Professional Documents
Culture Documents
Bienal
Bienal
STANBUL BENAL
13th ISTANBUL BIENNIAL
REHBER
GUIDE
bienal sponsoru
bennal sponsor
SANATILAR
ARTIST LIST
NSZ
FOREWORD
KRATRN METN
CURATORS TEXT
BENAL HARTASI
BIENNIAL MAP
MEKNLARA GRE SANATILAR
ARTISTS BY VENUE
BENAL PROGRAMLARI
BIENNIAL PROGRAMS
NDEKLER
KSV
DN VERENLER
LENDERS
TEEKKRLER
ACKNOWLEDGEMENTS
MEKN & ZYARET BLGS
VENUES & VISITOR INFO
FOTORAF KNYELER
PHOTO CREDITS
PARALEL ETKNLKLER
PARALLEL EVENTS
SPONSORS
SPONSORLAR
CONTENTS
Yollar Amak
NSZ
Making Ways
The 13th Istanbul Biennial focuses on the power of public space in terms of social
struggles, art and politics. For the first time ever, entry to the biennial is free of
charge for everyone. The biennial itself aims to create a public space, therefore
it is our belief that the exhibition must be accessible by all: Over a preparation
process spanning almost two years, the biennial sought to imagine the definitions
of concepts such as democracy, freedom of expression, public and communal
space; and the relationship between urban transformation, art, and politics. And
now, as the exbition opens, it is time to dream of creating a lucrativeenvironment
for debate.
Neither art, nor artistic activities can be considered independently of the social,
economic and cultural dynamics of the place and context in which they are
produced: This summer, Turkey witnessed events that formed a turning point in the
countrys history. The socio-politically transformative experience overlapped what
the biennial aspired to achieve: initiate and facilitate innovative opportunities for
thought and deliberation with a fresh, new language, and a new imagining of the
world around us that would render the exhibitions transformative fields of thought
and negotiation possible. In a world where neoliberal policies, and the oppressive
attitude that constantly flank them refuse to meet the demands for justice and
freedom in economic, social, cultural and ecological fields, the 13th Istanbul Biennial
shares its curator Fulya Erdemcis belief that art can point towards a collective
imagination, and propose new potentialities on a symbolic plane.
The conceptual framework of this biennial initially focused on the hostile urban
transformation taking place in Istanbul through the relationality of art and politics.
However, three months before the opening of the exhibition, the Gezi resistance
began, and people who felt that the space of social freedoms in Turkey was being
1 The title of Maider Lpezs work specifically produced for the 13th Istanbul Biennial.
FOREWORD
Bige rer
The intense research process that shaped the 13th Istanbul Biennial has penetrated
the exhibitions spirit. Countless meetings, discussions, and conversations
transpired in forming the conceptual framework, and the Public Programme.
Academic and independent studies that focused on biennial themes were
discussed. Both the conceptual framework and research studies assessing the
Istanbul context in terms of urban transformation and art in public space were
determining factors in choosing the artists to be invited to the biennial, and shaping
their production processes. The 13th Istanbul Biennial is based on collective thought
and practice, and it emphasizes process over outcome.
increasingly constricted showed that they were prepared to defend their rights and
demands. As a result, the biennial witnessed firsthand how art merged into life, and
life flowed into art. Afterwards, the exhibition took radical decisions regarding how
it would approach these issues and how it would materialize. The first of these was
to move the exhibition from urban public spaces to specifically designated exhibition
venues. The biennial wanted to draw attention to the importance and necessity of
solidarity within the sphere of art: with three months left for the opening, ARTER,
SALT Beyolu and 5533 agreed to collaborate with the biennial, and by opening
their spaces to biennial artists, enabled the exhibition to meet its audience on a
broader scale.
Biennials throughout the world face the criticism of functioning as vehicles for globalisation projects; for being used as effective shopwindow props in the marketing
of cities, or for acting as mere attractions in the privatisation of culture. On the
other hand, as the number of biennials across the world increases by the day, the
importance of biennials that prioritise the invention of new exhibition forms also
increases. In its twenty-fifth year, the Istanbul Biennial has secured its sustainability
without compromising its creativity. Today, within a constantly changing geopolitical,
social and artistic conjuncture, it continues to revisit and redefine the legitimacy of
its existence, and to contemplate its present and future potential as an exhibition.
There is no single epicenter of the international contemporary art scene, there are
rather numerous, constantly transforming centers, and the biennial contributes to
the polyphony they create. The biennial supports freedom of expression and free
thought, and its format contains the potential to contribute to zones of resistance
against all micro and macro structures of power.
Works of art can be and are even encouraged to be utopian, however, just like
artists, art institutions, critics, instructors, audiences, galleries, fairs and
philanthropists, the biennial, too, is positioned and operates within a system. With
full awareness of this fact, and by distancing itself from the global art market and
assessment criteria determined by corporate interest, this biennial sustains its
efforts towards forming an autonomous and independent field for art. The flexible
FOREWORD
Bige rer
Fulya Erdemci, together with Andrea Phillips, co-curator of the Public Programme
of the 13th Istanbul Biennial, had decided from the outset to open up to debate
topics such as the city, freedom of expression, the relationship between art and its
resources, the publics of the future as new forms of subjectivity, and new collectives
to the extent possible through Public Alchemy. The structure of the public
programme, which aimed to explore how publicness could be re-introduced to function as an artistic and political tool in the context of global financial capitalism and
local social rupture, was also revised with the local changes. All these decisions and
the necessary changes could only be realized thanks to the sincere and selfless
efforts of a team that believes the Istanbul Biennial contributes to the emergence
of new ideas not only in the field of art, but also in fields as diverse as philosophy,
social sciences and communication on a local and international level.
besledi. imdi de hem kendisini srekli bir eitim, renim, retim ve eletiri
alanna dntrmeyi hedefliyor, hem de daha geni akademik ve kolektif bilgi
retimi alanyla kalc ve verimli bir etkileim ierisine girmeyi arzuluyor.
Bienallerin ilk ve ortak k noktalarndan biri, uluslararas gncel sanatn
nemli ve yeni rneklerini bir ehirde dzenlenen bir sergide bir araya getirerek
sunmak, bu sayede gerekletirildikleri ehirdeki sanatsal retimi uluslararas
gncel sanat alanyla buluturmak olarak tanmlanabilir. Bunun yan sra, gerekletirildikleri ehirlerde, zellikle gncel sanat asndan kltrel altyapnn
yetersiz olduu hallerde bienaller gncel yaklamlar ortaya koyan geici bir
mze ilevi stlenerek yerel ve kresel arasnda bir harita grevi de gryordu.
Ancak bugn bienallerden, tm bu nemli rol ve sorumluluklara ek olarak, farkl
misyonlar stlenmeleri bekleniyor. ok kutuplu ve ok merkezli bir dnyada
sosyal ve siyasal meselelere farkl bir perspektif getirmeleri ve eletirel, yaratc ve
alternatif iddialarn seslerini ykseltmelerinde bir platform olmalar isteniyor.
stanbul Bienali, Trkiye gncel sanat tarihinin ve ortamnn nemli aktrlerinden biri. Hem yapsal hem de kavramsal balamda, sanat alannn tesine de
geen nemli tartmalar at; kaynak ve retim yntemiyle ve izleyicisiyle ilikisiyle stanbula zg, ama ayn zamanda yerel ve uluslararas lekte sanatsal ve
entelektel ilgiye layk bir slup oluturdu. 13. stanbul Bienali serginin cretsiz
olmasn salayarak bu almalara herkesin eriebilmesini amalad.
13. stanbul Bienali, kamusal meknlar ve kentsel dnmle ilgili Trkiyede
uzun yllardr sregelen aratrmalarn ve mcadelelerin gcne inanarak
effafl, paylam ve karlkl saygy destekleyecek sanatsal ve sylemsel bir
form neriyor. Bu bienal, kentlerimizin bugnn ve geleceini tayin edecek
kararlarn alnmas srecinde muhalefeti ve mzakereyi destekleyecek bir alan
amay hedefliyor. Etrafmzdaki her eyin canland, kendine geldii ve yeni bir
bilin kazand bu benzersiz gnlerde stanbulun bienale, bienalin de stanbula
verebilecei ok ey var Maider Lpezin bienal iin yeni rettii iinin kullanc
klavuzunda belirttii gibi; bir grup meydana geldiinde ve kendi kendine
rgtlenme kolektif yollar yarattnda eyleme gemek daha kolaydr.
Bige rer
NSZ
model of the biennial ensures curatorial independence without imposing any institutional preconditions or priorities in relation to artistic decisions; and uses all the
means at its disposal to enable the curator and the artists to realise their ideas by
offering them an independent space. The Istanbul Biennial renews its structure and
remains open to transformation and values the constructive criticism it is subject to.
The dynamic environment the biennial has produced since its first exhibition in 1987
has stirred debates and set the agenda in the field of contemporary art, and fostered
theoretical and practical innovation. The biennial now aims to both transform itself
into a field of constant education, training, production and criticism, and to establish
a more lasting and effective interaction with the broader field of academic and
civilian knowledge production.
The Istanbul Biennial is an important actor on the scene and in the history of contemporary art in Turkey. Both in the structural and conceptual context, the biennial
has engendered debates that have expanded beyond the field of art; and with its
resources, approach and interaction with its audience has managed to create a
style unique to Istanbul, but also worthy of artistic and intellectual interest on a
local and international scale. By making entry to the 13th Istanbul Biennial free of
charge for all, the biennial hopes that what it aspires to do becomes unconditionally
accessible to everyone.
With confidence in the power of long-standing research and struggles around public
spaces and urban transformation, this exhibition proposes an artistic and discursive
form that will stand by the demand for transparency, collectivity, and mutual respect.
In the process of making decisions regarding the present and future of our cities,
the 13th Istanbul Biennial aims to open a field that will support opposition and
negotiation. In these extraordinary times, when everything around us has begun
to stir and come to life, and acquire a new awareness, Istanbul can give a lot to
the biennial, and the biennial to Istanbul as proposed in the user manual Maider
Lpez produced for the exhibition, acting is easier when a group is generated and
self-organization creates collective ways.
Bige rer
FOREWORD
Bige rer
One of the first, common departure points of biennials was to bring together and
present new and relevant works of international contemporary art at an exhibition
organized in a city in order to form a meeting ground between the artistic production
of that given city and the field of international contemporary art. Biennials also
served, especially in cases where the cultural infrastructure did not meet the
requirements of contemporary art, as temporary museums with contemporary
tendencies, functioning as maps between the local and the global. However, today
biennials are expected to assume further missions in addition to all these significant
roles and responsibilities. In a multipolar and multicentered world, biennials can
propose a different, alternative perspective on social and political issues, and
provide a platform so that critical, creative and alternative ideas might be voiced.
KRATRN METN
Mom, am I barbarian?
The events that were triggered at dawn on May 28th, with trees being uprooted in
Gezi Park, and the subsequent burning of activists tents by police forces caught
up with us at the Venice Biennale. We cut our trip short and returned to Istanbul
the day after the park and Taksim had been reclaimed by the protesters. Stepping
out of a taxi in Karaky we saw that hundreds ofpeople, mostly youth, wearing
gas masks and goggles had filled the streets in a scene reminiscent of a science
fiction movie. The air was alive with spirit, we inhaled it. We hastily dropped off
our suitcases at home to take to the streets and immerse ourselves in the surreal
atmosphere of the night.
Alchemy
On May 31, Taksim Square and Gezi Park were occupied by multiple publics; and
what transpired during the two weeks until the park was evacuated by a violent
police intervention on 15-16 June, was a transformative experience.
The Gezi Resistance was an unbeknown remedy for everyone who had lost hope
in Turkey. We all learned a great deal from this solidarity of people that spilled out
onto the streets for the right to life of those whose voice is most suppressed; many
of us were not even aware that these few trees even had a voice. These people
rejectedthe established practice of politics based on polarization, and rather chose
tocome together around their demand for basicfreedoms and rights, and formed a
communal practice on a micro-scale which proved that significantly different, even
clashing worlds could coexist, and act together.
As much as the demand for freedom, the desire tobreak free from existing ideological positions and the prevailing political rhetoric gave Gezi its spirit. This generation
has long been accused of being apolitical and taking genuine interest only in the
interactive games they play in the virtual world. Yet, now we stand corrected;
the time they spent playing those games was a rehearsal for self-organisation
and collective action. The togetherness that appeared at Gezi showed us that as
CURATORS TEXT
Fulya Erdemci
In utter disbelief of what was taking place before our eyes, we began to walk from
Tnel towards Taksim. The streets were talking! All the vertical and horizontal
surfaces of the avenue had been covered with slogans and graffiti. We gasped
for breath when we reached Taksim: Thousands of people, the youth, the elderly,
women, men, and children had filled the square to the brim! Intoxicated by the sight
of hundreds of slogans, posters and banners, the smoke of the burning barricades
and the pepper gas that still hung over the square, but most importantly, by the now
tangible embodiment of freedom, we, too, joined this feeling of incredible solidarity
and joy. None of us were afraid anymore.
1 Lale Mldr, Anne, ben barbar mym?, L&M Yaynlar, 2006, stanbul. Bu balk, bienalin kavramsal
erevesini yazdm 2012 yaznda, Perihan Madenle bir sohbetimiz esnasnda ortaya kt.
KRATRN METN
1 Anne, ben barbar mym? / Mom, am I barbarian?, L&M Publishing, 2006, Istanbul.
This title came up during a conversation with Perihan Maden in the summer of 2012 as I was writing the
conceptual framework of the biennial.
CURATORS TEXT
Fulya Erdemci
Evidently, what has transpired is far beyond our everyday routine, perception, or
imagination. What we have experienced in Istanbul and throughout other cities in
Turkey is of a scale that cannot be compared to any exhibition or art event.
At the press conference held on January 8, 2013 for the announcement of the
conceptual framework of the 13th Istanbul Biennial, I stated that the text was a
sketch; a departure point, and that it would evolve during the process. The evolution
in question is a natural part of any exhibition process. However, I could not fathom
that we would experience a transformation process as intense and radical as the
Gezi Park events. The agonistic public domain which until then had only existed as
a possibility, alchemically opened up with the Gezi Park resistance, and entered the
domain of experience. And here, I find it important to explain how the 13th Istanbul
Biennialwhich, with a foresighted analysis focusing on publicness, public domain
as a political forum and urban spaces as a spatial component of the democratic
apparatusreoriented its own process with Gezi.
Mahalle parklarnda devam eden forumlarn yan sra teorik ve dnsel alanlarda da Gezinin bir nebula gibi olumakta olan kltr tartlmaya devam ediyor.
Sergide de bu dnsel alann grsel tezahrleri yer alyor.
Teorik aksn uygulama alan olarak, demokratik aygtn meknsal bileenlerine
odaklanmtk: stanbuldaki kentsel kamusal meknlara ve zellikle de dizginsiz
yol alan kentsel dnme bakarak, zgrlk kavramnn meknsal tezahrlerini
agorafobi kavramyla birlikte ele almtk. Bu balamda, Gezi Park, Taksim
Meydan, Tarlaba Bulvar, Karaky ve Sulukule mahallesi gibi kentteki en
tartmal kentsel dnm alanlarna odaklanmtk. Kavramsal erevede
sorguladmz agorafobi kavram, ne yazk ki Duran Adam ya da Yeryz
Sofralar gibi en barl eylem, performans ve protestolarn bile polis tarafndan bastrlmasyla, ayrca, Geziyle ilgili olarak Trkiye merkez-medyasnn
sessizletirilmesiyle birlikte daha da grnr oldu. Gezi olaylarnn ncesinde
kentsel kamusal meknlara mdahale eden pek ok proje gerekletirmeyi
planlamtk. Ama vatandalarnn zgr ifadelerine izin vermeyen ayn otoritenin izniyle sokaklarda sanat projeleri gerekletirmenin ne demek olduunu
sorguladmzda, balamn tamamen deierek bu projelerin ilk ortaya k
nedenleriyle elitiini grdk. Bu adan, kamusal alan sorunsaln irdeleyen bu
projeleri bu koullarda gerekletirmenin onlarn varlk nedenleriyle kartlk
oluturabileceine, bu anlamda da gerekletirilmemelerinin daha gl bir politik neri olacana kanaat getirdik ve kentsel kamusal meknlardan ekilerek
kamusallk zerine tartmamz sergi meknlarnda srdrmeye karar verdik.
Geziden nce sergiyi yaplandrdm srada, sokaklarda gerekleen spontan,
protest sanatsal eylem ve performanslar sipari etmek veya sergiye dhil etmek
gibi bir niyetim yoktu; nk bu tr sanatsal aksiyonlarn tepki verdikleri kurumsal ereve tarafndan ehliletirilmemesi gerektiini dnyordum. Ancak,
hlihazrda bu tr almalar varsa, belirli bir erevenin iine sokmadan onlara
iaret etmenin mmkn olduu kansndaydm. Buradan hareketle, kentsel
kamusal meknlardan ekilme eylemiyle, yani varl yoklukla imleyerek, Gezi
direniiyle birlikte alan zgrlk alannda ortaya kan yaratc eylemlerin ve
kamusal forumlarn altn izerek desteklemeyi amaladk.
Kentsel kamusal meknlardan ekilmemiz, mekn konusunda nemli bir soruna
da yol at ama ARTER ve SALT Beyolu gibi sanat kurumlaryla ve 5533 gibi bir
sanat inisiyatifiyle ksa srede ibirlikleri gelitirerek, bu sorunun stesinden
gelebildik. Ayrca, kamusallk kavramn yeniden dnmeyi neren bu bienalin
herkese ak olmasn batan beri arzu ediyorduk. Ama Gezi sonrasnda kentsel
kamusal meknlardan ekilme kararyla, kavramsal ereveyle rten bir kamusallk yaratabilmek adna bienalin bu edisyonunu cretsiz yapmay baardk.
KRATRN METN
When I was structuring the exhibition before Gezi resistance, I never intended to
commission or include the spontaneous, protest interventions and performances
that happen on the streets, as I believe that they should not be domesticated or
tamed in the institutional frames to which they are reacting. However, I was thinking
that it was possible to highlight them if they were there already. So, I believe that by
withdrawing from urban public spaces, thus marking the presence through the absence, we can contribute to the space of freedom, to the creative and participatory
demonstrations and forums instigated by the Gezi resistance.
