Sanatın Anadolu Aydınlanması "Farklılıkların Armonisi" sergisi

http://www.istanbul2010.org/HABER/GP_678281

Diyarbakır Dicle Üniversitesi Ziya Gökalp Eğitim Fakültesi Proje Grubu’nun “FARKLILIKLARIN ARMONİSİ” temalı sergisi 29 Nisan 2010 Perşembe günü saat 19:00’da The Marmara Pera Sanat Galerisi’nde açılıyor. Sergi 19 Mayıs tarihine kadar ziyaret edilebilecek.

İstanbul 2010 Görsel Sanatlar Yönetmenliği tarafından desteklenen ‘Sanatın Anadolu Aydınlanması’ projesi kapsamında, Anadolu’nun çeşitli illerinden 15 üniversiteden 18 grup halinde bağlı güzel sanatlar bölümlerinde eğitim veren ve alan sanatçı adayları, ürettikleri çalışmalarını, 2010 yılı sonuna kadar düzenlenecek sergilerle, İstanbullularla buluşturacak. Sergi dizisinin İzmir 9 Eylül Üniversitesi Güzel Sanatlar Fakültesi öğrencilerinin işlerinden oluşan ‘Salkım Saçak’ başlıklı ilk sergisi, 1 Nisan – 15 Nisan tarihleri arasında The Marmara Pera Sanat Galerisi’nde ziyaret edildi.

Dizinin ikinci sergisi “Farklılıkların Armonisi” 29 Nisan Perşembe günü saat 19:00’da The Marmara Pera Sanat Galerisi’nde açılacak. Dicle Üniversitesi Ziya Gökalp Eğitim Fakültesi öğretim görevlilerinin öğrencileriyle birlikte hazırladıkları sergi 29 eserden oluşuyor.

Ali Osman Alakuş,

Nimet Keser,

Seçkin Aydın,

Meral Yağcı,

Derya Şahin,

Aşkın Adan,

Barış Aydın,

Rabiha Aslan,

Orhan Lagoç,

Ali Aksakal,

Ergin Kaya,

Orhan Umut,

Mesut Kırtay,

Bedran Tekin,

Fırat Erdoğan,

Berhiv Ekin,

Zeliha Karakılçık,

İlknur Karakılçık,

Çiğdem Mete,

Suat Menteş,

Şilan Işık,

Ahmet Gönül Hatice Akıncı

Güncel Sanat Sergisi, Sürekli Diyalog Olarak Sanat; Dil Durumları / Contemporary Art Exhibition, Art As A Permanent Dialogue; Language Situations

           http://www.tumgazeteler.com/?a=2916436&cache=1

Güncel Sanat Sergisi

SÜREKLİ DİYALOG OLARAK SANAT / Dil Durumları



Sanat alanını estetik / etik boyutlarıyla yeniden düşünümlemelerle söyleyecek bir şeyi olma durumuna getirmenin gerekliliği üzerine, ‘Sürekli Diyalog Olarak Sanat’ başlığı altında kavramsallaştırılan sergi, katılımcılar arasında diyalog temelinde bir işbirliğini esas alırken, bu diyalogu ‘çoğul dil durumları’ ekseninde geliştirmeyi amaçlıyor. Politik, kültürel, sanatsal alandaki hakim söylemlerin iç işleyişini ve bu söylemlerin dayandığı düzlemi sorunsallaştıran katılımcılar, egemen kodların – söylemleriyle, dilsel yaklaşım biçimleriyle, yarattıkları söylenceleri ve ritüelleriyle- iç işleyişini sorgulamaya çalışıyorlar. Bu anlamda sergi ana-akım ruh hallerinden ve bu ruh hallerinin yaşamdan yoksun anlatımlarından kurtulmaya çalışan bir çabayı ifade eder.

