TANJA OSTOJIĆ Mis(s)placed Women? 2009-2022 A Collaborative Art Project, 2022
This publication, edited by Tanja Ostojić, is a reader based on “Mis(s)placed Women?" (2009-2022)... more This publication, edited by Tanja Ostojić, is a reader based on “Mis(s)placed Women?" (2009-2022), a collaborative art project by Tanja Ostojić, published in English and Turkish to accompany the exhibition at Depo Istanbul, September 15–October 30, 2022. Due to constraints of space, only a selection of the artworks and texts have been included. First published in 2022 by Depo Istanbul and Anadolu Kültür
About: "Mis(s)placed Women?", is a collaborative, multi-layered art project that I have been developing since 2009, consisting of solo and group performances, delegated performances, performance art workshops, and an online platform that includes contributions by over 170 individuals from six continents. Many of them are artists who identify as women from diverse backgrounds.
The project’s participants embody and enact some of everyday-life’s activities that thematise the displacement known to migrants, refugees, and itinerant artists traveling the world to earn their living. The performances deal with migration issues, gender equality, climate change, feminism, queerness, gentrification, inclusion, accessibility, power relations, and vulnerability, particularly as they relate to women and nonbinary people, an aspect that figured prominently in the past almost three decades of my artistic practice. While investigating privilege by distinguishing between working mobility, forced or desired migration, and how arbitrary laws apply to moving bodies, Mis(s)placed Women? also explores diverse public spaces and the invisibility of certain groups within them, using feminist emancipatory methodologies and artistic community-building practices.
I have conducted numerous workshops across the world where the participants are selected by open call. Individual and group artworks and interventions are developed and produced in this frame. We highly value collaboration within the group, the forming of a community, the further communication with the random audiences that we meet on the streets and with the targeted audiences at presentations, exhibitions, and discussions. Mis(s)placed Women? workshops apply the principles of Art as Social Practice and explore a variety of public spaces and the possibilities for temporary interventions in them, empowering participants via a kind of master-class block seminar—a laboratory outside of official educational institution, so to say—and developing new collective and individual works.
A sixty-eight minute documentary is a new production that follows the collective and individual performances and reflections of the participants in the “Mis(s)placed Women?” workshop over three days in three different neighbourhoods of Istanbul, and showcases the final presentation andvdiscussion at the Beykoz Kundura Cinema (September 2021). Massive police presence and oppression was the main flavour of working in the public spaces of Istanbul, although the response from the public was tremendous and appreciative, and the participants were delightfully supportive of each other and highly motivated.
Arzu Yayıntaş and myself have chosen some of the most relevant contributions from the rich project archive for the “Mis(s)placed Women?” exhibition, displayed at Depo as a two-floor multimedia installation consisting of photos, videos, and drawings of performances, along with signs, textile works, artefacts, performance scores, stories, and maps collected globally in the thirteen years of the project’s development. Depo’s distinguished political profile and engagement with civil society makes it an ideal venue to host this socially engaged project interested in interweaving artistic and activist practices.
A part of the exhibition space has been arranged as a gathering place that invites the visitor to be an explorer and participant rather than just a viewer, while the six performance scores are there to be readapted and tried out. As part of the exhibition, an international community gathering of “Mis(s)placed Women?” participants and a public programme consisting of guided tours, discussions, and performances will take place September 20-22, 2022 at Depo and across the city of Istanbul.
TANJA OSTOJIĆ Mis(s)placed Women? 2009-2022 A Collaborative Art Project, 2022
This publication, edited by Tanja Ostojić, is a reader based on “Mis(s)placed Women?" (2009-2022)... more This publication, edited by Tanja Ostojić, is a reader based on “Mis(s)placed Women?" (2009-2022), a collaborative art project by Tanja Ostojić, published in English and Turkish to accompany the exhibition at Depo Istanbul, September 15–October 30, 2022. Due to constraints of space, only a selection of the artworks and texts have been included. First published in 2022 by Depo Istanbul and Anadolu Kültür
About: "Mis(s)placed Women?", is a collaborative, multi-layered art project that I have been developing since 2009, consisting of solo and group performances, delegated performances, performance art workshops, and an online platform that includes contributions by over 170 individuals from six continents. Many of them are artists who identify as women from diverse backgrounds.
