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A new thing to look at in Istanbul / ‹stanbul’da bak›lacak yeni bir fl e y .
September / Eylül 2003
Flip Flop Flyin’ is Craig Robinson, an
artist, illustrator, designer and animator who lives and works in Berlin.
His career started with his website
(www.flipflopflyin.com) that entertained over 7,000 visitors a day.
Following its success he went on to
create the sites Shakse and
Technically Perfect Hair as well as
commissions for an impressive client
list that includes Colette, Levis and
SHOWstudio.com.
Flip Flop Flyin’, Berlin’de yaflayan,
sanatç›, illüstratör, tasar›mc› ve animatör olan Craig Robinson’d›r.
Kariyeri, günde 7000’in üstünde
ziyaretçiyi e¤lendiren web sitesini
(www.flipflopflyin.com) yapmas›yla
bafllad›. Bu baflar›n›n ard›ndan,
Colette, Levis ve SHOWstudio.com’›
içeren etkileyici bir müflteri listesi için
yapt›¤› ifllere ilaveten, Shakse ve
Technically Perfect Hair sitelerini
yaratt›.
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Craig Robertson (Flip Flop Flyin’)
One of three frames of an animated gif / Animasyonu yap›lm›fl üç gif’ten biri.
Solo exhibitons / Kiflisel Sergiler 2003
Everybody's Dogs, Sapporo, Japan / Japonya
Yummy Yummy Yummy I Got Love In My Tummy, Amsterdam, Netherlands / Hollanda
Pavel Büchler
image courtesy the artist
Promos / Tan›t›mlar
Giardini di Miro
David Tao (Animator / Director) / (Animatör / Yönetmen)
www.flipflopflyin.com
www.shakse.com
www.technicallyperfecthair.com
www.showstudio.com
Guy Bar Amotz*, Studio Apartment, Pavel Büchler, Billy Childish, Jeremy Deller,
donAtella, Christian Jendreiko, Mark Leckey, Nathaniel Mellors, Jonathon Monk with
Dave Allen, Ross Sinclair and Douglas Gordon, Mark Titchner and John Spiteri, Red
Crayola with Art+Language*
We’ll meet you in the lobby
A selection of artists’ recordings on vinyl, available to play throughout the Istanbul
Biennial in the Lobby at the Büyük Londra Oteli, ‹stanbul. Organised by Joanna
Stella-Sawicka and November Paynter.
* CDs available to play at Platform Garanti Contemporary Art Center
Lobide Bulufluyoruz
33’Lük sanatç› plaklar›ndan bir seçme 18 Eylül’den itibaren ‹stanbul Bienali boyunca ‹stanbul Büyük Londra Oteli’nin lobisinde çal›nacak. Joanna Stella-Sawicka ve
November Paynter düzenlemesidir.
*CD Platform Garanti Güncel Sanat Merkezi’nde dinlenebilir.
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Büyük Londra Oteli, Tepebafl›, Meflrutiyet Caddesi 117, 80050 Beyo¤lu, Istanbul
18 September – 16 November 2003 18 Eylül – 16 Kas›m 2003
[email protected] [email protected]
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Erden Kosova writing an email from London to November Paynter in Istanbul
Erden recently co-curated an exhibition in Graz Austria and is currently coordinating a collaboration between
the Istanbul based art-ist magazine and K&S Gallery in Berlin.
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Erden Kosova, Londra’dan Istanbul’da bulunan November Paynter’a e-mail yaz›yor.
Erden, son olarak Avusturya, Graz’da bir serginin yard›mc› küratörlü¤ünü yapt› ve halen Istanbul’dan Art-ist
dergisiyle Berlin’deki K&S Galeri aras›nda bir iflbirli¤i düzenliyor.
www.istanbul.mur.at
In London from Istanbul
i cannot remember what i had said in our now lost correspondence two months
ago and certainly things change, emotions do at least, definitely. being in two
different places at the same time, mentally of course, was the richness of my
four years stay in london i guess. i ve flown back and forth between the two
cities and the consequent cohabitation of the urban scenarios in my mind was
the decisive dimension throughout, not being in london as someone from istanbul, not being in istanbul as someone studying in london but operating through
two different rhythms and intensities simultaneously. not a difficult thing as it
Londra’da – ‹stanbul’dan
‹ki ay önceki, flu anda kaybolmufl olan yaz›flmam›zda ne söylemifltim tam
hat›rlayam›yorum, o zamandan beri kesinlikle bir çok fley de¤iflti -en
az›ndan duygular, kesinlikle. Ayn› anda iki farkl› yerde olmak, zihinsel olarak
tabii ki, Londra’da yaflad›¤›m dört senenin zenginli¤iydi san›r›m. ‹ki flehir
aras›nda gidip gelirken, ayn› anda iki farkl› yerde yaflaman›n oluflturdu¤u
üçüncü bir kent senaryosu olufltu belki de zihnimde: Londra’dayken ‹stanbul’dan gelmifl, ‹stanbul’da ise Londra’da ö¤renim gören herhangi biri olma
durumu ancak bu iki kentteyken, ayn› anda iki farkl› ritm ve yo¤unlukta
hareket etme lüksü. Ritm ve yo¤unluk ba¤lam›nda, bu iki flehir aras›nda,
first sounds, since these two cities have more in common in relation to rhythm
and intensity than divergences. two ex-imperial-capitals whose hearts still beat
up with the habits of a past. what i miss about istanbul is perhaps this very
ghost of that past, a certain melancholia, an elegancy of the horizontal, a grace,
a broken poem. otherwise, the humming of the current urban hive scares me a
lot, the crowd which is excessive for the material conditions of this urban texture seems like a swamp ready to suck energies (of mine). what i will miss
about london is also a ghost but a negative one, a ghost of the parties i could
never go to, the clubs i never saw, the gigs i could never afford, the tall, handsome, self-sufficient, spoilt, empty sexiness i never tasted.
farkl›l›ktan çok ortak noktalar varm›fl ve bu sebeple yaflam zor de¤ilmifl gibi
görünebilir. ‹ki eski imparatorluk baflkenti de hala geçmiflin al›flkanl›klar›yla
yafl›yor. Belki de ‹stanbul’a duydu¤um özlem geçmiflin hayaletinin ta kendisi; belirgin bir melankoli, flehrin siluetinin zerafeti, incelik, k›r›k bir fliir.
Di¤er yandan, flehrin bir ar› kovan›n› and›ran u¤ultusu beni korkutuyor,
flehrin dokusunu oluflturan büyük kalabal›k sanki, tüm enerjiyi /enerjimi
içine çekmeye haz›r bir batakl›k gibi görünüyor. Londra ile ilgili olarak da bir
hayaleti özlüyorum, ama bu seferki sanki bir gölge; asla gidemedi¤im partilerde, asla görmedi¤im gece klüplerinde, asla parasal olarak karfl›layamayaca¤›m konserlerde, uzun, yak›fl›kl›, kendine güvenli, fl›mar›k, asla
tadamad›¤›m bofl bir seksilikte.
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Emre Do¤ru
www.20000000.com
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A frustrated writer writes:
This was my story. I just didn’t get round to doing it. That is sometimes my story too.
To be a potential author is a great refuge for those whose fields of career opportunities are either barren, thankless, or require too much sacrifice. But to be an author you kind of need a subject to write
about.
When, last February, Scanner mentioned a festival that he couldn’t get to, in Russia a decade ago, I
thought I might have found the subject for my book. See if this comes together.
In the early years of a new Russia (politics/ global situation) a young promoter put together a showcase of electronica in Moscow. The stars of a British scene that hadn’t yet properly formed went off to
do their thing. Most of them have since become either known or respected for their work, and there is
a case to be put that this festival, by bringing them together and putting them on an international
stage for the first time, was the catalyst that provided a new genre of music with the confidence to
carry on (cultural history).