Bugün Diyarbakır, uluslararası alanda, Çağdaş Sanat üretiminin önemli merkezlerinden biri konumunda. Küresel kültür endüstrileri ve bunların sanat politikaları, küratör, galeri, sanatçı ve sermaye ilişkileri, bienaller, konseptler de Diyarbakır’da yaşayıp üreten sanatçıların tartışmaya başladıkları, eleştirel bir bakış açısıyla çözümlemeye çalıştıkları konuların başında geliyor. Bir dönem, küratörlerle, verili kavramlarla çerçevesi çizilen işler üretmeye büyük heves gösteren, galerilerde, müzelerde sergilere katılabilmeyi büyük başarı görenler, bugün sermayenin, iyi ilişkilenmeler üzerinde gelişen sanat ortamının, sanatta özgür düşünüm ve bağımsızlığın tam karşısında duran kategoriler olduğunu fark etmiş durumda. Alternatif olanın kurumlanışı karşısında, alternatif olabilecek olanı yeniden düşünmek, çağdaş sanat alanında ilk on yılını bitirmek üzere olan Diyarbakır’lı sanatçıların önünde bir görev gibi duruyor. Galeri ortamı dışında, kurumlarla hiçbir ilişkiye geçmeden, küratöryal sistemin dışında, sponsorsuz-finanssal ilişki kumadan-, tümüyle katılımcı / sanatçıların kendi inisiyatifleriyle gerçekleştirecekleri sanatsal aktiviteler, Diyarbakır’ın çağdaş sanat alanındaki serüvenini, ikinci on yılda başka türlü bir mecrada devam ettirebilecektir.

‘Sürekli Diyalog Olarak Sanat – Dil Durumları’ sergisi yeni sürecin başında tüm eksikliklerine, kimi yanlışlıklarına rağmen duruyor. Katılımcılar, bu yeniden düşünmelerin praktice’lerini, performans, video-performans, fotograf, metin gibi çağdaş sanata ait artık gelenekselleşmiş ifade biçimleriyle ortaya koyarken, sanatın ve kamusal alanın demokratikleştirilmesini de yeniden tartışmaya açıyor.

Sürekli Diyalog Olarak Sanat Grubu

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Contemporary Art Exhibition

ART AS A PERMANENT DIALOGUE / LANGUAGE SITUATIONS

We confused with the necessity of saying something concerning new ways of thinking on
aesthetical/ethical dimensions of art.

Basically that exhibition which was titled as “Art as a Permanent Dialogue” aims improving the dialogue based on “multi-lingual circumstances” with the co-operation among the participants. The participants who problematized the politics-cultural-artictic dominant mythical harangue’s internal processes and its base try to query with their expressions, lingual approach forms produced myths and rituals. That exhibition is expressing effort to quit the mainstream’s state of minds and their expressions devoid of life.

Nowadays Diyarbakır is an important international center of contemporary art. The artists who live and produce in Diyarbakır endeavour analysis with critical aspects and start to discuss global cultural industries and their art politics, curator, gallery, artist and capital relationships, biennials, concepts. The artists were developing a great interest in producing works with underlined notions and they were accepting the participating exhibitions in museums or galleries with curators as an achievement before. Those artists have recognized that the capital is against the free thought and its independency. The artists who output for conceptual art almost have completed the first decade in Diyarbakır. These artists must face with the rethink prevalants. The second decade of contemporary art adventure in Diyarbakır will be participants’/artists’ own initiatives without galleries, art institutions and sponsors.


“Art as a Permanent Dialogue - Language Situations” is standing at the begining of new era with its deficiency and troubles. The participants of that exhibition have debated on the doctrines of contemporary art’s practices, performances, videos, photographs, texts with art and democratization of public area.



THE GROUP OF ART AS A PERMANENT DIALOGUE

June 18 - 27, 2007 WORKSHOP: ENSCHEDE, THE NETHERLANDS

Vermist/Missing/Kayıp

http://www.dutchartinstitute.nl/here-as-the-centre-of-the-world/home.html


June 18 - 27, 2007WORKSHOP: ENSCHEDE, THE NETHERLANDS

PROJECTCONCEPT

Here as the Centre of the World was a transnational artistic research project that took place in Damascus, Taipei, Diyarbakir, Khartoum, Beirut and Enschede in 2006 and 2007. The project consisted primarily of a series of ten-day workshops in each city, in which one street became the site and subject of research. Artists from each of the six locations worked collaboratively in small groups, carrying out an open-ended process of visual research and creating sitespecific projects and short interventions in public space. This research process was supported by a series of lectures, debates, artists' talks and round-table discussions in each city that opened up local artistic, cultural and socio-political debates. Each artist participated in workshops in their country of residence as well as at least one of the other five locations, creating a situation in which the relational nature of difference could be experienced. The workshops were an invitation for artists to 'de-centre' their practices - both to engage with a new 'centre' and to look differently at their usual artistic context. They were invited to consider how one's perception and conception of art is culturally and socially informed and to reflect on the real conditions in which cultural differences are articulated in the day-to-day activities of artists and art workers. Operating in the contact zone between cultures, the project raised issues surrounding the translatability of art. By making space for competing artistic paradigms, it problematized the notion that contemporary art has an international language shared by artists worldwide.Curators: Lucy Cotter, Gabriëlle Schleijpen and Alite Tijsen