Our moving away from urban public spaces led to a serious challenge regarding
venues, but we were able to overcome this in a short time through establishing
collaborations with art institutions such as ARTER and SALT Beyolu, and an
independent artist initiative, 5533. Furthermore, from the outset, our aspiration was
CURATORS TEXT
Fulya Erdemci
As the praxis site of the theoretical axis, we focused on the spatial components
of the democratic apparatus: by investigating urban public spaces in Istanbul, and
especially the ongoing, unbridled assault of urban transformation, we considered
the spatial manifestations of the concept of freedom together with the concept of
agoraphobia. For the 13th stanbul Biennial, we had chosen the most contested
urban transformation sites in Istanbul such as Gezi Park, Taksim Square, Tarlaba
Boulevard, Karaky and Sulukule neighbourhood. The concept of agoraphobia
which we had explored in the conceptual framework unfortunately became much
more visible when even the most peaceful actions, performances and protests,
such as Standing Man, or Tables of Earth were suppressed by the police, and
mainstream media in Turkey was silenced during and after the Gezi protests. Before
the Gezi resistance, we had planned to realize a number of projects that would
intervene in urban public spaces. However, when we questioned what it meant to
realize art projects with the permissions of the same authorities that do not allow
the free expression of its citizens, we understood that the context was going through
a radical shift that would sideline the raison dtre of realising these projects.
Accomplishing these projects that articulate the question of public domain in urban
public spaces under these circumstances might have contradicted their essence
and purpose; we were thus convinced that not realizing them is a more powerful
political statement than having them materialize under such conditions. Therefore,
we decided to withdraw from the urban public spaces and to continue our debate on
publicness in the exhibition venues.
to open this edition of the biennial to everyone. With the decision to withdraw from
urban public spaces following Gezi events, we have managed to make this edition
of the biennial free of charge with the hope of creating a publicness, which is in line
with the conceptual framework of the biennial.
Bar Bar Bar Bar...
The opening of artistic space between theory and practice was rendered possible
by the title, which I borrow from Lale Mldr, that emphasizes the concept of the
barbarian. In ancient Greece, the barbarian is related both to the concept of the
citizen, and also, directly to language. Barbarian is the antonym of politis (citizen),
derived from the word polis, meaning city-state; thus it relates inversely to the city
and the rights of those in it. The questions, What does it mean to be a good citizen
today, in Istanbul for instance? In the midst of the ongoing urban transformations,
the battleground, does it imply conforming to the status quo or partaking in acts of
civil disobedience? formed the core of the conceptual framework. We were asking
whether it was possible to imagine a new social contract in which citizens assume
responsibility of each other, even for the weakest, most excluded ones. Today, the
ongoing protests and acts of solidarity in Istanbul and other cities of Turkey hint that
a new social contract is not only necessary but also possible.
CURATORS TEXT
Fulya Erdemci
From a linguistic perspective, barbarian is a definition that marks those who cannot
speak Greek, and therefore, those who are not citizens. In fact, phonetically, the
word barbarian was an onomatopoeia for a language that people in ancient Greece
did not understand.In other words, a language they did not comprehend, the
language of the other, the alien, the most excluded and suppressed. From another
angle, the language of barbarians, of those who are marginalized, illegal, and aspire
to debunk or change the system: the recluse, outcast, bandit, anarchist, revolutionary, or artist. In this sense, in the exhibition, we included works that contemplate the
construction of new subjectivities, as opposed to positions grounded upon binary
oppositions that constantly reproduce the existing system and discourses.
Through exploring the relationship between literature (particularly poetry) and art,
the exhibition focuses on new, yet to be invented languages. Poetry, which marks
the outermost limits of language in terms of form and meaning, allows us a glimpse
at the possibility of another world. It breaches the intricate schemes of the system
we are confined to. The exhibition aims to present poetry (and along the same
line, music) as an interface between the personal, and the public and political. It
reads the victors of the given system from the perspective of the oppressed, thus
rethinking the figure of the recluse, outcast, bandit, anarchist, revolutionary, poet
or artist as one who parts the seams of the system, rendering what lies outside it
possible in the present day context. In doing so, it prioritizes the artistic practices
that problematize the dichotomies between barbarity and civilisation, nature and culture, the singular and the universal, the subject and the social, and randomness and
order. By layering these relations visually, such artistic practices unravel linguistic
and intellectual processes together with emotional experiences.
The relationship between art and public domain that was emphasized in the
conceptual framework, as well as contemporary and historical practices related to
architecture, urban planning and social structure were rendered visual around three
squares in Antrepo, one of the main exhibition venues. The first two squares focus
on urban transformation and collective living practices, while the third is reserved
for works that challenge the concept of monument -the most predominant art form
CURATORS TEXT
Fulya Erdemci
Alongside a hybridity, which takes geopolitical diversity into account, the exhibition
also aimed for a historical aperture between the present day and the 60s and
70s. The most significant common denominator between these two periods is the
questfor another world. The experience of the 60s and 70s has not made the
present more realistic, but it has rendered it worldlier: utopia, as we know it, has
been replaced by a demand for the best possible systems, and negotiation. These
decades also witnessed artists developing new artistic practices challenging urban
transformation and gentrification processes in cities such as Paris, New York and
Amsterdam. As an outcome of the institutional critique developed in the 50s, artists
left the museums and galleries to go out onto the streets, producing performative
practices that aimed to bring art and life together. This period also witnessed the
process of cultivating the most alternative and conceptual forms of art in public
domain. In consideration of this fact, we wanted to include works of artists that
pioneered such artistic practices and thus to offer a historical perspective for the
current social movements, urban transformations and contemporary art practices.
Fulya Erdemci
KRATRN METN
in urban public spaces that impose the ruling ideology into urban texture-and for
the temporary, performative and relational projects focusing on social asymmetry
which allude to questions of public domain such as freedom of expression, media
autonomy, censorship (self-censorship) and citizenship.
The meeting hall on the entry level of the Galata Greek Primary School, and its
attic host works which present an experience of ground-up self-organisation and
collective action. The meeting hall on the first floor, which offers a panoptical
experience for the viewer, has been transformed into a learning machine, the
functioning of which is determined by the participants. As for the attic, in addition to
hosting projects that focus on urban transformation in Istanbul, it has been imagined
as a forum for conversations, discussions and workshops.
Likewise, the highways and boulevards of the exhibition were built by the works
which interrogate the art world and the structures they are embedded in. These
read the relationship between art and capital via the concept of precarity and a
critique of global capitalism, and ponder alternative economies, co-production and
co-distribution. Determining our collective imagination of the future, utopia and
dystopia occupy the side streets.
CURATORS TEXT
Fulya Erdemci
This exhibition is not an apparatus for immediate change, but rather a process
that will foster thought; and above all else, a way to experience new subjectivities
implied by the barbarian
.
Fulya Erdemci
Bienal haritas
Biennial map
TARLABAI
TARLABAI
l
kla
s t ii k l a l
t
s
Galatasaray
Galatasaray
KASIMPAA
KASIMPAA
4
n n
e sees e
a zak z k
B oBo
TEPEBAI
TEPEBAI
G
Gol
old
e
Hd e n
Haln H
ali Hor
i orn
n
ihane
Beyolu Tnel
Beyolu Tnel
Tnel
Tnel
B
B E
E Y
Y O
O
LL U
U
2
Galata
Galata
rs
p s
k kk p r
r
t
ge
rid e
A t aa t r k
k bb r i d g
r
At
t
A t aa t r k
At
CHANGR
CHANGR
s tik
s tla
iklla l
M
M
ihane
Taksim
Taksim
Tnel Karaky
Tnel Karaky
t
al
er lt
mera
e
Kem
K
Eminn
Eminn
SLEYMANYE
SLEYMANYE
u ss
o rr u i
h
i i
o
s pp h a zz i
o
s
Bo oa
B Bo
B
G aG a
l a tl a t
a ka k
p p
r sr s
G aG a
l a tl a t
a ba b
r i dr i d
g eg e
Karaky
Karaky
Tophane
Tophane
Sirkeci
Sirkeci
Topkap Saray
Saray
Topkap Palace
Topkap Palace
1
Antrepo no.3
Meclis-i Mebusan Caddesi
Liman letmeleri Sahas
34433 Tophane
ARTER
Asmal Mescit Mah.
stiklal Caddesi No: 211
34433 Beyolu
SALT Beyolu
Asmal Mescit Mah.
stiklal Cad. No:136
34430 Beyolu
5533
M 5.Blok
Unkapan 5533
ANTREPO
NO.3
13 Fernando Piola
14 Fernando Ortega
15 Carlos Eduardo Felix da
Costa (Cadu)
16 Lux Lindner
17 HONF Foundation
18 Gordon Matta-Clark
19 LaToya Ruby Frazier
20 Nil Yalter & Judy Blum
21 Provo
22 Yto Barrada
23 Rob Johannesma
24 Alice Creischer &
Andreas Siekmann
25 Anca Benera &
Arnold Estefan
26 Carla Filipe
27 Mika Rottenberg
ANTREPO NO.3
0
1
2
3
4
5
6
7
8
9
10
11
12
Lutz Bacher
Aye Erkmen
Jorge Mndez Blake
Zbigniew Libera
Cinthia Marcelle &
Tiago Mata Machado
Fernanda Gomes
Christoph Schfer
Maider Lpez
Hanna Farah Kufr Birim
Halil Altndere
Tadashi Kawamata
Edi Hirose
Murat Akagndz
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
Claire Pentecost
Guillaume Bijl
David Moreno
Hito Steyerl
pek Duben
Ji Kovanda
nci Eviner
dm Kokesch
Shahzia Sikander
Nathan Coley
Gonzalo Lebrija
Mierle Laderman Ukeles
Amal Kenawy
Thomas Hirschhorn
Wouter Osterholt &
Elke Uitentuis
43 Santiago Sierra
44 Rietveld Landscape
45 Akademia Ruchu
46 Goldin+Senneby
47 Jorge Galindo &
Santiago Sierra
48 .-_-.
49 ener zmen
50 Nicholas Mangan
51 Freee (Dave Beech,
Andy Hewitt, Mel Jordan)
52 Mere Phantoms (Maya Ersan
& Jaimie Robson)
31
32
34
27
25
35
30
33
38
26
39
30
37
28
41
36
29
40
42
43
45
49
48
44
46
47
15
24
22
16
12
10
11
12
12
11
23
21
18
13
17
50
20
19
bookshop
2
51
14
52
WC
.-_-.
.all works of .-_-. are free/libre & .copyleft!_. they are independent from capitalist
economics and relations. they are works
of free culture and non-reciprocal gifts
for peers of free culture. their journey
is independent from .-_-. . everybody is
free to appropriate them the way they like
and is also encouraged to build on them,
even to make money, preferably using a
copyleft free culture license or notice to redistribute. they are not subject to any kind
of intellectual property rights and there are
no moral rights attached to them either.
.copyleft!_ notice attached to the works of
.-_-. is out of the domain of any law and is
not a legal contract but a statement based
on ethics of free culture_
.-_-.
Antrepo no.3
.-_-.
.sezgi3.0: maddeden tamamen bamszlatrlm, sfr-baytlk sanat yapt_, 2010 .intuition3.0: totally dematerialized, zero-byte work of art_ , 2010
http://httpdot.net/.-_-./
.-_-.
Antrepo no.3
ADAM KOKESCH
Antrepo no.3
DM KOKESCH
Antrepo no.3
DM KOKESCH
AKADEMIA
RUCHU
kaybedeceiz
500 metre uzunluunda domuz kurtlar
Akademia Ruchu (the academy of motion) has been working in public spaces
through interventions and performances
since its inception during the 1970s.
Founded by Wojciech Krukowski, the
artistic director, Akademia Ruchu is known
as a theatre of behaviour and visual narration. The hundreds of performances the
group presents all over the world fall into
two categories: those enacted on stage,
within the realm of alternative theatre, and
in public spaces, with anonymous and
recalcitrant interventions.
Antrepo no.3
AKADEMIA RUCHU
1 In the Heart of the Country. Varova Modern Sanat Mzesi Koleksiyonu, der. Katarzyna SzotkowskaBeylin (Varova: Varova Modern Sanat Mzesi, 2013): 75. http://www.artmuseum.pl/public/upload/files/Wsercu-kraju-ENG-www.pdf. Eriim: 19 Austos 2013. In the Heart of the Country. The Collection of the Museum
of Modern Art in Warsaw, ed. by Katarzyna Szotkowska-Beylin (Warsaw: Museum of Modern Art in Warsaw,
2013): 75. Available at http://www.artmuseum.pl/public/upload/files/W-sercu-kraju-ENG-www.pdf.
Accessed: 19 August 2013.
Antrepo no.3
AKADEMIA RUCHU
ALICE CREISCHER&
ANDREAS SIEKMANN
Antrepo no.3
Antrepo no.3
AMAL KENAWY
Antrepo no.3
AMAL KENAWY
Antrepo no.3
AMAL KENAWY
Antrepo no.3
Antrepo no.3
AYE ERKMEN
Antrepo no.3
AYE ERKMEN
Stoned, 2003
Antrepo no.3
AYE ERKMEN
Stoned, 2003
CARLA FILIPE
CARLA FILIPE
CARLA FILIPE
Bo Eller: El sadece i yapmak iin kullanlan bir organ deil, ayn zamanda o iin bir rndr Empty Hands: the hand is not only an organ for work but it is also a product of it
[ Mos vazias: a mo no s um orgo de trabalho, mas tambm produto deste], 2011 [Mos vazias: a mo no s um orgo de trabalho, mas tambm produto deste], 2011
CARLOS EDUARDO
FELIX DA COSTA
(CADU)
Antrepo no.3
Antrepo no.3
CHRISTOPH
SCHAFER
Antrepo no.3
CHRISTOPH SCHFER
Park Fiction Artk Gezi Park Hamburg, 16 Haziran 2013 Park Fiction is Now Gezi Park Hamburg, June 16, 2013
Antrepo no.3
CHRISTOPH SCHFER
CINTHIA MARCELLE
TIAGO MATA
MACHADO
Antrepo no.3
CINTHIA MARCELLE
TIAGO MATA MACHADO
Antrepo no.3
CINTHIA MARCELLE
TIAGO MATA MACHADO
CLAIRE PENTECOST
1956da Baltimore, MD, ABDde dodu. Chicago, IL, ABDde yayor ve alyor.
Born in 1956 in Baltimore, MD, USA. Lives and works in Chicago, IL, USA.
toprak-erg(2012) Pentecostun,
gdann retimi ve datm ve ekolojinin
jeopolitikle ilikisini de ieren gda
politikalar stne uzun sredir devam
eden aratrmalarnn bir rn. Heykeller, izimler ve iki vitrinli dolaptan
oluan enstalasyonun merkezinde toprak
ve gbreden retilmi bir kle yn
duruyor.Sanat toprak-erg adl yaptyla
yeni bir deerler sistemi para olarak el
yapm toprak klelerin kullanlmas
nererek normatif, soyut deerler sistemine
itirazn dile getiriyor. Pentecost cesur
bir soru soruyor: Bir deerler sistemini
fiziksel olarak retmek ve ayakta tutmak
mmkn mdr?
Toprak klelerin etrafnda byk
banknotlar biiminde hazrlanm krk
izim yer alyor. izimler, yani
deiim aralar insanlarla daha byk
ekolojik sistemler arasndaki
Antrepo no.3
CLAIRE PENTECOST
Claire Pentecost, uzman olmayan bireylerin uzmanlk gerektiren alanlara mdahalesine gnderme yapt kamusal
amatr terimini kullanarak tanmlad
bir aratrma pratii yrtyor. Kamusal
amatr olarak sanat, genellikle
uzmanlar ve zel kurulular tarafndan
anlalmas engellenen bilimsel sylemlerin gndelik hayat nasl etkilediini
ortaya karmak amacyla disiplinler
aras bir etkinlik gerekletirerek bilgi
topluyor, yorumluyor ve yayyor.
Pentecost makale, konferans, izim ve
fotoraf gibi eitli aralar kullanarak
piyasa tarafndan zelletirilen ve maniple
edilen bilgi trlerine meydan okuyor.
Antrepo no.3
CLAIRE PENTECOST
DAVID MORENO
1957de Los Angeles, CA, ABDde dodu. New York, NY, ABDde yayor
ve alyor. Born in 1957 in Los Angeles, CA, USA. Lives and works in
New York, NY, USA.
Antrepo no.3
DAVID MORENO
Antrepo no.3
DAVID MORENO
EDI HIROSE
Antrepo no.3
EDI HIROSE
Nueva Esperanza 4446, Genileme [ Expansin] serisinden, 2009-devam etmekte Nueva Esperanza 4446, from the series Expansion [Expansin], 2009-ongoing
Antrepo no.3
EDI HIROSE
Nueva Esperanza 1888, Genileme [ Expansin] serisinden, 2009-devam etmekte Nueva Esperanza 1888, from the series Expansion [Expansin], 2009-ongoing
FERNANDA GOMES
Antrepo no.3
FERNANDA GOMES
Antrepo no.3
FERNANDA GOMES
FERNANDO ORTEGA
FERNANDO ORTEGA
Orta Boy Bir Nehri Geen Kk Bir Kayk iin Mzik , 2012 Music for a Small Boat Crossing a Medium Size River, 2012
FERNANDO ORTEGA
FERNANDO PIOLA
Antrepo no.3
FERNANDO PIOLA
Antrepo no.3
FERNANDO PIOLA
FREEE
(DAVE BEECH,
ANDY HEWITT,
MEL JORDAN)
Antrepo no.3
syan etmek yetmez: Ya da zenginlerle ne yapacaz? Protest is not enough: or what are we going to do with the rich?
(syan Gzeldir: Tottenham), 2013 (Protest is Beautiful:Tottenham), 2013
Top: Spoken choir reading of The Manifesto for a New Public, for Towards a
Common Ground, Clapham Common Bandstand, London, 2012
Bottom: Protest Drives History, 2008
st: Ortak Bir Zemine Doruda Yeni Bir Kamu iin Manifestonun sz korosunca
okunmas, Clapham Common Orkestra Sahnesi, Londra, 2012
Alt: Tarihi Srkleyen syandr, 2008
Antrepo no.3
GOLDIN+SENNEBY
Antrepo no.3
GOLDIN+SENNEBY
Kukla (detay), Uzun Pozisyonu Ksaltmak tan, 2013 Puppet (detail) from Shorting the Long Position, 2013
Antrepo no.3
GOLDIN+SENNEBY
GONZALO LEBRIJA
Antrepo no.3
GONZALO LEBRIJA
1 Adriana Herrera, Gonzalo Lebrija and His Lament, Gonzalo Lebrija: As Time Goes By iinde (Londra:
Other Criteria, 2009), 128. Adriana Herrera, Gonzalo Lebrija and His Lament in Gonzalo Lebrija: As Time Goes By
(London: Other Criteria, 2009), 128.
