Istanbul Next Wave /Akademie der Künste, Pariser Platz /12.11.09.-03.01.10/

http://artcitizens.net/blog/list/id/208

http://www.adk.de/istanbul_next_wave/Kuenstler.htm

Istanbul Modern Berlin Martin-Gropius-Bau

Haluk Akakçe, 1970
Erol Akyavaş, 1932 – 1999
Özdemir Altan, 1931
Avni Arbas, (1919 – 2003)
Hale Asaf, 1905/1906 – 1938
Ferruh Başağa, 1914
Bedri Baykam, 1957
Ramazan Bayrakoglu, 1966
Aliye Berger, 1903 – 1974
Nurullah Berk, 1906 – 1982
Sabri Berkel, 1907 – 1993
Semiha Berksoy, 1910 – 2004
Bubi, 1956
Cihat Burak, 1915 - 1994
Ibrahim Çalli, 1882 – 1960
Ali Avni Celebi, 1904 – 1933
Taner Ceylan, 1967
Adnan Çoker, 1927
Cevat Dereli, 1900 – 1989
Nejat Melih Devrim, 1923 – 1995
Ismet Dogan, 1957
Burhan Doğançay, 1929
Feyhaman Duran, 1886 – 1970
Ayşe Erkmen, 1949
İnci Eviner, 1956
Bedri Rahmi Eyüboğlu, 1911 – 1975
Leyla Gediz, 1974-
Hamit Görele, 1894 – 1981
Mehmet Güleryüz, 1938-
Nedim Günsür, 1924 – 1994
Nazmi Ziya Güran, 1881 – 1937
Mustafa Horasan, 1965
Balkan Naci İslimyeli, 1947
Doğan İsmet, 1957
Ergin İnan, 1943
Nuri İyem, 1915 – 2005
Zeki Faik İzer, 1905 – 1988
Gülsün Karamustafa, 1946
Zeki Kocamemi, 1900-1959
Temür Köran, 1960
Komet, 1941
İrfan Önürmen, 1958
Erkan Özgen, 1971
Şener Özmen, 1971
Hikmet Onat, 1882 – 1977
Ahmet Oran, 1957
Mübin Orhon, 1924 – 1981
Mustafa Pancar, 1964
Orhan Peker, 1926 - 1978
Sarkis, 1938
Yusuf Taktak, 1951
Hale Tenger, 1960
Cemal Tollu, 1899 -1968
Canan Tolon, 1955
Selim Turan, 1915 – 1994
Ömer Uluç, 1931
Adnan Varinca, 1918
Nil Yalter, 1938
Pınar Yolaçan, 1981
Fahrelnissa Zeid, 1901 – 1991

Boden unter meine Füßen, nicht den Himmel Akademie der Künste, Pariser Platz

Yeşim Ağaoğlu
Gülçin Aksoy, 1965
Nancy Atakan, 1946
Atıl Kunst
Nazan Azeri, 1953
Handan Börüteçene, 1957
Ipek Duben, 1941
Nezaket Ekici, 1970
Gözde İlkin, 1981
Gül Ilgaz, 1962
Cemile Kaptan, 1977
Şükran Moral, 1962
Nazlı Eda Noyan, 1974
Neriman Polat, 1968
Necla Rüzgar, 1972
Gülay Semercioğlu, 1968
Nalan Yırtmaç, 1969

Sechs Positionen kritischer Kunst aus Istanbul Akademie der Künste, Hanseatenweg

Halil Altındere, 1971
Bedri Baykam, 1957
Altan Gürman, (1935 – 1976)
Balkan Naci İslimyeli, 1947
Şükran Moral, 1962
İrfan Önürmen, 1958

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Gleichzeitigkeit – Parallelen – Gegensätze
Moderne und zeitgenössische Kunst aus Istanbul
Im Rahmen der 20jährigen Städtepartnerschaft Berlin-Istanbul

Ein Projekt der Stadt Istanbul und der Akademie der Künste in Kooperation mit Kulturprojekte Berlin

Gefördert durch die Stiftung Deutsche Klassenlotterie Berlin
Kuratorenteam: Çetin Güzelhan (Leitender Kurator) zusammen mit Beral Madra (Boden unter meinen Füßen, nicht den Himmel), Levent Çalוkoğlu (Istanbul Modern Berlin), Johannes Odenthal (Sechs Positionen kritischer Kunst aus Istanbul)

11.11.09 Eröffnung

12.11.2009 - 17.01.2010
Martin-Gropius-Bau
Istanbul Modern Berlin
Arbeiten von 1928 bis 2008 aus der Sammlung des Istanbul Modern

12.11.2009 - 03.01.2010
Akademie der Künste, Pariser Platz
Boden unter meinen Füßen, nicht den Himmel
Siebzehn Künstlerinnen aus Istanbul

12.11.2009 - 17.01.2010
Akademie der Künste, Hanseatenweg
Sechs Positionen kritischer Kunst aus Istanbul

Kurzinformation

Istanbul ist das Kraftwerk der zeitgenössischen türkischen Kunst. Mit der Gründung neuer Museen, der Biennale und einer explosionsartig wachsenden Künstlerszene ist Istanbul auch zu einem der Brennpunkte der internationalen Kunst avanciert. Aus Anlass der 20jährigen Städtepartnerschaft zwischen Istanbul und Berlin macht die Akademie der Künste diese aktuelle Kunstszene zu ihrem Programmschwerpunkt. Das türkische Kuratorenteam unter der Leitung von Çetin Güzelhan ermöglicht dabei einen neuen Blick auf eine wenig bekannte, aber sehr vielschichtige Kunstszene des 20. Jahrhunderts. Arbeiten von über 100 Künstlern – Malerei, Materialcollagen, Fotoarbeiten, Medienkunst, Installationen, Objektkunst verschiedenster Techniken und Texturen – rücken die türkische Kunst mit ihrem urbanen Zentrum Istanbul in eine neue Perspektive jenseits der überkommenen Vorurteile einer "verspäteten Moderne".

