Thursday, July 30, 2009
another arrest in tehran, this time film director jafar panahi
Prominent Iranian film director Jafar Panahi was arrested at a cemetery where mourners gathered on Thursday to commemorate slain election protesters, a source close to the family said.
"Panahi, his wife Tahereh Saeedi and daughter Solmaz were arrested today at Behesht-e Zahra," the source who declined to be named told AFP.
The award-winning director of "Offside" and "The Circle", Panahi is a vocal critic of Iran hardliners and his movies have been banned for a decade from domestic cinemas despite their international success.
Several other mourners were also arrested by Iranian riot police who beat the crowds gathered to commemorate protesters killed in post-election violence last month, witnesses said.
Mourners were marking the 40th day since the death of Neda Agha-Soltan, a young woman who came to symbolise the protest movement against the re-election of President Mahmoud Ahmadinejad.
"Panahi, his wife Tahereh Saeedi and daughter Solmaz were arrested today at Behesht-e Zahra," the source who declined to be named told AFP.
The award-winning director of "Offside" and "The Circle", Panahi is a vocal critic of Iran hardliners and his movies have been banned for a decade from domestic cinemas despite their international success.
Several other mourners were also arrested by Iranian riot police who beat the crowds gathered to commemorate protesters killed in post-election violence last month, witnesses said.
Mourners were marking the 40th day since the death of Neda Agha-Soltan, a young woman who came to symbolise the protest movement against the re-election of President Mahmoud Ahmadinejad.
Monday, July 27, 2009
Friday, July 24, 2009
jandarma odtu'den gidiyormus, hadi bakalim
'Mustafa Başçavuş' gibi efsane karakol komutanlarıyla ünlü ODTÜ Jandarma Karakolu 1 Ağustos itibarıyla tarih oluyor.
Thursday, July 23, 2009
Sunday, July 19, 2009
"Ouverture: Emre Huner" in Flash Art International July-September 2009
Some of us has an unquenchable thirst for fantastic realism, thinking the most sensitive readings of today can be traced from disasters, wars and victories taking place in the breach of time and space created within those narratives. Emre Hüner's complex, sensitive and dexterous work arrests the time's flow in the form of a speculating narrative's disrupted episodes. A recently emerging artist from Turkish contemporary art scene, Hüner has attracted the attention of many by his two-dimensional dystopic, post-Virilio visions of Panoptikon (2005), shown in 10th International Istanbul Biennial and Manifesta 7 besides some other international art events.
Hüner works intimately with a keyword oriented archive of second hand photos, books, films and various image materials acquired through internet. History, modernism, naturalism, colonialism, technical inventions are some of his keywords. This close relationship becomes clearer with the artist book Bent 003 (2007). The tempera-on-paper drawings of curious objects, nature parts and architectural components are re-assembled as (un)familiar and ambivalent scenes suggesting a future embedded in parallel universes; reminding the viewer of diverse times, spaces and memories about a colonialist pioneer society in their no-time limbo. Hüner's wunderkammer of casual archaeology continues to grow, images and films related with mass-utopia architecture have the majority of recent add-ups. Through this rich lexicon the artist hints us his "dreamworld" built upon the betrayal of a history that shattered "the dreams of modernity--of social utopia, historical progress, and material plenty for all" in Susan Buck-Morss' words arguing the fall of mass-utopias in east and west.
The Benjaminian concept of the "dreamworld" refers to a collective mental state inextricably linked to the reenchantment of the world. Hüner's overly aestheticized re-assembled universe offers us a mental state speculating about such a re-enchanted afterlife; after the catastrophe caused by the betrayal, i.e the post-industrial, the postcapital. Shot after Panoptikon mostly in and around Istanbul as a personal response to German sociologist Ulrich Beck's Risk Society, Boumont (2006) brings a no-time catastrophe struck future, obviously hit by the mass cycles of production and consumption. In his first video, Hüner edits abstracted city-views to construct this sci- fi looking wasteland place in complete melancholy. The protagonist –like the male prisoner in La Jetee (1962) sent to the past and the future to summon them for the present- arrives from an unknown departure point and traces his past by the help of some old photos.
With every step he takes, Hüner seems to work on one major oeuvre. From the miniature based Foucauldian architecture of Panoptikon, he arrives to Total Realm (2008), especially produced for city-screens, which reveals his attraction to the structures of fallen mass-utopias, of fascism and socialism, and to the images of totalitarianism. This retro-futuristic animation reminds us the Kafkaesque dystopic state created by Terry Gilliam in Brazil (1985). With this work, it is more clearly felt that the outcomes of Hüner's detailed artistic process function as viewer's interface to enter his sophisticated and puzzling dreamworld with its art-historical, filmic, literary and philosophical reference system.
During one of our conversations the artist said Istanbul is a city where he feels himself more like a foreigner. For me, this statement refers to his multi-layered vision of men and modernism through which he is already interpreting the city's experience on a particular aesthetic level. Hüner brought a fresh breathe for the contemporary art scene in Istanbul. It seems his dreamworld, murmuring different episodes, will keep re-enchanting us. However, some parts of his wunderkammer will surely remain a mystery.
© Ovul Durmusoglu
Hüner works intimately with a keyword oriented archive of second hand photos, books, films and various image materials acquired through internet. History, modernism, naturalism, colonialism, technical inventions are some of his keywords. This close relationship becomes clearer with the artist book Bent 003 (2007). The tempera-on-paper drawings of curious objects, nature parts and architectural components are re-assembled as (un)familiar and ambivalent scenes suggesting a future embedded in parallel universes; reminding the viewer of diverse times, spaces and memories about a colonialist pioneer society in their no-time limbo. Hüner's wunderkammer of casual archaeology continues to grow, images and films related with mass-utopia architecture have the majority of recent add-ups. Through this rich lexicon the artist hints us his "dreamworld" built upon the betrayal of a history that shattered "the dreams of modernity--of social utopia, historical progress, and material plenty for all" in Susan Buck-Morss' words arguing the fall of mass-utopias in east and west.
The Benjaminian concept of the "dreamworld" refers to a collective mental state inextricably linked to the reenchantment of the world. Hüner's overly aestheticized re-assembled universe offers us a mental state speculating about such a re-enchanted afterlife; after the catastrophe caused by the betrayal, i.e the post-industrial, the postcapital. Shot after Panoptikon mostly in and around Istanbul as a personal response to German sociologist Ulrich Beck's Risk Society, Boumont (2006) brings a no-time catastrophe struck future, obviously hit by the mass cycles of production and consumption. In his first video, Hüner edits abstracted city-views to construct this sci- fi looking wasteland place in complete melancholy. The protagonist –like the male prisoner in La Jetee (1962) sent to the past and the future to summon them for the present- arrives from an unknown departure point and traces his past by the help of some old photos.
With every step he takes, Hüner seems to work on one major oeuvre. From the miniature based Foucauldian architecture of Panoptikon, he arrives to Total Realm (2008), especially produced for city-screens, which reveals his attraction to the structures of fallen mass-utopias, of fascism and socialism, and to the images of totalitarianism. This retro-futuristic animation reminds us the Kafkaesque dystopic state created by Terry Gilliam in Brazil (1985). With this work, it is more clearly felt that the outcomes of Hüner's detailed artistic process function as viewer's interface to enter his sophisticated and puzzling dreamworld with its art-historical, filmic, literary and philosophical reference system.
During one of our conversations the artist said Istanbul is a city where he feels himself more like a foreigner. For me, this statement refers to his multi-layered vision of men and modernism through which he is already interpreting the city's experience on a particular aesthetic level. Hüner brought a fresh breathe for the contemporary art scene in Istanbul. It seems his dreamworld, murmuring different episodes, will keep re-enchanting us. However, some parts of his wunderkammer will surely remain a mystery.
© Ovul Durmusoglu
Friday, July 17, 2009
Women human rights defender Shadi Sadr arrested in Tehran
17/07/2009: WLUML is deeply concerned to learn that our colleague and friend, Ms. Shadi Sadr, has been arrested by plainclothes officers in Iran. (WLUML Networkers)Online sources, including Iran Emrooz and Twitter, have reported that around 11:30 this morning, Friday 17 July 2009, our colleague and friend, Shadi Sadr, was abducted by a group of unknown men in civilian clothes (probably security forces) while she was walking to the Friday Prayer sermon. Apparently her friends tried to pull her away from her abducters but they were unable to do so. She was forced into a car and taken away.
Ms. Sadr is a human rights lawyer who especially defends the rights of women in Iran. She is also a Council member of WLUML, as well as part of the Stop Stoning Forever Campaign and Meydaan.
Friends in Iran report "...the regime has become very brutal over the past weeks, and the numbers of activists, journalists and intellectuals who are under arrest and in jail has increased exponentially. More trouble is expected today at the Friday prayer sermon, which Moussavi will also be attending."Others report that Ms. Sadr was also "hit badly and dragged so badly that her scarf and manteau was removed from her".Her abductors did not show any identity cards or warrants. Her friends and colleagues who witnessed the kidnapping say they tried to intervene but were met with violent force and Sadr was dragged away. They also report of another car (reported as a Mercedes) acting as back up for the Peugeot. As of yet, it is not clear where she has been taken or who has arrested her.17 July 2009 Source: WLUML Networkers ____
From Zara, who was with Shadi when was arrested:
"A few of us were walking among people in Keshavarz Bolvard towards University of Tehran , we were very normal and peacfully were making our ways to the prayers that suddenly a motocycle stop infront of us, a man with an ordinary clothes (not wearing police and not Basij uniform) know as Lebas Shakhsi in Farsi shouted to other two men who were not on motocycle (pointed at Shadi) get that woman... we all were shocked at that moment, shad walked scorted with two men towards a car parked near us, I screamed "shadi.. who are these people and wehere they take you..". other friends asked them" show us your IDs and tell us where do you take her", they answered;" no question, you go, we want her". we struggled to take her out of the car , I opened the door and took Shadi's hand she was trying to get out of the car, a man who was sittin in the back was holding her Shadi screamed two of us were trying to help her but a man from behind her was pulling her until her Mantou was taken off and she ran, then a man from the front attacked on her head, her scarf fall down, she ran to the street with no Mantou and scarf screaming, I was behind her screaming{people were watching us} then a man with a wire/cable started beating and pushing her and picked her up and brutally put her to the car.. another car( Black Benz) came to open the way for that car in which they had Shadi in it to move..."
Ms. Sadr is a human rights lawyer who especially defends the rights of women in Iran. She is also a Council member of WLUML, as well as part of the Stop Stoning Forever Campaign and Meydaan.