Antrepo no.3
GONZALO LEBRIJA
GORDON
MATTA-CLARK
Antrepo no.3
GORDON MATTA-CLARK
1943te New York, NY, ABDde dodu. 1978de New York, NY, ABDde ld.
Born in 1943 in New York, NY, USA. Died in 1978 inNew York, NY, USA.
Antrepo no.3
GORDON MATTA-CLARK
GUILLAUME BIJL
Since the late 1970s Guillaume Bijl has developed artistic strategies for exploring the
relationship between art and social reality.
Using banal found objects, he orchestrates
fictional spaces, or he positions nonnative
objects in public locations. In doing so Bijl
calls into question the symbolic nature of
the objects around us. He is interested in
the social language objects produce and
their power to shape spaces, which also
endows them with the ability to shape
human interaction. Bijls installations
question what is real (and not real) and
reveal the illusionary nature of reality.
As Bijl tries to establish a direct
interaction with reality by means of art
form, he creates intentionally dislocated
environments in which the viewer
becomes a figure participating in a fictional
reality.1 These three-dimensional still-life
installations, as Bijl calls them, not only
expose the role of objects within consumer
society but also rupture ones intuitive
understanding of everyday experiences.
The installation SUSPECT, originally
exhibited in 1980, takes place in two
connected spaces. In the first room, Bijl
composed a cluttered staging of both
real and fictional objects (objects that he
intentionally placed in the room). This
re-creation is of the artists studio as it
appeared after it was searched by
the police because of the artists unusual
1 Guillaume Bijl, Guillaume Bijl: Works 19911996da alntland ekliyle (Ghent, Belika: Van Hedendaagse
Kunst Mzesi, 1998), 43. Van Hedendaagse Kunst Mzesinde ayn isimli sergiyle ezamanl baslmtr.
Guillaume Bijl, as quoted in Guillaume Bijl: Works 19911996 (Ghent, Belgium: Museum Van Hedendaagse Kunst, 1998),
43. Published in conjunction with the exhibition of the same name, shown at the Museum Van Hedendaagse Kunst.
Antrepo no.3
GUILLAUME BIJL
Antrepo no.3
GUILLAUME BIJL
HALIL ALTINDERE
HALL ATINDERE
* Trkeden ngilizceye eviri Nazm Dikba. Translation from Turkish to English Nazm Dikba.
HALL ATINDERE
HANNA FARAH
KUFR BIRIM
Antrepo no.3
1 Tal Ben Zvi, On Hanna Farahs Distorted Biographies: Six Solo Exhibitions at Hagar Art Gallery, Jaffa
iinde, yayma hazrlayan Tal Ben Zvi (Tel-AvivYafa: Hagar Dernei, 2006): 16. Tal Ben Zvi, On Hanna Farahs
Distorted in Biographies: Six Solo Exhibitions at Hagar Art Gallery, Jaffa, ed. Tal Ben Zvi (Tel-AvivJaffa: Hagar
Association, 2006): 16.
Antrepo no.3
HITO STEYERL
Steyerls new lecture/performance, produced for the 13th Istanbul Biennial, takes
as its departure point her March 2013 talk
I Dreamed a Dream: Politics in the Age of
Mass Art Production and focuses on
the arms industry, a phenomenon
constantly re-conceptualized by the media
through the regular flow of images. It asks
the question of how a museum and a
battlefield could be related. The question
emerges when Steyerl follows the trace of
an empty bullet casing which he found in
the area where the mass grave of Andrea
Wolf and her friends were located in Van,
Turkey.
Antrepo no.3
HITO STEYERL
Antrepo no.3
HITO STEYERL
HONF FOUNDATION
DAMANYET (C/SM) TR
HONF Vakf tarafndan gelitirilen Etkileimli Medya Projesi, 20122013
Antrepo no.3
HONF FOUNDATION
DAMANYET (C/SM) TR
HONF Vakf tarafndan gelitirilen Etkileimli Medya Projesi, 20122013
Antrepo no.3
HONF FOUNDATION
INCI EVINER
NC EVNER
Ortak Eylem Aygt: Bir Ett, 2013 Co-action Device: A Study, 2013
NC EVNER
IPEK DUBEN
Antrepo no.3
PEK DUBEN
* Trkeden ngilizceye eviri Nazm Dikba. Translation from Turkish to English Nazm Dikba.
Antrepo no.3
PEK DUBEN
JIRI KOVANDA
Antrepo no.3
JIR KOVANDA
Antrepo no.3
JIR KOVANDA
JORGE GALINDO
SANTIAGO SIERRA
Antrepo no.3
JORGE GALINDO
SANTIAGO SIERRA
Antrepo no.3
JORGE GALINDO
SANTIAGO SIERRA
JORGE MNDEZ
BLAKE
*airin Evi (2913), Blakein bienalde sergilenen izim serisinden bir para. Tannm airlerin dizelerini izime aktararak onlara yeni bir
anlam ykleyen Blake, ayn atoda olduu gibi edebiyat ve szckleri, biim, nesne ve mimari ile iletiime sokuyor.
The Poets House (2013) is a piece from Blakes exhibited series of drawings. By translating the lines of renowned poets into drawing,
Blake charges them with a new meaning. As in The Castle, he connects literature and words with form, object and architecture.
LATOYA RUBY
FRAZIER
Antrepo no.3
Dedemin Yatak Odasnda Otoportre (227 Holland Caddesi), 2009 Self Portrait In Gramps Bedroom (227 Holland Avenue), 2009
Antrepo no.3
LUTZ BACHER
LUTZ BACHER
ABDde dodu (yl ve ehir belirtilmedi). New York, NY ve Berkeley, CA, ABDde
yayor ve alyor. Born in the USA (city and year not specified). Lives and works
in New York, NY and Berkeley, CA, USA.
LUTZ BACHER
LUX LINDNER
1 Lux Lindner: Visin del Arte, Bola de Nieve: Works, Biography, and Thought of 1,107 Artists Selected by
Other Artists. http://boladenieve.org.ar/en/vision/33 Eriim: 15 Temmuz 2013. Lux Lindner: Visin del Arte,
Bola de Nieve: Works, Biography, and Thought of 1,107 Artists Selected by Other Artists.
http://boladenieve.org.ar/en/vision/33 Accessed: 15 July 2013.
Antrepo no.3
LUX LINDNER
BU KOCA BEN DEDN EY HERHANG BIR KOCA KILI SOLCU KADIN KADAR THE BIG I COULD BE SO CRAP AS ANY FAT BOTTOMED FEMALE LEFTIST
SAKL OLABLR, Arjantin Gerei zerine Bir nceleme serisinden, 2006-2013 from the series Treatise on Argentine Reality, 2006-2013
Antrepo no.3
LUX LINDNER
HAREKTTA LDRLD ( keder ve kehanetin sureti), Arjantin Gerei KILLED IN ACTION (figure of sorrow and prophecy) from the series
zerine Bir nceleme serisinden, 2006-2013 Treatise on Argentine Reality, 2006-2013
MAIDER LOPEZ
MAIDER LPEZ
1975te San Sebastin, Bask Blgesi, spanyada dodu. San Sebastin, Bask
Blgesi, spanyada yayor ve alyor. Born in San Sebastin, Basque Country,
Spain. Lives and works in San Sebastin, Basque Country, Spain.
MAIDER LPEZ
MERE PHANTOMS
(MAYA ERSAN &
JAIMIE ROBSON)
For the 13th Istanbul Biennial, Mere Phantoms created an interactive installation
alongside a series of public workshops for
children. Come Out and Play (2013) takes
Antrepo no.3
Antrepo no.3
MIERLE
LADERMAN
UKELES
Antrepo no.3
1939da Denver, CO, ABDde dodu. New York, NY, ABDde yayor ve alyor.
Born in 1939 in Denver, CO, USA. Lives and works in New York, NY, USA.
Ykama, Wooster Sokaktaki A.I.R. Galerinin nnde, SoHo, New York, 1974 Washing, in front of the A.I.R. Gallery on Wooster Street in SoHo, New York, 1974
Antrepo no.3
MIKA ROTTENBERG
1 Mika Rottenberg, Ann Demeester ile bir syleide alntland haliyle. Mika Rottenberg, Mika Rottenberg:
Dough Cheese, Squeeze, and Tropical Breeze. Video Works 20032010 (New York and Amsterdam: Gregory
R Miller & Co. and de Appel Arts Centre, 2011): 16. Mika Rottenberg as quoted in an interview with Ann
Demeester, in Mika Rottenberg, Mika Rottenberg: Dough Cheese, Squeeze, and Tropical Breeze. Video Works
20032010 (New York and Amsterdam: Gregory R Miller & Co. and de Appel Arts Centre, 2011): 16.
Antrepo no.3
MIKA ROTTENBERG
1976da Buenos Aires, Arjantinde dodu. New York, NY, ABDde yayor ve
alyor. Born in 1976 in Buenos Aires, Argentina. Lives and works in New York,
NY, USA.
Antrepo no.3
MIKA ROTTENBERG
MURAT AKAGUNDUZ
1. Keban Baraj / The Keban Dam 2. Uzunayr Baraj / The Uzunayr Dam 3. Atatrk Baraj / The Atatrk Dam
4. Birecik Baraj / The Birecik Dam 5. Karkam Baraj / The Karkam Dam
1 Sanatyla syleiden, Kasm 2011. Conversation with the artist, November 2011.
Antrepo no.3
MURAT AKAGNDZ
* Bu metin Murat Akagndz monografisi iinde Emre Baykaln Manzarann Hatrlad balkl yazsndan
alntlanmtr (stanbul: Galeri Man, 2012): 80-114.
This text is an excerpt from What The Landscape Remembers by Emre Baykal, in Murat Akagndz (Istanbul:
Galeri Man, 2012): 80-114.
Antrepo no.3
MURAT AKAGNDZ
An idea of time which contains impressions of the past and clues regarding the
future; and may, just like in listening to
music, only be comprehended with insight
and not with the mind, dominates these
paintings. Comprising the unity of past,
present and future, time is perceived as
an uninterrupted whole, or as an eternal
environment. * Emre Baykal
NATHAN COLEY
NATHAN COLEY
Yabanclarn toplanmas
* Bu metin In Flagrant Contradictiondan alntlanmtr. Lisa Le Feuvre, Nathan Coley - A Place Beyond
Belief iinde (Berlin: Hatje Cantz, monografi, basm aamasnda). This text is an excerpt from In Flagrant
Contradiction, by Lisa Le Feuvre, in Nathan Coley - A Place Beyond Belief, a forthcoming monograph, published by
Hatje Cantz, Berlin.
NATHAN COLEY
NICHOLAS MANGAN
Antrepo no.3
NICHOLAS MANGAN
1 Helen Hughes, Vertical Histories: Nicholas Mangans A World Undone (2012). http://www.labor.org.mx/
wp-content/uploads/downloads/2012/10/mangan_email2.pdf Eriim: 17 Temmuz 2013. Helen Hughes, Vertical
Histories: Nicholas Mangans A World Undone (2012). http://www.labor.org.mx/wp-content/uploads/downloads/2012/10/mangan_email2.pdf Accessed: 17 July 2013.
Antrepo no.3
NICHOLAS MANGAN
Madde, Madenin stnde (ivisi km Dnya iin), 2012 Matter Over Mined (for A World Undone), 2012
Antrepo no.3
Paris Ik ehri [ Paris Ville Lumire], 1974 Paris City of Light [Paris Ville Lumire], 1974
Yalter 1938de Kahire, Msrda dodu; Blum 1943te New York, NY, ABDde dodu.
Yalter Paris, Fransada yayor ve alyor; Blum New York, NY, ABDde yayor ve
alyor. Yalter born in 1938 in Cairo, Egypt; Blum born in 1943 in New York, NY, USA.
Yalter lives and works in Paris, France; Blum lives and works in New York, NY, USA.
Paris Ik ehri [ Paris Ville Lumire], 1974 Paris City of Light [Paris Ville Lumire], 1974
Antrepo no.3
PROVO
Poster, 1967
Antrepo no.3
PROVO
Poster, 1967
Poster, 1967
Antrepo no.3
PROVO
Poster, 1967
RIETVELD
LANDSCAPE
Antrepo no.3
RIETVELD LANDSCAPE
RIETVELD LANDSCAPE
Antrepo no.3
ROB JOHANNESMA
Antrepo no.3
ROB JOHANNESMA
Antrepo no.3
ROB JOHANNESMA
SANTIAGO SIERRA
LEIPZIGER FREIHEITS- UND EINHEITSDENKMAL
CONCEPTUAL MONUMENT
APPENDIX
Antrepo no.3
SANTIAGO SIERRA
SHAHZIA SIKANDER
Antrepo no.3
SHAHZIA SIKANDER
1969da Lahor, Pakistanda dodu. New York, NY, ABDde yayor ve alyor.
Born in 1969 in Lahore, Pakistan. Lives and works in New York, NY, USA.
Antrepo no.3
SHAHZIA SIKANDER
SENER OZMEN
ENER ZMEN
ENER ZMEN
TADASHI KAWAMATA
1 Sanatnn editrle yazmalarndan alntdr. Excerpt from correspondence between the editor and the artist.
Antrepo no.3
TADASHI KAWAMATA
Antrepo no.3
TADASHI KAWAMATA
THOMAS
HIRSCHHORN
Antrepo no.3
THOMAS HIRSCHHORN
Zaman izelgesi: Kamusal Alanda Yapt, 2012 Timeline: Work in Public Space, 2012
Spinoza Tiyatrosu, Bijlmer Spinoza Festivali, 2009 Spinoza-Theater, The Bijlmer Spinoza-Festival, 2009
1 Gramsci Ant (2013), Thomas Hirschhorn tarafndan New Yorkun Bronx mahallesinin Forest Houses blgesinde kamusal alanda retilen, yapmna Dia Art Foundation New Yorkun destek olduu bir yapttr. Gramsci
Ant hakknda daha fazla bilgi edinmek iin: http://www.gramsci-monument.com/ Eriim: 17 Austos 2013.
The Gramsci Monument (2013) is a work in public space by Thomas Hirschhorn, produced by the Dia Art Foundation
New York, located at Forest Houses, The Bronx, New York. Information on the Gramsci Monument is available at:
http://www.gramsci-monument.com/ Accessed: 17 August 2013.
Antrepo no.3
THOMAS HIRSCHHORN
WOUTER
OSTERHOLT
&
ELKE UITENTUIS
Antrepo no.3
nsanlk Ant Yardm Eden Eller, 2011/2013 Monument to Humanity Helping Hands, 2011/2013
Antrepo no.3
nsanlk Ant Yardm Eden Eller, 2011/2013 Monument to Humanity Helping Hands, 2011/2013
YTO BARRADA
1971de Paris, Fransada dodu. New York, NY, ABDde yayor ve alyor. Born
in 1971 in Paris, France. Lives and works in New York, NY, USA.
Yto Barradas Beau Geste (2009) documents an action in a vacant lot, inspired
by the Diggers movement and the 1939
remake of Beau Geste with Gary Cooper.
The new owner of a lot had made a deep,
fatal notch in this palm tree (a Phoenix
canariensis) and was waiting for it to fall.
Then he could build on his lot.
The action set out to interrupt or delay this
process. The tree has a 50/50 chance of
survival if it remains unmolested. At least
the owner will have a little more difficulty
when he removes the tree in the end.
The phrase beau geste originates from the
French and means a gracious, fine gesture, especially one that is meaningless.*
* Beau Gestein sinopsisinden alnt. This is an excerpt from the synopsis of Beau Geste.
Antrepo no.3
YTO BARRADA
** Bu metin, Ian Francisin Haziran 2012 tarihli Sight and Sound dergisinde Yto Barrada ile yapt rportajdan
uyarlanmtr. This text is adapted from an excerpt in Tangerine dreams: Yto Barrada, interview with Yto Barrada by
Ian Francis in Sight and Sound magazine, June 2012.
Antrepo no.3
YTO BARRADA
ZBIGNIEW LIBERA
Antrepo no.3
ZBIGNIEW LIBERA
Antrepo no.3
ZBIGNIEW LIBERA
GALATA RUM
LKRETIM
LKRETM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
GALATA RUM
LKRETM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
0
1
2
3
Lutz Bacher
nci Eviner
Wang Qingsong
Rossella Biscotti
KAT 1
FLOOR 1
0
1
KAT 2
FLOOR 2
GALATA RUM
LKRETM
OKULU
GALATA GREEK
PRIMARY
SCHOOL
2
4
5
6
7
8
9
10
11
Wang Qingsong
Nathan Coley
Peter Robinson
Lale Mldr & Kaan
Karacehennem &
Franz von Bodelschwingh
Falke Pisano
Basim Magdy
Jean Rouch
Toril Johannessen
Annika Eriksson
12
13
14
15
16
17
18
19
KAT 3
FLOOR 3
4
7
10
10
11
KAT 4
FLOOR 4
13
15
17
12
16
16
14
2
TERAS
TERRACE
19
20
21
22
19
19
24
18
23
AGNIESZKA POLSKA
Sa [Wosy], 2012
AGNIESZKA POLSKA
Agnieszka Polska, sanatn merulatrlmas, dlanmas ve bir mite dntrlmesini salayan kurumsal mekanizmalar
zellikle sanat tarihi balamnda
aratrarak, hafza kayb, hafza ve
hatrlama kavramlarn sorguluyor.
Marjinalletirilen veya unutulan olgulara
deil de, sanat tarihiyle ilgili yanl
ezberlenmi bilgilere odaklanyor.
Polskann filmleri sanat tarihindeki
olaylara ynelik sorgulamalar
belgeliyor ve bunlara dair (sahte) maddi
delilleri gizemli dekorlar ve felsefi
metinler eliinde hipnotize edici anime
sekanslar halinde sunuyor.
Sa [ Wosy], 2012
1 Agnieszka Polskann yazarla grmesinden. Agnieszka Polska, conversation with the author.
AGNIESZKA POLSKA
ANNIKA ERIKSSON
ANNIKA ERIKSSON
Ben hep burada olan kpeim (dng halinde), 2013 I am the dog that was always here (loop), 2013
ANNIKA ERIKSSON
Ben hep burada olan kpeim (dng halinde), 2013 I am the dog that was always here (loop), 2013
BASIM MAGDY
1. ASLA BR EY
ANLADIINI VARSAYMA,
ANLAMI GB YAPMA.