The promoter seemed to be ahead of his time. Or marketed the thing badly. The audience was a bunch
of Russian Mafia (danger/ a different story). One of the performers was the Aphex Twin, who played a
typically uncompromising set. Until he was ushered off stage by one of the audience at gunpoint, presumably because his girlfriend wanted something ‘more fun – isn’t this a nightclub?’.
One part of the history of contemporary music was there for the taking, but there were other things
going on in this would-be author’s life – to the extent that it remained a fragment on a fragment of
paper.
Luckily, we have artists to develop ideas further: Over to you, Scanner.
A frustrated writer writes:
This was my story. I just didn’t get round to doing it. That is sometimes my story too.
To be a potential author is a great refuge for those whose fields of career opportunities are either barren, thankless, or require too much sacrifice. But to be an author you kind of need a subject to write
about.
When, last February, Scanner mentioned a festival that he couldn’t get to, in Russia a decade ago, I
thought I might have found the subject for my book. See if this comes together.
In the early years of a new Russia (politics/ global situation) a young promoter put together a showcase of electronica in Moscow. The stars of a British scene that hadn’t yet properly formed went off to
do their thing. Most of them have since become either known or respected for their work, and there is
a case to be put that this festival, by bringing them together and putting them on an international
stage for the first time, was the catalyst that provided a new genre of music with the confidence to
carry on (cultural history).
The promoter seemed to be ahead of his time. Or marketed the thing badly. The audience was a bunch
of Russian Mafia (danger/ a different story). One of the performers was the Aphex Twin, who played a
typically uncompromising set. Until he was ushered off stage by one of the audience at gunpoint, presumably because his girlfriend wanted something ‘more fun – isn’t this a nightclub?’.
One part of the history of contemporary music was there for the taking, but there were other things
going on in this would-be author’s life – to the extent that it remained a fragment on a fragment of
paper.
Luckily, we have artists to develop ideas further: Over to you, Scanner.
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Andrew Foxall
T-shirt design / Tiflört tasarımı
Scanner’›n kat›lmad›¤› Rus Festivali hakk›nda kitap
22 Temmuz 2003’de Scanner’dan gelen cevap
Çok seyahat ederim, belki de çok fazla. Pasaportum, ifllerimin ve fikirlerimin tafl›nd›¤› küresel kullan›m›n küçük bir modeli
gibi.
Rusya’da hiç bulunmad›m. ‹nan›lmaz derecede güzel, eski James Bond filmlerindeki gibi entrika ve tehlike dolu oldu¤unu
duydu¤um bu ülkeye bir gün gitmek istiyorum.
Bu festivale hiç gitmedim bir anlamda gitmeli miydim ki. Ben büyük bir kanvas üzerindeki küçük bir leke gibiyim.
Oradakilerin bir k›sm› ifllerimi biliyordu, ama geri kalan ço¤unluk için ben tamamen görünmezdim. Asl›nda bu durumu
de¤ifltirmek gibi bir gayretim de yok, sadece "geçici yay›nlar" olarak adland›rabilece¤im, y›llar içinde meydana getirilmifl
ifller, sanat çerçevesinde duygular›m› ortaya koyuyor.
Daha önce ‹stanbul’da da hiç bulunmad›m, ancak ikinci ve art›k bir klasik olan James Bond filmi "Rusya’dan Sevgilerle"
filmini izlemifltim. Gördü¤ünüz gibi, nerede oldu¤um ve baflkalar›n›n imgelemi arac›l›¤›yla nerede bulundu¤um aras›nda
daima bir ba¤lant› var. Asl›nda hepimiz baflkalar›n›n hayalgücü arac›l›¤›yla yafl›yoruz, belki bir yönden ben de o
baflkalar›ndan biriyim ve siz de metni okuyorsunuz.
Robin Rimbaud-Scanner
www.scannerdot.com
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Scanner aka Robin Rimbaud
Scanner will be performing from 20:30 at Babylon on 20th September as part of
the ctrl-alt-del project developed by Baflak fienova, Paul Devens and Emre Erkal.
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Scanner (Taray›c›) lakapl› Robin Rimbaud
Scanner, Baflak fienova, Paul Devens ve Emre Erkal taraf›ndan gelifltirilen ctrl-alt-del
projesi kapsam›nda 20 Eylül 2003’te saat 20.30’da Babylon’da sahne alacak.
www.scannerdot.com
www.project-ctrl-alt-del.com
www.babylon-ist.com
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Haftal›k ajanda yorgunlu¤u üzerine
Haftan›n befl günü çal›flt›¤›n›z›, ya da genelgeçer bir
tahminle haftan›n befl günü ö¤rencilik yapt›¤›n›z›
varsayan, haftan›n akflamlar›n› kendinize ay›rm›fl
oldu¤unuzu öngören bir kültür endüstrisinin canl›
denekleri olarak yaflad›¤›n›z› biliyor musunuz?
Türkiye’deki kabine de¤iflikliklerinin flapka de¤ifltirir
gibi ‘kolaylaflt›r›lmas› ’ ve potansiyel tasarruf nüvesi
olarak görülmesiyle birlikte, Kültür ve Turizm
bakanl›klar›n›n birlefltirilmesinin tart›fl›ld›¤› flu
dönemde, tatil köylerindeki tur operatörleri veya
animatörlerin gösterdikleri insanüstü çaba ve
özverinin bir benzeri, son 20 y›lda yeni yeni boy
atmaya bafllayan, hatta boyundan büyük ifllere
kalk›flan Türk kültür ve sanat kurumlar› içinde de
oldukça bafl döndürücü biçimde ortaya konuluyor.
Bunun en taze ve ‘trendy’ örne¤ini ise, gündelik ve
periyodik medyan›n (say›s› ülke genelindeki tirajlara
bak›ld›¤›nda üç milyonu geçmeyen bilinçli bilinçsiz
okuruyla) ‘halka arzetti¤i’ gayr›meflru kültür ve
sanat reçeteleri diyebilece¤imiz ‘ajanda’lar
oluflturuyor. Ajanda, bilebildi¤im kadar, bir insan›n
bofl vaktini doldurmas› ve programlamaya çal›flmas›
eylemini prati¤e dönüfltürdü¤ü küçük rehber defterlere veya ka¤›t parçalar›na deniliyor. Her yeni y›l,
tüm yurtta ve d›fl temsilciliklerde binlerce ajanda
promosyonuyla da kutlan›yor; biliyorsunuz son-
On weekly diary weariness
Do you realise that you are living as a live test subject for a culture industry that assumes you work
five days a week, or perhaps study for those five
days, and then goes on to presume that you keep
the weekday evenings for yourself?
When we debate whether to merge the Culture and
Tourism ministries in Turkey we realise that
changes in Turkey’s cabinet are made with as little
thought as changing one’s hair. These days, a headspinning new example of superhuman effort and
dedication shown by tour operators and entertainment managers of holiday villages, is mimicked by
Turkish culture and art institutions who have taken
on a new prominence in the last 20 years to even
provide activities beyond their means.
The freshest and most "trendy" example of these
new duties are ‘diaries’, the unofficial cultural and
artistic prescriptions ‘demanded by the public’,
which appear daily and periodically in the media
(and whose readership, accordng to national circulation figures, never exceeds three million informed
or uninformed people).
A diary, as far as I know, is a little book or collection
of papers, in which a person schedules and plans to
fill or arrange their free time. Every New Year and
radan çürümeye bafllayan ajandalar da yüzde 50’ye
varan indirimlerle hepimize birinci s›n›f müsvedde
defteri vazifesi görebiliyor .
