, in early 2013.
De Gruyter eBooks, Dec 31, 2022
Proceedings of the International AAAI Conference on Web and Social Media, Aug 3, 2021
This paper presents the results of an experiment that employed a 2 (low vs. high information) by ... more This paper presents the results of an experiment that employed a 2 (low vs. high information) by 2 (male vs. female profile) design to investigate the relationship between amount of information displayed in a Social Network Site (SNS) profile and profile viewers' intentions to engage in further social interactions (communicate online, add to SNS profile, and meet face-to-face) with the profile owner. The results indicate that more information increases the likelihood of relationship initiation for male profiles but decreases it for female profiles. Also, viewers are inclined to initiate an interaction when less information is presented in an SNS profile of a person from the opposite sex; but require more information from their own sex.
Communication Research Reports, Jul 1, 2014
ABSTRACT This study summarizes the results from a 2 (low vs. high information) × 2 (female vs. ma... more ABSTRACT This study summarizes the results from a 2 (low vs. high information) × 2 (female vs. male profile) experiment that investigates the impact of quantity of information shared on a Social Network Site (SNS) profile on viewers’ intentions to pursue further interactions with the profile owner. Quantity of information had no statistically significant effect on intentions to further socialize online. The two-way interaction between information quantity and profile gender was such that for male profiles more information increased profile viewers’ intentions to further socialize with the profile owner, whereas for female profiles the opposite was the case. The three-way interactions among quantity of information, profile gender, and profile viewer's gender underline a tendency for male profile viewers to respond more positively to higher information shared by profiles from their own gender. For female viewers, this effect, although in the same direction, was smaller.
De Gruyter eBooks, Dec 31, 2022
De Gruyter eBooks, Dec 31, 2022
PASS: International Biennial Association (IBA) Publication, 2018
Influenced by conceptual art and continental philosophy, Adelina Cüberyan von Fürstenberg is a cu... more Influenced by conceptual art and continental philosophy, Adelina Cüberyan von Fürstenberg is a curatorial grande dame who has relentlessly charted her own way. She has created several institutions, directed the world’s first curatorial studies programme and curated biennials and large-scale exhibitions across Europe and the Americas as well as in Asia and North Africa. Today, von Fürstenberg stresses the need to support the development of biennials and periodic events in ‘peripheral’ locations around the world. In this conversation with curators Başak Şenova and Sylvie Fortin, von Fürstenberg discusses her commitment to an art world that engages an expanded citizenry. Defining her approach as political and emphatically asserting every human’s right to participate in culture, she champions art that sustains close relationships with the city and with civilisation.
Pass: Journal of the International Biennial Association (IBA), 2018
In a far-ranging and considered conversation, repeat biennial curator Iara Boubnova reminds us of... more In a far-ranging and considered conversation, repeat biennial curator Iara Boubnova reminds us of the golden age of biennials, in the 1990s, when the expanding practice of biennial making reflected a desire to change the field of contemporary art and shared a commitment to diversity, younger generations, experimental and critical art as well as peaceful coexistence. Today, other contemporary art constituents have appropriated some of the roles that biennials played initially, making it difficult for biennials to claim that they present contemporary art in a unique way. Yet, Boubnova stresses that biennials retain several crucial characteristics: they are producers and they connect people, while the brand name biennial enjoys considerable political currency and carries expectations of internationalism. Ultimately, the organisation of a biennial is a process of translation; it’s about tackling questions and difficulties that may not yet have proper translations, but for which the words, images and messages can be found.
Boubnova was recently selected to curate the Bulgarian National Pavilion at La Biennale di Venezia 2019, 20 years after her Venice curatorial debut, in 1999, in the same pavilion.