NK SENN DE AYNI
BZM GB BR EY
ANLAMADIINI
BLYORUZ.
6. ASLA UYKUYA
YENK DME.
RYA GRRSN.
1 Basim Magdy, Jessica Hunter-Larsen ile rportaj, How to Build an Invisible Monument Exhibition Catalogue
iinde (Colorado Springs: Coburn Gallery, Colorado College, 2013). Basim Magdy, interview by Jessica
Hunter-Larsen, in How to Build an Invisible Monument Exhibition Catalogue (Colorado Springs: Coburn Gallery,
Colorado College, 2013).
BASIM MAGDY
Dnyay Anlamak iin 13 Temel Kural, 2011 13 Essential Rules for Understanding the World, 2011
1977de Asyut, Msrda dodu. Basel, svire ve Kahire, Msrda yayor ve alyor.
Born in 1977 in Assiut, Egypt. Lives and works in Basel, Switzerland and Cairo, Egypt.
*Bienalde Basim Magdynin bir dier yapt Her nce Jest (2012-devam etmekte) de sergileniyor. Yllardan beri biriktirdii fotoraf arivini, grnrde ilgisiz birer
lirik dize ile sunan Magdy, izleyiciyi yine kafa kartran bir grsellikle yzletirerek hikyeyi tamamlamaya aryor.
Also exhibited in the biennial is Basim Magdys Every Subtle Gesture (2012-ongoing). By presenting an archive of photos collected over years with seemingly
unrelated, lyrical verses, Magdy confronts the viewers with a confusing imagery and asks them to complete the story themselves.
BASIM MAGDY
BERTILLE BAK
While Bertille Bak works in Paris, her projects take her far and wide as she investigates and instigates group processes in
various social settings. Whether in a small
coal-mining village in the north of France
or a neighbourhood of Polish immigrants
in the heart of Manhattan, the artist is capable of re-instantiating what she calls the
protective practices of microcommunities.
Bak then transcribes these processes
using her own, almost-ethnographic
language of film- and map-making, as well
as through drawing and installations. The
vacillation of her projects between socially
scientific research and art (or fiction) alerts
the viewer to the dangerous and wondrous
porosity of those frameworks.
Safeguard Emergency Light System
(2010), a seven-minute film shot in
documentary style, tells a story of
protest by residents living in an apartment
complex of about 2,000 households in
the Din Daeng neighbourhood of Bangkok,
Thailand. In 2008 the city-housing
authorities announced that, due to
the poor conditions of these decadesold apartment blocks, the occupants would
be evicted and the buildings demolished
to make way for a commercial centre.
In response to a lack of compensation or
housing offered by the government,
the members of the Din Daeng community
launched a years-long neighbourhood
resistance, which was seldom covered
by Thai media.
BERTILLE BAK
Koruyucu Acil Durum Ik Sistemi, 2010 Safeguard Emergency Light System, 2010
Koruyucu Acil Durum Ik Sistemi, 2010 Safeguard Emergency Light System, 2010
BERTILLE BAK
ELMGREEN &
DRAGSET
FALKE PISANO
FALKE PISANO
Bozulmu Bedenler atlam Zihinler (Er M., Hasta A. & Gezgin H.), 2012 Disordered Bodies Fractured Minds (Private M., Patient A. & Traveller H.), 2012
Bozulmu Bedenler atlam Zihinler (Er M., Hasta A. & Gezgin H.), 2012 Disordered Bodies Fractured Minds (Private M., Patient A. & Traveller H.), 2012
FALKE PISANO
JEAN ROUCH
JEAN ROUCH
lgn Efendiler [ Les Matres Fous], 1955 The Mad Masters [Les Matres Fous], 1955
JEAN ROUCH
lgn Efendiler [ Les Matres Fous], 1955 The Mad Masters [Les Matres Fous], 1955
LALE MULDUR
&
KAAN
KARACEHENNEM
&
FRANZ VON
BODELSCHWINGH
Lale Mldr
Lale Mldr
Klahl Yol: Toplumsal Bellein Tahliyesi, 2013 The Road of Cones: The Eviction of Social Memory, 2013
2013te New York, NY, ABDde kurulan sanat kolektifi. almalarn New York,
NY, ABDde srdryor. Artists collective founded in 2013 in New York, NY, USA.
Based in New York, NY, USA.
Klahl Yol: Toplumsal Bellein Tahliyesi, 2013 The Road of Cones: The Eviction of Social Memory, 2013
MARTIN CORDIANO
TOMS ESPINA
MARTIN CORDIANO
TOMS ESPINA
Cordiano 1975te Buenos Aires, Arjantinde dodu; Espina 1975te Buenos Aires,
Arjantinde dodu. Cordiano Londra, ngilterede yayor ve alyor; Espina
Buenos Aires ve Crdoba, Arjantinde yayor ve alyor. Cordiano born in 1975
in Buenos Aires, Argentina; Espina born in 1975 in Buenos Aires, Argentina.
Cordiano lives and works in London, UK; Espina lives and works in Buenos Aires
and Crdoba, Argentina.
MARTIN CORDIANO
TOMS ESPINA
MULKSUZLESTIRME
AGLARI
TARLABAI
YENLEME
TAKSM
YAYALATIRMA
Ahmet
Tayldz
GAP
naat
alk Holding
Kalyon
naat
Ahmet
alk
Mapa
naat
3. HAVALMANI
GALATA PORT
Limak
naat
Kolin
naat
ARTVN BARAJI
ve HES PROJES
Dou Holding
BOYABAT
BARAJI ve
HES NAATI
Cengiz
naat
ILISU BARAJI
Nurol
naat
AndritzHydro
MLKSZLETRME ALARI
agenda of the city? To which specific capital groups is the peoples tax money being
transferred through the reconstruction/
management of public property? What
are the connections between projects
targeting the district of Beyolu, which is
among the primary focal areas of urban
policies? What are the processes of
depriving minorities from their property
and the partnerships between the state
institutions and private companies that
have appropriated the unearned capital
resulting from these processes?
We are interested in questions that expose
such relations of power.
The project runs on internet as a web
service and its interface allows contributors
to enter data, share their works, and
explore the network maps interactively.
Technical infrastructure of the web service
is the collective mapping platform Graph
Commons developed by Burak Arkan.
Data points with indicated sources on
this platform can be digitally searched by
everyone, are easily accessible, and can
be referenced as external links.
The first workshop in scope of the project
took place in Gezi Park on June 6, 2013.
The group has been working on shared
documents online and on-site ever since.
The data and relational maps will be
displayed in the biennial both as static
prints and in digital formats. Workshops
will also be conducted on dispossession
and urban policies, relational data
compilation, network mapping, and
publication/socialization of the generated
data throughout the biennial.
Networks of Dispossession
MLKSZLETRME ALARI
NEWSPAPER
READING CLUB
(FIONA CONNOR &
MICHALA PALUDAN)
Gazete Okuma Kulb Postas - Yaknlklar, Farley Binas, Newspaper Reading Club Daily - Intimacies, the Farley Building,
Los Angeles, 2011 Los Angeles, 2011
2011de Los Angeles, CA, ABDde kuruldu. almalarn Los Angeles, CA, ABD
ve Askeby, Danimarkada srdryor. Founded in 2011 in Los Angeles, CA, USA.
Based in Los Angeles, CA, USA and Askeby, Denmark.
PETER ROBINSON
PETER ROBINSON
PETER ROBINSON
PROYECTO
SECUNDARIO
LILIANA MARESCA
ROSSELLA BISCOTTI
ROSSELLA BISCOTTI
ROSSELLA BISCOTTI
SERKAN TAYCAN
SERKAN TAYCAN
SERKAN TAYCAN
SULUKULE
PLATFORMU
stanbulda byk lekli kentsel dnmleri balatan srecin ilk uygulama alan,
dnyann en eski Roman yerleimlerinden
olan Sulukule mahallesiydi.1 Dnya Miras
Alanlarndan, stanbul kara surlarnn
koruma bandnda yer alan Sulukule, hem
kentsel dnm politikalar ve uygulamalarnn habercisi oldu, hem de Sulukule
Platformunun gelitirdii yeniliki kent
mcadelesi pratiiyle gndeme geldi.
Sulukule Platformu yeleri Sulukulenin
adn deitirebilecekler mi? (2007-2013)
diye sorarak, bu dnm srelerini
aktaryor. Platformun yatay, ak ve
pozitif eylemlilii benimseyen yapsn ve
ykmdan sonra da toplulukla ilikileri
srdrerek yrtt dntrc,
destekleyici faaliyetlerini tartmaya
ayor. Bir kentsel mcadeleyi baarl
ya da baarsz klan nedir? sorusunu
hem kendine, hem izleyenlere soruyor.
Yklp yok edilen yerin kapsad yaam
gc, uruna verilen mcadelenin toplulua kazandrd yeni deerler ve gerekletirdii dnm toplumsal bellee kaznr,
yeni pratiklerin referans olarak gelecee
tanr. Sulukule ismi de artk yeni mcadele
pratiklerinin de temel referanslarndan
birini oluturuyor. Sulukule Mcadelesinin
The first target of large-scale urban transformation in Istanbul was the Sulukule
neighbourhood, one of the oldest Roma
settlements in the world.1 Located within
the conservation zone of the World
Heritage Site Istanbul city walls, it was not
only the harbinger of urban transformation
policies and implementations, but also
became renowned through the innovative
urban struggle practice developed by
the Sulukule Platform.
By asking Will they be able to change
the name Sulukule? (2007-2013),
members of the Sulukule Platform discuss
these processes of transformation,
and open to debate the platforms own
horizontal and open structure and
transformative activities that are not
restricted to the demolition of the residents
homes, and practiced in interaction with
the community. The platform poses
the question What renders an urban
struggle successful, what makes it a
failure? both to itself and to the audience.
The life force of the demolished place,
the new values society gains through the
struggle, and the ensuing transformation
are ingrained in memory, and transmitted.
Thus, the name Sulukule now forms
1 Ypranan Tarihi ve Kltrel Tanmaz Varlklarn Yenilenerek Korunmas ve Yaatlarak Kullanlmas balkl
5366 sayl yasa Aralk 2005te karld. Yasann ilk uygulama yeri Sulukule oldu. Tarlaba ve Balat Sulukuleyi
izledi. Law No. 5366 on Conservation by Renovation and Use by Revitalization of the Deteriorated Historical and
Cultural Immovable Property was enacted in December 2005. The first area of implementation of the law was Sulukule.
Tarlaba and Balat followed.
SULUKULE PLATFORMU
Her gn bir ev yklyor, ritim dersleri sryor., 2009 A house is demolished each day, rhythm classes go on., 2009
Asl Kyak ngin, Derya Nket zer, Funda Oral, Nejla Osseiran, Deniz Mukan
Sulukule Platformu Ocak 2007de stanbul, Trkiyede kuruldu. stanbul,
Trkiyede bulunuyor. Sulukule Platform founded in January 2007 in Istanbul,
Turkey. Based in Istanbul, Turkey.
* Trkeden ngilizceye eviri Nazm Dikba. Translation from Turkish to English Nazm Dikba.
SULUKULE PLATFORMU
TORIL
JOHANNESSEN
TORIL JOHANNESSEN
TORIL JOHANNESSEN
VERMEIR &
HEIREMANS
Rezidans (br dnya zerine bir bahis), 2012 The Residence (a wager for the afterlife), 2012
Rezidans (br dnya zerine bir bahis), 2012 The Residence (a wager for the afterlife), 2012
VOLKAN ASLAN
VOLKAN ASLAN
Oyunlar Oyunlar Oyunlar iin eskiz, 2013 Sketch for Games Games Games, 2013
VOLKAN ASLAN
WANG QINGSONG
WANG QINGSONG
1 http://www.wangqingsong.com/index.php?option=com_content&view=article&id=87&Itemid=15 Eriim:
20 Austos 2013. http://www.wangqingsong.com/index.php?option=com_content&view=article&id=87&Itemid=15
Accessed: 20 August 2013.
WANG QINGSONG
ARTER
0
1
2
3
4
5
ARTER
Lutz Bacher
Jimmie Durham
Jorge Mndez Blake
Hctor Zamora
Stephen Willats
Jos Antonio Vega Macotela
6
7
8
9
Jananne Al-Ani
Angelica Mesiti
Maider Lpez
Basel Abbas &
Ruanne Abou-Rahme
10 Didem Erk
11
12
13
14
Fernando Ortega
Carla Filipe
Praneet Soi
Cinthia Marcelle
ZEMN KAT
GROUND FLOOR
1
0
KAT 1
FLOOR 1
6
5
4
KAT 2
FLOOR 2
8
7
KAT 3
FLOOR 3
11
12
12
13
10
14
ANGELICA MESITI
ARTER
ANGELICA MESITI
1 Bu metin Rapture and Rupture (2012); Angelica Mesitis Citizens Band den (yazar: Juliana Engberg, Sanat
Direktr, Avustralya Gncel Sanat Merkezi, Melbourne) alntdr. This text is an excerpt from Rapture
and Rupture (2012); Angelica Mesitis Citizens Band by Juliana Engberg, Artistic Director, Australian Centre for
Contemporary Art, Melbourne.
ARTER
ANGELICA MESITI
ARTER
Tesadfi syanclar: Haydutlar Hakkndaki Ksm (Blm 1), 2012-2013 The Incidental Insurgents: The Part about the Bandits (Chapter 1), 2012-2013
1 Basel Abbas ve Ruanne Abou-Rahme ile The Zone zerine Bir Konuma, Jadaliyya ezine.
http://www.jadaliyya.com/pages/index/1642/a-conversation-with-basel-abbas-and-ruanne-abou-ra Eriim: 8
Austos 2013. A Conversation with Basel Abbas and Ruanne Abou-Rahme on The Zone, Jadaliyya ezine. http://www.
jadaliyya.com/pages/index/1642/a-conversation-with-basel-abbas-and-ruanne-abou-ra Accessed: 8 August 2013.
* Sanatlarn katklaryla. With contribution from the artists.
ARTER
Tesadfi syanclar: Haydutlar Hakkndaki Ksm (Blm 2), 2012 The Incidental Insurgents: The Part about the Bandits (Chapter 2), 2012
(video karesi) (video still)
CINTHIA MARCELLE
1 Jochen Volz, Confronto on the Work of Cinthia Marcelle 9. Biennale de Lyon Katalou iinde. http://www.
galeriavermelho.com.br/en/artista/88/cinthia-marcelle/textos Eriim: 14 Austos 2013. Jochen Volz, Confronto
on the Work of Cinthia Marcelle in Catalogue of 9 th Biennale de Lyon. http://www.galeriavermelho.com.br/en/
artista/88/cinthia-marcelle/textos Accessed: 14 August 2013.
ARTER
CINTHIA MARCELLE
Yzle [Confronto], Unus Mundus serisinden, 2005 Confront [Confronto] from the series Unus Mundus, 2005
DIDEM ERK
ARTER
DDEM ERK
Arivlerde izim bulunmasn isterdim I wish I could not be traced in the archives
(Srkran | Secret Decipherer | Mistiko Spastis), 2013 (Srkran | Secret Decipherer | Mistiko Spastis), 2013
Arivlerde izim bulunmasn isterdim I wish I could not be traced in the archives
(Srkran | Secret Decipherer | Mistiko Spastis), 2013 (Srkran | Secret Decipherer | Mistiko Spastis), 2013
1 Didem Erk, yazarla yazmasndan. Didem Erk, correspondence with the author.
ARTER
DDEM ERK
HECTOR ZAMORA
HCTOR ZAMORA
Maddesel Deikenlik [ Inconstncia Material], 2012 Material Inconstancy [Inconstncia Material], 2012
HCTOR ZAMORA
Maddesel Deikenlik [ Inconstncia Material], 2012 Material Inconstancy [Inconstncia Material], 2012
JANANNE AL-ANI
1 David A. Bailey ve Gilane Tawadros der., Veil: Veiling, Representation, and Contemporary Art
(MIT Yaynlar, 2003). David A. Bailey and Gilane Tawadros ed., Veil: Veiling, Representation, and Contemporary
Art (MIT Press, 2003).
ARTER
JANANNE AL-ANI
ARTER
JANANNE AL-ANI
JIMMIE DURHAM
ARTER
JIMMIE DURHAM
1 Jimmie Durham, Richard W. Hill ile sylei, Kamloops Sanat Galerisi, internet zerinden yayn, http://www.
kag.bc.ca/docs/4ead93f01d99df02.mp3 Eriim: 16 Austos 2013. Jimmie Durham Interviewed by Richard W. Hill,
Kamloops Art Gallery, podcast audio, http://www.kag.bc.ca/docs/4ead93f01d99df02.mp3 Accessed: 16 August 2013.
2 Mary Miller ve Karl Taube, The Gods and Symbols of Ancient Mexico and Maya (Londra: Thames and Hudson,
1993):164. Mary Miller and Karl Taube, The Gods and Symbols of Ancient Mexico and Maya (London: Thames and
Hudson, 1993): 164.
ARTER
JIMMIE DURHAM
JOSE ANTONIO
VEGA MACOTELA
1 Antonio Vega Macotela, (Gabriella Gmez-Montun aktarmyla) Mexican Rashes: Contraband, Commerce,
and Art in One of Mexicos Most Overcrowded Prisons, Vice (Meksika says), 6 ubat 2008, http://www.vice.com/
read/mexican-rashes-137-v15n6 Eriim: 17 Austos 2013. Antonio Vega Macotela (as told to Gabriella Gmez-Mont),
Mexican Rashes: Contraband, Commerce, and Art in One of Mexicos Most Overcrowded Prisons, Vice (The Mexican
Issue), February 6, 2008, http://www.vice.com/read/mexican-rashes-137-v15n6 Accessed: 17 August 2013.
ARTER
ARTER
PRANEET SOI
ARTER
PRANEET SOI
Kumartuli Matbaacs, Emek zerine Notlar, Blm 1, 2010 Kumartuli Printer, Notes on Labour, Part 1, 2010
ARTER
PRANEET SOI
Kumartuli Matbaacs, Emek zerine Notlar, Blm 1, 2012 Kumartuli Printer, Notes on Labour, Part 1, 2012
STEPHEN WILLATS
Hayat iki boyutlu bir temele dayanmyor, demiti Stephen Willats 1961 tarihli
ksa manifestosunda. nsan sokakta
yrrken sadece grsel deil, ayn
zamanda dokunsal ve iitsel heyecanlar
da duyar. Sanat artk yanlsamalarla
ilgilenmeyi brakmal, gereki bir temeli
esas alarak almaldr.1 Kavramsal
sanatn ngilteredeki nclerinden
Willats, yaptn tek sahibi olarak sanat
kavramna kar km, sanatn toplumsal
ilevini incelerken sivil bir sorumluluk
benimsemitir. 13. stanbul Bienali
Willatsn kendisini etkileimli modeller
icat eden ve toplumda deiimi balatacak
bir sanat olarak deerlendirdii erken
dnem yaptlarndan bir seki sunuyor.