Bu meselenin kültür endüstrisiyle ilgisi ise fluradan
kaynaklan›yor kan›mca; sistemin, asl›nda
hayat›n›z›n en de¤erli parças› haline getirdi¤i o
seçim yapma özgürlü¤ünüz, ajandan›za ekledi¤iniz
her bir madde ile, taraf›n›zdan belirlenirken, bu
seçimlerin topunun ‘sizin iradenizle’ yap›ld›¤›
düflüncesi dayat›l›yor. Sessiz bir dayatma bu. ‹nan›n
öyle. Sanat›n ve sanatç›n›n yan›nda
‘Profesyonel’leflen her e¤lence ve kültür ürünü,
beraberinde kimi ‘profesyonelleri’ hayatlar›ndan
edecek derecede a¤›r sorumluluklar ve maddi
yükümlülükler de getirebiliyor. ‹flin finansal ve
sosyal bo¤uculu¤u, yapt›r›m kudreti ve reklam
kirlili¤i bir yana, hayatlar›m›z› oluflturan günler ve
saatlerin ‘bofl zaman’lar›n›, bir bak›ma an›lar›m›z› bu
kurumsal organizasyonlar üzerinden programlamaktan neredeyse büyük bir memnuniyet
duydu¤umuz bile söylenebilir. Bir yan›yla hepimiz,
ajandalar›m›za kendi adalar›m›z›n günceleri gözüyle
bile bak›yoruz da diyebiliriz bu duruma. fiunu
kendime sormaktan çekinmiyorum: ‘Birilerinin
hayat›m› programlamas›na’ nereye kadar izin vermeliyim? Aç›kças› ben, randevular›na hep geç kalan,
tuttu¤u hiçbir defterin sonunu getiremeyen bir
insan›m. Bu ‘programs›zl›k’ bende bir reflekse
dönüfltü desem yeri. Zira, medyan›n da üretti¤i
sa¤l›ks›z reçetelerden elimden geldi¤ince uzak
kalmaya özen gösteriyorum. Bu, her bir etkinli¤in
kötü oldu¤u anlam›na gelmiyor. Burada dikkat çekmek istedi¤im, her ne olursa olsun ‘yapmak
istedi¤iniz’ bir fleyin ‘önceden bilinebilirli¤i’ne ne
kadar tahammül edip etmedi¤inizi kendinize bir
kereli¤ine bile olsa sorabilmeniz. Çünkü bu da bir
özelefltiri biçimi ve özelefltiriler, sizleri gerçek elefltirilerin nankör ve sözünü sak›nmayan bahçesinden
içeri alabilecek yegane gizli girifller olabilir. Bu
özelefltirinin biliflsel flemsiye ve iradesi alt›nda
kurdu¤unuz yaflam tarz›yla, kültür ve sanat ürünlerinin Türkiye’de ne kadar verimli ve etkileflimli bir
elefltiri mekanizmas› üretip üretmedi¤ini de sorgulayabilirsiniz. E¤er burada mesele ba¤›ms›zl›k ise; ki
öyle görünüyor, size hayat› biraz da programlamamaya çal›flman›z› sal›k veriyorum. Bofl zaman›n›z›
kimsenin, hatta hiçbir kültür ve sanat ürününün
‘de¤er’lendirmesine izin vermemeyi bir deneyin. O
zaman bu faaliyetlerin sizleri gerçekte hangi ‘art›
de¤er’lerle bafl bafla b›rakt›¤›n› fark edebilirsiniz. Ya
da tam tersi bir bak›flla, hayat›n›z›n sonuna
geldi¤inizde, dolmufl ve kullan›lm›fl ajandalar›n›z›n
hat›ralar› aras›nda yorgun arg›n, melankolik gözlerle
gezinirken küçük bir noktay› biraz geç de olsa fark
edebilirsiniz: ‘Bunca ajanda sayfas› aras›nda
kendime verdi¤im bir randevu olmad› m› hiç?’
on an international scale, companies celebrate the
event by publicisng thousands of promotional
diaries. As you know, these diaries, that supposedly
have a set practical life-term, can serve us all as
first class scrap books, with discounts approaching
50 percent.
I believe that one’s interest in the contemporary
culture industry should arise here. With every item
added to a diary being the owner’s freedom of
choice, the system then proposes these leisure
events as the most important in life because they
were apparently made with ‘one’s own free will’.
This is a silent imposition. Believe it. Every form of
entertainment and product of art that is ‘professionalised’ by art and artists themselves, exerts a
heavy responsibility and financial cost on those that
go to experience it. Leaving aside the financial and
social suffocation work brings, the power of investment and the corruption of advertising, it is possible
to say that we feel great satisfaction in organising
our days and hours of free time and even our memories according to these institutional events.
In a way, all of us look at our diaries as the journals
of our own islands.
I am not afraid to ask myself where to draw the line
when allowing others to arrange my life.
To be honest, I am a person who is always late for
meetings and who has never used the last page of
a single notebook I’ve used. It would be true to say
that this lack of organisation has become a reflex
action for me. Indeed, I take great care to stay as
far away as possible from any of the unhealthy prescriptions created by the media.
That is not to say that every event is bad. What I
want to stress here, is that you should ask yourself
at least once how much predictability you tolerate
in something, however much you want to do it.
Because this is a form of self-criticism and self-criticism
can be the sole entrance to a garden of real criticism,
ingratitude and frankness.
With a lifestyle formed under the umbrella of self-criticism and will power, you may find yourself able to
question the contribution of cultural and artistic products in Turkey and consider whether they have developed a reciprocal mechanism for criticism.
If the issue here is independence, and it looks like it is, I
would recommend you try to disorganise your life a little, then you will be able to see what ‘added values’
these activities present.
Or to look at it another way, when you come to the end
of your life and you scan the lines of your filled and
used diaries with weary, melancholic eyes, you might
belatedly notice a small point: "Was there not one single appointment for me in all those diary pages?"
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Emre Do¤ru
www.20000000.com
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Evrim Altu¤
Arts Correspondent, Radikal / Radikal Gazetesi, sanat muhabiri.
www.radikal.com.tr
Ertan Uça
www.20000000.com
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Cevdette Erek
Images taken from his flat in Nisantasi as an elderly woman slips on the ice, winter 2002.
Cevdet Erek is exhibiting a collaborative work with Emre Erkal in the 8th International Istanbul Biennial 18th September - 16th November 2003.
Sanatç›n›n, 2002 k›fl›nda, Niflantafl›’ndaki evinde buz üstünde kayan ihtiyar bir kad›n olarak kaydetti¤i görüntüler.
Cevdet Erek, 18 Eylül – 16 Kas›m 2003 tarihleri aras›nda, 8. Uluslararas› Istanbul Bienali’nde Emre Erkal ile ortaklafla bir çal›flma sergileyecek.
www.istfest.org
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Andrew Foxall
2002
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Iain Foxall
Prelude to Thrill, 2003
[email protected]
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Paul Noble
Untitled / ‹simsiz, 2003
A drawing specially created for bkz.
Paul Noble is exhibiting in the 8th International Istanbul Biennial 18th September - 16th November 2003.
.
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Paul Noble, 18 Eylül – 16 Kas›m 2003 tarihleri aras›nda 8. Uluslararas› Istanbul Bienali’nde ifllerini sergileyecek.
www.istfest.org
Bored at home in his native Scottish countryside, Iain Foxall built a 170cm mountain
using wire and plaster. A friend sent him
the miniature plastic skiers in the post from
London, which allowed Iain to start his stop
frame animations with homemade camera
tracks and a 35mm camera.
This project and its title were inspired by the
early 90s ski flick “License to Thrill”, apparently now impossible to find on video.
Yerlisi oldu¤u ‹skoç k›rl›¤›ndaki evinde s›k›lan
Iain Foxall, tel ve alç› kullanarak 170 cm’lik
bir da¤ infla etti. Bir arkadafl›, Iain’a
Londra’dan postayla, ev yap›m› kamera raylar› ve 35 mm kameras›yla stop frame animasyonlar yapmaya bafllamas›n› sa¤layan
plastik minyatür kayakç›lar gönderdi.
Bu proje ve isim, flu an videosu bulunmas›
galiba imkans›z olan, "Licence to Thrill" isimli
90’lar›n kayak filminden esinlenmifl.