Friends in Iran report "...the regime has become very brutal over the past weeks, and the numbers of activists, journalists and intellectuals who are under arrest and in jail has increased exponentially. More trouble is expected today at the Friday prayer sermon, which Moussavi will also be attending."Others report that Ms. Sadr was also "hit badly and dragged so badly that her scarf and manteau was removed from her".Her abductors did not show any identity cards or warrants. Her friends and colleagues who witnessed the kidnapping say they tried to intervene but were met with violent force and Sadr was dragged away. They also report of another car (reported as a Mercedes) acting as back up for the Peugeot. As of yet, it is not clear where she has been taken or who has arrested her.17 July 2009 Source: WLUML Networkers ____
From Zara, who was with Shadi when was arrested:
"A few of us were walking among people in Keshavarz Bolvard towards University of Tehran , we were very normal and peacfully were making our ways to the prayers that suddenly a motocycle stop infront of us, a man with an ordinary clothes (not wearing police and not Basij uniform) know as Lebas Shakhsi in Farsi shouted to other two men who were not on motocycle (pointed at Shadi) get that woman... we all were shocked at that moment, shad walked scorted with two men towards a car parked near us, I screamed "shadi.. who are these people and wehere they take you..". other friends asked them" show us your IDs and tell us where do you take her", they answered;" no question, you go, we want her". we struggled to take her out of the car , I opened the door and took Shadi's hand she was trying to get out of the car, a man who was sittin in the back was holding her Shadi screamed two of us were trying to help her but a man from behind her was pulling her until her Mantou was taken off and she ran, then a man from the front attacked on her head, her scarf fall down, she ran to the street with no Mantou and scarf screaming, I was behind her screaming{people were watching us} then a man with a wire/cable started beating and pushing her and picked her up and brutally put her to the car.. another car( Black Benz) came to open the way for that car in which they had Shadi in it to move..."
Thursday, July 16, 2009
biraz daha sanat tarihi yapalim: dan graham'la the pictures generation kuratoru doug eklund jack goldstein uzerine konusuyor
Doug Eklund: My name is Doug Eklund. I’m associate curator in the Department of Photographs at the Metropolitan Museum and I’m the curator of an exhibition that runs through August 2 entitled “The Pictures Generation, 1974–1984.”
I’m here with the artist Dan Graham and we’re going to be talking today about the nine records with sound effects by Jack Goldstein from 1976.
Dan Graham: I used to have all the records, but I think I loaned them to people and never got them back. So I only have a vague memory. But when I first met Jack, I was kind of an unsuccessful artist, although I’d done some big pieces, and I went to a very cheap Chinese restaurant to get a cheap meal, and there was Jack and Helene Wiener. They went to the same restaurant. Jack seemed to be a little depressed. And it was a kind of depressing meal, and he gave me the records.
Doug Eklund: Did you know him before then, or was that the first time you met him?
Dan Graham: No, it was the first time I met him. I think he probably was an admirer of my work, but he also thought that maybe I would appreciate his work, because I think he was totally unknown then.
Doug Eklund: It’s this series of records that’s called A Suite of Nine Records with Sound Effects. And you look at them and they look like they’re 45-rpm singles, just like you’d get a Beatles single or a Rolling Stones single, except for the sleeves are all white, and in this very bureaucratic, blank font it says “Three Felled Trees” or “Two Wrestling Cats.” And that’s all there is on the sleeve. And then you take the record out of the sleeve and each record is colored a different color. So, like, the record that is the tornado sound effect—it’s a purple disc. And the one that’s the trees being chopped down, I think, when you play the record on one side, it’s the trees being chopped and then when you turn the record over, it’s the trees falling over. So we’re talking about these records that use stock sound effects from Hollywood movies, things like that, and radio.
Dan Graham:You said the wrestling cats; I remember drowning cats.
Doug Eklund: Oh, yes, there is. There’s…
Dan Graham: “Glub, glub, glub?”
Doug Eklund: Yeah, yeah, no, that’s the “Six-Minute Drown,” I think. The man drowning for six minutes.
Dan Graham: Oh, “Six-Minute Drown,” I see. See, my memory isn’t that good. There is a kind of sinister humor there, but there is humor.
Doug Eklund: Right. I guess he had a dark sense of humor about his work.
Dan Graham: Also, I have to mention, talking about humor—“Three Wrestling Cats,” although it’s terrifying, it’s rather humorous, right?
Doug Eklund: Right.
Dan Graham: Well, I think, he and Walter de Maria have something in common. They're both Libras, astrologically speaking, and Libras, I know, like peace. They like to smile a lot and they're afraid of violence. And yet my friend Glenn Branca, who is a Libra, did one of his early songs for Static. It had a line, “I kill in my dreams.”
Doug Eklund: Mm-hmm.
Dan Graham: And I think somehow underneath Walter de Maria, and even more so, Jack, there's the fact that fascism and violence underlay the niceness of America’s advertising-oriented culture.
Doug Eklund: Right, so…
Dan Graham: And, for me, the MGM lion roaring, really shows that. Because you have a corporate symbol, which is supposed to denote courage and dynamism, and underneath, it’s fearsome.
Doug Eklund: Right.
Dan Graham: And I think Jack was going back a little in time, because the records, the records actually, were actually from sound effects libraries, and they have a lot to do with radio. So it’s the underpinnings of media, but probably he has childhood memory. And, of course, cartoons, which I didn’t see when I was a child, are also very frightening.
Doug Eklund: Right, yeah. So, the records, Jack handed them to you and described to you what they were?
Dan Graham: He didn’t describe anything. I actually didn’t understand the work at first. I think I read someplace, in an interview, they said that they’re from, they're—you go to a library, and they're kind of stock things that are used actually for radio plays.
Doug Eklund: With Jack Goldstein’s records—we’re not able to have a turntable in the galleries, so we’re going to have the records on the wall and you’ll be able to listen to them on headphones. Do you think that something is lost in the aspect of playing the records?
Dan Graham: No, I think this is—when I have my retrospective shows, I also use earphones. I think it’s very necessary to do that for a museum situation.
I also was aware that, in some ways, he was undercutting the generation which was Minimal Art. And of course, in my own way, in my own work, I was actually changing—I was making Minimal Art into something more involved with inter-subjectivity of spectators.
Doug Eklund: Right.
Dan Graham: But I think the psychological aspects were overwhelmingly interesting to me in his work.
Doug Eklund: Do you think that what was terrifying about them and what was different about them from Minimalism was that Minimalism had repressed the image and the records were bringing the image back but in a very distanced form that caused a kind of—they're humorous, but they're also sort of terrifying.
Dan Graham: Well, I think Minimal artists—and myself—we hated Duchamp, because the work comes from Russian Constructivism, but actually Jasper Johns, I think, who was influenced a little bit by Duchamp, Jasper Johns actually was an inspiration for Minimal Art. And it's going back to—Jack’s work is like going back to Jasper Johns. His work with the American flag, and the Ballantine beer can is also about psychological terror behind American logos.
Doug Eklund: There’s something that David Salle says that I wanted to read to you. This is a great essay about how he records Drowning Man: “What we’re asked to consider in these films and records and photo pieces is that Goldstein needs to make a phony record of a drowning man in order to avoid becoming a real one.” Which I think is pretty great, and it talks about that fear of violence, you know, that you were talking about.
Did the records have any influence on your own work, or did they serve, like, something that you had wanted to see in art that you hadn’t seen in a while? Or did it represent a new dealing with Pop art, maybe, that was not so critically respected, maybe, in the seventies? Or what did you take away from them? Did they influence your work at all or anything?
Dan Graham: Well, as you know, I consider myself an artist-writer, like Smithson or Dan Flavin. And my writing was often—like, in the article about Dean Martin—was about what academics would call cultural studies. So, in a certain sense, when I wrote “End of Liberalism,” I wanted to combine insights about Ronald Reagan and media with my interest in Dean Martin TV. And I’ve always been interested in media forms from the very beginning. And I think Jack is dealing directly with media forms. And I think, also, art tries to be subversive by bringing up things that people don’t want to deal with that are right under their nose.
Doug Eklund: Right. So they were almost like—these records were objects that made you . . . they were objects that were media, they were in the circulation of objects in the media, but then they made you think about the media itself, and the effect that the media has.
Did Jack—when Jack started making paintings again, after the films and records, did you consider that less successful than the films and records?
Dan Graham: Well, everything is in retrospect. Because in retrospect, I’ve seen some amazing paintings of his work in museum collections. And of course he was trying to do work that was commercial but also subversive at the same time, so it was…
Doug Eklund: Right.
Dan Graham: Because his work was totally unsuccessful, when it was records. And it reminded me of my early conceptual pieces for magazine pages—they were totally unsuccessful, and people didn’t see them because they weren’t labeled as art. So I think he was trying to label something as art and still undercut . . . in a way there was a kind of calculation, maybe, again, a strategy, and I don’t think it worked in the beginning.
Doug Eklund: Right.
Dan Graham: Jack was trying to get out of being totally unknown and unsuccessful. It was only later that I saw his paintings. And I think they were probably experiments. Some would work and some didn’t work.
Doug Eklund: Yeah, they're some of the most successful works that I know, and what I was trying to get at was, when you handle them, there's this bodily engagement and your, sort of, your trace memory of all the records you’ve listened to, and then when you hear this copy of a copy of a copy of a barking dog, your mind has that image, which is—you fill in with other images of dogs. Like, you may think of guard dogs in World War II movies, or, you know, the German shepherds in Warhol’s race riot paintings—all those images of dogs come flooding back to you. So there’s this kind of distance that’s created by the endless copies of copies of this sound. And yet it’s like incredibly poignant, or, it hits you and it’s almost a way of creating an image in the mind of the listener.Dan Graham: I also think, because I can understand this, I think Jack was afraid of success.
Doug Eklund: Jack Goldstein was an artist who was in California at a school called Chouinard, which was…
Dan Graham: Chouinard.
Doug Eklund: Yeah, and Chouinard was, kind of, the art school that was replaced by Cal Arts. And when Cal Arts started in 1970, their idea was to bring conceptual artists, Fluxus artists, to be the teachers. John Baldessari was hired as a professor of painting but when he got there he said, “I’m not making paintings,” so he started something he called “post-studio” art, which was basically art that didn’t involve the traditional mediums.
Dan Graham: And he influenced his students enormously and I think Baldessari brought in so many different influences to his students.
Doug Eklund: Mm-hmm. Baldessari—Jack Goldstein was one of Baldessari’s first teaching assistants. And Jack Goldstein, at the time, was making what we would consider Minimal, Post-Minimal sculptures. He would put a sheet of glass on a bed of upturned nails, so that the work was incredibly formally elegant and refined and had an almost Zen-like beauty, but they were always infused with this kind of danger or dread. And so it was really when he started being a student of John Baldessari and he was surrounded by these very ambitious students, like David Salle and James Welling, that Jack Goldstein made this leap into making works that were films, in which he would appropriate, let’s say, the MGM lion from the opening credits, and repeat it over and over again on a very high-key background, or made this series of sound-effects records.
Dan Graham: It also could be because Jack was living in Los Angeles. And actually Cal Arts was created by Roy Disney.
Doug Eklund: Exactly.
Dan Graham: To feed into the film industry. In other words, it was supposed to be an academy for people who work in the film industry.
Doug Eklund: And Jack used Hollywood technicians to make the films and the records. I mean, it was all about that factory aesthetic of farming out the work to professionalize technicians to make a work that had that kind of sheen and surface.
I think that some of the sound effects he used were of animals a lot of the time—so, a dog, a single barking dog. He also had one of wrestling cats, which is funny. It's mostly funny, because it's this sound that you would never, hopefully, hear in real life, but you've probably heard it, of two cats, you know, and it does sound like Tom and Jerry or something.
Dan Graham: It's also—you have to go back to Disney just because Disney kind of humanized animals.