Willats, erken dnem yaptlarnda,
geleneksel sanat biimlerine kafa tutacak
bir dil yaratmak iin sibernetik, biliim
kuram ve programlama alanlarndan
modeller dn ald: Diyagram sanatsal
retiminin merkezine oturdu. 1963
tarihli Sanat, Toplum, Geri Besleme
balkl eskizi, sanat ve toplumsal
balam arasnda mekanik ve duraan
deil, aracsz, dinamik bir ilikiyi ve
alverii tasvir eden bir diyagram.
Bu eskiz, sanatnn bilindik izleyici
kitlesinin dnda kalan insanlarla
birlikte rettii etkileim ve katlma
dayal yaptlara ereve oluturan bir
kavramsal model.
ARTER
STEPHEN WILLATS
ARTER
STEPHEN WILLATS
SALT
BEYOLU
SALT
BEYOLU
0
1
2
3
Lutz Bacher
Halil Altndere
Diego Bianchi
Amar Kanwar
0
1
SALT Beyolu
AMAR KANWAR
SALT Beyolu
AMAR KANWAR
1 Amar Kanwar, dOCUMENTA (13) The Guidebookda alntland ekliyle (Ostfildern: Hatje Cantz Verlag:
2012): 208. Amar Kanwar as quoted in dOCUMENTA (13) The Guidebook (Ostfildern: Hatje Cantz Verlag: 2012): 208.
SALT Beyolu
AMAR KANWAR
DIEGO BIANCHI
1 Ins Katzenstein, Irreversible, Enlarge Diego Bianchi Works 2003.2010 iinde, (der.) Diego Bianchi
(Buenos Aires: KBB / Toit du Monde, 2011), 263. Ins Katzenstein, Irreversible in Enlarge Diego Bianchi Works
2003.2010, ed. Diego Bianchi (Buenos Aires: KBB / Toit du Monde, 2011), 263.
SALT Beyolu
DIEGO BIANCHI
Spam Durumu [ Estado de Spam], 2013 (detay) State of Spam [Estado de Spam], 2013 (detail)
SALT Beyolu
DIEGO BIANCHI
Vahi Anlamn ine Doru, 2013 (detay) Into the Wild Meaning, 2013 (detail)
beden son dnemde daha somut bir mevcudiyet kazand, nce nesneleri harekete
geiren ve onlara eklemlenen uzuvlar
vard, ardndan da gerekliin andrc
ve takn yorumu iinde kurgusal veya
kurgusal olmayan sahneler geldi.
5533
MAXIME HOURANI
5533
MAXIME HOURANI
* 5533n etkinlikleri Volkan Aslan, Nancy Atakan ve Filiz Avunduk tarafndan srdrlmektedir.
5533 activities are conducted by Volkan Aslan, Nancy Atakan and Filiz Avunduk.
5533
MAXIME HOURANI
JEAN GENET
JEAN GENET
Ak bir ark [ Un chant damour], 1950 A song of love [Un chant damour], 1950
ehri Kamusallatrmak
ehri Kamusallatrmak k noktas olarak
ehirdeki son derece gerek ve vahi kentsel
dnm ald. Hem stanbuldan hem de
baka ehir ve lkelerden gelen katlmclar,
kentsel dnm, kamusal alann yaratl
ve bastrlmas ile kapitalizm arasndaki
iliki zerinde dnmeye ve tartmaya
arld.
PROGRAM
Giri
Fulya Erdemci & Andrea Phillips
iir okumas
Lale Mldr (air)
Kolektif Hayal Gcmz Nerede? Mimari ve
Kamunun Krizi
Teddy Cruz (mimar, Kaliforniya niversitesi,
San Diego Grsel Sanatlar Blm Kamusal
Kltr ve ehircilik profesr, Kentsel
Ekolojiler Merkezi (CUE) kurucularndan)
Doalama
Cevdet Erek (sanat ve mzisyen,
T TM Konservatuar ve Mimarlk
Fakltesi, retim yesi)
KAMUSAL PROGRAM
PROGRAMME
Introduction
Fulya Erdemci & Andrea Phillips
Poetry reading
Lale Mldr (poet)
Where is Our Collective Imagination?
Architecture and the Crisis of the Public
Teddy Cruz (architect, University of California,
San Diego, co-founder of CUE/Center for
Urban Ecologies)
Improvisation
Cevdet Erek (artist and musician, lecturer
at ITU TM Conservatoire and Architecture
Faculty)
PUBLIC PROGRAMME
PROGRAM
iir okumas
Ahmet Gntan iirleri Frat Demir (air ve
sanat eletirmeni) ve Burak Fidan (yazar ve
yaync)
Zihinsel evrenin Siyaseti
Adbusters (kltrel frekans bozucu ve
yaynclar)
Kitlesel Medyadan Halk Medyasna?
Teknoloji, Kriz ve letiim Siyaseti
Dan Hind (yazar)
rgtl Ses / rgtl Dinleyicilik: Kolektif
Bir Pratie Doru
Robert Sember (ses-sanat kolektifi Ultraredin yesi, kamusal salk aratrmacs ve
yerel rgtleyici)
PROGRAM
Sunum-performans: Sanat Evi Endeksi
Vermeir & Heiremans
Zenginlik: Sanatsal Emek ve Herkesin
Eriebildii Kaynaklar [the Commons]
Alberto Lpez Cuenca (Amricas Puebla
niversitesi, Meksika)
Gncel Sanat / Pazar / ktidar
Sunum: Suhail Malik
(Goldsmiths Koleji, Londra niversitesi)
Tartma: Haldun Dostolu
(Galeri Nev stanbul)
Panel: Kamusal Kurum / zel Sermaye
Vasf Kortun / SALT, stanbul
Maria Lind / Tensta Konsthall, Stokholm
Barnabs Bencsik / Ludwig Mzesi,
Budapete
Kuba Szreder / Free/Slow University of
Warsaw (zgr/Yava niversite, Varova)
KAMUSAL PROGRAM
Public Address examined speaking and listening in the city, the right to have a voice, the
role of music and poetry in the establishment
of different voices, and the crucial role that
the media can play in creating public forums.
We aimed to discuss these questions in the
context of calls for an opening up of media
rights in China, debates about free speech in
the media in Turkey, and the rights of private
citizens against media intrusion in the United
Kingdom. We wanted to ask: What constitutes
free speech today?
PROGRAMME
Poetry reading
Ahmet Gntans poems by Frat Demir (poet
and art critic) & Burak Fidan (writer and
publisher)
The Politics of the Mental Environment
Adbusters (culture jammers and publishers)
From Mass Media to Public Media?
Technology, Crisis and the Politics of
Communication
Dan Hind (writer)
Organized Sound / Organized Listening:
Toward a Collective Practice
Robert Sember (member of the sound-art
collective Ultra-red, public health researcher
and community organizer)
PROGRAMME
PUBLIC PROGRAMME
13. stanbul Bienalinin Ben Kentli-Vatanda Deil miyim? Barbarlk, Sivil Uyan ve
ehir balkl film program stanbul Bienali ve stanbul Film Festivali ibirliinde hayata
geirildi. 32. stanbul Film Festivali kapsamndaki bu program, stanbul Bienali iin de bir
giri nitelii tad ve bienalin ana temas olan politik bir forum olarak kamusal alan fikrini
sorgulamay amalad.
Program, vatandalk/kentlilik, kamusal alan, demokrasi ve sanat gibi temalara odaklanan
belgeseller, filmler ve video yaptlarndan oluuyordu. Programda klasik filmlerin yan sra
son dnemde ekilen arpc belgeseller ve siyasetin poetikasna odaklanan video yaptlar yer
ald. Filmler, kamusal alan kolektif bir hayalgc, kendi kendine rgtlenme ve ortak retim
ile ilgili yeni alternatifler neren kltrel, toplumsal ve politik bir angajman ve muhalefet
mekn olarak dnmeyi salayacak bir platform sundu.
Ben Kentli-Vatanda Deil miyim? Barbarlk, Sivil Uyan ve ehir amzda uygarln
snrlarn sorgulayan ve eitli sinema pratiklerini ieren 17 film ve videoyu bir araya getirdi.
Program, neoliberal sistemin istikrarszlatrc gcne ve barbarlk, aktivizm ve sivil
katlm gibi kavramlarn yeniden tanmland farkl tepkilere odakland. Ayn zamanda,
programn paras olarak sinemaclar Dmitry Vilensky (Chto Delat?), Paul Poet ve Berke
Ban katlmyla bir panel gerekletirildi.
13. stanbul Bienali Film Program
Bu Bir Kap Joost Conijn, Hollanda,
Fas (1997)
1960 Yaz Jean Rouch ve Edgar Morin,
Fransa (1960)
Dammi I Colori Anri Sala, Arnavutluk
(2003)
naat Var Jos Luis Guern, spanya (2001)
Beyaz Kadna Dokunma! Marco Ferreri,
Fransa, talya (1974)
Yok Edici Melek Luis Buuel,
spanya - Meksika (1962)
Gravity Hill Haber Filmi No.5 Jem Cohen,
ABD (2011)
FLM PROGRAMI
The 13th Istanbul Biennials film programme Am I Not a Citizen? Barbarism, Civic Awakening,
and the City was a collaboration between the Istanbul Biennial and the Istanbul Film Festival.
As part of the 32nd Istanbul Film Festival, the programme served as a prelude to the biennial
exhibition, and aimed to incite reflections on the overarching theme of the biennial; the public
domain as a political public forum.
The programme brought together documentaries, feature films, and video art works tackling
themes of citizenship, the public domain, democracy, and art. It featured canonical films, as
well as recent documentaries, and focused on the poetics of politics through video works.
The films offered a platform to contemplate the public domain as a site of cultural, social and
political engagement and insurrection, proposing new alternatives for collective imagination,
self-organisation, and co-production.
Am I Not a Citizen? Barbarism, Civic Awakening and the City featured 17 films and video art
works with diverse cinematic practices that question the limits of civilization in our day and
age. It focused on the destabilizing force of this current system and diverse responses through
which notions of barbarism, activism, and civic participation are redefined. The programme also
included a panel discussion with filmmakers Dmitri Vilensky (Chto Delat?), Paul Poet and Berke
Ba.
The 13th Istanbul Biennial Film Programme
Cest Une Hek Joost Conijn, The Netherlands, Oh Beautiful Istanbul Atf Ylmaz, Turkey (1966)
Morocco (1997)
Secta Egle Budvytyte, The Netherlands (2006)
Chronicle of a Summer Jean Rouch and
Hair Agnieszka Polska, Poland (2012)
Edgar Morin, France (1960)
Spoils - Extraordinary Harvest Alex Mallis,
Dammi I Colori Anri Sala, Albania (2003)
USA (2011)
En Construccin (Work in Progress)
California Dreaming Bregtje van der Haak,
Jos Luis Guern, Spain (2001)
The Netherlands (2010)
Dont Touch the White Woman!
Squeeze Mika Rottenberg, USA (2010)
Marco Ferreri, France, Italy (1974)
The Take Avi Lewis, Canada (2004)
Exterminating Angel Luis Buuel,
The Tower: A Songspiel Chto Delat
Spain - Mexico (1962)
(What Is To Be Done?), Russia (2010)
Gravity Hill Newsreel No.5 Jem Cohen,
Auslnder Raus! Schlingensiefs Container
USA (2011)
(Foreigners out! Schlingensiefs
Tomorrow Andrey Gryazev, Russia (2012)
Container) Paul Poet, Austria (2002)
FILM PROGRAMME
YNETM KURULU
BOARD OF DIRECTORS
DENETLEME KURULU
AUDITORS
Bakan / Chairman
Blent Eczacba
Selahattin Beyazt
Rza Kutlu Ik
Pelin Opcin
Deniz Ova
YNETM
MANAGEMENT
Nuri olakolu
Hayri ulhac
Ahmet Misbah Demircan
Oya Eczacba
Melih Fereli
Gencay Grn
Tayfun ndirka
Do. Yekta Kara
Oya nl Kzl
Ergun zen
Ethem Sancak
Dr. Mimar Kadir Topba
yeler / Members
Blent Erkmen
Rfat ktem
Bengi nsal
Ahmet Balta
Pazarlama Direktr /
Marketing Director
Tuba Tortop
Aye Bulutgil
Bakan / Chairman
Blent Eczacba
yeler / Members
Ahmet Kocabyk
Prof. Dr. Mnir Ekonomi
Aylin Kutnay
YRTME KURULU
EXECUTIVE BOARD
Azize Tan
Bige rer
KSV
Kratr / Curator
Fulya Erdemci
Direktr / Director
Bige rer
Danma Kurulu /
Yaar Kayhan
Selen Erkal
Carolyn Christov-Bakargiev
Melih Fereli
Hou Hanru
Jack Persekian
KRATRYEL EKIP
CURATORIAL TEAM
Curatorial Assistant
Kevser Gler
Duygu Doan
Aratrma Kratrleri /
Yael Messer
Rieke Vos
Editr / Editor
Liz Erevik Amado
Kratryel birlikiler /
Research Curators
Curatorial Collaborators
Danae Mossman
Javier Villa
Adnan Yldz
Yael Messer
Gilad Reich
Ece oluk
vl Durmuolu
eviriler / Translations
Nazm Dikba
Editr Yardmclar / Copy Editors
Lindsey Westbrook
Linda Lee
idem ztrk
Konuk Arlama / Hospitality
Yusuf Bahar
idem alayan
Nakliye / Logistics
Naime Srenkk
Prodksiyon Asistan /
Production Assistant
Melda Ttncolu
Glce Marabac
Lale Mukara
Yeim Birhekimolu
BIENNIAL TEAM
Tuna Ortayl
Stajyerler / Interns
Asl Arslanbek, Didem Balatloullar,
Ecegl Bayram, lke ener,
Ledn Kzlrmak, Milan Ther,
Zeynep Uur
Mekn Sorumlular / Venue Managers
Melis Turanlgil, Antrepo no.3
Selen Erkal, Galata Rum lkretim Okulu
Teknik Ekip Destek /
MAL LER
FINANCE
Yneticiler / Managers
Ahmet Buruk (Bte ve Muhasebe Budget
and Accounting)
Hasan Alkaya (Satn Alma ve Yurtd
Projeler Purchasing and International
Projects)
Baak Sucu Yldz (Finans Finance)
Muhasebe / Accounting
Emine Tre
Figen Kyc
Kadir Altoprak
Deniz Ylmaz
Davetiye Sorumlusu / Invitations
Berfin Kl
NSAN KAYNAKLARI
VE DAR LER
HUMAN RESOURCES
AND ADMINISTRATION
Direktr / Director
Semin Aksoy
SPONSORLUK
PROGRAMI
SPONSORSHIP
PROGRAMME
Koordinatrler / Coordinators
Yasemin avuolu
Zeynep Pekgz
Asl Yurdanur
Kadir Ayyldz
Sinem Yayla
Ercan Kaya
Naime Srenkk
Berivan ite
Bar Atasoy
Bengi Doralp
Asistan / Assistant
Gzde Koca
Direktr / Director
Tuba Tortop
IT Support Technician
ye likileri Asistan /
Zeynep Karaman
Ezgi Ylmaz
Dilan Beyhan
PAZARLAMA
MARKETING
Ersin Klkan
Programme Manager
Emre Erbirer
MEDYA LKLER
MEDIA RELATIONS
Direktr / Director
Aye Bulutgil
Koordinatrler / Coordinators
Berna zdemir
zlem Bekirolu
Elif Obdan (Uluslararas Basn
International Press)
Pazarlama Sorumlusu /
Marketing Associate
Merve Gndz
BENAL EKB
Mehmet Mungan
Asistanlar / Assistants
Ayen Grkan
Melike Kuru (Uluslararas Basn
International Press)
Ariv Fotoraflar / Archives Photos
Ali Gler
Video ekimleri / Video Recordings
Hamit akr
Sait akr
KSV STDYO
KSV STUDIO
Ynetici / Manager
Seluk Metin
Asistan / Assistant
Inay Gnlalan
KURUM KML
VE YAYINLAR
CORPORATE IDENTITY
AND PUBLICATIONS
Ynetici / Manager
Didem Ermi
Editrler / Editors
Cneyt Tabanolu
Ceren Yartan
KLTR POLTKALARI
VE SOSYAL SORUMLULUK
PROJELER
CULTURAL POLICY
DEVELOPMENT AND SOCIAL
RESPONSIBILITY PROJECTS
KSV TASARIM
KSV DESIGN
Koordinatr / Coordinator
zlem Ece
rn ve Tasarm Mdr /
PRODKSYON
PRODUCTION
Ynetici / Manager
Umut Kur
Teknik Sorumlu / Technical Supervisor
Gkhan Urulu
Prodksiyon Asistan / Production
Assistant
Erdal Hamamc
BLG VE BELGE
MERKEZ
INFORMATION &
RECORDS CENTRE
Sorumlu / Associate
Esra ankaya
BIENNIAL TEAM
Direktr / Director
Aylin Kutnay
Product and Design Manager
Esra stnda
SALON
SALON
Direktr / Director
Bengi nsal
Prodksiyon Sorumlusu /
Production Manager
Egemen Eti
Operasyon Koordinatr /
Operations Coordinator
Deniz Kuzuolu
dn Verenler
Lenders
Krobath
(Vienna, Austria / Berlin, Germany)
Krome Gallery (Berlin, Germany)
kurimanzutto (Mexico City, Mexico)
La Coleccin Jumex (Ecatepec, Mexico)
LABOR Mexico (Mexico City, Mexico)
Les Films de la Pliade
Les Films du Jeudi
Limited Editions
Luciana Brito Gallery (So Paulo, Brazil)
MAMCO Museum Geneva
(Geneva, Switzerland)
Marian Goodman Gallery
(New York, NY, USA / Paris, France)
Meessen de Clercq (Brussels, Belgium)
Mima & Cesar Reyes Collection
(San Juan / Naguabo, Puerto Rico)
Nettie Horn (London, UK)
Newman Popiashvili Gallery
(New York, NY, USA)
Nicole Klagsbrun Gallery
(New York, NY, USA)
NON Gallery (Istanbul, Turkey)
Pace Gallery (London, UK)
Pilot Gallery (Istanbul, Turkey)
Raster Gallery (Warsaw, Poland)
Ronald Feldman Fine Arts
(New York, NY, USA)
Salonul de Proiecte (Bucharest, Romania)
Sfeir-Semler Gallery(Hamburg, Germany /
Beirut, Lebanon)
Stedelijk Museum
(Amsterdam, the Netherlands)
