‘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

'Ghost Lectures/Hayalet Dersler'

'Hayalet Dersler' kapsamında iki adet gif

Hayalet Dersler- How Not to Be Seen-  a fucking Didactic Educational..

yürüyüş yolu

'Rafa Kaldırılmış Bir Tez/BİZ Hiç Modern Olduk Mu?' (PDF tam metin)

Rafa Kaldırılmış Bir Tez/Biz Hiç Modern Olduk mu?

"Rafa Kaldırılmış Bir Tezin Sanat Yapıtı Olarak Sanatsal/Akademik Çalışma Bağlamında Sınırlarının Sorgulanması" isimli Sanatta Yeterlik Bitirme Projesi hakkında; http://sanatatak.com/view/Rafa-Kaldirilmis-Bir-Tez/1334

Have we ever been modern? / a shelved thesis

-ˇ•this work is a final project for proficiency in art-ˇ•This text is written for an art magazine “sanatatak”

This work made me a poet, a writer, forced my creativity.

If you are doing Proficiency in arts, you have to propose a

thesis/text to come of your age. And for this, you are expected to

interrupt and squeeze your art into the art/philosophy/sociology

history. Maybe not desicive, but patterns that is offered by the

institution give no other way to you. If you are an easy going

person, these forms/patterns may be lifesaving.

Because I do not have any faith in ostensive working forms and not

have intend to harm others, I decided to harm myself. When I

questioned why I do not desire to write a thesis/text in certain

conditions, I distinguished that I cannot handle to carry the

words that is already repeated thousand times and chilliness of

my master degree thesis "Contemporary art museology in Turkey"

and I could not interiorised the topic. Because I have done my

research named "At the scope of contemporary art museology,

looking museology in Turkey" at Erzurum Atatürk University Fine

Arts Department where I was raised and there was no other museum

in this city beside "State Museum" which is always closed.

(Students from fine art departments are expected to reproduce the

works of celebrity artists copied in books or internet.) Finally

while questioning these there was recess to force me to work. I

was able to crosscheck my master degree work both content and

method. It seems that 150 pages mass concrete were waiting to

resist for me. Everything included! Museum, mseum, museum! Lots

of museums both in Europe and of course in Turkey are standing

against me!

I tried to evaluate the idea of museum as a mould for collectingcategorising-

archiving memory, as a snaptic metaphor for

formalising personal memory, and as viewing onthologic

institutional function. This approach disclosed the (transitive

structure between language-object-space-time) structure between

sensorial and rational knowledge.

Encountiring West/East words that always divides the world from

the beginning of my work, needed to arise to lotk at my geograpy I

live in. I took along a plastic but metal-like fork that first I

saw in an exhibition opening and shocked me, I decided to visit

some museums (in Turkey) while travelling to east according to

Greenwich. I gave priority to Erzurum, the city that has one of

the four state museums and I was raised. When I arrived, the

building of the State Museum was demolished and there was an

parking area construction. The city needed an parking area.

Afterwards, I decided to go to the nearest art museum to Erzurum,

Baksı Museum in Bayburt. Rather than a researcher, as someone who

cannot estimate what will happen during the journey, I could not

reach to Baksı Museum in Bayburt that is actually easy to go from

Erzurum. There are some transportation from museum to some

villages but, there is no transportation from city center. Baksı

Museum is is in a place that you can only go with private car. It

is like a magnificient frozen building like İshak Paşa Palace. In

my journey, I have gone to Erzurum Archeology Museum, Göreme Openair

Museum, Side Apollon Open-air Museum. I have ended my journey

with the things in the nature and a stolen metal fork

I opened all the process and my main topics "In between" and

"Living" into discussion that I was informed to quit my academic

job if I want to make research on this topic, that Institution

offered me another headline for thesis in the artist initiative

space at 5533 (which is located in İMÇ). We correlated "Have we

ever been modern?" title with the "In between" exhibition of

Gül.in Aksoy, Nancy Atakan, Gül Ilgaz and Neriman Polat at 1990's.

With the participation of Gül.in Aksoy and Neriman Polat we

questioned "How can we interpret the geography we live in back and

forth in historical timeline?" After that, we opened a discussion

about how we categorize the words, academic, official and

fictional language with Duygu Sabancılar in the name of "obsessed

words" evaluating my "orderof things" and "query of herself with

thins" titles. In these times, we assume that modernism

discussions have closed and scratch post modernism's eyes out,

modernism project in Turkey debates shine out again and again.

maybe what happens is our individualism manipulated with

corporative codes.