Doug Eklund: Right. And there's something deeply disturbing about that. And so, I think you're right, he was using these sound effects—like a barking dog or wrestling cats—that would have been sound effects that are recognized in our unconscious from watching cartoons and all of that stuff. And so, Jack Goldstein was referring back to that period of his youth and that kind of forced happiness of the fifties and that kind of thing. But bringing it back in an estranged form that causes a kind of terror. Other sounds in the records are of the three felled trees, a six-minute clip of a man drowning. And those are things that you would hopefully never experience in real life.
Dan Graham: I'm thinking about something else, also, because in the late fifties, with Zen Buddhism, there was this interest in haiku, the haiku form. And it seems like this is a little like a haiku form, right?
Doug Eklund: Right. There's a brevity and a shortness to these works—the fact that they're just three minutes and it's over, thirty seconds and it's over—that's going against maybe the sort of long, you know, the Lamont Young, the twenty-four-hour drone, and that kind of thing. It's, like, much more concise and aphoristic almost. I know Jack Goldstein was really a master of the short, you know, appropriated quote and that kind of thing.
Dan Graham: In other words, what we call "singles."
Doug Eklund: Singles, exactly. It's the three-minute pop song. It's that hitting you with that direction, you know, but something that lingers for a long time after you play it.
Dan Graham: But, of course, advertising had to do the same thing, television advertising.
Doug Eklund: Yeah. I don't think Jack Goldstein's records could have been made anywhere other than Hollywood. I mean, it was really about being in that environment.
Jack Goldstein was born in 1945 and he was Canadian, from Montreal. But he made these films and records while he was moving between Los Angeles and New York. And these records that are in the exhibition were shown in this seminal exhibition at Artists Space in 1977 called "Pictures." And Jack Goldstein died, took his own life, in 2003. And it was just at that time that a lot of curators and artists were interested in his work again. But he had really stopped making art at that point, I believe.
Dan Graham: We should also mention that the director of Artists Space was the person who discovered him, his girlfriend, Helene Wiener, who founded Metro Pictures. And Metro Pictures has a lot to do with Jack Goldstein.
Doug Eklund: Right. The artists that were in the original "Pictures" exhibition were artists that were discovered, essentially, by Helene, and she was the director of Artists Space. And when she went on to form Metro Pictures in 1980, which was a gallery that showed a lot of these artists, Jack Goldstein was still very close with Helene and I think he actually named the gallery, if I'm not mistaken, and, of course, the name of the gallery makes it sound as if it's a movie studio, and so it has those direct associations with popular culture.
Jack Goldstein—at the end of his life his career was resurrected and he had a show of his films at the Whitney Museum. And he came back from California and did an interview at the Whitney Museum. And Jack was already sort of on a downward spiral and I think that this belated recognition of him so late in life, was kind of like he just looked at it as too little and too late.
I’m here with the artist Dan Graham and we’re going to be talking today about the nine records with sound effects by Jack Goldstein from 1976.
Dan Graham: I used to have all the records, but I think I loaned them to people and never got them back. So I only have a vague memory. But when I first met Jack, I was kind of an unsuccessful artist, although I’d done some big pieces, and I went to a very cheap Chinese restaurant to get a cheap meal, and there was Jack and Helene Wiener. They went to the same restaurant. Jack seemed to be a little depressed. And it was a kind of depressing meal, and he gave me the records.
Doug Eklund: Did you know him before then, or was that the first time you met him?
Dan Graham: No, it was the first time I met him. I think he probably was an admirer of my work, but he also thought that maybe I would appreciate his work, because I think he was totally unknown then.
Doug Eklund: It’s this series of records that’s called A Suite of Nine Records with Sound Effects. And you look at them and they look like they’re 45-rpm singles, just like you’d get a Beatles single or a Rolling Stones single, except for the sleeves are all white, and in this very bureaucratic, blank font it says “Three Felled Trees” or “Two Wrestling Cats.” And that’s all there is on the sleeve. And then you take the record out of the sleeve and each record is colored a different color. So, like, the record that is the tornado sound effect—it’s a purple disc. And the one that’s the trees being chopped down, I think, when you play the record on one side, it’s the trees being chopped and then when you turn the record over, it’s the trees falling over. So we’re talking about these records that use stock sound effects from Hollywood movies, things like that, and radio.
Dan Graham:You said the wrestling cats; I remember drowning cats.
Doug Eklund: Oh, yes, there is. There’s…
Dan Graham: “Glub, glub, glub?”
Doug Eklund: Yeah, yeah, no, that’s the “Six-Minute Drown,” I think. The man drowning for six minutes.
Dan Graham: Oh, “Six-Minute Drown,” I see. See, my memory isn’t that good. There is a kind of sinister humor there, but there is humor.
Doug Eklund: Right. I guess he had a dark sense of humor about his work.
Dan Graham: Also, I have to mention, talking about humor—“Three Wrestling Cats,” although it’s terrifying, it’s rather humorous, right?
Doug Eklund: Right.
Dan Graham: Well, I think, he and Walter de Maria have something in common. They're both Libras, astrologically speaking, and Libras, I know, like peace. They like to smile a lot and they're afraid of violence. And yet my friend Glenn Branca, who is a Libra, did one of his early songs for Static. It had a line, “I kill in my dreams.”
Doug Eklund: Mm-hmm.
Dan Graham: And I think somehow underneath Walter de Maria, and even more so, Jack, there's the fact that fascism and violence underlay the niceness of America’s advertising-oriented culture.
Doug Eklund: Right, so…
Dan Graham: And, for me, the MGM lion roaring, really shows that. Because you have a corporate symbol, which is supposed to denote courage and dynamism, and underneath, it’s fearsome.
Doug Eklund: Right.
Dan Graham: And I think Jack was going back a little in time, because the records, the records actually, were actually from sound effects libraries, and they have a lot to do with radio. So it’s the underpinnings of media, but probably he has childhood memory. And, of course, cartoons, which I didn’t see when I was a child, are also very frightening.
Doug Eklund: Right, yeah. So, the records, Jack handed them to you and described to you what they were?
Dan Graham: He didn’t describe anything. I actually didn’t understand the work at first. I think I read someplace, in an interview, they said that they’re from, they're—you go to a library, and they're kind of stock things that are used actually for radio plays.
Doug Eklund: With Jack Goldstein’s records—we’re not able to have a turntable in the galleries, so we’re going to have the records on the wall and you’ll be able to listen to them on headphones. Do you think that something is lost in the aspect of playing the records?
Dan Graham: No, I think this is—when I have my retrospective shows, I also use earphones. I think it’s very necessary to do that for a museum situation.
I also was aware that, in some ways, he was undercutting the generation which was Minimal Art. And of course, in my own way, in my own work, I was actually changing—I was making Minimal Art into something more involved with inter-subjectivity of spectators.
Doug Eklund: Right.
Dan Graham: But I think the psychological aspects were overwhelmingly interesting to me in his work.
Doug Eklund: Do you think that what was terrifying about them and what was different about them from Minimalism was that Minimalism had repressed the image and the records were bringing the image back but in a very distanced form that caused a kind of—they're humorous, but they're also sort of terrifying.
Dan Graham: Well, I think Minimal artists—and myself—we hated Duchamp, because the work comes from Russian Constructivism, but actually Jasper Johns, I think, who was influenced a little bit by Duchamp, Jasper Johns actually was an inspiration for Minimal Art. And it's going back to—Jack’s work is like going back to Jasper Johns. His work with the American flag, and the Ballantine beer can is also about psychological terror behind American logos.
Doug Eklund: There’s something that David Salle says that I wanted to read to you. This is a great essay about how he records Drowning Man: “What we’re asked to consider in these films and records and photo pieces is that Goldstein needs to make a phony record of a drowning man in order to avoid becoming a real one.” Which I think is pretty great, and it talks about that fear of violence, you know, that you were talking about.
Did the records have any influence on your own work, or did they serve, like, something that you had wanted to see in art that you hadn’t seen in a while? Or did it represent a new dealing with Pop art, maybe, that was not so critically respected, maybe, in the seventies? Or what did you take away from them? Did they influence your work at all or anything?
Dan Graham: Well, as you know, I consider myself an artist-writer, like Smithson or Dan Flavin. And my writing was often—like, in the article about Dean Martin—was about what academics would call cultural studies. So, in a certain sense, when I wrote “End of Liberalism,” I wanted to combine insights about Ronald Reagan and media with my interest in Dean Martin TV. And I’ve always been interested in media forms from the very beginning. And I think Jack is dealing directly with media forms. And I think, also, art tries to be subversive by bringing up things that people don’t want to deal with that are right under their nose.
Doug Eklund: Right. So they were almost like—these records were objects that made you . . . they were objects that were media, they were in the circulation of objects in the media, but then they made you think about the media itself, and the effect that the media has.
Did Jack—when Jack started making paintings again, after the films and records, did you consider that less successful than the films and records?
Dan Graham: Well, everything is in retrospect. Because in retrospect, I’ve seen some amazing paintings of his work in museum collections. And of course he was trying to do work that was commercial but also subversive at the same time, so it was…
Doug Eklund: Right.
Dan Graham: Because his work was totally unsuccessful, when it was records. And it reminded me of my early conceptual pieces for magazine pages—they were totally unsuccessful, and people didn’t see them because they weren’t labeled as art. So I think he was trying to label something as art and still undercut . . . in a way there was a kind of calculation, maybe, again, a strategy, and I don’t think it worked in the beginning.
Doug Eklund: Right.
Dan Graham: Jack was trying to get out of being totally unknown and unsuccessful. It was only later that I saw his paintings. And I think they were probably experiments. Some would work and some didn’t work.
Doug Eklund: Yeah, they're some of the most successful works that I know, and what I was trying to get at was, when you handle them, there's this bodily engagement and your, sort of, your trace memory of all the records you’ve listened to, and then when you hear this copy of a copy of a copy of a barking dog, your mind has that image, which is—you fill in with other images of dogs. Like, you may think of guard dogs in World War II movies, or, you know, the German shepherds in Warhol’s race riot paintings—all those images of dogs come flooding back to you. So there’s this kind of distance that’s created by the endless copies of copies of this sound. And yet it’s like incredibly poignant, or, it hits you and it’s almost a way of creating an image in the mind of the listener.Dan Graham: I also think, because I can understand this, I think Jack was afraid of success.
Doug Eklund: Jack Goldstein was an artist who was in California at a school called Chouinard, which was…
Dan Graham: Chouinard.
Doug Eklund: Yeah, and Chouinard was, kind of, the art school that was replaced by Cal Arts. And when Cal Arts started in 1970, their idea was to bring conceptual artists, Fluxus artists, to be the teachers. John Baldessari was hired as a professor of painting but when he got there he said, “I’m not making paintings,” so he started something he called “post-studio” art, which was basically art that didn’t involve the traditional mediums.
Dan Graham: And he influenced his students enormously and I think Baldessari brought in so many different influences to his students.
Doug Eklund: Mm-hmm. Baldessari—Jack Goldstein was one of Baldessari’s first teaching assistants. And Jack Goldstein, at the time, was making what we would consider Minimal, Post-Minimal sculptures. He would put a sheet of glass on a bed of upturned nails, so that the work was incredibly formally elegant and refined and had an almost Zen-like beauty, but they were always infused with this kind of danger or dread. And so it was really when he started being a student of John Baldessari and he was surrounded by these very ambitious students, like David Salle and James Welling, that Jack Goldstein made this leap into making works that were films, in which he would appropriate, let’s say, the MGM lion from the opening credits, and repeat it over and over again on a very high-key background, or made this series of sound-effects records.
