| 6:30- 8:30 pm |
DEPO
| Dilek Winchester / No address, but possibility! A parasite under the shadow of undocumented economy: Kayısı Kent A4 [Apricot City A4] |
Is it possible to imagine an art practice which can exist outside of white cube without the pressure of the art market, especially when there is hardly any public funding is available? Kayisi Kent A4, adopts the strategies of the informal economy. It makes use of the anonymously designed street vending vehicles that provide laminating and photocopying services in the streets of Istanbul. These vehicles are not legal, yet they are ignored by the authorities most of the time. Kayısı Kent A4 is a fanzine/zine-like-thing. Each issue is made by a different artist and then copied and sold by these street vendors. Kayısı Kent A4 acts like a good natured parasite. It is initiated and run by Dilek Winchester. The introductory issue prepared by Winchester is followed by issues created by Evrim Kavcar, Burak Bedenlier, Nalan Yırtmaç, Delphine Rigaud and Stephan Kurr. Upcoming issues will be by xurban, Yasemin Özcan Kaya, Vaghram Aghasyan ve Jorge Mendez Blake.
"KAYISI KENT A4For detailed info:http://kayisikenta4.blogspot.com/What is "Kayısı Kent A4" ?Kayisi Kent A4 is a fanzine/zine-like-thing. Each issue will be made by a different artist and the fanzine will be copied and sold by mobile photocopiers in Istanbul. Apricot City A4 will attempt to survive on the street between February – December 2010. The first issue was prepared by Dilek Winchester. Subsequent issues will be made by artists including Evrim Kavcar, Nalan Yırtmaç, Delphine Rigaud, Stephan Kurr, Jorge Mendez Blake, Burak Bedenlier, Yasemin Özcan Kaya, Vahram Aghasyan and xurban_collective.
A large number of these vendors are from Malatya; some of their vehicles are named Apricot Kent I, Apricot Kent II... Kayısı Kent A4 [Apricot City A4] derives its name from these inscriptions.
You may find Kayisi Kent A4 in Karaköy, Eminönü and Kadıköy, but then again you might not. Some of the vendors are stable, but most of them travel throughout the city.
In short, there is no address; merely a possibility.Kayısı Kent A4
| a77 hakkında... |
2A77 Art Collective was founded in 2005 with an awareness of the social injustice created by the continually changing and almost indefinable global force manifesting itself in such bodies as the international capital, IMF, the World Bank and the WTO. Focusing on the transformative power and the challenging nature of collective creation, A77 regards art practices as essential in this conjuncture. The imperative that contemporary art should derive its inspiration from other disciplines compels the artist to reach beyond his/her artistic creativity in such an extent that the process might no longer be termed as ‘art’.
This new phase in the evolution of art has made it necessary to regard the ground of continuous flow of life as a laboratory. And it is in the transforming energy of daily life that A77 Art Collective seeks the source of artistic creation. It ascribes significance to the life in the back streets of a city and the alternative forms of life within that very life. It sees the relationships, the hatred, the creation, the love that urban people experience, therefore these people themselves, as an artistic image in its own right.
A77 was founded in a region (Antakya) that partly escapes the effects of globalization, where differences are still preserved, and where issues related with religious fanaticism and racism have not –yet– been critically felt. It is a rural collective and it belongs to the Third World.
It makes use of every means to publicize its activities. Its only reservations are towards appealing to the centre; resorting to self-promotion strategies using the media; concealing the greediness and war politics of international capital (empire); and collaborating with institutions (without objectives or defining themselves as only ‘cultural’ bodies) supported by multiple sponsors and aiming to create ambiguity.
The principal media A77 Art Collective works with are sensations. For the collective, this term does not refer to ambiguity or mystification as it did until Kant and still does in a wide context. The animal species called ‘humans’ continuously struggle to understand the chaos surrounding them in the second nature they created. For the human, fictiveness is integral to this nature. Sensations are traces of antennas located at the edge of these efforts. Language is the mechanism that embodies what is common in this struggle.
This new phase in the evolution of art has made it necessary to regard the ground of continuous flow of life as a laboratory. And it is in the transforming energy of daily life that A77 Art Collective seeks the source of artistic creation. It ascribes significance to the life in the back streets of a city and the alternative forms of life within that very life. It sees the relationships, the hatred, the creation, the love that urban people experience, therefore these people themselves, as an artistic image in its own right.
A77 was founded in a region (Antakya) that partly escapes the effects of globalization, where differences are still preserved, and where issues related with religious fanaticism and racism have not –yet– been critically felt. It is a rural collective and it belongs to the Third World.
It makes use of every means to publicize its activities. Its only reservations are towards appealing to the centre; resorting to self-promotion strategies using the media; concealing the greediness and war politics of international capital (empire); and collaborating with institutions (without objectives or defining themselves as only ‘cultural’ bodies) supported by multiple sponsors and aiming to create ambiguity.
The principal media A77 Art Collective works with are sensations. For the collective, this term does not refer to ambiguity or mystification as it did until Kant and still does in a wide context. The animal species called ‘humans’ continuously struggle to understand the chaos surrounding them in the second nature they created. For the human, fictiveness is integral to this nature. Sensations are traces of antennas located at the edge of these efforts. Language is the mechanism that embodies what is common in this struggle.
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Dilek Winchester 1998 yılında Central Saint Martin’s College of Art and Design’da lisans eğitimini ve 2010’da Marmara Üniversitesi’nde Güzel Sanatlar Enstitüsü Heykel Bölümü’nde doktora tezini tamamladı. Bugüne kadar Londra, İstanbul, Diyarbakır, Venedik, Leipzig ve New York’ta sergilere katıldı. Kurucu üyesi olduğu Anon Sanatçı kolektifi ile Londra’da CultureFm ve Çok Kültürlü Yoğurt Partisi adlı kentsel alanda katılıma dayalı projeler gerçekleştirdi. 2010 yılında Kayısı Kent A4 adlı, her sayısını farklı bir sanatçının hazırladığı ve İstanbul’da seyyar fotokopiciler tarafından kentin çeşitli noktalarında dağıtılan fanzin projesini başlattı ve halen yürütmektedir. Çevirmen, yazar, oyuncu, mimar, psikolog ve psikodramatist gibi farklı uzmanlık alanlarından gelen kişilerle işbirliği halinde ürettiği çalışmaları dil, yazı, edebiyat, çeviri, tiyatro, sözlü tarih, duyguların ifadesi gibi konular üzerine düşünme denemeleridir.
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A77 2005 yılında Antakya'da kurulmuş olan bir sanat kollektifidir.