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A conversation between Hettie Judah and Leyla Gediz
3rd September 2003
The original article about Leyla Gediz’s paintings written by Hettie Judah and discussed here,
was published in the Art Section of the English Supplement of Time Out, Istanbul, June 2002.
Hettie Judah is a writer and critic. Before moving to Turkey she wrote a weekly column in The Times arts pages and contributed
to a number of other UK broadsheets as well as Dazed and Confused, The Modern Review and Prospect magazine. Since living
in Istanbul she has been writing for Time Out Istanbul and Cornucopia.
Leyla Gediz’s solo exhibition Keep It A Secret will be at Galerist 16th October – 15th November 2003.
She will also be exhibiting in Organised Conflict at Proje4L Istanbul Museum of Contemporary Art,
22nd September – 22nd November 2003.
bkz.
Hettie Judah ile Leyla Gediz aras›nda bir söylefli
3 Eylül 2003
Hettie Judah taraf›ndan Leyla Gediz’in resimleri hakk›nda yaz›lan ve burda tart›fl›lan orijinal makale, Time Out dergisinin
‹ngilizce ekinin Sanat Bölümü’nde, Istanbul’da, 2002 Haziran say›s›nda yay›nland›.
Hettie Judah, Cornucopia, Time Out Türkiye, The Times ve The Guardian Ingiltere
yay›nlar›na katk›da bulunan bir yazar ve elefltirmendir.
Leyla Gediz’in kiflisel sergisi S›r Küpü 16 Ekim – 15 Kas›m 2003 tarihleri aras›nda Galerist’te aç›lacak.
Gediz, ayr›ca, 22 Eylül – 22 kas›m 2003 tarihleri aras›nda da
Proje4L Istanbul Güncel Sanat Müzesi’ndeki Organize ‹htilaf sergisinde de yer alacak.
.
www.cornucopia.net
www.timeoutistanbul.com
ww.galerist.com.tr
www.proje4l.org
HJ Just before your last exhibition - about a year
ago - I wrote a magazine piece about your work.
The article provoked a really vicious response - as I
subsequently found out the person who gave the
response had their own agenda - but at the time it
made me think quite a bit about criticism, and I
worried that I had behaved irresponsibly towards
you. I examined what I had written about you, and I
thought about the relationship between the critic
and the artist. I’d like to know how the experience
was for you?
LG It took me a while to really take in what you
wrote; it wasn’t an easy read for me. I was very
excited before I’d even started reading it - but I didn’t understand what the tone of it was and what it
was trying to say; who it was addressing - maybe it
was addressing an audience, or maybe it was
addressing me? And that was interesting; it took
me a few reads and after that I decided that it was
quite critical. Of course it was the only review text
that came out that had any kind of criticism in it
and the point of that criticism was directly relating
to the core of the exhibition. In situations like that I
guess most artists - or anyone - would react in the
same way; my first reaction was defensive. I
thought that you had picked up on things I wanted
to open up to discussion in the exhibition anyway,
or that these were things that I was already aware
of, or these were things that you had taken out of
our conversation rather than the works themselves.
I thought perhaps that it was the way I expressed
myself that led to your conclusion [in the article]
rather than the works’ themselves. That is the way
that I became self-defensive; that was my first
reaction.
HJ I think there’s justification there, because it is
difficult as a critic to know whether you address
what you are writing to the artist or to the audience, and I am not sure that I knew myself at the
time. Particularly because this is such a small artistic community; I thought that I probably would
encounter you again, that inevitably our paths
would cross in some way. And I suppose I felt on
some level responsible as a factor in your career as
an artist. I wanted to have some kind of dialogue
with you, but at the same time I was writing for a
public magazine.
LG During our conversation I remember feeling in a
disadvantageous position because I felt like I couldn’t show you everything as it should be; you
remember I was still working on the paintings then.
The thing is, after all, that your review was the only
critical writing that came out, and I was impressed
by that. Because of course, there is always this talk
around town; everybody complains that there is not
that much critical writing - particularly in contemporary art - going on in Turkey at the moment.
There may be plenty of reasons for that, but you
don’t expect yourself suddenly to be the one who is
criticised! The thing about you is that you kept your
distance throughout the conversation; it was something about you that I thought was quite professional. There is a problem with most reviewers that
I have met, where that distance is being cut away
right from the start. People don’t act professionally; people don’t act as the artist and the critic; they
just want to act like two friends, or two people trying to be one. As if total agreement is what is
desired. Which is an unfortunate conclusion
because it removes the possibility of some sort of
debate. Of course I wasn’t able to reply to your text
until today. You were probably one of the very few
people whose reaction to my new work was something that I really wanted to know. Because you
had been openly critical; that triggered some
curiosity on my part; I’m going to want to know
what your reaction to my progress is going to be
this time round. Today, before you came I read the
text again. It was very interesting, because at the
time my reaction was defensive. I was a little disturbed, certainly. But this time round there were
points when I thought ‘she is actually probably
right about this, or right about that’. It really
changed. And I think with criticism sometimes it
takes time. And that’s a risk on the part of other
reviewers that I think they should take. In the long
run, now that I look at your text and see that it
contains quite a bit of truth, it is useful to me,
because it is like holding a mirror to what I was representing back then. Looking back, for me, it’s a
very valuable text to define that moment; looking
back at my production and pointing out... its weaknesses, let’s put it that way.
HJ Well, I would like to congratulate you on being
extraordinarily generous spirited! What for me is
really strange is that I didn’t think that I was being
overtly critical. I thought that I gave an overwhelmingly positive review. Obviously it will be different
from your point of view reading it. But from my
perspective writing it, I knew that I liked what you
were talking about, I liked the spirit of the work,
but I felt that there was something within your
work that you weren’t allowing to get to the surface. So I felt that I may have made one or two
criticisms. It is very interesting to hear that it felt
that harsh at the time. Given that, it is very big of
you to feel that you could enter into a dialogue
with me; I always assume that when people get
what they think is a negative review they will look
at it and just say ‘well fuck you’!
LG No, I am not that sort of person! In any case, I
take it as a challenge. Here I am, I am a painter; I
am going to keep painting after this, just as I kept
painting after that chat that we had. You were
brave enough to write exactly what you thought
about the work, to give your reaction, and to identify a problem, at least in the way I talk about my
work. For me that honesty set a challenge. And I
think that the thing I got defensive about the first
time I read it was actually the truth; this point that
you made about irony; that it could not be a route
forward [towards freedom]. The exhibition itself
was actually titled Fake Freedom; clearly I already
knew that I wasn’t setting myself completely free in
my work! So you had a point there. With that first
exhibition there was a sense in which I was not
exactly feeling free; and I had an attitude where I
felt like that was all I could come up with under the
circumstances. I am more optimistic now. It is more
fun for me to make paintings now, perhaps. I
remember you asking me why my paintings were
black and white, why didn’t they have any colour?
Now a lot of things that I found that I had excluded
from the paintings for no reason are beginning to
come back into the paintings. And I think that is
proof of my setting myself more free. You were
right about my insecurity. I think it is important for
you to have been there to see what was going on,
and what was lacking and what could have been
better. What I needed to do was to open myself up
more and get away from the institutional,
Goldsmiths instincts. When I read the text today I
thought that you were actually pointing to potential for these works to become better. I don’t really
think that it was harsh criticism. Now I see that you
were looking at the work and saw what the situation was then. And I think that is really what you
should have done.
HJ You picked up pretty much exactly what I wanted to do with that review. I thought you were
somebody that had something really big going on
inside of her; something waiting to burst out, but
who hadn’t quite worked out how to turn the tap
on correctly or project that in a way that pleased
them or that they were confident in. I think that
brings us to the key thing about criticism and having a healthy situation in which both critics and
artists can work, which is that for criticism to work
at all you actually need to be in an environment in
which the art is strong enough to sustain it. For
example, a week after I did the interview with you I
wrote an interview with another artist in which I
didn’t bother being critical at all. His stuff was fun,
but it wasn’t powerful; it wasn’t important work. I
didn’t get anything close to the strength of feeling I
got in talking to you and looking at your work. So it
felt important to be critical [with you] because I
think there was something important there. Maybe
this is part of the problem in Turkey. I don’t know
this, it is just a suggestion, but is there currently
the strength of artwork to sustain a body of criticism?