Dan Graham: It also could be because Jack was living in Los Angeles. And actually Cal Arts was created by Roy Disney.
Doug Eklund: Exactly.
Dan Graham: To feed into the film industry. In other words, it was supposed to be an academy for people who work in the film industry.
Doug Eklund: And Jack used Hollywood technicians to make the films and the records. I mean, it was all about that factory aesthetic of farming out the work to professionalize technicians to make a work that had that kind of sheen and surface.
I think that some of the sound effects he used were of animals a lot of the time—so, a dog, a single barking dog. He also had one of wrestling cats, which is funny. It's mostly funny, because it's this sound that you would never, hopefully, hear in real life, but you've probably heard it, of two cats, you know, and it does sound like Tom and Jerry or something.
Dan Graham: It's also—you have to go back to Disney just because Disney kind of humanized animals.
Doug Eklund: Right. And there's something deeply disturbing about that. And so, I think you're right, he was using these sound effects—like a barking dog or wrestling cats—that would have been sound effects that are recognized in our unconscious from watching cartoons and all of that stuff. And so, Jack Goldstein was referring back to that period of his youth and that kind of forced happiness of the fifties and that kind of thing. But bringing it back in an estranged form that causes a kind of terror. Other sounds in the records are of the three felled trees, a six-minute clip of a man drowning. And those are things that you would hopefully never experience in real life.
Dan Graham: I'm thinking about something else, also, because in the late fifties, with Zen Buddhism, there was this interest in haiku, the haiku form. And it seems like this is a little like a haiku form, right?
Doug Eklund: Right. There's a brevity and a shortness to these works—the fact that they're just three minutes and it's over, thirty seconds and it's over—that's going against maybe the sort of long, you know, the Lamont Young, the twenty-four-hour drone, and that kind of thing. It's, like, much more concise and aphoristic almost. I know Jack Goldstein was really a master of the short, you know, appropriated quote and that kind of thing.
Dan Graham: In other words, what we call "singles."
Doug Eklund: Singles, exactly. It's the three-minute pop song. It's that hitting you with that direction, you know, but something that lingers for a long time after you play it.
Dan Graham: But, of course, advertising had to do the same thing, television advertising.
Doug Eklund: Yeah. I don't think Jack Goldstein's records could have been made anywhere other than Hollywood. I mean, it was really about being in that environment.
Jack Goldstein was born in 1945 and he was Canadian, from Montreal. But he made these films and records while he was moving between Los Angeles and New York. And these records that are in the exhibition were shown in this seminal exhibition at Artists Space in 1977 called "Pictures." And Jack Goldstein died, took his own life, in 2003. And it was just at that time that a lot of curators and artists were interested in his work again. But he had really stopped making art at that point, I believe.
Dan Graham: We should also mention that the director of Artists Space was the person who discovered him, his girlfriend, Helene Wiener, who founded Metro Pictures. And Metro Pictures has a lot to do with Jack Goldstein.
Doug Eklund: Right. The artists that were in the original "Pictures" exhibition were artists that were discovered, essentially, by Helene, and she was the director of Artists Space. And when she went on to form Metro Pictures in 1980, which was a gallery that showed a lot of these artists, Jack Goldstein was still very close with Helene and I think he actually named the gallery, if I'm not mistaken, and, of course, the name of the gallery makes it sound as if it's a movie studio, and so it has those direct associations with popular culture.
Jack Goldstein—at the end of his life his career was resurrected and he had a show of his films at the Whitney Museum. And he came back from California and did an interview at the Whitney Museum. And Jack was already sort of on a downward spiral and I think that this belated recognition of him so late in life, was kind of like he just looked at it as too little and too late.
no pictures allowed for the pictures generation exhibition 1974-1984
#1 Matt Mullican (American, b. 1951)Framed Section of an Angel's Wing, 1978Ink on paper; 23 5/8 x 29 3/4 in. (60 x 75.6 cm)Collection of Ann A. Wyatt
#2 Jack Goldstein (American, b. Canada, 1945–2003)A German Shepherd, from A Suite of Nine 7-Inch Records with Sound Effects, 1976Sound recordings on colored vinyl discsCollection of Paul McMahon
#3 James Casebere (American, b. 1953)Subdivision with Spotlight, 1982Gelatin silver print; 16 x 20 in. (40.6 x 50.8 cm)Collection of the artist
#4 Louise Lawler
Arranged by Donald Marron, Susan Brundage, and Cheryl Bishop at Paine Webber, Inc. is both deadpan and poignant. Unlike the trophy paintings and sculpture hung proudly in reception areas, this trio of Lichtenstein multiples is lower down on the value scale and thus suitable for the decor of an office. The pictures hover like flies vying for the attention of a pair of anonymous bankers who ignore the "art" while struggling to send a fax. Lawler's diminution of her role as an "author" is meant both to highlight the collaboration of others (here, Paine Webber CEO, Castelli Gallery rep, and corporate curator) and to direct the viewer outside the boundaries of the image and toward the real life of which art is always a part. It is unlikely, however, that any of the arrangers appreciated the irony that Lichtenstein's pictures, originally meant to acknowledge (with a wink) their own status as commodities, now adorned the walls of an office copy room. What Lawler reveals is that the meaning of the artwork lies not in its origins but in its destiny.
cumartesi gunu metropolitan museum'da the pictures generation sergisine gittim.
malumunuz the pictures generation 74-84 arasi aldiklari minimal kavramsal egitimle goruntu meselesini andy warhol bakisi uzerinden birlestirmis cindy sherman'li, barbara kruger'li, richard prince'li, matt mullican'li robert longo'lu barbara bloom'lu efsane bir kusak. douglas crimp zamaninda bu uretimi the pictures adi altinda artists space'de bir araya getiriyor. tabii bu serginin bugun metropolitan'da gerceklesmesi bu sanatcilarin islerini de tam anlamiyla muzelik yapiyor.
MFA sirasinda uzerine okudugum, paper yazdigim sanatcilarin islerini gormek iyi bir bilgi tazeleme de oldu aslinda. meshur untitled film stills'i ilk defa gordum cindy sherman'in ilk donem isleriyle. your gaze hits the side of my face meeting wonder woman meeting laurie simmons.
ama benim icin serginin yenilemeleri erken donem matt mullican, jack goldstein, louise lawler ve barbara bloom oldu. goldstein'in orijinal the pictures sergisine dahil edilmemis olan pop deneyi filmlerini bastan sona izledim. matt mullican antropolojisinin ilk hallerini gormek heyecan verdi. barbara bloom'un iyi yerlestirilmis posterleri sergiye yerinde mudahaleler yapiyordu. louise lawler'in yukarida gordugunuz "arranged by" islerine bir kere daha hayran olup, kurumsal elestiride artik oturan soylemin neden degismeyecegini bir kere daha anladim.
butun bunlarin uzerineyse dun aksam alexandre singh'in mnemonics, ikea, atli kahraman heykelleri, manzoni'nin kutulanmis boku, klein'in yerkuresi arasinda kurdugu kisisel yorum evrenini dinlemek cok keyifliydi. nedense kendisiyle jack goldstein arasinda derin bir bag hissettim.
Wednesday, July 15, 2009
Monday, July 13, 2009
Please spread the word: Solidarity for Roma Settlements in Belgrade
*UNITED (international) neighborhood against racism - action against fencing Roma settlements in Belgrade*
Three months before the opening of the Universiade[1], Belgrade's City Secretariat for Inspections decided to destroy the Roma slum settlement located right next to the athlete's village "Belleville", residential area for athletes built for this occasion. On April the 3rd 2009 all of a suddena couple of bulldozers showed up at the settlement and demolished 40 houses.As a consequence of this, a series of public protests opposing the humiliating policy was organized, and it made a public pressure on the City Secretariat's decision-makers to an extent that they did not dare to terminate what they started: the total erasure of the settlement. The newstrategy is to erase the settlement's visibility and to ban its residents from the streets. On June 16th 2009, a metal fence was built around the settlement. The fence is guarded by police and security staff on both sides, inside and outside the settlement.
We demand that the fence around the Roma settlement in Block 67 is removed IMMEDIATELY. We demand that the City of Belgrade finally assumes its responsibility to improve the unacceptable living conditions of tens of thousands Belgrade citizens who are forced to live in one of theapproximately 150 slum settlements all over the city.
No to ghettoization of our neighborhood “for the benefit of the city”!
No to Universiade or any public event if it is at the expense of human dignity!
No to the authorities that value capital over human life and use racist strategies to manage their policies!Other Scene (Druga scena) and (international) friends Platform of Belgrade independent cultural and activist scene
LINKS:http://www.drugascena.org/http://picasaweb.google.com/jeremic.vladan/NaseljePosleRusenja#5321280137444794258http://www.archive.org/details/BELLEVILLEhttp://www.dur.org.rs/cms/http://www.youtube.com/user/pravonanaseljetv*WE
CALL FOR INTERNATIONAL SOLIDARITY:*
A) *SIGN THE PETITION*
http://www.petitiononline.com/01101102/petition.html
B) *CONTACT THE FOLLOWING:*(1) Mayor's office of the City of Belgrade; (2) President's Office of the Republic of Serbia; (3) International University Sports Federation (organizing the Universiade in Belgrade); (4) Your nearest Serbian embassy or consulate.
POSSIBLE MODEL FOR THE LETTER:(1)
Mayor's Office:
E-mail: natasa.golubovic@beogradsg.org.yu
Head of Office, tel: 3246-764, 3229-787
tel: 3247-424, tel/fax: 3344-675
Natasa Golubovic
independent expert associate in international affairs
Dear Mr Djilas:I am writing to express my outrage at the recent intensified racist measures implemented by Belgrade authorities. As I am informed, the city authorities built the metal fence around Roma settlements in Block 67, near University village Belville in New Belgrade. This strategy of ghettoisation which triesto erase the settlements' visibility for the benefit of building a beautiful image of the city for Univerziade contest and to ban its residents from the streets is unacceptable.I demand that you take all necessary measurments for removing the fence around the Roma settlements in the Block 67 IMMEDIATELY. As well, I demand that the City of Belgrade finally assumes its responsibility to improve the unacceptable living conditions of tens of thousands Belgrade citizens whoare forced to live in one of the approximately 150 slum settlements all over the city.
Belgrade can not expect to rebrand itself in the eyes of the world by hosting Universiade contests if it is at the expense of human dignity.
I demand that your government respond and meet its obligations under a number of international conventions (Roma Decade is one of them!) and work towards securing the rights of Roma residents instead of deploying fences and police forces to suppress them.
Kind regards,____________
(2) President of the Republic of Serbia:
GENERAL SECRETARIAT OF THE PRESIDENT OF THE REPUBLIC OF SERBIA
Andricev venac 1, 11000 Beograd, Serbia
tel: +381 (0)11 3632-007, 3632-136
e-mail: kontakt.predsednik@predsednik.rs
www.predsednik.rs
Dear Mr Tadic:
I am writing to express my outrage at the recent intensified racist measures implemented by Belgrade authorities. As I am informed, the city authorities built the metal fence around Roma settlements in Block 67, near University village Belville in New Belgrade. This strategy of ghettoisation which triesto erase the settlements' visibility for the benefit of building a beautiful image of the city for Univerziade contest and to ban its residents from the streets is unacceptable.I demand that you take all necessary measurments for removing the fence around the Roma settlements in the Block 67 IMMEDIATELY. As well, I demand that the City of Belgrade and Serbian government finally assumes its responsibility to improve the unacceptable living conditions of tens ofthousands Belgrade citizens who are forced to live in one of the approximately 150 slum settlements all over the city.