Stowarzyszeniem Przyjaci Akademii
Ruchu (Warsaw, Poland)
Suha Shoman
The Amal Kenawy Estate
The Chartwell Collection
(Auckland, New Zealand)
The Estate of Gordon Matta-Clark
Travesia Quatro (Madrid, Spain)
Vehbi Ko Foundation
Contemporary Art Collection
Victoria Miro (London, UK)
Wilfried Lentz Rotterdam
(Rotterdam, the Netherlands)
DN VERENLER / LENDERS
Mdrl
Atatrk Havaliman k Gmr
Mdrl
Atatrk Havaliman Yolcu Salonu Gmrk
Mdrl
5533 (Nancy Atakan, Volkan Aslan,
Filiz Avunduk)
ACAX | Agency for Contemporary Art
Exchange department of Ludwig
Museum - Museum of Contemporary
Art, Budapest (Rita Klmn,
Petra Csizek)
Accin Cultural Espaola (AC/E)
(Marta Rincn Areitio,
Diana Jimnez Gil, Raquel Mesa)
Adam Mickiewicz Institute
(Joanna Kiliszek, Olga Wysocka,
Ewa Borysiewicz)
Adbusters Media Foundation
(Kalle Lasn, Darren George Fleet,
Pedro Inoue Sardenberg )
Adnan Orak
Adriano Pedrosa
Ahmet Gntan
Ahmet stanbulluolu
Albert Saydam
Alberto Lpez Cuenca
Ali Artun
Alpay Balkan
Amanda Abi Khalil
Anna Schwartz Gallery (Anna Schwartz)
AnnamriaMolnr
ARTER (Baak Doa Temr,
Itr Bayburtluolu, dil Kartal,
lkay Bali, Nilfer Konuk)
Artis (Tali Cherizli)
Arts Council Norway
Arzu Nuholu
Arzu Soysal
Arzu Yaynta
ATLAS (zcan Yksek, Hseyin Kee)
Australia Council for the Arts
(Julie Lomax, Vanessa Lloyd)
Australian Embassy, Ankara
(Ian David Grainge Biggs,
Elif Barutcuoglu-Wade, Sarah Kelly)
Aye Serap Alakavuk
BAM - Flemish institute for visual,
audiovisual and media art
(Lissa Kinnaer)
Barbarewines
Bardhyl Fejzullahu
Barnabs Bencsik
TEEKKRLER
dOCUMENTA (13)
DutchCulture, Centre for International
Cooperation (Laurens Runderkamp,
Deborah Doting, Veysel Yce)
Ege Yazgan
Emre Arolat
Emre Baykal
Eser Yazc
Erbay Yucak
Ercan Cinkaya
Eren Erdem
Etxepare Basque Institute (Aizpea Goenaga
Mendiola, Elena Arrieta, Olatz
Erdozia Ibaez, Itziar Bueno)
Felix Media
Feride Nagehan ztrk
Frat Demir
Flemish Audiovisual Fund (VAF)
Flemish Film Fund
Flemish Community Arts&Heritage
(Hilde Lievens)
Format Matbaa
Fundacin/Coleccin Jumex
(Eugenio Lpez, Patrick Charpenel,
Mara Del Sagrario Jurez)
Fsun Eczacba
Galata Rum lkretim Okulu
(Meri Komorosano)
Galerie Laurent Godin
(Isabelle Chen, Laurent Godin)
Goethe-Institut stanbul
(Claudia Hahn-Raabe,
idem kik, Tijen Togay)
Guillermo Faivovich
Gl Kank
Halil Akyaka
Haldun Dostolu
Hali Tersanesi (Sleyman Gen,
Yusuf Bak)
Hayrettin Gn
Herkes iin Mimarlk
Hou Hanru
IASPIS (Lisa Rosendahl)
Ignacio Liprandi Gallery
(Ignacio Liprandi,
Daniela Riva Rossi)
Ins Katzenstein
Institut Franais (Brnice Gulmann,
Ekim ztrk, Zeynep Peker,
Adeline Blanchard)
Institut fr Auslandsbeziehungen
(Elke aus dem Moore, Ingrid Klenner,
Sandra Mller, Katrin Rollny)
svire Ticaret Odas Dernei
(Doan Takent)
Italian Institute of Culture in Istanbul
(Maria Luisa Scolari, Tanju ahan)
dris Yldz
lhan Tekeli
T (ner Gnavd)
Jack Persekian
Japonya Bakonsolosluu
(Ishikawa Shiho, Akiko Yamada)
Jean-Franois Perouse
Katsia Filmes
Korhan Gm
ACKNOWLEDGEMENTS
Sevcan lhan)
Sedat Doan
Sergi Kur (ener ardak)
Sirkeci Postanesi (Bayram Deniz,
Hakan Alp)
SKOR | Foundation for Art and Public
Domain (Adri Duivesteijn,
Auke de Vries,
Gert-Jan van der Vossen,
Harmke van der Vossen,
Josja van der Veer, Joep van Lieshout,
Wouter Vanstiphout, Bert Mulder,
Tati Freeke-Suwarganda, Leonard
Freeke, Hedwig Saam, Astrid
Schumacher, Mrs Gabrielle de Nijs
Bik, Esther Ruiten)
Stedelijk Museum Amsterdam
(Hendrik Folkerts)
Suhail Malik
Suna Erturul
Sreyyya Evren
Swiss Arts Council Pro Helvetia
(Jelena Delic, Helen Muggli)
TANAS (Barbara Heinrich,
Katrin Isabel Seemann, Karin Barth)
TBA21 (Francesca von Habsburg,
Daniela Zyman, Igor Ramrez
Garca-Peralta)
Teddy Cruz
Temel Gentan
The Australian Centre for
Contemporary Art
The Australian Film Television
and Radio School
The Danish Arts Council (Rikke Bjrnbl)
The Ford Foundation (Noha El-Mikawy,
Laila Hourani, Nancy Khouzam,
Marina Dawoud)
The Japan Foundation (Tae Mori,
Tsuyako Kurosawa)
The Karpidas Foundation
The Marmara, Taksim (Bike Grsel,
Ata Eremsoy, Eda Katalan)
The Office for Contemporary Art Norway
(Anne Charlotte Hauen)
The Romanian Cultural Institute
(Silvana Rachieru, Alexandru
Balasescu, Seila Suliman,
Costin Zamfir)
The Sofa Otel (Ali Greli,
Dilara Hepen ztekin)
The University of Auckland, Elam School
of Fine Arts (Peter Robinson, Echo
Janman, James Speers, Kim Ellis)
Tijana Stepanovi
Till Fellrath
Timuin Okdelen
Trkan Fsun Gle
Ufuk ahin
Uur Tanyeli
Vasf Kortun
Vederlagsfondet
Victoria Noorthoorn
Yalm Canveren
Yaar Adnan Adanal
Yusuf Pinhas
Zeynep Berik
.-_-.
.sezgi3.0:
maddeden tamamen
bamszlatrlm, sfrbaytlk sanat yapt_, 2010
.sezgiler (joseph beuysun
ardndan)_ serisinden digitiple,
.tar.gz arivi olarak datlan
masast dosyas, sfr-bayt,
kullanlan iletim sistemi ve
temaya bal olarak eitli
biimlerde
http://intuitions.httpdot.net/
intuition3-0_/
.copyleft!_ , .-_-. , 2010
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
.intuition3.0:
totally dematerialized, zerobyte work of art_, 2010
digitiple from the series
.intuitions (after joseph
beuys)_, desktop folder
distributed in .tar.gz archive,
zero-byte, in various forms
according to the used OS and
themes
http://intuitions.httpdot.net/
intuition3-0_/
.copyleft!_ , .-_-. , 2010
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
http://httpdot.net/copyleft_/
http://httpdot.net/.-_-./
dm Kokesch
simsiz, 2013
Ses yerletirmesi (1754), Cecil
Taylor - Conquistador mzii
eliinde: kontrplak, akrilik,
metal destekler, hoparlrler,
amplifikatr, mp3 alar
Deiebilir ykseklik x 68
x 90 cm
Kisteremin izniyle (Budapete,
Macaristan)
Fotoraf: Mikls Surnyi
Untitled, 2013
Sound installation (17:54
min.) with the music Cecil
Taylor - Conquistador:
plywood, acrylic, metal stands,
loudspeakers, amplifier, mp3
player
Variable height x 68 x 90 cm
Courtesy Kisterem (Budapest,
Hungary)
Photo: Mikls Surnyi
simsiz, 2012
Kontrplak, akrilik, alminyum
destekler
300 x 300 x 300 cm
Kisteremin izniyle (Budapete,
Macaristan)
Fotoraf: dm Kokesch
Untitled, 2012
Plywood, acrylic, aluminium
stands
300 x 300 x 300 cm
Courtesy Kisterem (Budapest,
Hungary)
Photo: dm Kokesch
Agnieszka Polska
Sa [Wosy], 2012
Yksek znrlkl video, 46
Galeri Zak | Branickann
(Berlin, Almanya) izniyle
Hair [Wosy], 2012
HD video, 46 min.
Courtesy Galerie ak |
Akademia Ruchu /
Wojciech Krukowski
Avrupa [ Europa], 1976
A. Sternn 1927 tarihli iirine
dayanmaktadr
16 mm film, 3
Akademia Ruchunun izniyle
Europe [Europa], 1976
Based on a 1927 poem by
A. Stern
16 mm film, 3 min.
Courtesy Akademia Ruchu
Tkezleme I [Potkniecie I ],
1977
16 mm film, 1
Akademia Ruchunun izniyle
Stumble I [Potknicie I], 1977
16 mm film, 1 min.
Courtesy Akademia Ruchu
Alice Creischer &
Andreas Siekmann
Yrtc Hayvanlarn Midesinde,
2012/2013
Video, 20
Galeri Barbara Weiss (Berlin,
Almanya) ve KOW Galerinin
(Berlin, Almanya) izinleriyle
In the Stomach of the
Predators, 2012/2013
Video, 20 min.
Courtesy Galerie Barbara
Weiss (Berlin, Germany)
and KOW Gallery (Berlin,
Germany)
Amal Kenawy
Koyunlarn Sessizli i, 2009
Performans ve DVDye
aktarlm video, PAL, 4:3,
851
Amal Kenawy terekesinin
izniyle
Silence of Sheep, 2009
Performance and video
FOTORAF KNYELER
Annika Eriksson
Ben hep burada olan kpeim
(dng halinde), 2013
Yksek znrlkl video, 7
dng halinde
Galeri NON (stanbul, Trkiye)
ve Krome Galerinin (Berlin,
Almanya) izinleriyle
I am the dog that was always
here (loop), 2013
HD video, 7 min. loop
Courtesy NON Gallery
(Istanbul, Turkey) and Krome
Gallery (Berlin, Germany)
Aye Erkmen
Plan B, 2011
Yerletirme: su artma
birimleri, borular ve kablolar
eitli boyutlarda
Fotoraf: Roman Mensing /
artdoc.de
Trkiye Pavyonu, Venedik
Bienali 54. Uluslararas Sanat
Sergisi
Plan B, 2011
Installation: water purification
units with extended pipes and
cables
Dimensions variable
Photo: Roman Mensing /
artdoc.de
The Pavilion of Turkey,
The 54th International Art
Exhibition, Venice Biennale
Stoned, 2003
Kireta, elik halat, zincir,
elik kiri, kar arlklar, mevcut
cam tavan, mevcut beton duvar
Yerletirme grnts: Galerie im
Taxipalais (Innsbruck, Avusturya)
Galeri Barbara Weissn (Berlin,
Almanya) izniyle
Fotoraf: Rainer Iglar
Stoned, 2003
Limestone, three steel ropes,
chain, steel beam, counterweights, existing glass roof,
existing concrete wall
ABD) izinleriyle
13 Essential Rules for
Understanding the World,
2011
Super 8 film transferred to HD
video, 5:16 min.
Courtesy .artSmer (Istanbul,
Turkey) and Newman
Popiashvili Gallery (New York,
NY, USA)
PHOTO CREDITS
bookworms on Plexiglas
shelves
Dimensions variable
Courtesy Galeria Nuno
Centeno (Porto, Portugal)
and Galeria Graa Brando
(Lisbon, Portugal)
Photo: Pedro Magalhes
Silence, 19952012
Found book pages and paper
horns
Dimensions variable
Courtesy Arquivo Histrico
Wanda Svevo / Fundao
Bienal de So Paulo
Photo: Leo Eloy / Fundao
Bienal So Paulo
Installation view: 30th So
Paulo Biennial (So Paulo,
Brazil), 2012
Cinthia Marcelle
Yzle [Confronto], Unus
Mundus serisinden, 2005
Video, 750 dng halinde
Galeri Vermelhonun (So
Paulo, Brezilya) izniyle
Confront [Confronto] from the
series Unus Mundus, 2005
Video, 7:50 min. loop
Courtesy Galeria Vermelho
(So Paulo, Brazil)
Cinthia Marcelle &
Tiago Mata Machado
Yzyl [O Sculo], 2011
Video, 937 dng halinde
Sanatlarn ve Galeri
Vermelhonun (So Paulo,
Brezilya) izinleriyle
Video kareleri: Lucas Barbie ve
Fernando Mendes
The Century [O Sculo], 2011
Video, 9:37 min. loop
Courtesy the artists and
Galeria Vermelho (So Paulo,
Brazil)
Stills: Lucas Barbie and
Fernando Mendes
Claire Pentecost
toprak-erg, 2012
Toprak, kt zerinde grafit
ve toprak, cam zerinde altn,
bitkiler, tel it, yabani ot
kontrol rts
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Claire Pentecost
soil-erg, 2012
Soil, graphite, and soil on
paper, gold on glass, plants,
wire fencing, weed cloth
Dimensions variable
Courtesy the artist
Photo: Claire Pentecost
David Moreno
Sessizlik, 19952012
Buluntu kitap sayfalar ve kttan
koniler
eitli boyutlarda
Wanda Svevo Tarihsel Arivi / So
Paulo Bienali Vakfnn izinleriyle
60 x 50 cm
Sessizlik, 19952012
Buluntu kitap sayfalar ve
kttan koniler
eitli boyutlarda
Fotoraf: David Moreno
Silence, 19952012
Found book pages and paper
horns
Dimensions variable
Photo: David Moreno
Didem Erk
Arivlerde izim bulunmasn
isterdim (Srkran | Secret
Decipherer | Mistiko Spastis),
2013
Performans ve video
yerletirmesi, 30
Sanatnn izniyle
Fotoraf: Didem Erk ve zgr
Demirci
Montaj: Didem Erk ve zgr
Demirci
Kamera: zgr Demirci
I wish I could not be traced in
the archives (Srkran | Secret
Decipherer | Mistiko Spastis),
2013
Performance and video
installation, 30 min.
Courtesy the artist
Photo: Didem Erk and zgr
Demirci
Editing: Didem Erk and zgr
Demirci
Camera: zgr Demirci
Diego Bianchi
Spam Durumu [ Estado de
Spam] (detay), 2013
Yerletirme / performans
Yerletirme grnts: Alberto
Sendrs Galeri (Buenos Aires,
Arjantin)
Alberto Sendrs Galerinin
(Buenos Aires, Arjantin) izniyle
Edi Hirose
Nueva Esperanza 4446,
Genileme [ Expansin]
serisinden, 2009devam
etmekte
Pamuklu kt zerine HDR
mrekkep bask dijital fotoraf
50 x 60 cm
Nueva Esperanza 4446,
from the series Expansion
[Expansin], 2009ongoing
Digital photo printed on cotton
paper with HDR ink
50 x 60 cm
FOTORAF KNYELER
Fernando Ortega
Orta Boy Bir Nehri Geen
Kk Bir Kayk iin Mzik,
2012
8 fotoraf, 2 matbu mektup ve
bir CD fotoraf
Fotoraflarn her biri 64,3
x 91 cm
Mektuplarn her biri 29,7 x
21 cm
CD fotoraf 21 x 29,7 cm
Sanatnn ve
kurimanzuttonun (Meksiko,
Meksika) izinleriyle
Music for a Small Boat
Crossing a Medium Size
River, 2012
Set of 8 photographs, 2 printed
letters, and a CD photograph
Each photo 64.3 x 91 cm
Each letter 29.7 x 21 cm
CD photograph 21 x 29.7 cm
Courtesy the artist and
kurimanzutto (Mexico City,
Mexico)
M&A, 2013
Paul Leong (yatrm bankeri),
Jo Randerson (oyun yazar),
Ybodon (bilgisayar bilimcisi),
Anna Heymowska (sahne
tasarmcs), Johan Hjerpe
(grafik tasarmc), Stephen
Bain (oyuncu) ile birlikte
Drama provalar ve finansal
speklasyon
Fotoraf: Sam Hartnett /
ArtspaceNZ
M&A, 2013
with Paul Leong (investment
banker), Jo Randerson
(playwright), Ybodon
(computer scientist), Anna
Heymowska (set designer),
Johan Hjerpe (graphic
designer), Stephen Bain
(actor)
Theatrical rehearsals and
financial speculation
Photo: Sam Hartnett /
ArtspaceNZ
Gonzalo Lebrija
Lamento, 2007
Seramik
60 x 25 x 25 cm
Jose Noe Suro Koleksiyonu,
Galeri Laurent Godin (Paris,
Fransa) ve Travesia Quatronun
(Madrid, spanya) izinleriyle
Fotoraf: Galeri Laurent
Godin (Paris, Fransa) ve
Travesia Quatronun (Madrid,
spanya) izinleriyle
Lamento, 2007
Ceramic
60 x 25 x 25 cm
Courtesy Collection Jose Noe
Suro, Galerie Laurent Godin
(Paris, France), and Travesia
Quatro (Madrid, Spain)
PHOTO CREDITS
Yarlma, 1974
Cibachrome bask
68 x 99 cm
Gordon Matta-Clark
terekesinin ve David Zwirnern
(New York, NY, ABD / Londra,
ngiltere) izinleriyle
Splitting, 1974
Silver dye bleach print
(Cibachrome)
68 x 99 cm
Courtesy The Estate of
Gordon Matta-Clark and David
Zwirner (New York, NY, USA /
London, UK)
Guillaume Bijl
PHEL, 19802013
(nesneler)
Kark malzemeyle yerletirme
eitli boyutlarda
Sanatnn izniyle
Fotoraf: Guillaume Bijl
SUSPECT, 19802013
(objects)
Mixed-media installation
Dimensions variable
Courtesy the artist
Photo: Guillaume Bijl
Halil Altndere
Gvenlik, 2012
Balmumu heykel
120 x 40 x 30 cm
VehbiKoVakf ada Sanat
Koleksiyonunun izniyle
Guard, 2012
Wax sculpture
120 x 40 x 30 cm
Courtesy Vehbi Ko
Foundation Contemporary Art
Collection
Material Inconstancy
[Inconstncia Material], 2012
Bricklayers, bricks
Dimensions variable
Courtesy the artist and
Luciana Brito Gallery (So
Paulo, Brazil)
Photo: Caio Caruso
Hito Steyerl
Mze bir sava alan mdr?,
2013
Akademik olmayan sunumun
video belgelemesi
Yaklak olarak 40
Stedelijk Mzesinin
(Amsterdam, Hollanda)
Kamusal Program izniyle
Fotoraf: Ray Anastas
Is a museum a battlefield?,
2013
Video documentation of
nonacademic lecture
Approximately 40 min.