LG It is a difficult question, because a lot of artists
don’t seem to follow one agenda. Even in terms of
disciplines or materials that they use, it just seems
that things are coming and going out of fashion
and artists seem to adapt themselves to these
external conditions which are changing so often, so
quickly and they have a concern to keep up with
the things that are going on outside them. For me,
for the large body of artists, that is the most important criticism to make; it is very difficult if you cannot look back over the artists’ productions; how will
you be able to see where they are coming from and
what they are trying to do? It is not so much a
problem with the strength of the work itself, rather
that artists seem to be working in one-offs.
HJ I know what you mean. I remember pretty much
the strongest work I have seen here in Istanbul was
done as laser printed wallpaper; after I saw it I
looked up other examples of the artist’s work and it
looked as if it had been done by a completely different person. She had gone from wall mounted
photographs to abstract sculptures; very strange.
For me, what seems to be underlying all this is the
idea of insecurity. People aren’t proud or content or
secure in their artistic expression. Artists seem not
to have the courage of their convictions required to
do their own thing. Maybe they do need somebody
coming in and being rude to them - maybe it would
force them to say ‘Piss off! I’m going to do what I
want!’ Maybe they need something to make them
angry.
LG They definitely need criticism, that’s for sure.
HJ Bundan bir y›l kadar önce son sergin aç›l›rken
çal›flmalar›n hakk›nda bir yaz› yazm›flt›m ve bu bir
dergide yay›mlanm›flt›. Bir okuyucudan -sonradan
anlafl›ld›¤› üzere ilgisiz bir davan›n sonucu olarakbeklenmedik ölçüde sald›rgan bir yan›t geldi. Fakat
bu olay beni elefltiri yaz›n› üzerine s›f›rdan düflünmeye, ve sana karfl› sorumsuz davranm›fl olabilece¤im ihtimalini göze almaya zorlad›. Endifle
içinde, yazd›¤›m metni bir kez daha gözden
geçirdim, ve "Elefltirmen-sanatç› iliflkisi nas›l olmal›"
sorusuna yan›t arad›m. Metnin senin üzerindeki
etkilerini anlat›r m›s›n?
LG Öncelikle, kolay bir okuma olmad› benim için.
Gerçekten ne dedi¤ini anlamak biraz zaman ald›.
Zaten henüz okumaya geçmeden heyecanland›m,
dolay›s› ile mesaj›n tonunu ve içeri¤ini kavramakta
epey zorland›m. Özellikle, kime hitaben yaz›ld›¤›n›
anlayamad›m metnin, bir izleyici kitlesine mi
yaz›lm›flt›, yoksa bana m› sesleniyordu? Bu ilginç bir
noktayd›, fakat bir kaç okumadan sonra yaz›y›
pekala elefltirel buldum. Tabii o s›ralarda hakk›mda
ç›kan yegane elefltirel yaz› buydu. Üstelik metnin
elefltirisi direkt serginin kalbine yönelikti. Bu gibi
durumlarda her sanatç›n›n –ya da herkesin- verebilece¤i tepkiyi verdim; savunmaya geçtim. Zaten
tart›flmaya açmak istedi¤im noktalara tak›ld›¤›n›,
bilincimin d›fl›nda bir fley söylemedi¤ini, bir de eserlerin kendinden ziyade, görüflmemiz esnas›nda sarfetti¤im sözlere a¤›rl›k verdi¤ini düflündüm. Yani
[metnin] ç›kar›m›nda, benim kendimi ifade etme
biçimimin etkili olmufl olabilece¤ini düflündüm. Ve
benzeri savunmalar, bunlar ilk tepkilerimdi.
HJ Orada hakl› oldu¤un bir yer var bence. Bir elefltirmen olarak yazd›¤›n metin, sanatç›ya m› yoksa
izleyicisine mi hitap ediyor, bunu bilmek zor, ve o
s›ralar bunun yan›t›n› ben de bildi¤imi sanm›yorum.
Bunun bir nedeni sanat camias›n›n küçüklü¤ü olabilir; sana tekrar rastlayabilece¤imi, ister istemez
yollar›m›z›n örtüflece¤ini düflündüm. Ve san›r›m,
senin sanat kariyerinde bir sorumlulu¤un da benim
üzerime düfltü¤ünü hissettim. Seninle bir
diyalo¤umuz olsun istedim, ancak ayn› zamanda bir
dergi için yaz›yordum.
LG Konuflmam›z s›ras›nda kendimi flanss›z
hissetti¤imi hat›rl›yorum, sana herfleyi bitmifl haliyle
gösterememenin ezikli¤ini yafl›yordum. Biliyorsun, o
zaman hala resimlerin üzerinde çal›fl›yordum.
Herfleye ra¤men, seninki ç›kan tek elefltirel yaz›yd›,
ve bundan etkilenmifltim. Çünkü herkesin dilinde
oldu¤u üzere, bu ülkede bir elefltiri k›tl›¤› var. Bunun
pek çok nedeni olabilir. Ama tabii insan birdenbire
elefltirilenin kendi olmas›n› beklemiyor! Seni farkl› ve
profesyonel k›lan, en bafltan mesafeyi korumufl
olmand›. Bugüne kadar tan›flt›¤›m yazarlarda
gözlemledi¤im özellik ilk önce o mesafeyi k›rmaya
yönelik gayretleri oldu. Bu hiç profesyonelce de¤il;
kifliler elefltirmen ve sanatç› gibi de¤il de, bir bütüne
varmaya çal›flan iki arkadafl gibi davran›yorlar,
sanki hemfikir olmak amaçm›fl gibi. Ne yaz›k ki bu
yol tart›flma kap›lar›n› kap›yor. Sana bugüne kadar
bir yan›t veremedim. Fakat yeni ifllerime tepkisini
en merak etti¤im insanlardan birisi sensin elbette.
Aç›kça elefltirmifltin beni; bu da bende merak
uyand›rd› tabii. Bu kez geliflmemi nas›l de¤erlendirece¤ini merak ediyorum. Bugün sen gelmeden o
metni tekrar okudum. Çok ilginçti, çünkü zaman›nda
beni savunmaya geçirmiflti. Mutlaka biraz rahats›z
olmufltum. Fakat bu defa okudu¤umda bir kaç
yerde birden hakl› olmufl olabilece¤ini gördüm.
Tepkim gerçekten farkl›yd›. Düflündüm ki, elefltirinin
ifllevselleflmesi bazen zaman al›yor. Bu da elefltirmenin almas› gereken bir risk. Uzun vadede, flimdi
geriye dönüp metne bakt›¤›mda görüyorum ki pek
çok gerçe¤i içeriyor. Bunun bana faydas› var, çünkü
o zaman yans›tt›klar›ma bir ayna tutuyor. fiimdi
art›k o an› tan›mlayan, üretimime ve -nas›l demelinoksanlar›na ›fl›k tutan de¤erli bir metin benim için.
HJ O halde seni ola¤anüstü aç›kyüreklili¤in için kutlamak isterim! Benim için tuhaf olan, ben öylesine
büyük bir elefltirellik sergiledi¤imi düflünmemifltim.
Ben tepeleme olumlu bir gözlem getirdi¤imi
düflünüyordum. Tabii ki senin okuman farkl›
olmufltur. Ama benim aç›mdan bak›l›rsa,
anlatt›klar›n hofluma gitmiflti, iflin ruhunu
sevmifltim, fakat iflin içinde yüzeye ç›kmas›na izin
vermedi¤in bir fleyler kald›¤›n› hissetmifltim. Bu
nedenle bir veya iki elefltiride bulundu¤umu
düflündüm. Sana böyle kat› geldi¤ini ö¤renmek
gerçekten ilginç. Buna ra¤men benimle diyaloga
girmeyi arzulaman senin büyüklü¤ün; ben san›rd›m
ki, insanlar kötü bulduklar› bir elefltiriyle
karfl›laflt›klar›nda siktiri çekerler!
