animals

Animals
― Oneohtrix Point Never – Animals

A_Horn_in_The_Neck

Verfremdung Effect May Occur Everywhere 2019

gif by @ValerijaIlcuka

Exhibition Concept ↯
A Horn in The Neck is an exhibition of works by İpek Burçak, Hilal Güler, Ayfer Karabıyık, Andara Shastika and Merve Ünsal. İnitiated and conceptualized by Ayfer Karabıyık and İpek Burçak. the Exhibition Space is designed by Berk Asal. And will host a series of performances by practitioners from different backgrounds, with hopes of using the exhibition as an active site that will function as a production space to invite evolving permutations of images,sounds and bodies.
A Horn in The Neck is an effort to collectively negotiate individual practices. It was launched by simple premise (as most of these things often are) Dürer's Rhinoceros. German painter and printmaker Albercht Dürer's woodcut from 1515 is based on a written description and a brief sketch by another artist. Direr placed a small twisted horn on the animal's back and gave it scaly legs. This woodcut then become the basis for other artists representations of the rhinoceros. Claiming this speculative space between reality and representation both as a material and framework, the artists worked with the fragmented perspectives, linear and fractal narratives, landscapes as sites of reproduction, hierarchies of seeing, and processes of naturalizations.

look at the exhibitions' booklet 
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opening- dj set By Robogeisha w/$.RAR. 

decade after decade

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The first, quintessential, perfectly adorable, robot of the 90's. Intelligent, scratchy, capable of cleaning the house, except that it couldn't talk or had a brain the size of a nail, but oh so cute. decade after decade, robots have improved, bent and jumped about on stage, digging out the coal and scrubbing the glass from windowsills. But in general, robots today just haven't got it right.

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post apocalyptic landscapes

ethics of space travels

stories myths and things that have happened around

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between  images  documents performative gesture

different forms of domination 

horrors of the everyday

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A Horn in The Neck is an exploration of fabulations.  As experiences and articulations of the everyday are increasingly discrepant, gestures, performances, refabrications of de-imaging remain potent as a mode of resilience.

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💥Finishing Performances by 

Ece Gökalp - A Mountain As Many

A Mountain As Many is a research project on Mount Ağrı and its spectators. It focuses on the ways in which the mountain has been constructed through stories, myths and things that have happened around or on the mountain itself over the centuries, the combination of which has lead to its monumentalization and personification.
The mountain has many names: Ağrı Dağı in Turkish, which translates to Mount Pain; Çiyayê Agirî in Kurdish, which means Fiery Mountain; Ararat, which comes from the resting place of Noah’s Ark, Mount Ararat, as mentioned in the Book of Genesis; Masis in Armenian, as the symbol of the Great Disaster as well as the symbol of lost homeland, for Masis is believed to be the place where the first Armenian nation was established by its founding father Hayk, Noah’s son.
Besides the etymologies of the mountain’s many names, the mountain itself embraces multiple layers of meanings as well as contradictions, ideas of yearning, conflict, and also hope. It is a strong symbol of identity building; its image serves as an emotional reminder of both what is lost and can never be lost. Associated with the past and the future, it is also represented in various commodity forms.
As a research project A Mountain As Many is an attempt in archiving the contemporary and historical meanings of Mount Ağrı. It utilizes photographic documentation, interviews, literary research and observation. This project aims to open up a discussion on the themes of spectatorship, geopolitics, imagined geographies, and the ways in which we perceive monumental landscapes through photography.


Kerem Ozan Bayraktar - Respiration

“Respiration” (2018-2019) is a video gathering encyclopaedic definitions and concepts of historical relations and effects of oxygen respiration on earth. Throughout the video artist’s text is read as voice-over. With this voice in the background, we see an unidentifiable topography evoking post-apocalyptic landscapes of post-Big Oxidation Event ice age, displaying movements of ambulances identified with emergency in urban life, trapped in repetition. With images of death, accident, and unavoidable continuity of uncertainty, the work creates a computer game atmosphere dur to the digital drawing method used by the artist. In his most recent works, Kerem takes the ambulance as an intersection of various modes of existences and processes in the history of earth such as death, energy, life, technology, and language. According to him, the ambulance is an element that complexifies questions on naturality of an artefact, inanimateness of an object, and the life-death relation. Its ethymological root being ambulare in Latin, meaning to walk, to move, triggers images of the idea of “motion” which is inherent in its definition. Ambulance, being a motor vehicle, needing energy to move like living beings, uses fosil fuel as energy source that is combusted with oxygen in its engine system. And fosil fuels are remains of dead organisms, living beings.