Belgrade can not expect to rebrand itself in the eyes of the world by hosting Universiade contests if it is at the expense of human dignity.
I demand that your government respond and meet its obligations under a number of international conventions (Roma Decade is one of them!) and work towards securing the rights of Roma residents instead of deploying fences and police forces to suppress them.
Kind regards,-------------------------------
3) International University Sports Federation
http://fisu.net/en/Accueil-950.html
e-mail: fisu@fisu.net
Dear Sir/Madame,
I am writing to express my outrage at the recent intensified racist measures implemented by Belgrade authorities before and during Universiade. As I am informed, the city authorities built the metal fence around Roma settlements in Block 67, near University village Belville, new built residential areafor sportsman of Universiade in New Belgrade. This strategy of ghettoisation which tries to erase the settlements' visibility for the benefit of building a beautiful image of the city for Univerziade contest and to ban its residents from the streets is unacceptable.
I demand that you take all necessary measurements to express your disagreement with this racist politics and ask for removing the fence around the Roma settlements in the Block 67 IMMEDIATELY.
Kind regards,________________________________
[1] The Universiade is an international sporting and cultural festival which is staged every two years in a different city and which is second in importance only to the Olympic Games. The word “Universiade” comes from “university” and “Olympiad”, and means Olympic games for students.
Three months before the opening of the Universiade[1], Belgrade's City Secretariat for Inspections decided to destroy the Roma slum settlement located right next to the athlete's village "Belleville", residential area for athletes built for this occasion. On April the 3rd 2009 all of a suddena couple of bulldozers showed up at the settlement and demolished 40 houses.As a consequence of this, a series of public protests opposing the humiliating policy was organized, and it made a public pressure on the City Secretariat's decision-makers to an extent that they did not dare to terminate what they started: the total erasure of the settlement. The newstrategy is to erase the settlement's visibility and to ban its residents from the streets. On June 16th 2009, a metal fence was built around the settlement. The fence is guarded by police and security staff on both sides, inside and outside the settlement.
We demand that the fence around the Roma settlement in Block 67 is removed IMMEDIATELY. We demand that the City of Belgrade finally assumes its responsibility to improve the unacceptable living conditions of tens of thousands Belgrade citizens who are forced to live in one of theapproximately 150 slum settlements all over the city.
No to ghettoization of our neighborhood “for the benefit of the city”!
No to Universiade or any public event if it is at the expense of human dignity!
No to the authorities that value capital over human life and use racist strategies to manage their policies!Other Scene (Druga scena) and (international) friends Platform of Belgrade independent cultural and activist scene
LINKS:http://www.drugascena.org/http://picasaweb.google.com/jeremic.vladan/NaseljePosleRusenja#5321280137444794258http://www.archive.org/details/BELLEVILLEhttp://www.dur.org.rs/cms/http://www.youtube.com/user/pravonanaseljetv*WE
CALL FOR INTERNATIONAL SOLIDARITY:*
A) *SIGN THE PETITION*
http://www.petitiononline.com/01101102/petition.html
B) *CONTACT THE FOLLOWING:*(1) Mayor's office of the City of Belgrade; (2) President's Office of the Republic of Serbia; (3) International University Sports Federation (organizing the Universiade in Belgrade); (4) Your nearest Serbian embassy or consulate.
POSSIBLE MODEL FOR THE LETTER:(1)
Mayor's Office:
E-mail: natasa.golubovic@beogradsg.org.yu
Head of Office, tel: 3246-764, 3229-787
tel: 3247-424, tel/fax: 3344-675
Natasa Golubovic
independent expert associate in international affairs
Dear Mr Djilas:I am writing to express my outrage at the recent intensified racist measures implemented by Belgrade authorities. As I am informed, the city authorities built the metal fence around Roma settlements in Block 67, near University village Belville in New Belgrade. This strategy of ghettoisation which triesto erase the settlements' visibility for the benefit of building a beautiful image of the city for Univerziade contest and to ban its residents from the streets is unacceptable.I demand that you take all necessary measurments for removing the fence around the Roma settlements in the Block 67 IMMEDIATELY. As well, I demand that the City of Belgrade finally assumes its responsibility to improve the unacceptable living conditions of tens of thousands Belgrade citizens whoare forced to live in one of the approximately 150 slum settlements all over the city.
Belgrade can not expect to rebrand itself in the eyes of the world by hosting Universiade contests if it is at the expense of human dignity.
I demand that your government respond and meet its obligations under a number of international conventions (Roma Decade is one of them!) and work towards securing the rights of Roma residents instead of deploying fences and police forces to suppress them.
Kind regards,____________
(2) President of the Republic of Serbia:
GENERAL SECRETARIAT OF THE PRESIDENT OF THE REPUBLIC OF SERBIA
Andricev venac 1, 11000 Beograd, Serbia
tel: +381 (0)11 3632-007, 3632-136
e-mail: kontakt.predsednik@predsednik.rs
www.predsednik.rs
Dear Mr Tadic:
I am writing to express my outrage at the recent intensified racist measures implemented by Belgrade authorities. As I am informed, the city authorities built the metal fence around Roma settlements in Block 67, near University village Belville in New Belgrade. This strategy of ghettoisation which triesto erase the settlements' visibility for the benefit of building a beautiful image of the city for Univerziade contest and to ban its residents from the streets is unacceptable.I demand that you take all necessary measurments for removing the fence around the Roma settlements in the Block 67 IMMEDIATELY. As well, I demand that the City of Belgrade and Serbian government finally assumes its responsibility to improve the unacceptable living conditions of tens ofthousands Belgrade citizens who are forced to live in one of the approximately 150 slum settlements all over the city.
Belgrade can not expect to rebrand itself in the eyes of the world by hosting Universiade contests if it is at the expense of human dignity.
I demand that your government respond and meet its obligations under a number of international conventions (Roma Decade is one of them!) and work towards securing the rights of Roma residents instead of deploying fences and police forces to suppress them.
Kind regards,-------------------------------
3) International University Sports Federation
http://fisu.net/en/Accueil-950.html
e-mail: fisu@fisu.net
Dear Sir/Madame,
I am writing to express my outrage at the recent intensified racist measures implemented by Belgrade authorities before and during Universiade. As I am informed, the city authorities built the metal fence around Roma settlements in Block 67, near University village Belville, new built residential areafor sportsman of Universiade in New Belgrade. This strategy of ghettoisation which tries to erase the settlements' visibility for the benefit of building a beautiful image of the city for Univerziade contest and to ban its residents from the streets is unacceptable.
I demand that you take all necessary measurements to express your disagreement with this racist politics and ask for removing the fence around the Roma settlements in the Block 67 IMMEDIATELY.
Kind regards,________________________________
[1] The Universiade is an international sporting and cultural festival which is staged every two years in a different city and which is second in importance only to the Olympic Games. The word “Universiade” comes from “university” and “Olympiad”, and means Olympic games for students.
Wednesday, July 8, 2009
AIHM Kaos GL'ye cevap vermis. Turkiye mahkemeleri AIHM'e ne cevap verecek?
“İkinci Daire
Strazburg, 19 Haziran 2009
Başvuru no: 4982/07, Kaos GL, Türkiye aleyhine
Sayın..
Mezkûr dilekçenizin kabul edilebilirliği açısından 16 Haziran 2009 tarihinde yapılan ön inceleme ardından, davaya bakacak daire başkanının, AİHM tüzüğü 2b&54. maddesi gereği, Türk hükümetini başvuru konusunda bilgilendirme ve yine hükümeti, başvurunun kabul edilebilirliği ve yerindeliği (haklılığı) konusundaki müşahedesini yazılı olarak sunmaya davet etme kararı aldığını bildirmek isterim.
Ekte, dilekçe sahibinin dikkatine sunulmuş, tebliğ sonrası prosedürle ilgili bir bilgilendirme notu bulacaksınız.
Başvuru, tüzüğün 54A ve sözleşmenin (AİHS) 29&3 maddeleri uyarınca, kabul edilebilirlik ve esas açısından ortak incelemeye uygun durumda. Sonuç olarak, eğer mahkeme başvuruyu kabul edilebilir ve esastan incelenebilir bulursa, 54A&2 maddesi gereği ivedilikle bir karara varabilecek.
Hükümet (Türk), müşahedesini, 9 Ekim 2009 tarihinden önce sunmaya davet edildi. Bu müşahede, 41. madde (tüzüğün de 60.maddesi) uyarınca size de iletilecek ki sonrasında, eğer gerekirse, hakkaniyetli bir sonuca ulaşma talebinizi de ekleyerek dilekçe sahibi adına müşahedeye yazılı olarak cevap verebilirsiniz.
Daire Başkanı, hükümete, müşahedesinin ekteki dokümanda (mahkeme kalemince hazırlanan vakıa sunumu ve taraflara yöneltilen soruyu içeren mektup) yer alan soruya cevap teşkil etmesi gerektiğini bildirdi.
Hükümet aynı zamanda, yukarıda belirtilen tarihe kadar, davanın dostane çözümü konusundaki tavrını belirlemeye ve gerekirse, dostane çözüme ilişkin önerilerini sunmaya (tüzüğün 62.maddesi) davet edildi. Aynı şeyi siz de, bu öneriler elinize ulaştığında yapabilirsiniz.
Tüzüğün 34&3 maddesi uyarınca, prosedürün bu aşamasında, dilekçe sahibi ya da temsilcilerinden gelen her türlü müşahedenin, mahkemenin resmi dillerinden biri ile (İngilizce ya da Fransızca) kaleme alınmasının gerekli olduğunu bilginize sunarım.
Bu arada dikkatinizi AİHM tüzüğünün 33. maddesine çekmek isterim. Bu maddeye göre mahkeme kalemine taraflar ya da diğer müdahillerce sunulan belgeler, daire başkanı söz konusu maddenin 2. paragrafında belirtilen nedenlerle aksi yönde bir karar vermedikçe kamuya açık olmak zorunda.
Ayrıca genel kural olarak, mahkeme kalemine sunduğunuz dokümanlardaki daha önce açıklanmamış bütün bilgiler, özellikle de adı belli ya da kimliği saptanabilir kişilerle ilgili bilgiler, kamu tarafından incelenebilir. Dahası bu bilgiler, mahkemenin internet aracılığıyla ulaşılabilen veri tabanında (HUDOC) yer alabilir.
Mahkeme veri tabanında başvurana ait bilgilerin (ad, soyad, doğum tarihi) eksiksiz yer almasını kolaylaştırmak amacıyla kişinin kimlik kartının ön yüzünün bir kopyasını bu alana yerleştirebilirsiniz.
Başvurunuza dair işlemlerde bir aksilik olmaması için size ilişikte kod-barlı 10 etiket gönderiyorum. Davayla ilgili olarak mahkemeyle her yazışmanızda lütfen bunları kullanınız. Mahkeme kalemine göndereceğiniz her yazının ilk sayfasının sağ üst köşesinde bu etiketlerden biri olmalı.
Saygılarımla
S. Dollé, bölüm zabıt kâtibi
Ek..