Courtesy the Public Program
at the Stedelijk Museum
Amsterdam (Amsterdam, the
Netherlands)
Photo: Ray Anastas
pek Duben
Manuscript 1994, 19931994
No. 1-2-3, Canson kt zerine
akrilik boya, al, parmen
kolaj
(3) 39,04 x 30,05 cm
Sanatnn ve Galeri
Zilbermann (stanbul,
Trkiye) izinleriyle
Fotoraf: Doug Beube
HONF Foundation
DIAMANYET (C/SM) TR
HONF Vakf tarafndan
gelitirilen Etkileimli Medya
Projesi, 20122013
Yaam formu, kendin-yap
elektronik aletler ve sentetik
yaam formu
620 x 400 x 250 cm
HONF Vakfnn izniyle
v.u.f.o.c laboratuvar ve
DORXLAB ibirliiyle
DIAMANYET (C/SM) TR
13. stanbul Bienali iin
retilmi bir projedir: peyzaj,
kent mimarisi ve etkileimli
medya zerine aratrmalar
DIAMAGNETI (C/SM)
SPECIES an Interactive
Media Project developed by
HONF Foundation, 20122013
Life form, DIY electronic
devices, and synthetic life form
620 x 400 x 250 cm
Courtesy HONF Foundation
In collaboration with v.u.f.o.c
lab and DORXLAB
DIAMAGNETI (C/SM)
SPECIES is a project for the
13th Istanbul Biennial: research
on landscapes, urban
architecture and interactive
media
nci Eviner
FOTORAF KNYELER
Excavators, 2010
Digitised Super 16 mm film,
2:24 min.
Courtesy the artist
Temas, 1977
Fotorafla belgeleme
30 x 21 cm
Erste Bankas (Viyana,
Avusturya), gb agency (Paris,
Fransa) ve Krobathn (Viyana,
Avusturya / Berlin, Germany)
izinleriyle
Contact, 1977
Photodocumentation
30 x 21 cm
Courtesy Erste Bank (Vienna,
Austria), gb agency (Paris,
France), and Krobath (Vienna,
Austria / Berlin, Germany)
Jorge Galindo &
Santiago Sierra
Los Encargados, 2012
Video, 556
Sanatlarn ve Galeri Helga
De Alvearn (Madrid, spanya)
izinleriyle
Los Encargados, 2012
Video, 5:56 min.
Courtesy the artists and
Galeria Helga De Alvear
(Madrid, Spain)
Jorge Mndez Blake
airin Evi, 2013
Renkli boya kalemi, kt
150 x 100 cm
Sanatnn ve Meessen de
Clercqin (Brksel, Belika)
izinleriyle
The Poets House, 2013
Coloured pencil, paper
150 x 100 cm
Courtesy the artist and
Meessen de Clercq (Brussels,
Belgium)
on archival museum
cardboard, wooden frame
50.8 x 61 cm (print)
63 x 73.5 cm (framed)
Edition of 3 ex + 2 AP
Courtesy the artist and Galerie
Michel Rein (Paris, France)
Photo: courtesy the artist and
Galerie Michel Rein (Paris,
France)
PHOTO CREDITS
HAREKTTA LDRLD
(keder ve kehanetin sureti),
Arjantin Gerei zerine Bir
nceleme serisinden, 20062013
Tuval zerine akrilik
24 x 18 cm
KILLED IN ACTION (figure of
sorrow and prophecy) from the
series Treatise on Argentine
Reality, 20062013
Acrylic oncanvas
24 x 18 cm
Mahir Yavuz & Orkan Telhan
Klahl Yol: Toplumsal
Bellein Tahliyesi, 2013
Kark malzeme
(2) 250 x 110 x 110 cm
Fotoraf: Mahir Yavuz &
Orkan Telhan
The Road of Cones: The
Eviction of Social Memory,
2013
Mixed media
(2) 250 x 110 x 110 cm
Photo: Mahir Yavuz & Orkan
Telhan
Maider Lpez
Yollar Amak, 2013
3 video (2 video 2344,
ezamanl; 1 video 215) ve
duvar zerine vinil
Sanatnn izniyle
Making Ways, 2013
3 videos (2 videos 23:44 min.,
synchronous; 1 video 2:15
min.) and vinyl on wall
Courtesy the artist
FOTORAF KNYELER
Aknt, 2013
Be kanall video yerletirmesi,
her biri 30 dng halinde
Sanatnn ve Galeri Mannn
(stanbul, Trkiye) izinleriyle
Stream, 2013
Five channel video installation,
each 30 min. loop
Courtesy the artist and Galeri
Man (Istanbul, Turkey)
Mlkszletirme Alar
Mlkszletirme Alar,
2013devam etmekte
Kark malzeme
eitli boyutlarda
Networks of Dispossession,
2013ongoing
Mixed media
Dimensions variable
Nathan Coley
Bahemizi Ekip Bimeliyiz,
2006
Yap iskelesi ve kl metin
45 x 900 cm
Sanatnn izniyle
Fotoraf: Peter Dibdin
We Must Cultivate Our
Garden, 2006
Scaffolding and illuminated
text
45 x 900 cm
Courtesy the artist
Photo: Peter Dibdin
Manchester
Photo: studioNathanColey
Newspaper Reading Club
(Fiona Connor &
Michala Paludan)
Gazete Okuma Kulb Postas
- Yaknlklar, Farley Binas,
Los Angeles, 2011
eitli boyutlarda
Fotoraf: sanatlarn
izinleriyle
Newspaper Reading Club
Daily - Intimacies, the Farley
Building, Los Angeles, 2011
Dimensions variable
Photo: courtesy the artists
Provo
Poster, 1967
Tasarm: Anti-Reklame Buro
Sneek
pek serigrafi, tek tarafl
79,8 x 54,9 cm
Poster, 1967
Tasarm: Willem (Bernard
Holtrop)
Ofset bask
43,1 x 61,3 cm
Poster, 1967
Design: Willem (Bernard
Holtrop)
Offset print
43.1 x 61.3 cm
Poster, 1967
Design: Anti-Reklame Buro
Sneek
Silkscreen, one sided
79.8 x 54.9 cm
Proyecto Secundario
Liliana Maresca
Liliana Maresca Ortaokulu
Projesi [Proyecto Secundario
Liliana Maresca], 2013
Video yerletirmesi, yaklak
olarak 20
Liliana Maresca Ortaokulu
Projesinin izniyle
Fotoraf: Liliana Maresca
Ortaokulu Projesi
Liliana Maresca Secondary
School Project [Proyecto
Secundario Liliana Maresca],
2013
Video installation,
approximately 20 min.
Courtesy Liliana Maresca
Secondary School Project
Photo: Liliana Maresca
Secondary School Project
PHOTO CREDITS
Rietveld Landscape
Rietveld Landscape | Atelier
de Lyon
599. Snak, 2010
Rietveld Landscape |
Atelier de Lyon tarafndan
gerekletirilen proje
Rietveld Landscape | Atelier
de Lyon
Bunker 599, 2010
Project realized by Rietveld
Landscape | Atelier de Lyon
film, 10
Wilfried Lentz Rotterdamn
(Rotterdam, Hollanda) izniyle
The Prison of Santo Stefano,
2011
Super 8 film transferred to
video, 10 min.
Courtesy Wilfried Lentz
Rotterdam (Rotterdam, the
Netherlands)
Santiago Sierra
Kavramsal Ant, 2012
Poster, inkjet bask
180 x 90 cm
KOWun (Berlin, Almanya)
izniyle
Leipzig zgrlk ve Birlik
Ant iin gerekletirilen
tasarm yarmas iin proje
Conceptual Monument, 2012
Poster, inkjet print
180 x 90 cm
Courtesy KOW (Berlin,
Germany)
Project for the design
competition for the Leipzig
Freedom and Unity Memorial
Parallax, 2013
Multi channel HD animation
with surround sound, 15:30
min.
Dimensions variable
Courtesy the artist
Photo: Ian Forster, Art21
Yapm aamasnda olan
alma, 2013
3 kanall yksek znrlkl
animasyon
Work in progress, 2013
3 channel HD animation
Stephen Willats
Homeostat izim #1, 1968
Duvar izimi
Sanatnn ve Victoria
Mironun (Londra, ngiltere)
izinleriyle
Stephen Willats
Homeostat Drawing #1, 1968
Wall drawing
Dimensions variable
Courtesy the artist and
Victoria Miro (London, UK)
Stephen Willats
Serkan Taycan
Kabuk # 01, 2010
Fotoraf arivsel pigment
bask
125 x 160 cm
Sanatnn ve Elipsis Galerinin
(stanbul, Trkiye) izinleriyle
Sulukule Platformu
Her gn bir ev yklyor, ritim
dersleri sryor., 2009
Fotoraf
eitli boyutlarda
Fotoraf: Nejla Osseiran
Dimensions variable
Photo: Nejla Osseiran
ener zmen
Optik Propaganda, 2012
Fotoraf
eitli boyutlarda
Sanatnn ve Pilot Galerinin
(stanbul, Trkiye) izinleriyle
Optical Propaganda, 2012
Photograph
Dimensions variable
Courtesy the artist and Pilot
Gallery (Istanbul, Turkey)
simsiz, 2005
Fotoraf
eitli boyutlarda
Sanatnn ve Pilot Galerinin
(stanbul, Trkiye) izinleriyle
Untitled, 2005
Photograph
Dimensions variable
Courtesy the artist and Pilot
Gallery (Istanbul, Turkey)
Tadashi Kawamata
Gecekondu iin plan, 2013
Fotoraf kolaj, kt zerine
mrekkep
Sanatnn izniyle
Fotoraf: Tadashi Kawamata
Plan for Gecekondu, 2013
Photo collage,ink on paper
Courtesy the artist
Photo: Tadashi Kawamata
Thomas Hirschhorn
Zaman izelgesi: Kamusal
Alanda Yapt, 2012
Mukavva, kt, fotoraflar,
basklar, fotokopiler, bant,
tahta kalemi ve plastik folyo
240 x 958 cm
Sanatnn ve Gladstone
Galerinin (New York, NY,
ABD ve Brksel, Belika)
izinleriyle
Yerletirme grnts: 541
Bat 22. Sokak, New York, 15
Eyll 3 Kasm, 2012
Fotoraf: Ronald Amstutz
Timeline: Work in Public
Space, 2012
Cardboard, paper,
photographs, prints,
photocopies, adhesive tape,
markers, and plastic foil
240 x 958 cm
Courtesy the artist and
Gladstone Gallery (New
York, NY, USA, and Brussels,
Belgium)
FOTORAF KNYELER
Documentation of a public
intervention realized in 2011:
installation, newspaper,
photographs
Dimensions variable
Courtesy the artists
Yto Barrada
Beau Geste, 2009
Dijitale aktarlm 16 mm film,
4:3, renkli, sesli, 8
Galeri Polarisin (Paris,
Fransa), Sfeir-Semler
Galerinin (Hamburg, Almanya
/ Beyrut, Lbnan) ve Pace
Galerinin (Londra, ngiltere)
izinleriyle
Video kareleri: Yto Barrada
Shakespeareden Afrika
Masallar, 2011
Pamuklu kt zerine pigment
mrekkep, dibond
100 x 84 cm
Fotoraf: Raster Galerinin
(Varova, Polonya) izniyle
African Tales by Shakespeare,
2011
Pigment ink on cotton paper,
dibond
100 x 84 cm
Photo: courtesy Raster Gallery
(Warsaw, Poland)
PHOTO CREDITS
STANBUL MODERN
SANAT MZES
ISTANBUL MUSEUM
OF MODERN ART
Erol Akyava- Retrospektif
Erol Akyava - Retrospective
Kratr / Curated by Levent
alkolu
PARALLEL EVENTS
29/05/2013 01/12/2013
PLATO SANAT
Balat Misafir Sanat Program
Sergisi / BALAT? Artist in
Residency Program Exhibition
26/06/2013 29/09/2013
PARALEL ETKNLKLER
Teras Sergileri
04/07/2013 02/11/2013
Elgiz 13
10/09/2013 19/10/2013
PROJE4L/ELGZ
ADA SANAT
MZES
PROJE4L/ELGZ
MUSEUM OF
CONTEMPORARY
ART
Elgiz Koleksiyonu Daimi
Koleksiyon
03/07/2013 31/12/2013
PARALEL ETKNLKLER
24/10/2013 18/01/2014
01/08/2013 15/05/2014
PERA MZES
PERA MUSEUM
Connecting the Dots: Atlyeler
Marmara niversitesi Gzel
Sanatlar Fakltesi 6. Uluslararas
renci Trienali / Connecting
the Dots: Workshops Marmara
University Faculty of Fine Arts the
6th International Student Triennial
06/08/2013 22/09/2013
Sophia Vari
08/10/2013 19/01/2014
PARALLEL EVENTS
GALERST
On the Eve
29/08/2013 20/09/2013
Al / Opening: 29/08/2013,
19.00 21.00
Sanat / Artist: Francesco Albano
Mekn / Venue: Tophane-i Amire
Tek Kubbe
Boazkesen Cad. Defterdar Yokuu,
No:2 Tophane Beyolu
PARALLEL EVENTS
16/09/2013, 19.00
PST
Dnme Zaman / Reflection Time
01/09/2013 30/12/2013
PARALEL ETKNLKLER
Forces
28/08/2013 21/09/2013 ( Pazartesi
ARTSMER
Biz Vardk, Biz Yoktuk / Once
We Were, Once We Werent
05/09/2013 28/09/2013 (Saldan
cumartesiye 11.00 19.00 / Tuesday Saturday 11:00 19:00)
Sanat / Artist: Merve stnalp
Biz / Us
03/10/2013 09/11/2013 (Saldan
cumartesiye 11.00 19.00 / Tuesday Saturday 11:00 19:00)
Sanat / Artist: Burcu Gkek
artSmer
Kemanke Mah. Mumhane Cad.
Laroz Han No:67/A Karaky
www.artsumer.com
EGERAN GALER
Ters Ke / Reverse Corner
05/09/2013 05/10/2013
Sanat / Artist: Il Erikavuk
Egeran Galeri
Kemanke Mah. Tophane skele Cad.
No:12A Beyolu
www.egeran.com
GALLERY MARQUISE
DANCE HALL
DRMART
Liberty Park
10/09/2013 12/10/2013
12/09/2013 12/10/2013
ELLIPSIS GALLERY
PARALEL ETKNLKLER
PARALLEL EVENTS
10/09/2013 12/10/2013
10/09/2013 10/11/2013
07/09/2013 - 27/10/2013
10/09/2013 05/01/2014
James Richards
AKBANK SANAT
KUAD GALLERY
RODEO
Akbank Sanat
stiklal Caddesi No: 8 Beyolu
www.akbanksanat.com
In Praise of Shadows
PARALEL ETKNLKLER
Al / Opening: 11/09/2013
Kratr / Curated by Beral Madra
Sanat / Artist: Kalliopi Lemos
Mekn / Venue: oakimion Kz Lisesi
/ Ioakimion High School
Tevkii Cafer Cadesi No:16 Fener
www.kalliopilemos.com,
www.kuadgallery.com
MASUMIYET
MZESI / MUSEUM
OF INNOCENCE
Masumiyet Mzesi Sesli Rehberi /
Museum of Innocence Audio Guide
10/09/2013 sresiz / permanent
MIXER
Hotel Italia
10/09/2013 29/09/2013
Kayt / Record
04/10/2013 10/11/2013
13/09/2013, 19.00
PILOT GALERI
Al / Opening: 12/09/2013,
17.00 22.00
Sanat / Artist: Burak Delier
Sraselviler Cad. No:83/2 Beyolu
www.pilotgaleri.com
Sidewalk
CO-PLOT
Suspended Song / Askdaki ark
10/09/2013 26/10/2013
Al / Opening: 12/09/2013
Sanatlar / Artists: z ztat, Merve
Ertufan, Bashir Borlakov, Fikret
Atay, Suat t, Elmas Deniz, rem
Tok, Fernando Sanchez Castillo, Ali
Miharbi, Gke Svari
Sraselviler Cad. No:85/A Beyolu
www.pilotgaleri.com
5533
imdi bizi gryorsunuz imdi
grmyorsunuz (tabela
yerletirmesi) / now you see us now
you dont(sign installation)
10/09/2013, 16.00 - 19.00
PARALLEL EVENTS
Concrete Unit
PARALEL ETKNLKLER
SUMAHAN
10/09/2013 26/10/2013
PARALLEL EVENTS
10/09/2013 26/12/2013
10/09/2013 21/09/2013
Cervantes Koleksiyonu /
The Cervantes Collection
11/09/2013 19/10/2013 (aramba
Cumartesi gnleri 12.00 18.00
arasnda veya randevu ile /From
Wednesday to Saturday between
12:00 and 18:00, or by appointment)
Taksim-Gmsuyu Mah. nn Cad.