Eren İleri - Indigenous Martian Bacteria DO Have Precedence Over Human Exploration: An Exercise in No Man’s Sky

“Indigenous Martian Bacteria DO Have Precedence Over Human Exploration: An Exercise in No Man’s Sky” is a performance borrowing elements from video game live streaming and Let’s Play formats. Eren plays No Man’s Sky video game by Hello Games and over the course of the performance he reads aloud texts about planetary protection, organized resistance against outer space exploration and ethics of space travel which are also typed into the game’s online chat window.
No Man’s Sky is an online open world exploration game, where the player discovers and catalogues planets and their flora and fauna, which are procedurally generated by the game’s engine. During the performance Eren looks for the possibility to resist space exploration, an act which is counter-intuitive to the game’s objective.

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‘two flags on vibrating skyline’ 

2017

reading practices

okuma pratikleri III from ayfer karabıyık on Vimeo.

ödünç işler

https://burakdelier.wordpress.com/works-2/notes-from-my-mobile-2013/

                  https://vimeo.com/176790949

              “Notes from Burak Delier's Mobile”

              ödünç işler I, 2017 Ayfer Karabıyık

 ödünç işler II

Für eine Nacht im Stehen. Ein Inhaftierungsfall

Ayfer Karabıyık presents the last part of Borrowed Works series, one night stand - a retention event. Artists İpek Burçak with Mix performance and Gülce Fitzek with Pulse performance will accompany Karabıyık's night.

Overturning the appropriation art
Appropriation art has turned out to be one of the prominent discussions with the rise of contemporary art. But, besides judicial terms, how can we look at the art of appropriation, the use of quotation, inspiration, emulation, and the originality? Can we establish a chain between every art movement, artist and works that has developed since the primitive ages? When we look at the expressions produced by the cultures in the world, not just in terms of visual arts, can we claim that the history of religions is also an example of appropriation? Or can we take the example of the successive nation-state processes and the culture that nation-states produces as an example to the art of appropriation? 

Zeki Faik İzer, one of the pioneers of modern Turkish painting symbolizes the appropriation idea from European modernism to newly established nation-state. He copies the Eugène Delacroix's Liberty Leading the People (1830) and paints The Road to Revolution (1933). He paints Turkey's (and the Turkey-like states) nation-state process with almost same forms. But he also localizes the painting by covering the chest of woman, putting her on a column of marble instead of barricades and placing Atatürk, the leader of Turkey into the painting. However, the artist also states that he does not embrace this picture in his later explanations. Almost an iconic status about the relationship of Turkish modernism with the artists. 

Reproduction has a significant role in academic education. But what is the meaning of reproduction, besides technical exercise or training process? How is appropriation applied as an artistic production practice as a contemporary art method? Or, what does to receive, inspire, emulate, twist, select and reshare mean?

Ayfer Karabıyık likes using ready-made materials, communicating with the artists she is interested in and to get in touch with their work and art in her Borrowed Works series. She takes other artists works and turns these to other directions and tries to find out if any other possibilities. She makes a selection from his inventory and reinterprets it. However, Karabıyık also discusses the appropriation practice itself and looks at the alternatives of conventional means of appropriation.

Let's look at the other two works in Karabıyık's Borrowed Works series. She re-shoots artist Hito Steyerl's iconic How Not to Be Seen: A Fucking Didactic Educational .MOV File video by closing his eyes with his mobile phone. Karabıyık reinterprets Steyerl's understanding of visibility in the new media with her own visibility. Steyerl's video is actually gives reference tı the comedy group Monthy Python's video film mocking educational BBC film. These three jobs are linked together in a chain.

Karabıyık re-exhibits artists Burak Delier's video diary shot by his own cell phone Notes From My Mobile just changing the work's title. She makes a secondary reading of Delier's critique of the artist's need to create his aura and express himself through social media. As an artist opponent to the mainstream art practices, Karabıyık 's work overlaps with Delier's work. Karabıyık does not make "appropriation art", but she whirles the main and intermediate arteries of and openes new channels.

Ayfer Karabıyık invites both the artists she communicated with and the audience to a one-night stand in her "one night stand: one retention event". Karabıyık retains artist Rafet Arslan's drafts that produceed for a group exhibition. Karabıyık, who organizes the blog of that group exhibition, does not publish the drafts sent by Arslan. What we see in this night is the material that Arslan inspires, listens to and reads while working, and forms the basis of Karabıyık's exhibition.

The practices of transformation and reinterpretation in Karabıyık's works asks us questions about originality in contemporary art, interaction between artists and reinterpretation.

Kültigin Kağan Akbulut

one night stand - a retention event
26. April, 7.30pm
Sandershäuser Str. 79, 34123 Kassel

Temellük sanatını altüst etmek

Sanatta temellük çağdaş sanatın yükselişiyle beraber öne çıkan tartışmalardan birine dönüştü. Ancak temellük sanatına, alıntıya, esinlenmeye, öykünmeye ve orijinaliteye hukuki terimler dışında nasıl bakabiliriz? İlkel dönemlerden bu yana gelişen her sanat akımı, sanatçı ve eser arasında bir temellük zinciri kurabilir miyiz? Sadece görsel sanatlar açısından değil, dünyadaki kültürlerin ürettiği anlatımlara baktığımızda dinler tarihinin de birer temellük örneği olduğunu iddia edebilir miyiz? Ya da birbirinin ardılı olan ulus devletleşme süreçlerini ve ulus devletleşmenin ürettiği kültürü temellük sanatına birer örnek olarak ele alabilir miyiz?