Kaos GL tarafından Türkiye aleyhine verilen dilekçe (nO 4982107, 26 Ocak 2007)
Olay:
Başvuran bir örgüt ve Sayın Aydın tarafından temsil ediliyor.
Başvuran, Kaos Gey ve Lezbiyen Kültürel Araştırmalar ve Dayanışma Derneği.
21 Temmuz 2006, Ankara savcılığı, anayasanın 28, ceza muhakeme usulü yasasının da 162. maddeleri uyarınca, örgütün çıkardığı derginin “Pornografi” başlıklı 28.sayısını toplatma emri çıkartmak üzere Sulh Ceza Mahkemesi’ne gidiyor. Aynı gün mahkeme talebi yerine getiriyor ve 24 Temmuz 2006’da 375 dergiye el konuyor. 28 Temmuz 2006’da dernek tarafından yapılan itiraz Ankara Asliye Ceza Mahkemesi’nce reddediliyor. 18 Kasım 2006 tarihli savcılık iddianamesinde, dernek başkanı ve dergi yazı işleri müdürü Umut Güner, basın yoluyla pornografik yayın yaparak ceza kanununun 226&2 maddesine aykırı davranmakla suçlanıyor. Hâlihazırda davanın, Ankara Asliye Ceza Mahkemesi’nde bir çözüme bağlanamadığı belirtiliyor.
Şikâyet:
Başvuran, Sözleşmenin 10. maddesi uyarınca, tartışmalı/üzerinde uzlaşıya varılamayan yayınlara el konarak ifade özgürlüğü hakkı ihlal edildiği için şikâyetçi. 6&1 maddesi gereği, mahkeme kararlarında gerekçe eksikliği olduğu şikâyetinde bulunuyor. Başvuran aynı zamanda, yetkililerin tavrının cinsel yöneliminden kaynaklandığını ve sözleşmenin 14. maddesine aykırı olduğunu dile getiriyor.
Taraflara Soru:
AİHS’nin (Avrupa İnsan Hakları Sözleşmesi) 10&1. maddesi gereği, başvuranın ifade özgürlüğü engellendi mi?”
Strazburg, 19 Haziran 2009
Başvuru no: 4982/07, Kaos GL, Türkiye aleyhine
Sayın..
Mezkûr dilekçenizin kabul edilebilirliği açısından 16 Haziran 2009 tarihinde yapılan ön inceleme ardından, davaya bakacak daire başkanının, AİHM tüzüğü 2b&54. maddesi gereği, Türk hükümetini başvuru konusunda bilgilendirme ve yine hükümeti, başvurunun kabul edilebilirliği ve yerindeliği (haklılığı) konusundaki müşahedesini yazılı olarak sunmaya davet etme kararı aldığını bildirmek isterim.
Ekte, dilekçe sahibinin dikkatine sunulmuş, tebliğ sonrası prosedürle ilgili bir bilgilendirme notu bulacaksınız.
Başvuru, tüzüğün 54A ve sözleşmenin (AİHS) 29&3 maddeleri uyarınca, kabul edilebilirlik ve esas açısından ortak incelemeye uygun durumda. Sonuç olarak, eğer mahkeme başvuruyu kabul edilebilir ve esastan incelenebilir bulursa, 54A&2 maddesi gereği ivedilikle bir karara varabilecek.
Hükümet (Türk), müşahedesini, 9 Ekim 2009 tarihinden önce sunmaya davet edildi. Bu müşahede, 41. madde (tüzüğün de 60.maddesi) uyarınca size de iletilecek ki sonrasında, eğer gerekirse, hakkaniyetli bir sonuca ulaşma talebinizi de ekleyerek dilekçe sahibi adına müşahedeye yazılı olarak cevap verebilirsiniz.
Daire Başkanı, hükümete, müşahedesinin ekteki dokümanda (mahkeme kalemince hazırlanan vakıa sunumu ve taraflara yöneltilen soruyu içeren mektup) yer alan soruya cevap teşkil etmesi gerektiğini bildirdi.
Hükümet aynı zamanda, yukarıda belirtilen tarihe kadar, davanın dostane çözümü konusundaki tavrını belirlemeye ve gerekirse, dostane çözüme ilişkin önerilerini sunmaya (tüzüğün 62.maddesi) davet edildi. Aynı şeyi siz de, bu öneriler elinize ulaştığında yapabilirsiniz.
Tüzüğün 34&3 maddesi uyarınca, prosedürün bu aşamasında, dilekçe sahibi ya da temsilcilerinden gelen her türlü müşahedenin, mahkemenin resmi dillerinden biri ile (İngilizce ya da Fransızca) kaleme alınmasının gerekli olduğunu bilginize sunarım.
Bu arada dikkatinizi AİHM tüzüğünün 33. maddesine çekmek isterim. Bu maddeye göre mahkeme kalemine taraflar ya da diğer müdahillerce sunulan belgeler, daire başkanı söz konusu maddenin 2. paragrafında belirtilen nedenlerle aksi yönde bir karar vermedikçe kamuya açık olmak zorunda.
Ayrıca genel kural olarak, mahkeme kalemine sunduğunuz dokümanlardaki daha önce açıklanmamış bütün bilgiler, özellikle de adı belli ya da kimliği saptanabilir kişilerle ilgili bilgiler, kamu tarafından incelenebilir. Dahası bu bilgiler, mahkemenin internet aracılığıyla ulaşılabilen veri tabanında (HUDOC) yer alabilir.
Mahkeme veri tabanında başvurana ait bilgilerin (ad, soyad, doğum tarihi) eksiksiz yer almasını kolaylaştırmak amacıyla kişinin kimlik kartının ön yüzünün bir kopyasını bu alana yerleştirebilirsiniz.
Başvurunuza dair işlemlerde bir aksilik olmaması için size ilişikte kod-barlı 10 etiket gönderiyorum. Davayla ilgili olarak mahkemeyle her yazışmanızda lütfen bunları kullanınız. Mahkeme kalemine göndereceğiniz her yazının ilk sayfasının sağ üst köşesinde bu etiketlerden biri olmalı.
Saygılarımla
S. Dollé, bölüm zabıt kâtibi
Ek..
Kaos GL tarafından Türkiye aleyhine verilen dilekçe (nO 4982107, 26 Ocak 2007)
Olay:
Başvuran bir örgüt ve Sayın Aydın tarafından temsil ediliyor.
Başvuran, Kaos Gey ve Lezbiyen Kültürel Araştırmalar ve Dayanışma Derneği.
21 Temmuz 2006, Ankara savcılığı, anayasanın 28, ceza muhakeme usulü yasasının da 162. maddeleri uyarınca, örgütün çıkardığı derginin “Pornografi” başlıklı 28.sayısını toplatma emri çıkartmak üzere Sulh Ceza Mahkemesi’ne gidiyor. Aynı gün mahkeme talebi yerine getiriyor ve 24 Temmuz 2006’da 375 dergiye el konuyor. 28 Temmuz 2006’da dernek tarafından yapılan itiraz Ankara Asliye Ceza Mahkemesi’nce reddediliyor. 18 Kasım 2006 tarihli savcılık iddianamesinde, dernek başkanı ve dergi yazı işleri müdürü Umut Güner, basın yoluyla pornografik yayın yaparak ceza kanununun 226&2 maddesine aykırı davranmakla suçlanıyor. Hâlihazırda davanın, Ankara Asliye Ceza Mahkemesi’nde bir çözüme bağlanamadığı belirtiliyor.
Şikâyet:
Başvuran, Sözleşmenin 10. maddesi uyarınca, tartışmalı/üzerinde uzlaşıya varılamayan yayınlara el konarak ifade özgürlüğü hakkı ihlal edildiği için şikâyetçi. 6&1 maddesi gereği, mahkeme kararlarında gerekçe eksikliği olduğu şikâyetinde bulunuyor. Başvuran aynı zamanda, yetkililerin tavrının cinsel yöneliminden kaynaklandığını ve sözleşmenin 14. maddesine aykırı olduğunu dile getiriyor.
Taraflara Soru:
AİHS’nin (Avrupa İnsan Hakları Sözleşmesi) 10&1. maddesi gereği, başvuranın ifade özgürlüğü engellendi mi?”
sutunlar bize guc verdi
dun aksam artists space'deki acilis kalabalik ve guzel gecti.
sergi ozenli cumlesini lafi cok uzatmadan dolandirmadan kuran bir sergi olmus, kuratorlerin sergiledikleri sanatilara, islere derin bagli oldugu acik okunuyor.
cevdet de can da yerlestirmelerinden cok memnundu.
can ilk defa istanbul uzerine cumleler kurmus. istanbul'a convert olmus ankaralilar diye dalga gectik.
cevdet'in ruler ve sss'i bir araya getiren yerlestirmesi bence baya iyi calisiyor.
celine condorelli'nin giristeki yerlestirmesi elegan bir karsilama alani olmus.
bu sergi huseyin alptekin'e sessiz bir ithaf.
can ve cevdet'in arasindaki alana yerlesmis Kara Kum bilenlerine hissettiriyor bunu.
(sekiz saat oncesinde istanbul'da HBA'nin hiperrealist bir tablodan outlet'e gelenleri karsilamis oldugunu sabah gelen fotograflardan fotograflardan fark ettim.)
ozlemisim ikisini gormeyi de. can'la asli bugun ayrildilar ama cevdet bir ay boyunca burada artists space'de calisacakmis.
eski resepsiyon masasiyla kendine alan kurmus.
simdiden bir suru yere girmis, tanismak istedigi muzisyenlerin listesini yapiyormus.
sergi ozenli cumlesini lafi cok uzatmadan dolandirmadan kuran bir sergi olmus, kuratorlerin sergiledikleri sanatilara, islere derin bagli oldugu acik okunuyor.
cevdet de can da yerlestirmelerinden cok memnundu.
can ilk defa istanbul uzerine cumleler kurmus. istanbul'a convert olmus ankaralilar diye dalga gectik.
cevdet'in ruler ve sss'i bir araya getiren yerlestirmesi bence baya iyi calisiyor.
celine condorelli'nin giristeki yerlestirmesi elegan bir karsilama alani olmus.
bu sergi huseyin alptekin'e sessiz bir ithaf.
can ve cevdet'in arasindaki alana yerlesmis Kara Kum bilenlerine hissettiriyor bunu.
(sekiz saat oncesinde istanbul'da HBA'nin hiperrealist bir tablodan outlet'e gelenleri karsilamis oldugunu sabah gelen fotograflardan fotograflardan fark ettim.)
ozlemisim ikisini gormeyi de. can'la asli bugun ayrildilar ama cevdet bir ay boyunca burada artists space'de calisacakmis.
eski resepsiyon masasiyla kendine alan kurmus.
simdiden bir suru yere girmis, tanismak istedigi muzisyenlerin listesini yapiyormus.
Tuesday, July 7, 2009
Blinky Palermo: To the People of New York City
a long time of work by Dia publications. freshly arrived to the office!
Monday, July 6, 2009
WHW e-mail interview: From the News section of Flash Art International July-September issue
The 11th Istanbul Biennial, “What Keeps Mankind Alive?”, opens September 12, curated by Zagreb-based curatorial collective What, How & for Whom (WHW). Ovul Durmusoglu spoke to the WHW about what to expect from this edition.