The project’s participants embody and enact some of everyday-life’s activities that thematise the displacement known to migrants, refugees, and itinerant artists traveling the world to earn their living. The performances deal with migration issues, gender equality, climate change, feminism, queerness, gentrification, inclusion, accessibility, power relations, and vulnerability, particularly as they relate to women and nonbinary people, an aspect that figured prominently in the past almost three decades of my artistic practice. While investigating privilege by distinguishing between working mobility, forced or desired migration, and how arbitrary laws apply to moving bodies, Mis(s)placed Women? also explores diverse public spaces and the invisibility of certain groups within them, using feminist emancipatory methodologies and artistic community-building practices.
I have conducted numerous workshops across the world where the participants are selected by open call. Individual and group artworks and interventions are developed and produced in this frame. We highly value collaboration within the group, the forming of a community, the further communication with the random audiences that we meet on the streets and with the targeted audiences at presentations, exhibitions, and discussions. Mis(s)placed Women? workshops apply the principles of Art as Social Practice and explore a variety of public spaces and the possibilities for temporary interventions in them, empowering participants via a kind of master-class block seminar—a laboratory outside of official educational institution, so to say—and developing new collective and individual works.
A sixty-eight minute documentary is a new production that follows the collective and individual performances and reflections of the participants in the “Mis(s)placed Women?” workshop over three days in three different neighbourhoods of Istanbul, and showcases the final presentation andvdiscussion at the Beykoz Kundura Cinema (September 2021). Massive police presence and oppression was the main flavour of working in the public spaces of Istanbul, although the response from the public was tremendous and appreciative, and the participants were delightfully supportive of each other and highly motivated.
Arzu Yayıntaş and myself have chosen some of the most relevant contributions from the rich project archive for the “Mis(s)placed Women?” exhibition, displayed at Depo as a two-floor multimedia installation consisting of photos, videos, and drawings of performances, along with signs, textile works, artefacts, performance scores, stories, and maps collected globally in the thirteen years of the project’s development. Depo’s distinguished political profile and engagement with civil society makes it an ideal venue to host this socially engaged project interested in interweaving artistic and activist practices.
A part of the exhibition space has been arranged as a gathering place that invites the visitor to be an explorer and participant rather than just a viewer, while the six performance scores are there to be readapted and tried out. As part of the exhibition, an international community gathering of “Mis(s)placed Women?” participants and a public programme consisting of guided tours, discussions, and performances will take place September 20-22, 2022 at Depo and across the city of Istanbul.
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About: "Mis(s)placed Women?", is a collaborative, multi-layered art project that I have been developing since 2009, consisting of solo and group performances, delegated performances,
performance art workshops, and an online platform that includes contributions by over 170 individuals from six continents. Many of them are artists who identify as women
from diverse backgrounds.
The project’s participants embody and enact some of everyday-life’s activities that thematise the displacement known to migrants, refugees, and itinerant artists traveling the world
to earn their living. The performances deal with migration issues, gender equality, climate change, feminism, queerness, gentrification, inclusion, accessibility, power relations, and vulnerability, particularly as they relate to women and nonbinary people, an aspect that figured prominently in
the past almost three decades of my artistic practice. While investigating privilege by distinguishing between working mobility, forced or desired migration, and how arbitrary laws
apply to moving bodies, Mis(s)placed Women? also explores diverse public spaces and the invisibility of certain groups within them, using feminist emancipatory methodologies and
artistic community-building practices.
I have conducted numerous workshops across the world where the participants are selected by open call. Individual and group artworks and interventions are developed and produced in
this frame. We highly value collaboration within the group, the forming of a community, the further communication with the random audiences that we meet on the streets and with the targeted audiences at presentations, exhibitions, and discussions. Mis(s)placed Women? workshops apply the principles of Art as Social Practice and explore a variety of public spaces and the
possibilities for temporary interventions in them, empowering participants via a kind of master-class block seminar—a laboratory outside of official educational institution, so to say—and developing new collective and individual works.
