THE COMMERCIAL FILM FOR THE 15TH ISTANBUL BIENNIAL AS AN EXAMPLE FOR AN INTERACTIVE ART: #BIENNIALINTHECITY (İNRETAKTİF BİR SANAT ÖRNEĞİ OLARAK 15. İSTANBUL BİENALİ REKLAM FİLMİ: #bienalşehirde) (original) (raw)
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The Istanbul Foundation for Culture and Arts has been organising the Istanbul Biennial since 1987. The biennial aims to create a meeting point in İstanbul in the field of visual arts between artists from diverse cultures and the audience. The 14 biennials that İKSV has organised up to now have enabled the formation of an international cultural network between local and international art circles, artists, curators and art critics by bringing together new trends in contemporary art every 2 years. Curated by the artist duo Elmgreen and Dragset, the Istanbul Biennial exhibited works by 56 artists from 32 countries which discuss the concepts of house, neighborhood and belonging under the title 'a good neighbour'. The works of the nine Turkish artists participated in the 15th Istanbul Biennial are included in this review. A descriptive study in the screening model, the data of the report, was obtained by scanning the source.
Exhibiting Art: The Case of ODTÜSanat
The history of ODTÜSanat dates back to 1990s when a public beneit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed.
Art Exhibitions as Modern Day 'Majlis'
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Throughout the history of the Gulf region, the city as we perceive it and experience it today has evolved drastically; from an urbanscape that was based on the courtyard houses as units, and formed the core of social life, to cities where most of social spaces are completely detached from places of residence. With reference to Oldenburg's theory of the "third-place" that inspired this publication; social spaces within the city, such as coffee shops and book stores became "anchors" of the community's vitality and interaction. However, what defines a third-place is not merely types of buildings such as cafés, shopping malls, or libraries. For it extends beyond the realms of architecture to include experiences that allow for sharing of ideas and creative interaction. It also includes temporary events or 'happenings' that are considered disruptive-as well as informative-forms to our social condition. Looking at the overarching definition of what makes a "third-place", this piece explores the social space emerging as a result of curatorial practices; both the intellectual and the physical space that is born between the art, the artist and the audience. It demonstrates how art exhibitions today are not bound to white-cubed galleries, but also form spaces of interactions, transitions and movement within the cityscape. In some ways, it also highlights Augé's idea of "non-places" that are emerging as a need to fill spaces of transition and the distance amongst society. In relation to society and micro-societies, and as a co-founder of Ulafa'a initiative, a reconciliation-throughthe-art project based in Bahrain1, there was a struggle at the beginning to remain as an independent group that
Historical Materialism, Volume 18, Issue 4, pages 135 – 171, 2010
Co-written with two art historians, this essay assesses contemporary debate about art, politics and commodity culture. Starting from the 2009 Istanbul Biennial, with its Brechtian curatorial theme, this we consider's the Left's varying responses to art's co-called 'political turn'. Our essay, includes a substantial review of this important event and a substantive engagement with contemporary thinking about art. The essay ranges a consideration of the local and regional context of the Biennial's function as part of Turkey's bid to join the EU, through to a longer term theoretical perspective on the critical debates over 'art and life', artistic autonomy and heteronomy, and the revival of avant-gardism. The authors propose that the standard accounts of the intimate connection between the commodity and art are theoretically flawed and have become conservative and politically counterproductive. We suggest that Marxist analysis needs to develop a more complexly-articulated philosophical reflection on the relation between economy, politics and art - and between political and aesthetic praxes - if it is to advance its longstanding contributions to considerations of 'aesthetics and politics'. This will necessarily entail, we suggest, a serious engagement with the critique of political economy. This essay is an original contribution to the debate on contemporary art, drawing on an intimate knowledge of recent art and art criticism, it involves a reworking of the standard accounts drawing on an understanding of Marxist theory, which is often invoked in these debates, but often misunderstood.
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Switch on Paper, 2020
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This paper aims to analyze Turkish visual culture after the 1980s through international exhibitions. Heritage and contemporary art exhibitions reflect the cosmopolitan vision of modern Turkey in global art scene. Today, these exhibitions convey ideas, ideologies and cultural vision of the state transform representational identity of the country. This study is a review of my Ph.D thesis which was written in Bogazici University Ataturk Institute for Modern Turkish history ask crucial questions on Turkish cultural policy in terms of international exhibition and formation of post-modern visual culture.
EXHIBITION MAKING AS AESTHETIC ENQUIRY
Exhibitions As Research: Experimental Methods in Museums, 2020
If exhibitions are research what kind of scientifi c thinking do they make space for? And what are the eff ects of this kind of research?