Ovul Durmusoglu: WHW has had an intense working period for the Biennial under the conditions of recession. Can you talk about the paths and methodologies you followed during this period?
WHW: The most valuable part of the process has been the opportunity to communicate, discuss and think together with cultural workers in many places — from Zagreb and Istanbul, to many cities we have traveled to in the Middle East, Central Asia, Caucasus and Eastern Europe — all faced with the joint question: what is to be done?
OD: Brecht’s question “What Keeps Mankind Alive?” makes a lot of sense with the changes in the world system over the last year; the compounds of the international contemporary art system such as biennials, art fairs are questioned even more. Will your curatorial model reflect on these issues by employing or suggesting alternative representational schemes?
WHW: In developing the Biennial’s concept from Brecht’s position, the question of how to mediate the predictable relationships between the work of art, the artist and the audience is the main challenge. In attempting to relocate Brecht’s methods in the realm of contemporary art, the proposal aims to deconstruct and slice open the framework of the biennial format, to tackle its performative role as social spectacle and to talk about “the truth of our situation” within it. We are trying to test the potential of Brecht’s belief in political engagement of art within this system.
OD: How will Zagreb and Istanbul be connected?
WHW: We are interested in showing how the critical art practice in both places, in the “marginal” or “ghost” geographies of European modernism, such as the Balkans or the Middle East, often finds itself today as if “between a rock and a hard place”, which is a claustrophobic and problematic place to be in sense that new openings have to be formulated around the fringes of the system. Over this year, and next year too, the program of Gallery Nova, which we run in Zagreb, will present topics and participants of the 11th Istanbul biennial.
OD: For the last two editions, the curators of Istanbul Biennial engaged with the symbolically loaded spaces of the city and took the biennial to different locations. What will be your approach?
WHW: While many biennials in recent years have actively engaged with their ‘home cities,’ offering new viewpoints of their urban identity, “What Keeps Mankind Alive?” will use the parameters of the biennial format to question the potential of a mainstream cultural institution to both impose and contest dominant social frameworks. What questions can still be opened up through an exhibition of such a visibility, and what is the knowledge that can be generated?
Ovul Durmusoglu: WHW has had an intense working period for the Biennial under the conditions of recession. Can you talk about the paths and methodologies you followed during this period?
WHW: The most valuable part of the process has been the opportunity to communicate, discuss and think together with cultural workers in many places — from Zagreb and Istanbul, to many cities we have traveled to in the Middle East, Central Asia, Caucasus and Eastern Europe — all faced with the joint question: what is to be done?
OD: Brecht’s question “What Keeps Mankind Alive?” makes a lot of sense with the changes in the world system over the last year; the compounds of the international contemporary art system such as biennials, art fairs are questioned even more. Will your curatorial model reflect on these issues by employing or suggesting alternative representational schemes?
WHW: In developing the Biennial’s concept from Brecht’s position, the question of how to mediate the predictable relationships between the work of art, the artist and the audience is the main challenge. In attempting to relocate Brecht’s methods in the realm of contemporary art, the proposal aims to deconstruct and slice open the framework of the biennial format, to tackle its performative role as social spectacle and to talk about “the truth of our situation” within it. We are trying to test the potential of Brecht’s belief in political engagement of art within this system.
OD: How will Zagreb and Istanbul be connected?
WHW: We are interested in showing how the critical art practice in both places, in the “marginal” or “ghost” geographies of European modernism, such as the Balkans or the Middle East, often finds itself today as if “between a rock and a hard place”, which is a claustrophobic and problematic place to be in sense that new openings have to be formulated around the fringes of the system. Over this year, and next year too, the program of Gallery Nova, which we run in Zagreb, will present topics and participants of the 11th Istanbul biennial.
OD: For the last two editions, the curators of Istanbul Biennial engaged with the symbolically loaded spaces of the city and took the biennial to different locations. What will be your approach?
WHW: While many biennials in recent years have actively engaged with their ‘home cities,’ offering new viewpoints of their urban identity, “What Keeps Mankind Alive?” will use the parameters of the biennial format to question the potential of a mainstream cultural institution to both impose and contest dominant social frameworks. What questions can still be opened up through an exhibition of such a visibility, and what is the knowledge that can be generated?
Platform in Artists Space, NYC: Sutunlar Bize Guc Verdi
Sütunlar Bize Güç Verdi
Artists Space, New York
8 Temmuz - 1 Ağustos, 2009
Açılış: 7 Temmuz, 2009, 19:00 - 21:00
Jeremiah Day Performansı 19:30
Hüseyin Bahri Alptekin, Can Altay - Jeremiah Day, Burt Barr, Daniel Bozhkov, Celine Condorelli, Cevdet Erek, Corey McCorkle, Christodoulos Panayiotou, Wael Shawky
Platform Garanti Güncel Sanat Merkezi ile New York'taki Artists Space'in işbirliğiyle düzenlenen, Vasıf Kortun ve November Paynter'in küratörlüğünü yaptığı bir dizi serbest proje ve sergiden oluşan Sütunlar Bize Güç Verdi, 8 Temmuz - 1 Ağustos tarihleri arasında New York'ta gerçekleştirilecek. Platform'un daha önce birlikte çalıştığı uluslararası sanatçılar, İstanbul Misafirleri Programı katılımcıları ve New York'tan sanatçılarla hayata geçirilecek olan projede, Ben Kinmont, Lisa Oppenheim, Adam Pendleton, Julika Rudelius, Alexandre Singh ve Jordan Wolfson ise Krist Gruijthuijsen'in küratörlüğünde, davetli olarak yer alacak.
Sütunlar Bize Güç Verdi, ortaklıkların birbirini etkilediği ilişkilere bakarak, yapısal parametrelerin olmadığı bir durumda, kurumları canlı tutan düşünsel destek noktalarını ele alıyor. Platform, bu anlamda, 8 yıllık gelişimi boyunca kuruma destek olmuş sanatçıları değerlendiriyor. Sergideki kimi işler, Can Altay ve Jeremiah Day örneğinde olduğu gibi, yoğun ve çok katmanlı bir İstanbul araştırmasının ürünü olarak ortaya çıkıyor. Daniel Bozhkov'un çeviri ve göç üzerine bir hikaye anlatmaya yoğunlaşan işinin odağında, sanatçının ailesinde duran, arka yüzeyi Osmanlıca yazılı bir pırlanta bulunuyor. Celine Condorelli'nin çalışma odasında Aziz Jerome'u konu alan Rönesans resmi, projede gerçek bir mekana dönüşüyor. Sergideki diğer işler arasında Wael Shawky'nin "Telematch Suburb" ve Burt Barr'ın otoportre videoları yer alıyor. Corey McCorkle'un Florya'da çalıştığı "Hayvanat Bahçesi" fotoğrafları, Christodoulos Panayiotou'nun "Wonderland" adlı dia enstelasyonu ve Hüseyin Bahri Alptekin'in "Karakum" enstalasyonu da sergide yer alacak. Celine Condorelli'nin enstalasyonu bir yayın toplama noktası olarak, Platform'un ilk kez 2006'da Frieze Art Fair'de gerçekleştirdiği projeyi yenileyecek. Cevdet Erek sergi boyunca mekanda çalışacak. Diğer katılımcıların proje ve performansları, Platform'un geçmiş konuklarından Krist Gruijthuijsen'in küratörlüğünde,14 - 18 Temmuz tarihleri arasında Soho'da gerçekleştirilecek. Serginin diğer düzenleyicileri ise Artists Space'den Meredith Johnson ve Amy Owen.
Platform Garanti: 2007'in sonunda Garanti Galeri ile birlikte yapısal değişim, birleşme ve genişleme sürecine giren Platform Garanti, bu süreçte İstanbul'daki sergilerine ara vermişti. Platform, binadaki renovasyon çalışmaları sırasında "İstanbul Misafirleri Programı", arşiv, kütüphane ve konferanslarını geçici mekanından yürütürken, aynı zamanda Westfälischer Kunstverein, Munster, Almanya; INSA Art Space, Seul, Kore; maison Folie de Wazemmes, Lille, Fransa'da farklı sergiler gerçekleştirdi. Platform, Artists Space'de misafir program düzenleyicisi olarak, bu dönemi bir dizi etkinlikle geçiriyor.
Sütunlar Bize Güç Verdi, Amsterdam'daki The Dedalus Foundation, Mondriaan Foundation ve Moon and Stars tarafından destekleniyor.
38 Greene Street, 3rd Floor
New York, NY 10013
Salı - Cumartesi, 12:00 - 18:00
Artists Space, New York
8 Temmuz - 1 Ağustos, 2009
Açılış: 7 Temmuz, 2009, 19:00 - 21:00
Jeremiah Day Performansı 19:30
Hüseyin Bahri Alptekin, Can Altay - Jeremiah Day, Burt Barr, Daniel Bozhkov, Celine Condorelli, Cevdet Erek, Corey McCorkle, Christodoulos Panayiotou, Wael Shawky
Platform Garanti Güncel Sanat Merkezi ile New York'taki Artists Space'in işbirliğiyle düzenlenen, Vasıf Kortun ve November Paynter'in küratörlüğünü yaptığı bir dizi serbest proje ve sergiden oluşan Sütunlar Bize Güç Verdi, 8 Temmuz - 1 Ağustos tarihleri arasında New York'ta gerçekleştirilecek. Platform'un daha önce birlikte çalıştığı uluslararası sanatçılar, İstanbul Misafirleri Programı katılımcıları ve New York'tan sanatçılarla hayata geçirilecek olan projede, Ben Kinmont, Lisa Oppenheim, Adam Pendleton, Julika Rudelius, Alexandre Singh ve Jordan Wolfson ise Krist Gruijthuijsen'in küratörlüğünde, davetli olarak yer alacak.
Sütunlar Bize Güç Verdi, ortaklıkların birbirini etkilediği ilişkilere bakarak, yapısal parametrelerin olmadığı bir durumda, kurumları canlı tutan düşünsel destek noktalarını ele alıyor. Platform, bu anlamda, 8 yıllık gelişimi boyunca kuruma destek olmuş sanatçıları değerlendiriyor. Sergideki kimi işler, Can Altay ve Jeremiah Day örneğinde olduğu gibi, yoğun ve çok katmanlı bir İstanbul araştırmasının ürünü olarak ortaya çıkıyor. Daniel Bozhkov'un çeviri ve göç üzerine bir hikaye anlatmaya yoğunlaşan işinin odağında, sanatçının ailesinde duran, arka yüzeyi Osmanlıca yazılı bir pırlanta bulunuyor. Celine Condorelli'nin çalışma odasında Aziz Jerome'u konu alan Rönesans resmi, projede gerçek bir mekana dönüşüyor. Sergideki diğer işler arasında Wael Shawky'nin "Telematch Suburb" ve Burt Barr'ın otoportre videoları yer alıyor. Corey McCorkle'un Florya'da çalıştığı "Hayvanat Bahçesi" fotoğrafları, Christodoulos Panayiotou'nun "Wonderland" adlı dia enstelasyonu ve Hüseyin Bahri Alptekin'in "Karakum" enstalasyonu da sergide yer alacak. Celine Condorelli'nin enstalasyonu bir yayın toplama noktası olarak, Platform'un ilk kez 2006'da Frieze Art Fair'de gerçekleştirdiği projeyi yenileyecek. Cevdet Erek sergi boyunca mekanda çalışacak. Diğer katılımcıların proje ve performansları, Platform'un geçmiş konuklarından Krist Gruijthuijsen'in küratörlüğünde,14 - 18 Temmuz tarihleri arasında Soho'da gerçekleştirilecek. Serginin diğer düzenleyicileri ise Artists Space'den Meredith Johnson ve Amy Owen.
