23 Temmuz 2010 Cuma

'kamu'nun iki gölgesi:ekran ve uzam münih spiegel video arşivinde


Two Shadows of "The Public":
Screen and Space


Donnerstag, 22.7.2010,
ab 19 Uhr

23.07.2010 - 18.09.2010

Hülya Özdemir und Ferhat Satici präsentieren die Istanbuler Initiative VIDEOIST mit Videokunst von Ali İbrahim Öcal, Ahmet Albayrak, Başak Kaptan, Çağrı Saray, Evrim Kavcar, Ferhat Özgür, Fikret Atay, Flo Kasearu, Hülya Özdemir, Nancy Atakan, Necmettin Tarkan, Özlem Uzun, Parça Tesirli, Suat Öğüt, Volkan Arslan, Yeni Anıt, Zeynep Erpolat

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Two Shadows Of ‘The Public’: Screen And Space

1-Ali İbrahim Öcal

Pound Along

In the moving image obtained by filming the Turkish flag from an unusual angle, the flag is dancing, or “twisting/curling” to Çiftetelli music (a traditional, Oriental-style tune generally played at weddings and other ceremonies involving entertainment and dance) in the background. By displaying the object outside its usual context (with very “casual” music, typical of the gypsies and the non-elite and very much incongruous for the flag, which is almost a “sacred” object of respect for the “Turkish nation”) the video prompts the viewer to question the attributed values of the objects which, through political or social paradigms, acquire meanings beyond pure representation.

2- Başak Kaptan

Windshield Strategies

Başak Kaptan’s work “Windshield Strategies” is a stop-motion video with two parts. The audience looks at a black and white view of the Bosphorous through a windshield. Animated objects and sounds transform this dusty, abandoned Serçe car covered with spiders into a stage. In the second chapter of the video, various stickers, which are indispensable accessories for truck drivers, are tagged one after the other on the windshield. As the oriental expressions come along, the “alien” voice in the background tries to translate them. Both situations point at the alienation resulting from an effort to translate the symbols specific to one culture to another language.

Derya Yücel, 2008

3- Özlem Uzun

4 Videos
11’ 50’
2006 – 2009

The bus-stop as a public space is the focus of this project. Contrary to “home,” a space where belonging is extensively reflected, the bus-stop as a public space belongs to everyone and yet to no one. The project, realized by installing housewares in a bus-stop is presented as a document of the audience’s reaction to the converted image of the ordinary bus-stop which is transformed into a house.

It is planned that the project will be repeated in different districts/cities and reactions from different cultural/economic groups will be recorded.

4- Ferhat Özgür

I am Like This Seven Days of Week
1’ 20’’

Ferhat Özgür says ‘I am Like This 7 Days of Week.’ For seven days (regularly), he chooses one car waiting at red light and attacks. All he has to do is to jump on the victim - I mean the car – to set foot on it, cross over and in a sense to continue on his way. This message of continuity is reminiscent of the mechanisms in the contemporary art system, the network of relations. Despite exciting events along the way, there is always someone who does not cheer up. This man who risks his health, mind and soul for no purpose, satirizes the notion of art that aims to change life and shock the viewer and once more demonstrates its eternal deadlock. Özgür - felicitously - does not articulate this act (and its logic) through concepts of rebellion (Hunera Berxwedani's “Serhildan” / the opposite direction of the thematic orientation of the rebellion practice). He invites the viewer to the great spectacle art presents through funny (tragicomic), simple and almost ordinary issues. I sort out the words "circus" and "acrobat."

(Şener Özmen, “They Must Have Gone Mad”, Free Kick [9th Istanbul Biennial Hospitality Zone] exhibition catalog text, Art-İst Publications, İstanbul, 2002)

5- Yeni Anıt  

The Techniques of Advanced Driving

Yeni Anıt’s “The Techniques of Advanced Driving” project is a trial to document the creation of a life guide with an automobile alternative to the manipulative nature of automobiles and highways - which manipulate masses and are plastic instruments in the heart of nature – and the solutions and problems presented by local positions.

6- Hülya Özdemir

Spatial Alienation

Hülya Özdemir’s work is an attempt to measure a spatial environment that unites the concepts of public and art. Using a spatial method, she shows the practices of visual projection of an exhibition space (DEPO screening room) without viewers. The work constructs relationships between the public character of the exhibition space and its physical dimensions.

7- Suat Öğüt

Consumption Practices,
The video “Consumption Practices” reflects on the condition of the individual in a society that is mainly focused on consumerism where the single one is reduced to one role and becomes a the character of an advertisement campaign. Especially in places like the big shopping malls and anonymizing supermarkets that are emerging more and more, this becomes visible. As Jean Baudrillard stated, ‘The hypermarket is already, beyond the factory and traditional institutions of capital, the model of all future forms of controlled socialization: retotalization in a homogeneous space - time of all the dispersed functions of the body, and of social life (work, leisure, food, hygiene, transportation, media, culture); retranscription of the contradictory fluxes in terms of integrated circuits; space .

8- Evrim Kavcar

Power Games (At the Outskirts of Town)
Animation, 1’ 40’’

This animation is based on a true incident: The UEFA Championship League Final took place in İkitelli Atatürk Olympic Stadium in Istanbul in May 2005. On the day of the match, the neighbourhoods situated right across the stadium suffered a severe power cut. The power came back only 2 hours after the game was over. The animation transforms the irony of this particular event into a visual metaphor.

9-Volkan Aslan, Nancy Atakan


Taking its name from the number of the shop, 5533 opened in the 5th Block of IMC in February 2008. Since then the space has hosted a variety of projects, initiatives, discussions and exhibitions. In 2009, an exhibition titled “Special Days and Weeks” was organized at 5533 together with sixteen other independent artist spaces and initiatives.

This event gave spectators a chance to become closely acquainted with artist initiatives in Istanbul. As a part of this project, 5533 interviewed their own neighbours as well as those of the initiatives located in a variety of different communities throughout the city about their view of the relationships of these spaces with their environments and their production and presentation practices.

Materialized jointly by Nancy Atakan, Volkan Aslan, and Hanife Ölmez, this video project was shown at 5533 and Berlin Kunstraum Kreuzberg / Bethanien in 2009.

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