Streets: Roombeek & the LipperkerkstraatPartners: Villa de Bank & Pluto

Workshop leaders: Tony Chakar & Erkan Özgen
Project leaders: Rik Fernhout & Alite ThijsenParticipating

artists:Machteld Aardse (The Netherlands)
Nisren Abasher (Sudan)
Abubakr Abd Elgadir Mohamed Elsayed (Sudan)
Askin Adan (Turkey)
Bassam Al Khouri (Syria)
Seçkin Aydin (Turkey)
Tammam Azzam (Syria)
Bani Bannwart (Switzerland)
Paula Bugni (Argentina)
Sjanet Bijker (The Netherlands)
Daniëlle Davidson (The Netherlands)
Myzgin Deniz (Turkey)
Nikos Doulos (Greece)
Kevin Drager (Canada)
Maciej Duchowski (Poland)
Julien Grossmann (France)
Rana Hamadeh (Lebanon)
Abdelmoniem Abdallah Hamza (Sudan)
Liu Han-Chi (Taiwan)
Omima Hasab El Rasoul (Sudan)
Chao Hsin-Yi (Taiwan)
Jolanda Jansen (The Netherlands)
Jae-Min Kim (South Korea)
Anna Korteweg (The Netherlands)
Kristiina Koskentola (Finland)
Dagmar Kriegesmann (Germany)
Ruth Linneman (The Netherlands)
Bechara Malkoun (Lebanon)
Reine Mahfouz (Lebanon)
Astrid Marit (The Netherlands)
Chris Meighan (United Kingdom)
Carlijn Mens (The Netherlands)
Duha Mustafa Mohamed (Sudan)
Rofaida Nour Aldyn (Sudan)
Adamantia Nika (Greece)
(Liu Pei-Wen) Pei (Taiwan)
Bassel Al Saady (Syria)
Hrair Sarkissian (Syria)
Tatia Skhirtladze (Georgia)
Chong Shun-Da (Taiwan)
Baris Seyîtvan (Turkey)
Kamila Szejnoch (Poland)
(Steve Huang) Huang Ta-Kuei (Taiwan)
Tao Mei-Yu (Taiwan)
Iris Tenkink (The Netherlands)
Raed Yassin (Lebanon)
Yen Yitzu (Taiwan)
Pavlina Verouki (Greece)
Emily Williams (The Netherlands / United Kingdom)


June 18 – 27, 2007 AN EXHIBITION AT VILLA DE BANK IN ENSCHEDE

conceptualized by artist/curator James Beckett. In order to include a large quantity of material on the Here as the Centre of the World projects involved, the exhibition was put up like a ‘magazine’ or ‘book’ through which the visitor could navigate, and ‘zoom in’ into the processing of the observations in raw documents and sketches by various artists. In addition replicas were made of some of the installations that were originally realized on location by carefully reproducing the initial form. By using the simple formal device of painting everything grey, each replica became an ‘evacuated piece’, a sort of ghost of its former self.


Seçkin Aydin lives and works in Diyarbakir. He is a painter who also works with video, installations, and performances. In 2008 he participated in the exhibition Art as a Permanent Dialogue - Language Situations, Hasan Paca Palace, Diyarbakir.

http://www.dutchartinstitute.nl/here-as-the-centre-of-the-world/participants.html

Bakış Aralığı

Küratörlüğünü Mahmut Celayir’in yaptığı ve Diyarbakırlı ressamların çalışmalarından oluşan “Bakış Aralığı” adlı resim sergisi, 3 Ocak’a kadar DSM galerisinde görülebilir.

http://www.diyarbakirsanat.org/etkinlik.asp?type=0&id=736&r=16%2E12%2E2007+16%3A09%3A59