A sixty-eight minute documentary is a new production that follows the collective and individual performances and reflections of the participants in the “Mis(s)placed Women?” workshop over three days in three different neighbourhoods of Istanbul, and showcases the final presentation andvdiscussion at the Beykoz Kundura Cinema (September 2021). Massive police presence and oppression was the main flavour of working in the public spaces of Istanbul, although the
response from the public was tremendous and appreciative, and the participants were delightfully supportive of each other and highly motivated.
Arzu Yayıntaş and myself have chosen some of the most relevant contributions from the rich project archive for the “Mis(s)placed Women?” exhibition, displayed at Depo as a two-floor multimedia installation consisting of photos, videos, and drawings of performances, along with signs, textile works, artefacts, performance scores, stories, and maps collected globally in the thirteen years of the project’s development. Depo’s distinguished political profile and engagement with civil society makes it an ideal venue to host this socially engaged project interested in interweaving artistic and activist practices.
A part of the exhibition space has been arranged as a gathering place that invites the visitor to be an explorer and participant rather than just a viewer, while the six performance scores are
there to be readapted and tried out. As part of the exhibition, an international community gathering of “Mis(s)placed Women?” participants and a public programme consisting of guided tours, discussions, and performances will take place September 20-22, 2022 at Depo and across the city of Istanbul.
About: "Mis(s)placed Women?", is a collaborative, multi-layered art project that I have been developing since 2009, consisting of solo and group performances, delegated performances,
performance art workshops, and an online platform that includes contributions by over 170 individuals from six continents. Many of them are artists who identify as women
from diverse backgrounds.
The project’s participants embody and enact some of everyday-life’s activities that thematise the displacement known to migrants, refugees, and itinerant artists traveling the world
to earn their living. The performances deal with migration issues, gender equality, climate change, feminism, queerness, gentrification, inclusion, accessibility, power relations, and vulnerability, particularly as they relate to women and nonbinary people, an aspect that figured prominently in
the past almost three decades of my artistic practice. While investigating privilege by distinguishing between working mobility, forced or desired migration, and how arbitrary laws
apply to moving bodies, Mis(s)placed Women? also explores diverse public spaces and the invisibility of certain groups within them, using feminist emancipatory methodologies and
artistic community-building practices.
I have conducted numerous workshops across the world where the participants are selected by open call. Individual and group artworks and interventions are developed and produced in
this frame. We highly value collaboration within the group, the forming of a community, the further communication with the random audiences that we meet on the streets and with the targeted audiences at presentations, exhibitions, and discussions. Mis(s)placed Women? workshops apply the principles of Art as Social Practice and explore a variety of public spaces and the
possibilities for temporary interventions in them, empowering participants via a kind of master-class block seminar—a laboratory outside of official educational institution, so to say—and developing new collective and individual works.
A sixty-eight minute documentary is a new production that follows the collective and individual performances and reflections of the participants in the “Mis(s)placed Women?” workshop over three days in three different neighbourhoods of Istanbul, and showcases the final presentation andvdiscussion at the Beykoz Kundura Cinema (September 2021). Massive police presence and oppression was the main flavour of working in the public spaces of Istanbul, although the
response from the public was tremendous and appreciative, and the participants were delightfully supportive of each other and highly motivated.
Arzu Yayıntaş and myself have chosen some of the most relevant contributions from the rich project archive for the “Mis(s)placed Women?” exhibition, displayed at Depo as a two-floor multimedia installation consisting of photos, videos, and drawings of performances, along with signs, textile works, artefacts, performance scores, stories, and maps collected globally in the thirteen years of the project’s development. Depo’s distinguished political profile and engagement with civil society makes it an ideal venue to host this socially engaged project interested in interweaving artistic and activist practices.
A part of the exhibition space has been arranged as a gathering place that invites the visitor to be an explorer and participant rather than just a viewer, while the six performance scores are
there to be readapted and tried out. As part of the exhibition, an international community gathering of “Mis(s)placed Women?” participants and a public programme consisting of guided tours, discussions, and performances will take place September 20-22, 2022 at Depo and across the city of Istanbul.