23rd February 2011-Wed | Öykü Özsoy

| 6:30-8:30 pm |
DEPO


| I Don't Even Remember |

Ivana Madariova. right: Öyku Özsoy


In his book titled Inside the White Cube: The Ideology of the Gallery Space, Brian O'Doherty defines the gallery as a space where "some of the sanctity of the church, the formality of the courtroom, the mystique of the experimental laboratory joins with chic design" that is the specific covering of 20th century art. For a long time this covering has been peeled and scraped off by artists and curators working on various projects and precise definitions have become blurred. With Kristina Kramer, we are going to review and share with the audience my experiences at Platform Garanti and Alti Aylik, and my independent projects.

Öykü Özsoy, Kristina Kramer’i küratöryel deneyimlerini paylaşmak üzere Açık Masa’ya davet ediyor.
Öykü Özsoy, 2003-Kasım 2010 tarihleri arasında Platform Garanti Güncel Sanat Merkezi'nde asistan küratör ve İstanbul Misafirleri Programı koordinatörü olarak çalıştı. Bu süre zarfında 40 sergi, 75 konferans ve atölye çalışmasının organizasyonunda görev aldı. Kristina Kramer'le beraber, Altı Aylık, sanat proje inisiyatifinin kurucularından olan Özsoy, burada uluslarası sergi ve video gösterim programlarının eş küratörlüğünü yaptı. Özsoy, son olarak Vessela Nozharova ile beraber, DEPO'da gösterilen "Belirsiz İstikametler" (2010) sergisini düzenlemiştir.

Images: Indefinite Destinations exhibition, Depo
Arthur Zmijewski

Alina Viola Grumiller

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Öykü Özsoy has been working as an assistant curator and a program coordinator at Platform Garanti CAC since 2003 where she has been involved in the organization of more than 30 exhibitions and 75 conferences and workshops. Her work on the international level includes: "Hit & Run", 2004; "End on Mouth"-Yael Davids, 2004; "An Ideal Society Creates Itself" -Oliver Ressler, 2005; "The Photographers: Laurence Bonvin and Juul Hondius", 2007; "Last Things" in Westfalischer Kunstverein, Münster, Germany, 2008; "Candid Stories", INSA Art Space, Seoul, Korea, 2008. She is also responsible for the Istanbul Residency Program which has hosted more than 85 artists since 2003. Ozsoy is also one of the founding members of an independent art project space located in Istanbul called Alti Aylik where she has co-curated seven exhibitions and screening programs which have shown in Amsterdam, Los Angeles and Cologne as well as in Istanbul...

3rd November 2010- Wed | Pelin Tan-Yaşar Adanalı

| 6:30-8:30 pm |

| Social dynamics of the city and its relations with contemporary art production |

Whether they are imposed by the state as in the case of Sulukule, Tarlabaşı, Fener-Balat Transformation Projects, or they take the form of a gentrification process led by capital as in the case of Cihangir, Çukurcuma, Asmalımescit, Tünel, Galata and Tophane, there is a structural violence inherent in urban transformation processes. *Can locality be thought of as a practice of resistance outside the limited binary framework of globalization? **

** Yaşar Adanalı, quoted from his article titled ‘Tophane’ published in Birgün in 2010
** Pelin Tan, quoted from her contribution to the 2007 İstanbul Biennial Catalog

Açık Masa invites Pelin Tan and Yaşar Adanalı to talk about the social dynamics of the city and art production. (talk/discussion will be in Turkish, simultaneous translation in English is provided)
Individuals who have been invited to speak at Açık Masa can invite other speakers with whom they share a way of thinking or area of interest. Pelin Tan and Yaşar Adanalı invited Erdoğan Yıldız.