BAKIS ARALIĞI Gizemli tarihsel derinligi ve dinamik politik durusuyla Diyarbakir sanatcilar icin de özgün bir yer olma özelligini korumaktadir. Yerel dokularin ve cagdas gelismelerin bu denli icice olmasi, bunun getirdigi gerilimler ve acilimlar bu kentte sanat icin yeni yollar aciyor.. Son yillarda burada güncel sanat alanindaki cikislar bunun kanitidir.Bakis Araligi sergisi DSM nin öncülügüyle, öncelikle tuval resmi kapsaminda yapilan ürünleri ortaya cikarmaya ve tartismaya sunmaya yönelik bir calisma dogrultusunda oldu..Burada ,kentteki ressamlar arasinda yapici bir diyalogun sürmesi ve ortak projeler üretmeleri amaclanmaktadir.Sergide farkli sanatcilar degisik yönelimler icinde olan yapitlar sunmaktadirlar. Cesur soyut egilimler disinda renk agirlikli özgün figüratif resimlerin de öne ciktigini görüyoruz.Bütün bu farkli sanatsal duruslar icinde ortak ve önemli olan cagdas olani yakalama , kisisel bir dil gelistirme istemidir. Bu sergi bu yönde icten bir cabayi bize kanitliyor.Bakis Araligi sergisiyle kentteki ressamlarimizi kucakliyor, bu calismalarin devam edecegini belirtmek istiyoruz. Mahmut Celayir BAKIS ARALIĞI Gizemli tarihsel derinligi ve dinamik politik durusuyla Diyarbakir sanatcilar icin de özgün bir yer olma özelligini korumaktadir. Yerel dokularin ve cagdas gelismelerin bu denli icice olmasi, bunun getirdigi gerilimler ve acilimlar bu kentte sanat icin yeni yollar aciyor.. Son yillarda burada güncel sanat alanindaki cikislar bunun kanitidir.Bakis Araligi sergisi DSM nin öncülügüyle, öncelikle tuval resmi kapsaminda yapilan ürünleri ortaya cikarmaya ve tartismaya sunmaya yönelik bir calisma dogrultusunda oldu..Burada ,kentteki ressamlar arasinda yapici bir diyalogun sürmesi ve ortak projeler üretmeleri amaclanmaktadir.Sergide farkli sanatcilar degisik yönelimler icinde olan yapitlar sunmaktadirlar. Cesur soyut egilimler disinda renk agirlikli özgün figüratif resimlerin de öne ciktigini görüyoruz.Bütün bu farkli sanatsal duruslar icinde ortak ve önemli olan cagdas olani yakalama , kisisel bir dil gelistirme istemidir. Bu sergi bu yönde icten bir cabayi bize kanitliyor.Bakis Araligi sergisiyle kentteki ressamlarimizi kucakliyor, bu calismalarin devam edecegini belirtmek istiyoruz.

Küratör: Mahmut Celayir

Here as Center of the World- Dutch Art Institute Workshop in Diyarbakir.

FOR PRESS RELEASE SCROLL TO BOTTOM

Workshop leaders: Erkan Özgen (Diyarbakir), Libia Castro (Esp), Ólafur Ólafsson (Iceland)

Project Co-curator: Lucy Cotter (Ireland), Project manager: Rik Fernhout (NL)

Ev dEr wEkî navEnda cîhanê / Here as the Centre of the World

Project Presentation: 22 marcH 18:00Diyarbakir Sanat Merkezi

Location: Diyarbakir Arts Centre, Diyar Galeria no: 9, DaGkapi/Diyarbakir

Participants: askin aDan (Diyarbakir)

MizGin Deniz (Diyarbakir),

baris seyitvan (Diyarbakir),

seçkin ayDin (Diyarbakir),

sCott ponik (usa),

Chris MeiGhan (uk),

MaChtelD aarDse (nl),

kaMila szejnoCh (pl),

astriD van peet (nl),

Mei-yu tao (taipei),

anne korteweG (nl),

bani bannwart (Ch),

bassel al saaDy (syria),

liu, pei-wen (taipei),

oMiMa hasab el rasuol (suDan).

Here as the Centre of the World: Dyabakir

In recent years, the Dutch Art Institute has responded to its own, relatively isolated, position in Enschede in the far east of The Netherlands by developing an international cultural network with organizations and artists that some will consider to be peripheral and thus less than obvious. These energetic, inquisitive and ( despite their sometimes complicated conditions for art production) highly enterprising partners are the backbone of Here as the Centre of the World, which is the outcome of a shared vision of productive creative exchange.
Here as the Centre of the World is a transnational artistic research project for young artists from Taipei (Taiwan), Damascus (Syria), Beirut (Lebanon), Khartoum (Sudan), Diyarbakir (Turkey)and Enschede (The Netherlands). It was launched in the spring of 2006 and consists of 6 workshops, a conference and the publication of a book. Finallyaround 70 artists will have been involved in the collaboration.