Modern Türk resminin öncülerinden Zeki Faik İzer, EugèneDelacroix'nın Halka Yol Gösteren Özgürlük (1830) resmini İnkılap Yolunda (1933) ismiyle kopyalayıp Avrupa modernizmini yeni kurulan bir ulus devletin kültürüne temellük etme düşüncesini simgeleştirir. Türkiye'nin (ve Türkiye benzeri devletlerin) ulus devletleşme sürecini neredeyse aynı formlarla tekrar çizen İzer, öndeki kadının göğsünü kapatmak, kadını barikat yerine mermer bir sütunun üzerine yerleştirmek, arkaya lider Atatürk'ü yerleştirmek gibi millileştirme çabalarında bulunur. Ancak sanatçı yıllar sonraki açıklamalarında bu resmi sahiplenmediğini de belirtir. Türkiye modernleşmesinin sanatçılarla olan ilişkisine dair neredeyse ikonik bir durum.

Akademik resim eğitiminde reprödüksiyon önemli bir yere sahip. Ancak teknik bir alıştırma ya da eğitim sürecinin bir parçası olmasının dışında reprödüksiyon nasıl bir anlama gelebilir? Bir çağdaş sanat metodu olarak temellük bir sanatsal üretim pratiği olarak nasıl uygulamaya geçirilir? Ya da alt bölümlere ayırırsak alma, esinlenme, öykünme, başka yöne çevirme, seçme ve yeniden paylaşma nasıl anlamlar ifade eder? 

Ayfer Karabıyık Ödünç İşler ismini verdiği serisinde hazır materyalleri kullanmayı, ilgi duyduğu sanatçılarla iletişime geçmeyi ve onların işleriyle ve sanat nesnesiyle cebelleşmeyi seviyor. Başka sanatçıların işlerini alıp farklı yönlere çeviriyor, yeni olanaklara alan açıp açmayacağına bakıyor. Elindeki envanter arasından bir seçki yapıp yeniden yorumluyor. Ancak Karabıyık bir yandan da temellük pratiğinin kendisini de tartışmaya açıyor ve konvansiyonel temellük yollarının alternatiflerine bakıyor.                                          

Karabıyık'ın Ödünç İşler serisindeki diğer iki işe bakalım. Sanatçı HitoSteyerl'in ikonik How Not to Be Seen: A Fucking Didactic Educational .MOV File çalışmasını kendi gözüne cep telefonu yardımıyla kapatarak yeniden çeker. Steyerl'in yeni medyada görünürlük üzerine yaptığı okumayı Karabıyık kendi görünürlüğü üzerinden yeniden yorumlar. Steyerl'in videosu da aslında komedi grubu Monthy Python'ın eğitici BBC çekimlerini alaya alır. Üç iş zincirleme şekilde birbirine bağlanır.

Burak Delier'in cep telefonuyla kendi günlüğünü çektiği Notes From My Mobile işinin de sadece ismini değiştirerek yeniden sergiler. Delier'in sanatçının aurasını oluşturma ve kendini sosyal medya yoluyla ifade etmesi gerektiği üzerine eleştirel okumasını ikincil bir okumaya tabi tutar. Ana akım sanat pratiklerine muhalif bir sanatçı olarak Delier'in oluşturduğu işle onu yeniden bozan Karabıyık'ın işleri çakışır. Karabıyık "temellük sanatı" oluşturmaz, temellük sanatının ana ve ara arterlerini birbirine dolar ve yeni kanallar açmaya çalışır.

Ayfer Karabıyık "tek gecelik ayakta: bir alıkoyma vak'ası" etkinliğinde izleyiciyi hem kendi iletişime geçtiği sanatçıyı hem de izleyiciyi tek gecelik bir ilişkiye davet ediyor. Karabıyık, sanatçı Rafet Arslan'ın bir grup sergisi için ürettiği işlerin taslaklarını alıkoyuyor. Serginin blogunu düzenleyen Karabıyık, sanatçılardan materyal istediğinde Arslan'ın gönderdiği taslakları yayınlamaz. Bu gecede gördüklerimiz de Arslan'ın ilham aldığı, çalışırken dinlediği ve okuduğu materyaller Karabıyık'ın sergisine temel oluşturur.

Karabıyık'ın işlerindeki dönüştürme ve yeniden yorumlama pratikleri bize çağdaş sanattaki orijinallik, sanatçılar arası etkileşim ve yeniden yorumlama alanına dair sorular sorduruyor.

Three Beautiful Chinese Women Originate from Fake News

'Why not "an Andalusian Dog"?'

inner fire text/dingbastfont/wreath

2017

black 2017

Art or Yallah

detail from the notebook