LG Hay›r, ben öyle biri de¤ilim! Bana göre bu
üstesinden gelinmesi gereken bir zorluktur.
Ressam›m ben, bir yere de gitmiyorum; nas›l ki o
konuflmam›zdan önce de resim yap›yordum, bundan sonra da resim yapmaya devam edece¤im. Sen
tastamam düflündü¤ünü yazmak cesaretini gösterdin, en az›ndan d›flavurumumda kendini gösteren
bir probleme iflaret ettin. ‹çtenlikle, önüme afl›lmas›
gereken bir engel ç›kard›n. Ve ilk okumada beni
savunmaya geçiren fleyin asl›nda bir gerçeklik
oldu¤unu düflünüyorum; senin flu ironi üzerine
getirdi¤in yorum, yani ironinin [özgürlü¤e giden
yolda] ilerlemeye araç olamayaca¤› gerçekli¤i.
Zaten serginin ad› Sahte Özgürlük’tü; besbelli ki,
kendimi tümüyle serbest b›rakmad›¤›m›n bilincindeydim! Dolay›s› ile hakl›yd›n. O ilk sergiden
kendimi tümüyle özgür hissetmeyiflim okunuyordu:
ve bu flartlarda yapabildi¤imin en fazlas›n› ortaya
koyan bir tav›r vard›. fiimdi daha olumluyum. Belki
flimdi daha bir zevkle resim yap›yorum. Bana resimlerimin neden siyah-beyaz oldu¤unu sordu¤unu
hat›rl›yorum, niçin renk yoktu? Daha önce nedensizce d›flarda b›rakt›¤›m ö¤elerin flimdi resmime
girdi¤ini görüyorum. Bu da özgürleflti¤imin bir
kan›t›. Güvensizli¤im konusunda hakl›yd›n. Neler
olup bitti¤ini, nelerin eksik oldu¤unu, ve neyin daha
iyi olabilece¤ini görmek aç›s›ndan orada olman çok
önemliydi. Yapmam gereken kendimi açmak ve
Goldsmiths’in kurumsal içgüdülerinden ar›nmakt›.
Bugün metni yeniden okudu¤umda, elimden ç›kan›n
daha da iyileflme imkan›na iflaret etti¤ini gördüm.
Kat› elefltiri oldu¤unu düflünmüyorum. ‹fllere
bakt›¤›n›, durumu yans›tt›¤›n›, ve yapman
gerekenin de zaten bu oldu¤unu düflünüyorum.
HJ O yaz›dan beklediklerimin tümünü sayd›n
neredeyse. Ben seni, içinde d›flar› ç›kmay› bekleyen
büyük fleyler tafl›yan biri olarak gördüm, fakat
henüz t›pay› açman›n yolunu bulamam›fl gibiydin,
ya da seni tümüyle tatmin edecek d›flavuruma
ulaflamam›fl gibi. San›r›m bu da bizi elefltirinin
temel kriterine getiriyor. Elefltirinin ifllevini yerine
getirebilmesi ve hem sanatç› hem de elefltirmen
aç›s›ndan sa¤l›kl› bir zemine oturmas› için, öncelikle
sanatç›n›n üretiminin elefltiri kald›rabilecek güçte
olmas› gerekiyor. Örne¤in, seninle görüflmemizden
bir hafta sonra di¤er bir sanatç› hakk›nda bir yaz›
daha yazd›m, ve ona elefltirel yaklaflma gere¤i duymad›m bile. Yap›tlar› e¤lendiriciydi, ancak güçlü
de¤illerdi; önemli sanat eserleri say›lamazlard›.
Seninle konuflman›n ve senin eserlerini görmenin
bende b›rakt›¤› izlenimin yan›na yaklaflamad›lar. Bu
nedenle seni ele al›rken elefltirel davranmak
gere¤ine inand›m, çünkü sende önemli bir fleyler
vard›. Bu, Türkiye’de karfl›m›za ç›kan sorunun bir
parças› olabilir. Bildi¤imi iddia etmiyorum, bu
yaln›zca bir fikir, fakat sence bugün burada
elefltiriyi ayakta tutacak güçte sanat eserleri
üretiliyor mu?
LG Bu zor bir soru, çünkü sanatç›lar›n pek ço¤u tek
bir izlek takip etmiyor. Düflünsel olsun, malzeme
olsun, pek çok seçim h›zla ve s›kl›kla moda olup
kayboluyor. Bunlar sanatç›n›n d›fl›nda geliflen fleyler,
ancak bir çok sanatç› her an üretimini kendinin
d›fl›nda cereyan eden geçici de¤erlere uydurmak için
çaba sarfediyor. Bana göre en acil elefltiriyi bu
tav›ra sahip sanatç›lar hakkediyor. Geriye dönüp,
bir sanatç›n›n nereden gelip nereye gitti¤ini anlayamamak, üretimlerini özetleyememek elefltiri
aç›s›ndan büyük bir zorluk. Eserlerin gücüne de¤il,
tek bafllar›na havada as›l› kalmalar›na dair bir
sorun var.
HJ Ne demek istedi¤ini biliyorum. ‹stanbul’da
gördü¤üm ve hat›r›mda kalan en güçlü iflin
malzemesi lazerbask› duvarka¤›d›yd›. Bunu gördükten sonra sözkonusu sanatç›n›n di¤er eserlerini
araflt›rd›m; önüme ç›kanlar sanki bambaflka biri
taraf›ndan üretilmiflti. Duvarda as›l› duran
foto¤raflardan soyut heykellere kadar; çok tuhaft›.
Bana göre bütün bunlar›n alt›nda güvensizlik
yat›yor. Sanatsal d›flavurumlar›ndan emin olmayan,
onur duymayan, tatmini bulamam›fl sanatç›lar var.
Kiflisel inançlar› do¤rultusunda kendi yollar›n›
belirleyecek cesarete sahip olmayan sanatç›lar.
Belki de birinin ç›k›p onlara kabal›k etmesi gerekiyor
– bu sayede, "Git bafl›mdan! Ben ne istiyorsam onu
yapaca¤›m!" diyebilirler. Belki de onlar› k›zd›r›cak bir
fleye ihtiyaçlar› var.
LG Elefltiriye ihtiyaçlar› oldu¤u muhakkak.
bkz1.14.
bkz.
Emre Do¤ru
bkz1.15.
bkz.
bkz.
Andrew Wightman
[email protected]
www.differentthings.com
bkz1.16.
bkz.
bkz.
Oz
Photographs / Foto¤raflar
Emre Do¤ru
A few weeks ago, Oz said something about being on a bike and how you could have two
people on different bikes listening to different music on their Walkmans. One, “for
instance”, could be listening to Iron Maiden, and the other could be listening to trance. The
point of his illustration had something to do with the fact that people might be listening to
different music on a bike, but the bike remains. There is a song in there somewhere.
Birkaç hafta önce Oz, iki farkl› insan›n ayr› bisikletlerde walkman’lerinde farkl› müzik dinlemeleriyle ilgili birfleyler söyledi. Örnek olarak, bir tanesi Iron Maiden, bir di¤eri ise trance
dinliyor olabilir. Yapt›¤› illüstrayonun amac›, insanlar bisikletlerinde degiflik müzik dinleseler
de, bisikletin esas kalmas›yd›. Orada biryerlerde bir flark› var.
bkz1.17.
.
.1.18
Tremorcity, 2001
Transcribed by Serkan Özkaya with participation from Hans-Ulrich Obrist, Vasif Kortun, Huseyin Alptekin,
Gülsün Karamustafa and Eric Goengrich.