We now proudly announce the upcoming workshop inDiyarbakir that will take place fromMarch 13 till March 23

Anadolukultur http://www.anadolukultur.org)Dyarbakir Art Center http://www.diyarbakirsanat.org/

DYARBAKIR

Diyarbakir is a provincial capital in the southeast of Turkey, but most of the Kurds consider it the capital of their imagined state Kurdistan. The city has a population of about 800,000 (the province, also named Diyarbakir approximately 1.5 million) and a long history. In the 13th century B.C., the city, then named Amid, was the capital of an Aramean kingdom.Later it became an important city in the Roman, Byzantine and Ottoman Empires. Until the 19th century maybe up to 30 or 40 percent of the population was Christian and still the city counts many churches, yet few of them in use. Little of the long history of the city is conserved, apart from a few houses of prayer and the imposing wall, build in the 4th century and stretched unbroken for almost 6 kilometers. The old city is located within these walls, but only a quarter of today’s Diyarbakir, which stretches far beyond the old wall. This old quarter is referred to as Sur (literally meaning “wall”). The population of the city rapidly increased in the 1990s, when the Turkish army started to evacuate the countryside in a desperate attempt to destroy the Kurdistan Workers Party, considered terrorists by the Turkish state, but freedom fighters by most of the Kurds.

The workshop will take place in an old part of the center now named Suriçi (meaning “within the wall”) which had been occupied by the army and special army units for years. After the army left, the pro-Kurdish municipality renovated Suriçi. The quarter it is part of is lively and crowded. But beyond the main streets many of those who became displaced in the vicious army campaign of the 1990s live a hard life in ramshackle houses.

The workshop as a ‘common project’
The workshop will take place in an old part of the center now named Suriçi (meaning “within the wall”) which had been occupied by the army and special army units for years. After the army left, the pro-Kurdish municipality renovated Suriçi. The quarter it is part of is lively and crowded. But beyond the main streets many of those who became displaced in the vicious army campaign of the 1990s live a hard life in ramshackle houses.

Using ‘Here as the centre of the world’ as a starting point, the artists are asked to challenge their own vantage point of origin as the centre of their world. By providing an (or multiple) alternative point(s) of reference, temporary residency within a new cultural matrix calls for a refraction of the artists knowledge of the world at large through the prism of the ‘new’ city. In order to experience the various facets of that prism beyond the more familiar setting of the studio or art centre, one street has been chosen in each city as a locus for artistic research. Artists are encouraged to work directly in the street, to talk to people whose daily life intersects with the street’s activities and to see how those site-specific interactions shed light on the wider socio-cultural context.

By becoming ‘regular’ faces on the street and by breaking down the unfamiliar to one-to-one encounters, the artists are invited to look below the surface of difference and negotiate their changing perceptions. Through a process of visual documentation and conversational encounters, the street becomes a source of new experiences and knowledge and in many cases the site for temporary artistic projects whose audience is the inhabitants and passers-by of the street itself.
In each city the approach to the project largely depends on the merger of working methods and artistic languages used by visiting and local participants.As individuals come together with a shared goal, a temporary ‘public space’ is created, in Hannah Arendt’s meaning of the term as a site of transformation fuelled by genuine collaborative effort. In this sense ‘Here as the Centre of the World’ can be conceived of as a ‘common project’.

Institutional Partners Here as the Centre of the World :
Zico House in Beirut,The NIASD in Damascus,ANADOLU KULTUR in Diyarbakir,Dutch Art Institute & the Common Project foundation in Enschede,The German Sudanese Cultural Center in Khartoum,The National Taipei University of Education in Tapei
Sponsors Here as the Centre of the World :
For the workshop in Dyarbakir we especially want to thank the Anadolukultur,the municipality of Dyarbakir and the Consulate of the Netherlands in Istanbul.

The workshops to date and the ‘Here as the Centre of the World’ conference( 2006, May 23 & 24) were possible thanks to the generous support of the Prince Claus Fund, KLM, The Dutch Embassies in Turkey, Syria and Sudan and the National Taipei University of Education (NTUE), the SNS Reaal Fund, Projektburo Roombeek, Rijksmuseum Twenthe, the Prince Bernard Culture Fund and the Gravin Van Bylandt fonds and the city council of Enschede.

Curators Here as the Centre of the World :
Here as the Centre of the World was conceptualised byLucy Cotter, Gabriëlle Schleijpen and Alite Thijsen