No:9/c Beyolu
www.collectorspace.org
SALT BEYOLU
SALT GALATA
COLLECTORSPACE
CARAVANSARAI
11/09/2013 25/10/2013
STANBUL FRANSIZ
KLTR MERKEZ
INSTITUT FRANAIS
ISTANBUL
Video Art Sergisi: Sivil/Siz Alanlar
/ Video Art Exhibition: Espaces
In/Civils
11/09/2013 21/09/2013
Urbonas,Gillian Wearing,Artur
Zmijewski
Kratrler / Curated by Hilde
Teerlinck, Sayoko Nakahara,
Gauthier Melin (FRAC Nord-Pas
de Calais)
EKERBANK
Konferans: Sanatnn Eretilii /
Conference: Precarity of The Artist
Konferans Tarihi / Conference
Date: 11/09/2013, 18.00
Sergi Tarihleri / Exhibition Dates:
11/09/2013 02/11/2013
PARALLEL EVENTS
FCK LAB
RAMPA
Temizlik Bezi le / With a Cleaning
Cloth
11/09/2013 12/10/2013
PARALEL ETKNLKLER
Al / Opening: 11/09/2013,
17.00 20.00
Sanat / Artist: Mehmet Ali Uysal
Mekn / Venue: Pi Artworks
Galatasaray
stiklal Cad. Msr Apt No:163/4
Galatasaray
www.piartworks.com
11/09/2013 14/09/2013
11/09/2013 26/10/2013
11/09/2013 26/10/2013
11/09/2013 21/09/2013
Kitap / Book
NON-STAGE
GALERI NEV
STANBUL
PI ARTWORKS
Ak Telefon Kulbesi /
Open Phone Booth
11/09/2013 12/10/2013
PIRAMID SANAT
Manyetik iirler / Magnetic Poems
11/09/2013 13/10/2013
Rampa
air Nedim Caddesi No:21/A
Akaretler Beikta
www.rampaistanbul.com
PARALEL ETKNLKLER
GALERI APEL
Apel 15, Yldnm Sergisi /
Anniversary Exhibition
12/09/2013 17/10/2013
GALERIBU
Al / Opening: 20/09/2013
Sanatlar / Artists: K. Deniz Pireci,
etin Pireci
ahkulu Mah. Serdar- Ekrem Sok.
No:11 Galata Beyolu
www.galeribu.com,
www.facebook.com/galeri.bu
STANBUL TALYAN
KLTR MERKEZ /
ITALIAN INSTITUTE
OF CULTURE IN
ISTANBUL
GALERI ZILBERMAN
Despair & Metanoia
12/09/2013 26/10/2013
NON
Grnteki Yazar /
The Apparent Author
12/09/2013 02/11/2013
PARALLEL EVENTS
PARALEL ETKNLKLER
PARALLEL EVENTS
12/09/2013 20/09/2013
Moscardini
Mkan / Venue: Casa dItalia
Ankara talya Bykelilii /
Embassy of Italy in Turkey
stanbul talyan Kltr Merkezi
/ Italian Institute of Culture in
Istanbul
Roma Kulb Dernei / Circolo
Roma
AlbumArte, Roma
Merutiyet Caddesi No:75 Tepeba
Beyolu
www.iicistanbul.esteri.it ,
www.albumarte.org
Mekn-odakl yerletirme
Site-specific art installation:
WATER. LIKE TEARS OF LOVE
15/09/2013 14/10/2013
m.eating
16/09/2013 15/11/2013
Al / Opening: 15/09/2013
(14.00ten itibaren / from 14:00)
Kratrler / Curated by Yasemin
Aslan Bakiri, Giorgia Simoncelli
Sanat / Artist: Mamouna Patrizia
BORUSAN
CONTEMPORARY
Guerresi
Mekn / Venue: Camhane
Arthemisia Group
Incipit Fabula Srl
stanbul talyan Kltr Merkezi /
Italian Institute of Culture in Istanbul
Balat Mahallesi, Mrsel Paa Cad,
Bulgar Kilisesi yan, Fener Balat
www.meating.eu
Segment #4
14/09/2013 16/02/2014
CDA-PROJECTS
Moving Spaces
12/09/2013 26/10/2013
PROTOCINEMA
Al / Opening: 12/09/2013, 18.00
20.00
Sanat / Artist: Trevor Paglen
Dolapdere Cad. Kk Akarca Sok.
No:11 Kurtulu
www.protocinema.org
MERKUR GALER
NITANTAI
Eikte / In the Threshold
13/09/2013 19/10/2013
13/09/2013 - 12/11/2013
RES Yaynlar
Mkan /Venue: Salt Galata, Atlye
2&3
Bankalar Cad. No:11 Karaky
14/09/2013, 16:00
PARALLEL EVENTS
12/09/2013 - 25/10/2013
KADR HAS
NVERSTES
REZAN HAS MZES
KADR HAS
UNIVERSITY REZAN
HAS MUSEUM
en Bilge / Joyful Wisdom
[ncesinde forum
gerekletirilecektir (13/09/2013,
17.00 19.00) / Preceding forum
discussion will be on 13/09/2013
between 17:00 19:00. Moderatr /
Moderated by Asl Narin]
PARALEL ETKNLKLER
Trevor Paglen
Borusan Contemporary
Baltaliman Hisar Cad. No:5 Perili
Kk Rumeli Hisar Saryer
www.borusancontemporary.com
Al / Opening: 13/09/2013
Kratrler / Curated by Emmanuel
Fremin, Asl nal
Sanat / Artist: Drew Tal
Mekn / Venue: Rezan Has Mzesi
Forum Galeri Blm / Rezan Has
Museum Forum Gallery
14/09/2013 20/10/2013
Al / Opening: 13/09/2013
Kratr / Curated by Henk Slager
Sanatlar / Artists: Burak Delier,
Jalal Toufic, Tiong Ang, Marion
von Osten, Jan Kaila, Mick Wilson,
Aglaia Konrad, Lonnie van
Brummelen, Siebren de Haan
Mekn / Venue: Rezan Has Mzesi
Galeri Blm / Rezan Has Museum
Gallery
PARALEL ETKNLKLER
MAKA MODERN
Percezioni Oniriche/ Ryalar/
Hayaller
14/09/2013 12/10/2013
MAKA SANAT
GALERISI
STOKLAR/ YETT/SRECE
WHILE/STOCKS/LAST
14/09/2013 20/10/2013
BERGSEN&BERGSEN
GALER
Gidebileceimiz Bir Yer Biliyorum /
I Know a Place Where We Can Go
17/09/2013 26/10/2013 ( Pazar hari
her gn saat 10.00-18.00 aras aktr
/ Open every day between 10:00
18:00 except Sundays)
Kratr / Curated by Frat Arapolu
Sanatlar / Artists: Juan Del
Gado, Simeon Stoilov, Maria
Papadimitriou, zgr Korkmazgil,
Didem nl, Gl Ilgaz, Yeni Ant,
Antonio Cosentino, Mustafa Pancar
18/10/2013, 19.00
KARE SANAT
GALERISI
KUYD / INSCRIPTION
18/09/2013 31/10/2013
18/09/2013 19/10/2013
RENART
Deneme III: Buradayz! / Rehearsal
III: We are still here!
19/09/2013 20/10/2013
SMPERA
Solo (Performans) / Solo
(Performance)
PARALLEL EVENTS
PARALEL ETKNLKLER
17/09/2013 30/09/2013
PARALLEL EVENTS
Drt stanbul
In a Century...
BONART
17/09/2013 26/10/2013
Sergi / Exhibition
Al / Opening: 14/09/2013
Dzenleyen / Organised by Merve
Kaptan
Sanatlar / Artists: Francesca
Banchelli, Emiliano Zelada
Mekn / Venue: Torna
Moda Caddesi, Kefeli Pasaj No:81/14
Moda Kadky
www.tornaistanbul.com
15/09/2013 12/10/2013
19/09/2013, 19.00
GALERI G- ART
Ottomatik Dler / Ottomatic
Dreams
26/09/2013 13/11/2013
Al / Opening: 25/09/2013
Sanat / Artist: Can Yeilolu
(Onstone)
Harbiye Mah. Kadrgalar Cad. No:6
Maka (Gmall)
www.g-artgaleri.com
ARTCOLLECTION
Sn rlar / Borders
10/10/2013 10/11/2013
CM
MY
CY
CMY
HAZIR
MISINIZ?
UPM, yeniliklerin temel alnd srdrlebilir bir gelecee giden yolu
ayor. Kalbimiz ktta, aklmz ise kdn geleceinde. Yenilenebilen,
geri dntrlebilen ve biyolojik olarak paralanabilen kt, gnmzn
gerek anlamda srdrlebilir sayl rnlerinden biridir. UPMnin etkileyici
evresel performansndan tam anlamyla yararlanmaya hazr msnz?
www.upmpaper.com
koctas.com.tr
Scack evlerin
rzgarl gnleri
sevmesini
salayankimya
yaratyoruz.
Blm 2
15 Eyll 2013, 11:00
Tartma Platformu
Yap Kredi Kltr Merkezi
stiklal Caddesi, No:161 Beyolu - stanbul
Kratrler: Baak enova ve Fatma Bucak
Yap Kredi Kltr Sanat Yaynclk, Beyolu binasnn yenilenme srecinde, binann
inaat srasnda yaplacak olan, Transition/Gei projesine ev sahiplii yapyor.
1 Austos 2013te balayan, 15 Mart 2014te sona erecek olan ve canl performanslarla
performans gsterimlerinden (screening) oluan bu proje kapsamnda Ali Cherri, Ana
Prvacki, Anahita Razmi, Anna Konik, Bjorn Melhus, Fatma Bucak, Guido van der
Werve, Gne Terkol, Harrold Offeh, Jesper Just, Lida Abdul, Lucy Beech, Edward
Thomasson, Ana Prvacki, Maria Jose Arjona, Nicoline Van Harskamp, Nigel Rolfe ve
Victor Alimpiev gibi performans sanatnn nemli isimlerinden, yerli ve yabanc birok
sanatnn almalar izlenebilecek.
Sanat Fatma Bucak ve kratr Baak enovann bir yllk ibirlii ve aratrmas
sonucu, ortaya kan Transition/Gei, farkl aratrma alanlarn ve farkl yntemleri
takip eden sanatlar performans bal altnda bir araya getiriyor. Bu balamda
kimlik, cinsiyet ve vcut politikalarn, sosyal ve psikolojik alardan eletirel olarak ele
alan sanatlarn almalar projenin temelini oluturuyor.
Bu proje, Royal College of Art (Londra - ngiltere) ibirlii ile gelitirilmektedir.
www.transitionprojectistanbul.com
ARTER
sanat iin alan
space for art
STKLAL CAD.
NO: 211
34433 BEYOLU
STANBUL, TR
ARTERDE
13. STANBUL BENAL
13TH ISTANBUL
BIENNIAL AT ARTER
14/09/20/10/2013
AILI SAATLER
OPENING HOURS
SALIPAZAR
TUESDAYSUNDAY
10:0019:00
GR CRETSZ
ADMISSION FREE
T: + 90 212 243 37 67
www.arter.org.tr
Kutlu Ataman
Mezopotamya Dramaturjileri | Mesopotamian Dramaturgies
ISBN 978-975-6959-51-0
5 Kiilik Bufet | 5 Person Bufet
Deniz Gl
ISBN 978-975-6959-50-3
Beni Barna Bas | Hold Me Close to Your Heart
Patricia Piccinini
ISBN 978-975-6959-49-7
Grnmezlik Taktikleri | Tactics of Invisibility
ISBN 978-975-6959-47-3
kinci Sergi Kitap | Second Exhibition Book 2/2
ISBN 978-975-6959-44-2
kinci Sergi Kitap | Second Exhibition Book 1/2
ISBN 978-975-6959-41-1
Starter
ISBN 978-975-6959-36-7
her saysnda
stil, yaratclk ve trendlerin peinde...
SANATLA
KMLK
KAZANAN
MEKANLAR
baska
bir
gzle
bienal
modann, SanaTn
ve HAYATIN merkezinde
CM
MY
CY
CMY
bienal sponsoru
bennal sponsor
iksv
nc sponsor
leadng sponsor
iksv
resmi sponsorlar
offcal sponsors
Havayolu
Airline
letiim
Communication
Tayc
Carrier
KO HOLDNG
BOYNER HOLDNG A
ECZACIBAI HOLDNG A
NESRN ESRTGEN
SABANCI HOLDNG A
CANAN PAK
bienal destekileri
bennal supporters
MT HERGNER
AYE BLGEN
ENDER ZEKE
basn sponsorlar
press sponsors
televizyon sponsorlar
tv sponsors
Dijital
platform sponsoru
Digital
platform sponsoru
dergi sponsorlar
magazne sponsors
radyo sponsorlar
rado sponsors
iksv
servis sponsorlar
servce sponsors
Stratejik Aratrma Strategic Research
bienal kampanyas
bennal campagn
Ko Holding Desteiyle
ocuklar Bienal ile Tanyor /
Mekn / Venue
Antrepo no.3
Tarihler / Dates
Eitim program, 17 Eyllden
bienal sonuna kadar haftada 6
gn, sal, aramba, cumartesi ve
pazar gnleri 4 grup, perembe
ve cuma gnleri ise 3 grup
olarak uygulanacaktr. Devlet
okullarna sal, aramba ve
perembe gnleri iin kontenjan
ayrlmtr. 15 Ekim 2013 Sal ve
18 Ekim 2013 Cuma arasndaki
gnler Kurban Bayram dolaysyla alma olmayacaktr,
bunun yerine 11 Ekim Cuma
gn devlet okullarna zel
kontenjan alacaktr.
Katlm / Participation
Gruplar en fazla 25 kiiden
oluaca iin rezervasyon
ncelii gzetilecektir.
Bu alma cretsiz gerekleecektir.
The sessions can accommodate
a maximum of 25 children,
so advance reservations are
advised. The sessions will be free
of charge.
Rezervasyon / Reservations
Hande Tnk
T: (0212) 334 08 24
M: (0549) 775 47 48
E-posta: hande.tonuk@iksv.org
(hafta ii / on weekdays
10.0018.00)
Antrepo no.3
Meclis-i Mebusan Caddesi
Liman letmeleri Sahas
34433 Tophane
Galata zel Rum
lkretim Okulu
Ziyareti Bilgileri
13. stanbul Bienali, bu yla
zel olarak cretsiz ziyaret
edilebilecek.
Visitor Information
The 13th Istanbul Biennial will be
free of charge.
Ko Holding Sponsorluunda
Rehberli Turlar
Her gn 11.00, 13.30,
15.00, 16.30
Rehberli turlar Antrepo no.3,
Galata Rum lkretim Okulu ve
ARTERde gerekletirilecek.
Rehberli tur bileti: 20 TL
(20 kii ve stndeki gruplar
iin 15 TL)
renci rehberli tur bileti:
10 TL (20 kii ve stndeki
gruplar iin 7 TL)
Rehberli turlarla ilgili bilgi iin:
rehberlitur@iksv.org
Guided Tours
Sponsored by Ko Holding
Daily at 11:00, 13:30, 15:00, 16:30
Guided tours of the exhibition
will be held at Antrepo no.3,
Galata Greek Primary School
and ARTER.
Guided tour ticket: 20 TL. (15 TL
for groups exceeding 20 people)
Guided tour for students: 10 TL
(7 TL for groups exceeding 20
students)
For information on guided tours:
guidedtours@iksv.org
Bienal Rehberi
Bienal Rehberi, bienal
meknlarndan Antrepo no.3,
Galata zel Rum lkretim
Okulu, ve ARTERde; ayrca
KSV Tasarm Maazasnda
ve kitabevlerinde sata
sunulacaktr.
Biennial Guide
The Biennial Guide will be sold
at Antrepo no.3, Greek Primary
School, and ARTER; as well as
at KSV Design Store and
bookstores.
Tulip Members
Black and White Tulip Members
enjoy a discount of 25% for
guided tour tickets. Red and
Yellow Tulip Members enjoy a
20% discount for Guided Tour
tickets. Black, White and Red
Tulip Members can benefit from
the discount for two tickets,
Yellow Tulip Members can benefit
from the discount for one ticket.
www.lalekart.org
13b.iksv.org
facebook.com/istanbulbienali
@istanbulbienali
Lale yeleri
Rehberli tur biletlerinde Siyah
ve Beyaz Lale yeleri %25,
Krmz ve Sar Lale yeleri
%20 orannda indirimden
yararlanabilirler. Siyah, Beyaz
ve Krmz Lale yeleri rehberli
turlara katlm iin indirimli
olarak en fazla iki, Sar Lale
yeleri ise indirimli olarak en
fazla bir bilet satn alabilir.
www.lalekart.org
Rehber
Guide
Editr / Editor
Liz Erevik Amado
ISBN 978-605-5275-11-2
stanbul Kltr Sanat Vakf
Istanbul Foundation for Culture and Arts
2013
Her hakk sakldr. Bu yaynn herhangi bir
blm stanbul Kltr Sanat Vakfnn izni
olmadan kayt, fotokopi ve bilgi depolama
dahil olmak zere hibir elektronik veya
mekanik yntemle yeniden baslamaz veya
oaltlamaz.
All rights reserved. No part of this
publication may be reproduced in any form
or by any electronic or mechanical means,
including photocopying, recording, or other
information retrieval systems, without the
written permission of Istanbul Foundation for
Culture and Arts.
Bandrol Uygulamasna likin Usul ve Esaslar
Hakknda Ynetmeliin beinci maddesinin
ikinci fkras erevesinde bandrol tamas
zorunlu deildir.
stanbul Bienali / Istanbul Biennial
stanbul Kltr Sanat Vakf / Istanbul
Foundation for Culture and Arts
Nejat Eczacba Binas
Sadi Konuralp Caddesi No: 5
ihane 34433 stanbul
T: +90 212 334 0700
F: +90 212 334 0716
E: ist.biennial@iksv.org
13b.iksv.org
Sanat dizini
Artist index
.-_-.
dm Kokesch
Agnieszka Polska
Akademia Ruchu
Alice Creischer &
Andreas Siekmann
Amal Kenawy
Amar Kanwar
Anca Benera &
Arnold Estefan
Angelica Mesiti
Annika Eriksson
Aye Erkmen
Basel Abbas &
Ruanne Abou-Rahme
Basim Magdy
Bertille Bak
Carla Filipe
Carlos Eduardo Felix
da Costa (Cadu)
Christoph Schfer
Cinthia Marcelle
Cinthia Marcelle &
Tiago Mata Machado
Claire Pentecost
David Moreno
Didem Erk
Diego Bianchi
Edi Hirose
Elmgreen & Dragset
Falke Pisano
Fernanda Gomes
Fernando Ortega
Fernando Piola
40
44
256
48
52
56
386
60
344
260
64
348
264
268
68
72
76
352
80
84
88
354
390
92
272
276
96
100
104
184
188
192
296
196
300
200
204
304
374
208
308
212
216
312
220
316
222
378
320
226
230
234
324
328
332
336
238
242
246