Excerpt from discussion about the concept of "the rumour" in contemporary
art production that took place at Refika in September 2001.
This work was previously shown at Proje4L in a talk by Hans-Ulrich Obrist; in “Mutations : Rumour City” at
Probe in Tokyo and at “Blanges Neige” at Centre Nationale de la Photographie in Paris.
Serkan Özkaya’s solo exhibition Minerva Street will be at Galerist 11th September – 11th October 2003.
Özkaya is also exhibiting in the 2003 Tirana Biennale which opens on
12th September 2003 and has been co-curated by Vasif Kortun.
Hans-Ulrich Obrist, Vas›f Kortun, Hüseyin Alptekin, Gülsün Karamustafa ve Eric Goengrich’in kat›l›m›yla
gerçekleflen söylefli Serkan Özkaya taraf›ndan kaydedildi.
2001 y›l›n›n Eylül ay›nda Refika’da gerçekleflen güncel sanat üretimindeki "dedikodu flehir" konseptiyle
ilgili panel-söylefliden bir pasaj.
Serkan Özkaya’n›n kiflisel sergisi "Minerva Caddesi" 11 Eylül – 11 Ekim 2003 tarihleri aras›nda
Galerist’te gerçekleflecek.
Özkaya, ayr›ca, yard›mc› küratörlü¤ü Vas›f Kortun taraf›ndan üstlenilen, 12 Eylül 2003’te bafllayacak
olan Tirana Bienali’nde de yer alacak.
.
www.galerist.com.tr
www.tiranabiennale.org
-Happy hour.
-So we stayed the whole night outside. Two cars, tent everything my house is right
there and we’re like ‘where shall we park the car you know if half of the land splits?’
this is OK but you know, the whole city spent the night outside.
-Picnic, the whole city is making picnic.
-Yea I was.
-Were you outside that night?
-Uh huh.
-You were? Were you outside that night?
-No green spaces.
-I mean we were all outside that night.
-Picnic.
-It’s incredible.
-Picnic. People are picnicking.
-You know.
-And the.
-One of the ideas of the rumour city.
-That’s right
-Rumours and everything.
-Earthquake stone. There’s no shaking. Nothing happened actually. There were no
aftershocks that night. Nothing.
-Government says no picnic tonight.
-Nobody made any explantion afterwards you know. Making people stay out all
night.
-Because all of them you know cannot.
-we know that we need this you know.
-They said ‘OK, it’s over, you can go now’.
-we need this public touch, solidarity or whatever. Picnic.
-Happy hour.
-Böylece bütün geceyi d›flarda geçirdik. ‹ki araba, çad›r, her fley, evim iflte orda ve biz
"arabay› nereye park edelim, hem biliyorsun, ya toprak ikiye ayr›l›rsa?" diyoruz.
Tamam bu olabilir, ama bildi¤in gibi tüm flehir geceyi d›flarda geçiriyor.
-Piknik, tüm flehir piknik yap›yor.
-Evet, öyle yap›yordum.
-H› h›.
-Sen? Sen d›flarda m›yd›n o gece?
-Yeflil alanlar yok.
-Demek istedi¤im, o gece herkes d›flardayd›.
-Piknik
-‹nan›lmaz.
-Piknik. ‹nsanlar piknik yap›yor.
-Biliyorsun...
-Ve.
-Dedikodu flehri fikirlerinden biri.
-Do¤ru.
-Dedikodu ve her fley.
-Deprem. Hiçbir sallant› yok. Gerçekten hiçbir fley olmad›. Artç› depremler olmad› o
gece. Hiçbir fley.
-Devlet bu gece piknik yok dedi.
-Bildi¤in gibi kimse daha sonra bir aç›klama yapmad›. ‹nsanlar› bütün gece d›flarda
tutmalar›.
-Çünkü onlar›n hepsi, bildi¤in gibi, yapamazlar.
-Buna ihtiyac›m›z oldu¤unu biliyoruz, biliyorsun.
-"Tamam, her fley bitti, gidebilirsiniz flimdi" dediler.
-Bu halksal temas, dayan›flma ya da her neyse, ona ihtiyac›m›z vard›. Piknik.
.
Can and Deniz Altay
Bu görsel, Can ve Deniz Altay’›n Garanti Modern Sanat Merkezinde 10 temmuz 2003 tarihinde Mekan Yaratmak isimli sergisinden bir detayd›r. Çal›flma Ankara’da mini-bar kullan›c›lar› ve sanatç›lar aras›ndaki konuflmalardan al›nm›fl bölümlerden oluflmaktad›r. Galeriyi ziyaret edenler çal›flmalar hakk›ndaki görüfllerini yazmalar› için davet edilmifltir.
Can Altay 18 Eylül –16 Kas›m 2003 tarihleri aras›nda 8,‹stanbul bienalinde bir sergi açacakt›r.Kendisi yak›n bir zamanda
Minneapolis Walk Art Center’da How Latitudes Become Forms adl› bir sergi açm›fl olup bu sergi halen internasyonel olarak turdad›r.
The image is a detail from Can and Deniz Altay’s installation created for the exhibition Making Space at Platform Garanti
Contemporary Art Center, 10 July – 7 August 2003. The installation consisted of printed extracts from conversations between
the artists and users of the mini-bars in Ankara, Turkey. In the gallery the public were invited to add to the display by writing
up their own comments and thoughts about topics raised by the work.
.
Can Altay is exhibiting in the 8th International Istanbul Biennial 18th September - 16th November 2003. He recently exhibited
work on the same topic of the mini-bar culture at the Walker Art Center, Minneapolis in How Latitudes Become Forms, an exhibition that is now on international tour.
www.istfest.org
www.latitudes.walkerart.org
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bkz.1.21
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Why is there no institution of cultural critique in
Turkey? A question that has been posed throughout
the history of the Republic, mainly by a number of
scholars who resented their social isolation, and
maintained the cunning implication that the only
critics were actually them, nobody else: ‘what would
happen if I didn't exist?’ Defining a culture through
something it lacks, is a trap in itself, in which the
lacking environment gets sentenced to trailing the
culture it has taken as a model. It is not the wisest
solution to find the correct or preferable path
through negation. Each moment we live offers us
countless fluid energies which can, in turn, lead us
beyond the constraints imposed on us by our own
objects of analysis, and towards risky, painful but
also pleasureable routes.
Three sources help me to breathe in the sticky
atmosphere of Istanbul. The first one is the Aç›k
Radyo, which inherited the experience of independent radio stations that appeared at the beginning
of the nineties, along with the commercial ones. The
first private radio station Kent FM and later Hür FM
(during its first broadcasting period before it was
slaughtered by the loathsome media figure Ertu¤rul
Özkök) were examples of alternative media which
could offer both, an unofficial political stance and a
non-mainstream, even experimental, music range.
For the last seven years Aç›k Radyo has been
defending this position of civic independence by
combining news monitoring that goes well beyond
the national boundaries, educational programmes,
hours given to certain civil society organisations
and quality music.
Cultural knowledge and understanding is not being
encouraged by the academies in Istanbul these
days. For a long time alternative magazines and
publishing houses carry the function of criticality. In
the mid-nineties Express, fiizofrengi and some other
free magazines fostered the articulation of various
modes of radicalities that could bypass the conventions of Marxist orthodoxies. Today, Roll and PostExpress continue the necessary project of combining
cultural production and political realm together. The
other source of radical thinking is based in three
publishing houses, which helped the Turkish intelligentsia to escape the grips of militaristic, and later
nationalist repressions of the last two decades:
Ayr›nt›, ‹letiflim and Metis. In addition to their
remarkable effort in translating important works on
social theory, these independent ventures promoted
researchers working on the social experience of
Turkish particularity. One of the most influential of
these figures is without doubt Y›ld›r›m Türker, a
writer who never refrains from providing biting
edge satires referencing the most protected political
taboos and the most dangerous players in the public domain. His text on Memed A¤ar (the ex-head of
Security Department, the father of bloody anti-terror squads, the ex-minister of Justice and ex-Home
Secretary and now the leader of Do¤ru Yol Party)
will always be remembered as one of the most brilliant examples of actualisation of potential radicality. Hence, the task is not to mourn but to intensify.