Image: Roman settlement, Volos, Greece, 2009 [ Right: Pelin Tan]

Links:



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Pelin Tan, Pelin Tan is a Sociologist and Art Historian. She was a researcher at the Institute of Social Sciences, Istanbul Technical University, Istanbul (2001-2010). In 2008, she was a guest professor at the Academy of Fine Arts, Architecture and Urban Research MA Program, Nuremberg. Guest lecturer at the History of Art Departments at the Technical University, Berlin (2006–2007) and Trier University, Trier (2004). Tan is currently working on her publication Unconditional Hospitality and Architecture (forthcoming) and co-edited (with Sezgin Boynik) the publication Public Space Discussion in Contemporary Art (2007). She is the editor of Muhtelif contemporary art magazine, and has contributed to numerous publications including: Becoming Istanbul, An Encyclopedia (2008); When Things Cast No Shadow (catalog, 5th Berlin Biennale) (2008); Megastructure Reloaded (2008); and Contemporary Art In Turkey: 1986–2006 (2007). Tan is a research fellow in 2011 Spring at the ACT program of the Department of Architecture – School of Architecture and Planning, Massachusetts Institute of Technology. Tan lives and works in Istanbul.
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Yaşar Adanalı gelişme planlaması, araştırması ve yönetimi üzerine, hem profesyonel hem de gönüllü olarak Londra, Güney Amerika ve Tanzanya`da çalışmalarda bulunmuştur. Türkiye ve Orta Doğu’da çalışmalarını sürdürmektedir. Sabancı Üniversitesi’nden Toplumsal ve Siyasal Bilimler lisansı, Londra Kolej Üniversitesi, Kalkınma Planlaması Birimi’nden Toplumsal Kalkınma Pratiği yüksek lisansı bulunmaktadır. Doktora çalışmasını mekansal demokrasi ve kent yönetimi üzerine sürdürmektedir. Dominik Cumhuriyeti’nin Santo Domingo şehrinde zorla tahliyelere karşı mücadele veren Toprağın Savunusu için Kentsel Toplumsal Ağ (RED) ile çalışmıştır. Londra Kolej Üniversitesi ve Birleşik Kentler ve Yerel Yönetimler tarafından yürütülen Yerel Yönetimlerde Inovatif Toplumsal İçerme Politikaları projesi için dünyanın farklı şehirlerinden politika deneyimlerini araştırmıştır. Rotterdam Mimarlık Bienali`nde sergilenen İstanbul Zorla Tahliye Haritası`nın yapan ekibi koordine etmiştir. Hasankeyf için barajsız alternatifler geliştirmek için Doğa Derneği ve Hasankeyflilerle çalışmaktadır. Stuttgart Üniversitesi`nin yürüttüğü Filistin Mülteci Kamplarının İyileştirilmesi Projesi`nde danışmanlık yapmaktadır. Darmstadt Üniversitesi Uluslararası Şehircilik mastır programında katılımcı planlama pratiği üzerine ders vermektedir. Dayanışmacı Atölye üyesidir. Mutlukent.wordpress.com adresinde mutlu insanların yaşadığı adil bir kent hayali temelinde farklı kentsel durumları, mücadeleleri ve ilerici uygulamaları paylaşmaktadır.
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Açık Masa etkinliklerine katılım serbesttir ve etkinlikler ücretsizdir.

Konuşmanın gerçekleşeceği mekan:

Adres: DEPO / Tütün Deposu Lüleci Hendek Caddesi No.12
Tophane 34425 İstanbul

3rd December 2010- Fri | Erinç Seymen


Fotograph: Muhsin Akgün

5 January 2011- Wed | Elmas Deniz

| 6:30-8:30 pm |
DEPO

| Uncomfortable Person |

In İstanbul I realize that I couldn’t find much possibility to talk about my works. Therefore I would like to use this meeting in that way. I would like to talk about, some of my new works that I have been developing dealing with "poverty" or rather "the fear of poverty", some ideas that how I extended to being an artist through writing, criticism, curatorial and lately publishing practices. And I would like to talk about Merkezkaç publications that I initiaded recently especially about the process of the first project “The Book of Rejections.
Deniz is primarily interested in the discursive quality of contemporary art practice rather than any formalistic representation. This is why, her choice of media varies from one project to another utilizing a range of diversity such as installation, video, sculpture, performance, writing and drawings. Dealing with global power structures, democracy, state-control, urbanism, and globalization, she developes a personal perspecive in each case, and creates a critical eye on the perception of the subject matter, rather than engrossing it or representing a position.