Platform Garanti: 2007'in sonunda Garanti Galeri ile birlikte yapısal değişim, birleşme ve genişleme sürecine giren Platform Garanti, bu süreçte İstanbul'daki sergilerine ara vermişti. Platform, binadaki renovasyon çalışmaları sırasında "İstanbul Misafirleri Programı", arşiv, kütüphane ve konferanslarını geçici mekanından yürütürken, aynı zamanda Westfälischer Kunstverein, Munster, Almanya; INSA Art Space, Seul, Kore; maison Folie de Wazemmes, Lille, Fransa'da farklı sergiler gerçekleştirdi. Platform, Artists Space'de misafir program düzenleyicisi olarak, bu dönemi bir dizi etkinlikle geçiriyor.
Sütunlar Bize Güç Verdi, Amsterdam'daki The Dedalus Foundation, Mondriaan Foundation ve Moon and Stars tarafından destekleniyor.
38 Greene Street, 3rd Floor
New York, NY 10013
Salı - Cumartesi, 12:00 - 18:00
Friday, July 3, 2009
http://www.afropunk.com/
vallahi yalan degil nev york'a geldik geleli afro-amerikan ruzgari altindayiz.
william baldwin'in ilk romani go tell it on the mountain'i okuduktan sonra Harlem'e baska bir gozle bakmaya basladim. esigindeki columbia universitesi yuzunden agir bir mutenalasma sureci geciriyor mahalle. ama baska iste lenox avenue'da muzik kutusu calarak yuruyen yasli siyah dedeler, kiliseye gitmek icin suslenmis gormus gecirmis dogma buyume harlemli agir teyzeler, 125. sokagin curcunali bagimsizligi.
harlem'i bed stuy'i buraya gelmeden spike lee uzerinden gormesi mumkun degilmis. gozden uzak bilgiden uzak afrika'yi hisseylemek gerekirmis.
siz yine de su afro punk festivali'ne goz gezdirin.
DO THE RIGHT THING!
Thursday, July 2, 2009
no bed of roses: nev york praydlarinda gorduklerimiz
evet cok eglenceliydi buyuk pride. yer gok gokkusagiydi. girgir, samata, gurultu; bol MJ, bol Whitney, bol Beyonce. birbirinden guzel kostumleriyle her renkten, her yastan translar kameralarin onunde poz vermekten bikmadi. kolombiyalisi, karayiplisi, endonezyalisi, israillisi new york'da yasayan farkli gruplarin LGBT efradi kendi numarasi kendi Dj'iyle gosteris yapti. gecis bariyerlerine "spank some love off" logolu buyuk spatulalarla tempo tutuldu. isliklar calindi, kopeklerin boynuna kadar gokkusakli bayraklar baglandi. ayi gruplari sov yapti, kulupler reklam yapti, aids aktivistleri doksanlarin acilarini hatirlatti, sokakta yasayan escinsel teenlerle calisan gruplar da oradaydi, hatta Riverside gibi liberal kiliseler bile gecis torenine katildi. tepetiklim dolu olan Christopher Street'te millet evinin penceresinden balkonundan sov yaparak eslik ediyordu.
"Stonewall was a riot, what we need is a Revolution" butun bu gorkem ve basdonduruculuk arasinda ESITLIK istiyoruz sloganlarinin altindaki endiseyi gosteriyordu. Kaliforniya'da esit evlilik hakki konusunda yasanan yenilgi her seyin o kadar da gulluk gulistanlik olmadigini hatirlatmis, Stuart Milk'in bianet soylesinde dedigi gibi. zira New York ve San Fransisco'nun guvenli alanlarindan cikildigi zaman buralarda da durum, goruyoruz, cok parlak degil. New York'da isin guzelligi farkli farkli communitylerin olmasi, farkli seslerin farkli yerlerde duyulabilmesi. barina gidebildigi surece elini tas altina sokmayanlarin yaninda, kazandigi haktan daha da fazlasini hakettigini bilen insanlarin da olmasi.
ote yandan ciddi bir money making machine olan Manhattan pride'dan bir onceki gun yapilan 17th Annual Dyke March'in havasi bambaskaydi. hatta bi gun once de hala bazi aktivist liderlerin katilmalarini istemedigi translarin kendi yuruyusu vardi, evet hala var boyleleri ben anlayamiyorum) cumartesi gunu 5. Cadde'nin kosesindeki Bryant Park'da Gertrude Stein heykelinin onunde toplanan gruplar Washington Square'in onen kadar yurudu. (bizim Dia ofisinin yarisi zaten oradaydi) gelenlerin hepsi, orada olmanin, gorunur olmanin ne kadar onemli oldugunun bilinciyle oradaydi. eski tufek lezbiyenlere ilk yuruyuslerinin hatiralarini anlattirdi kimileri. korkuyorduk hala dedi bir tanesi, bugunku gibi polisler yoktu bir kere ortalikta. cocuklariyla gelen ciftler de vardi, elinde kirbaci kelepcesiyle gelen ciftler de. her daim agresif olan lezbiyenler de vardi, samata yapmayi sevenler de.
cikan sonuc: beraber yurumek guzel, buyumek genislemek gerek. kazanilaninlarin mutluluguyla tembellesmemek gerek. hicbir zaman, hicbir yerde kolay olmuyor, olmayacak.
holyland holyland
still study, broken kilometer, jaffa, video, 7'5", 2009 dafna shalom
The Space in Between, Outdoor Video Installation, 2nd + 9th of July, 2009
Inbal+Suzanne Dellal courtyard, Tel Aviv
Inbal+Suzanne Dellal courtyard, Tel Aviv
Ronen Eidelman, Batya Argov, Yael Bartana, Doron Golan, Ela Zaharano,
Delight, Meir Tatti, Yuli Cohen, Itay Finkelstein, Yifat Libny, Sagit Geirman,
Tali Navon, Doron Solomons, Yael Omer, Dafna Shalom, Micha Simchon
The outdoor video installation address the space between black and white, between Tel Aviv “The white City” of Bauhaus modern Architecture and the complete surrender to European modernism, to Tel Aviv of the middle east, including Jaffa and the southern neighborhoods.
Here in Inbal, and Suzanne Dellal over the ruins of an old Girls school, at the dance center of Israel, on the seam between Tel Aviv and Jaffa right by Manshia neighborhood which was completely erased, another space is suggested- one which is not erasing its past.
A space that seeks, accepts, and suggests an image of Tel Aviv which is not completely white.
Curators Carmel Kimchi and Tali Navon
____________________________________________________
Wednesday 8th July at 20:00
Köken Ergun : 3 Films, Projects and Talk - at Mamuta
at the Daniela Passal Art & Media Center, Eldan Forum, Ein Karem, Madregot Habikur st, 58
Entrance Fee: 10 NIS(the presentation will be held in English)
Köken will show three video works: "I, Soldier (7’)", "Tanklove (8’)" and "Wedding (12’)" and he will talk about his research and project at Betselem archives, and how those materials relate to his own practice.
Koken Ergun, is a video artist born in Istanbul and working and living in Berlin at the present. His video works has been screened at several film festivals: Oberhausen, Rotterdam, Sydney, VideoZone and Zagreb Film Festival.
He is the 2007 recipient of the Tiger Award of the Rotterdam Film Festival for his short film The Flag.Koken studied acting at the İstanbul University and completed his postgraduate diploma degree in Classics at King's College London, followed by an MA degree in Visual Communication Design at the Bilgi University. After working with American theatre director Robert Wilson, Ergun became involved more with contemporary art, specifically video and performance. He has exhibited internationally at institutions including Platform Garanti (Istanbul), KIASMA Museum of Contemporary Arts (Helsinki), Sparwasser HQ (Berlin), Digital ArtLab (Tel Aviv), Museum of Contemporary Arts Taipei, Casino Luxembourg, Art in General (New York), and Stedelijk Museum Bureau Amsterdam.
He is the 2007 recipient of the Tiger Award of the Rotterdam Film Festival for his short film The Flag.Koken studied acting at the İstanbul University and completed his postgraduate diploma degree in Classics at King's College London, followed by an MA degree in Visual Communication Design at the Bilgi University. After working with American theatre director Robert Wilson, Ergun became involved more with contemporary art, specifically video and performance. He has exhibited internationally at institutions including Platform Garanti (Istanbul), KIASMA Museum of Contemporary Arts (Helsinki), Sparwasser HQ (Berlin), Digital ArtLab (Tel Aviv), Museum of Contemporary Arts Taipei, Casino Luxembourg, Art in General (New York), and Stedelijk Museum Bureau Amsterdam.
He is currently writing his PhD thesis at a joint research at the Istanbul University Theatre Department (Prof. Dikmen Gurun) and Freie Universitat Berlin Theatre Sciences Department (Prof. Erika Fischer-Lichte)
He is in Israel invited by the Digital Art Lab and has also been in residency at Mamuta at the Daniela Passal Art and Media Center.
Links to some of Koken Ergun works:
i,soldier:http://i-soldier-the-flag.blogspot.com/tanklove:http://koken-tanklove.blogspot.com/wedding:http://koken-wedding.blogspot.com/
Emre Huner in Flash Art International July-September issue
NEWS
27
THE GENERATIONAL: YOUNGER THAN JESUS
Merrily Kerr
28
10th HAVANA BIENNIAL:
INTEGRATION AND RESISTANCE IN THE GLOBAL ERA
Martijn van Nieuwenhuyzen
30
THE CASH CANALS OF VENICE
Roxana Azimi
FEATURES
38
FERRAN ADRIÀ
Maurizio Cattelan
44
CHRIS BURDEN
Sonia Campagnola and Valentina Sansone
48
ULLA VON BRANDENBURG
Katerina Gregos
52
OLIVIA PLENDER
Robert Stasinski
56
GINTARAS DIDŽIAPETRIS
Adam Carr
58
CRAFT
Nicola Trezzi
62
FOCUS POLAND: WHAT IS TO BE DONE?
Jakub Banasiak
66
FOCUS POLAND: ARTUR ŻMIJEWSKI
Valentina Sansone
OUVERTURE
81
EMRE HÜNER
Ovul Durmusoglu
GLOBAL ART
83
CLEMENS VON WEDEMEYER
Antonia Lotz
...........
38
FERRAN ADRIÀ
Maurizio Cattelan
44
CHRIS BURDEN
Sonia Campagnola and Valentina Sansone
48
ULLA VON BRANDENBURG
Katerina Gregos
52
OLIVIA PLENDER
Robert Stasinski
56
GINTARAS DIDŽIAPETRIS
Adam Carr
58
CRAFT
Nicola Trezzi
62
FOCUS POLAND: WHAT IS TO BE DONE?
Jakub Banasiak
66
FOCUS POLAND: ARTUR ŻMIJEWSKI
Valentina Sansone
OUVERTURE
81
EMRE HÜNER
Ovul Durmusoglu
GLOBAL ART
83
CLEMENS VON WEDEMEYER
Antonia Lotz
...........
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