Das gemeinsame Projekt der Stadt Istanbul und der Akademie der Künste umfasst drei Ausstellungen, die in den Akademie-Häusern am Pariser Platz und am Hanseatenweg sowie im Martin-Gropius-Bau zu sehen sind. "Istanbul Next Wave" ist der Höhepunkt der Berliner Veranstaltungen zum 20. Jubiläumsjahr der Städtepartnerschaft Berlin-Istanbul und erster internationaler Auftakt des Programms, mit dem sich Istanbul 2010 als europäische Kulturhauptstadt in Zusammenarbeit mit Kültür A.S. präsentiert.

Open Studio Day/Platform Garanti 5th floor, Studio 3

Saturday, November 07
1 p.m.-6 p.m.

http://platformgarantilinks.blogspot.com/

Platform Garanti CAC hosts an open studio day to share the work of current Istanbul Residency Program artists: Jesper Alvaer, Vangelis Vlahos, Witte van Hulzen & Sander Breure, Francesco Mattuzzi, Kalle Brolin, İnci Furni, Barbara Musil, Atılkunst, Soren Thilo Funder, and Sofie van der Linden.

Atılkunst
Platform Garanti 5th floor, Studio 3
4:30 p.m.-4:50 p.m.

Atılkunst will present a new video work titled “Agenda Exercises”. They will also make a sticker intervention on a daily newspaper.

Atılkunst is an artist collective run by three women artists since 2006. The main activity of Atılkunst focuses on current events, and the agendas of the day. They send out one e-mail every week with the subject “Surplus of Agenda”, consisting of one image called “Decal” which is inspired by political topics that have been raised throughout that week.

Can I offer you something?

In Summer time we hang 'Mahya' in between the towers of Bethanien. At the begining for what to say we had this phrase in our minds: 'Can I offer you something?'
Finally we decided to with lights ' Sadede Gel'-'Get to the point'. Nowadays new mahya are lightened and turned off. With the nationalistic and highly political connotations they fired a serious of discussions in national media. (You can see few newspaper clippings above with bold title as: 'Happy is the man who says I am Turk', 'And the mahya is turned off'', Mahya is left without defense'. Those Mahyas which became the issuse of political agenda are listed as ' We are grateful to our army', 'National unity is fundamental'. One of the authorities made a mark as: 'I can not stand any discussion that will built on mosques. All assessments are personal comments.). Somebody wants to light those Mahyas as they are. So we wanted to ask. Why did you write them on the air in the sky? If only you would write 'Can I offer you something?'

Alternative To What?

For program please check the link: http://www.artistinitiatives.org/

Yeni Marka / New Brand

Bugün, Atılkunst kendine 'Popkavramsal' dedi.

Today, Atılkunst named itself 'Popconceptualist'.

2009 "Komm zur Sache!" (Sadede gel) / 'Istanbul-Off-Space' / Kunstraum Kreuzberg, Berlin

2009 "Komm zur Sache!" (Sadede gel) / 'Istanbul-Off-Space' / Kunstraum Kreuzberg, Berlin

'Istanbul-Off-Space' kapsamında (iki kule arasına) MAHYA asıyoruz...

Withinside 'Istanbul-Off-Space' (in between two towers) we are mounting a 'MAHYA' (originally these are messages spelled out by lights strung between minarets).

Yer / Place: Bethanien- Berlin

Tarih/Date: 4 temmuz- 16 Ağustos 2009 / July 4 through August 16 2009

Açılış/ Opening: 3 temmuz 2009, cuma, 19:00 / Friday, July 3, from 7 p.m.

http://www.berlinerpool.de/istanbul-off-spaces/en

SADEDE GEL ("Komm zur Sache!" )

Why we choose to install Mahya? We choose Mahya (message spelled out by lights strung between minarets) not just because its traditional background in Turkey. They are usually installed in Ramadan, in religious month, to be seen when night falls after the sunset when people break their fast. In the past when there was no cinema or television Mahyas are made to entertain people with light images and also to give some messages such as television broadcasting supposingly does today. Mahya is a strong device to spread messages. So at this point the main question was What would be our message as atılkunst? Mainly mahyas till today had had religious or political expressions. Those expressions emphasize morally accepted values and dominant social and political statements. As Atılkunst, we choose our expression as ‘Sadede Gel’. We use this expression very frequently in our daily conversations. There is no direct translation but we can translate it as ‘Get to the point’. We wanted it to be an answer from the streets saying to get to the point to all ideological and institutional powers. Writing those words in between the towers of Bethanien we installed a common saying coming from locality to the sky, to the limits only dominant power can reach.
As part of the project inside bethanien we installed another expression in German. We want to construct a dialogue in between outside and inside so that we choose to say ‘Nun’ which means ‘Now’. From the sky it is said: ‘Sadede Gel’, from above it is replied: ‘Nun’
_Get to the point
_Now
We think that with this dialogue the sky and the land get to one point.

AtılKunst

//der Freitag//Komm zur Sache, Kunst! (http://www.freitag.de/kultur/0927-istanbul-off-spaces-hafriyat-karakoey-kunstraum-kreuzberg)