Neden kültürel alanda bir elefltiri kurumu geliflmedi
Türkiye'de? Cumhuriyet tarihi boyunca soruldu galiba bu soru ve en çok kendi toplumsal
yal›t›lm›fll›klar›ndan usanan ve asl›nda etrafta
elefltiri üreten tek kiflinin kendileri oldu¤unu ima
ededuran, 'ben olmasayd›m memleketin hali ne olurdu?' demeye getiren akademisyenler taraf›ndan. Bir
kültürü eksiklikler ya da yokluklar üzerinden
tan›mlamak kolayca bir tuza¤a saplanabiliyor; eksiklik görülen ortam, model olarak ald›¤› kültürün
arkas›ndan yürümüye mahkum ediliyor sonsuza dek.
Do¤ru ya da tercih edilir olan yolu bulmak için
de¤illemelere baflvurmak pek zekice bir çözüm de¤il
oysa. Elefltirel yaz›m giriflimlerini ele ald›klar› nesnenin s›n›rlar› içine hapsolmaktan kurtaracak ve
riskli, sanc›l› ama haz da içeren yörüngelere oturtabilecek say›s›z enerji geçip duruyor önümüzden her
an.
‹stanbul üzerindeki a¤›r hava kitlesi içinde solumay›
mümkün k›lan üç fley var, kendi ad›ma konuflmam
gerekirse. Bunlardan ilki, doksanlar›n bafl›nda aç›lan
özel radyolar aras›nda ba¤›ms›z tutumlar›yla fark
oluflturabilmifl radyo kanallar›n›n deneyimini miras
alan Aç›k Radyo. Resmi siyasal çizgiden ayr›labilen
ve ayn› zamanda ortayolculu¤un d›fl›na taflan,
deneysel bir müzik yelpazesine yer veren alternatif
medyaya örnek olarak, ilk özel radyo kanal› olan
Kent FM ve daha sonraki bir döneme ait Hür FM (ideolojinin en lanet figürlerinden Ertu¤rul Özkök'ün
müdahalesi öncesindeki o par›lt›l› ilk yay›n dönemimde) kalm›fl belle¤imde. Aç›k Radyo yedi y›la
yak›n bir süredir benzer bir çizgiyi sürdürüyor; ulusal
s›n›rlar›n d›fl›na ç›kabilen bir haber anlay›fl›n›, e¤itici
nitelikte programlar›, sivil toplum örgütlerine ayr›lan
saatleri ve iyi müzi¤i yanyana getiriyor.
Kültürel alana iliflkin bilgi ve kuram›n, elefltirelli¤in
üretildi¤i yerler üniversiteler de¤il, alternatif dergiler
ve kimi yay›nevleri, uzun bir zamand›r. Doksanl›
y›llar›n ortalar›nda Express, fiizofrengi ve di¤er baz›
ba¤›ms›z dergiler farkl› radikallik biçimlerini Marxist
ortodoksiler taraf›ndan üretilmifl kal›plar›n d›fl›nda
gelifltirmeyi baflarm›fllard›. Bugün Roll ve Post-
Express dergileri kültürel üretim ve siyasal alan›
yanyana düflünme gibi önemli bir projeyi halen
sürdürmekteler. Radikal düflünüflün di¤er kayna¤›n›,
militarist ve sonras›nda milliyetçi bask›larla geçmifl
yirmi küsür y›l süresince tutarl› bir çizgi izlemifl üç
yay›n evi oluflturuyor: Ayr›nt›, ‹letiflim and Metis.
Toplumsal kurama dair önemli yap›tlar› çevirme
konusunda gösterdikleri dikkat çekici baflar›lar›n yan›
s›ra, bu ba¤›ms›z yay›m giriflimleri Türkiye özgüllü¤ü
üzerine e¤ilmifl araflt›rmac›lara da destek olageldi bu
dönem içinde. Bu isimler içinde en etkin olanlardan
biri, keskin kalemini, en s›k› biçimde muhafaza edilen
siyasal tabular ve kamusal alana hakim olan tehlikeli tipler üzerinde oyantmaktan çekinmeyen Y›ld›r›m
Türker kuflkusuz. Örne¤in, yak›n dönemde, doksanl›
y›llardaki devlet terörünün bafl mimar› olmufl Memed
A¤ar üzerine yazd›¤› köfleyaz›s› radikallik potansiyelinin gerçekli¤e tercüme edildi¤i en cesur örneklerinden biri olarak hat›rlanacak hep. Sözün k›sas›,
yap›lmas› gereken olamayan üzerine yaz›klanmak
de¤il, elde olana yo¤unluk katmak.
Emre Do¤ru
bkz1.20.
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bkz.
Translation of graffiti / Grafitinin Tercümesi
“If you leave your trash here you are gay”
Cukurcuma Caddesi, ‹stanbul
Photograph / Foto¤raf
Andrew Foxall
bkz.
Erden Kosova
1.22.
.
Montage / Montaj
Andrew Foxall
bkz.1.23
Initiated, edited and designed by Andrew Foxall and November Paynter
Andrew Foxall is from Edinburgh in Scotland and moved here 2 years ago to work with a Turkish friend that he had met while
studying fashion design on the Master Programme at Domus Academy in Milan, Italy. In March 2003 he started a new creative initiative based in Cukurcuma called 20ML with four photographer / producer friends where he is the creative director for
projects. Since being here he has directed Biz magazine, as well as art directing other publications and producing catalogues
for fashion brands both in Turkey and abroad. Within 20ML he also runs creative consultancy, which takes the form of think
tanks, future design and strategy workshops for creative industries.
November Paynter came to work as a curator at Platform Contemporary Art Center, Istanbul in September 2002 following the
completion a masters in curating at the Royal College of Art London. Since arriving at Platform she has curated three exhibitions with a number of young international artists working in a variety of media – they were Coming Up, Zenith and most
recently Making Space. In June 2003 November was awarded the Premio Lorenzo Bonaldi Per L’Arte Enter Prize and her winning exhibition proposal Another Zero, will be realised at the Galleria d’Arte Moderna e Contemporanea in Bergamo, Italy this
December. Her current project We’ll meet you in the lobby, is a collaboration with fellow RCA curator Joanna Stella-Sawicka
and consists of a selection of artists’ recordings on vinyl, available to play throughout the Istanbul Biennial in the Lobby at the
Büyük Londra Oteli, ‹stanbul. November is the Istanbul Correspondent for Contemporary magazine and also writes for Time Out
Istanbul, ArtReview and Parachute.
bkz.
www.beekayzed.com
Thanks
Can Altay
Deniz Altay
Evrim Altu¤
Bahad›r Baflaran
Jaime Bishop
Steve Bryant
Pavel Büchler
Emre Do¤ru
Cevdet Erek
Köken Ergun
Andy Footner
Iain Foxall
Leyla Gediz
Hettie Judah
Vasif Kortun
Erden Kosova
Paul Noble
It›r Onur
Oz
Serkan Özkaya
Ceren Özp›nar
Öykü Özsoy
Craig Robertson, Flip Flop Flyin’
Scanner aka Robin Rimbaud
Grace Spooner
Jo Stella-Sawicka
Ertan Uça
Andrew Wightman
Tolga
Arhan
Ahmet
Translations
Bahadir Baflaran
Steve Bryant
Ceren Özp›nar
Öykü Özsoy
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1.24.bkz.
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bkz. is all about its audience and future issues will be inspired by your contributions. / bkz. tamamen okuyucular› hakk›ndad›r. Gelecek say›lara katk›lar ilhan verecektir.
[email protected]
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