Fakirlik Korkusu| Fear of Poverty, label for the series of work, 2010

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Elmas Deniz, (born in Bergama TR, 1981 ) Artist, lives and works in Istanbul. She graduated from Dokuz Eylül University Fine Arts Faculty in 2003. She is one of the founder and co-project director of K2 Artist Initiative between 2004-2007 in Izmir. She moved to istanbul in 2008. She is founder of Merkezkaç publications 2010 which focuses on art criticism. She is editor of upcoming first publication: “The Book of Objections.” She awarded Berlin Goethe Institute cultural grand in 2007. In 2006 she participated IASPIS, sweden and FRAME, Finland expert visitors programs. In 2009 she was a resident at Sextant de Plus - La Friche Belle de Mai, Marseilles, FR ; in 2008 DIVA Copenhagen, Denmark; in 2006 Vassl, Karachi, Pakistan; 2005 Aiwa Beiruth, Lebanon. Her recent solo exhibitions; On Volatility /Despre Votalititate, Galeria Nouva, Bucharest, RO (with Pilvi Takala) in 2007 ; Nothing Can Happen to Us, Alti Aylik Project Space, Istanbul, 2006. Recent selected group exhibitions include There is No Audience, Montehermoso,Vitoria-Gasteiz, ES, 2009; Contingent Identities, Depo, Istanbul,TR ;Creative Destruction, Outlet, Istanbul, TR ; 5th Gyumri Biennale, Armenia ; Normalization / that from a long way off look likes flies... Platform Garanti CAC, Istanbul, TR in 2005. She curated “Overtime Work” exhibition in AASM in 2010 and previously in 2008 “The Unmarked Categories.” [www.elmasdeniz.com]

2nd February 2011-Wed | Selim Birsel

| 6:30-8:30 pm |
DEPO

| The Jester, Flaneur, The Gardener and The Cook |




... One morning when I wake up, in the bathroom the water was cut. I walked the dusty dark red carpet runner, went down the hall. I passed through the ruins of the remaining empty liquor bottles from the party last night, ashtrays overflowing with cigarette butts, chicken bones, spilled fruit juices, coffee cups dried.
I opened the window, lay out to smell the air and...

Selim Birsel 2010

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Selim Birsel born in 1963 lives and works in Istanbul.
He is a multidisciplinary artist working with divers’ medium such as drawing, painting, installation, photography, video, performance… Since 1990 he is exhibiting his works in national and international shows. He is also involved on curetting since 1992 in divers’ projects and institutions. He is teaching Art Studios in Sabanci University since 1999.
Latest shows ABBARA KADABRA, Mardin Bienali 2010, BACKYARD 2009 Istanbul (solo), SECTION 2009 Diyarbakır (solo), IN AND OUT OF ISTANBUL 2008 Philadelphia, TIME PRESENT TIME PAST, highlights from 20 years of the international Istanbul biennial 2007 Istanbul, MODERN AND BEYOND 2007 Istanbul. Curetting: GAR 1995 Ankara, OPEN CITY (Yoko Ono) 2007, EMPTY SPEECH (Artists from Beirut) 2008 Istanbul, ŞEBEKE 2010 Cajarc-France.

5th March 201-Sat | A77 Art Collective-Dilek Winchester

| 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 A4
For 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.

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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.


| 6:30-8:30 pm |
DEPO

| Art and Criticism - identity, change, resistance and cultural conflicts |

Deleuze who claims that “Art is resistance to death” in fact he intent to articulate 'conscious' that has not been developed yet. This resistance; can be point out as content of the illusion of the reality placed in ana art work. The content, sometimes by itself as a conscious application via naive contact that transforms reality into imaginary matter, some other times reflects upon the work of art by a tendency as an actual out of content. Therefore content appears as a reflection of life... "



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Erkan Doğanay Born in Kars. In 1998, he graduated from 19 Mayıs University Faculty of Fine Arts Painting department. Besides his painting practices he also has works in Litretaure. He awarded by two times of the 3rd degree at “Orhan Kemal Narative Awards" in ‘2003’ and ‘2004.’ His texts has been published in newspapers and magazines such as; Cumhuriyet, Radikal, Milliyet, Birgün newspapers ; Milliyet Sanat, Evrensel, Artist, Genç Sanat, RH Sanat, E Magazines, Hayvan, Kaçak Yayın . He produced the book tittled “Ustalara Saygı” with Metin Üstündağ. He is the Turkish editor of the book titled “1001 paintings that you have to see before you die” Recently, Erkan Doğanay works at Taraf Newspaper and writes at various art magazines.
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