NO (B)ORDERS / KUNSTPUNKT BERLIN / Performance: Post Truth Spa Center -seance01

04/05/2018

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NO (B)ORDERS is to be understood as a universal political outcry coming directly out of the project space art scene. It stands for an open worldview, the artistic recapturing of urban space, as well as the preservation of autonomy and diversity for project spaces and initiatives. Four internationally active project spaces and initiatives were selected through an open call for this exhibition, based on artworks that are clearly positioned against discrimination and repression, instead displaying ways forward toward communication and freedom. The group exhibition allows not only for an encounter with different forms of reflection and expression, but also offers a space for spontaneous art actions and further discussion.

Vernissage: Thu., 26.4.2018, 7 p.m.
Exhibition: 27.4. – 13.5.2018
Opening hours: Fr.-Su., 2-7 p.m. (Gallery Weekend: 27. – 29.4.2018)
Finissage: 13.5.2018

Organized by Netzwerk freier Berliner Projekträume und -initiativen e.V. with the friendly support by Senatsverwaltung für Kultur und Europa

stamp alive | Carola Rümper / mp43 – projektraum für das periphery; His TV | Sis Kollektiv / Apartment Project; All Over the Map | Artist Group Janzen/Sági/Torma; Choreography #2 | Stine Eriksen / iCollective

Screen Shot 2018-05-20 at 23.10.04_600x375 “Post Truth Spa Center -seance01″, a performance by Şafak Çatalbaş, was realised on 4th May 2018 at Kunstpunkt Berlin in the framework of the exhibition NO (B)ORDERS, within the program of His TV / Sis Kollektiv / Apartment Project.

PostTruthSpaCenter_seance01_pool_1_600x375 View from the performance “Post Truth Spa Center -seance01″, realised by Şafak Çatalbaş on 4th May 2018, Kunstpunkt Berlin.

Performance: pulsuz, mavi, iki // Kadın Yazısı / Feminaming Writing

21/03/2018

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Performance | Didem Erk&Şafak Çatalbaş | Pulsuz, Mavi, İki | March 14 | 20:00 |Women’s Library and Information Center Foundation

Istanbul Performance Art presents the performance of Didem Erk&Şafak Çatalbaş at Turkey-Sweden Literature Meeting (9-18 March 2018). We are honoured to be a part of Turkey’s first Festival of Women’s Literature.
Turkey’s first Festival of Women’s Literature takes place in collaboration with the Consulate General of Sweden, Mimar Sinan Fine Arts University Women’s Studies Research and Application Center, and the Women’s Library and Information Center Foundation. The festival to be held in 4 different venues between 9-18 March 2018 will host 10 panels, 6 readings / interviews, 3 round tables, 3 forums, 4 workshops, 2 performances and 1 exhibition, bringing together about 100 participants from Sweden and Turkey.
During these 10 days, various aspects of literature and gender-related issues will be discussed, and new works will be created during workshops. Events are open to the public and free of charge.
For more information: www.kadinyazisi.com

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Şafak Çatalbaş – view from the performance “pulsuz, mavi, iki” (scaleless, blue, two) – Women’s Library and Information Center Foundation, 14 March 2018.

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Komşu Galaksiler / Neighboring Galaxies 15.09.-15.10.2017

01/09/2017

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Sanatçılar | Artists: Merve Şendil, Sümer Sayın, Şafak Çatalbaş
Küratör | Curator: İpek Yeğinsü

Galeri Bu, yeni sezonu Merve Şendil, Sümer Sayın ve Şafak Çatalbaş’ın “Komşu Galaksiler” grup sergisiyle karşılıyor. Küratörlüğünü İpek Yeğinsü’nün üstlendiği sergi, galaksilerin birbirleriyle olan ilişkilerine yön veren ve sosyopolitik evrenimizin dinamikleriyle ilginç bir paralellik gösteren kozmik yasalardan yola çıkıyor. Sanatçıların her biri, bu yasalara asi birer galaksi gibi meydan okuyor. Hem kendi merkezinde kalarak, hem de diğer sanatçı/galaksilerin alanlarıyla temas ederek, çarpışıp yok olmadan etkileşimin mümkün olduğu alternatif bir kozmos inşa ediyor.

Galeri Bu welcomes the new season with the group exhibition “Neighboring Galaxies” featuring works by Merve Şendil, Sümer Sayın and Şafak Çatalbaş. Curated by İpek Yeğinsü, the exhibition originates from those cosmic laws directing intergalactic relations that are interestingly similar to the dynamics of our sociopolitical universe. Both staying at her own center and slightly touching the other artist/galaxies, each artist challenges these laws like a rebellious galaxy, building an alternative cosmos where interaction without collision and destruction is possible.

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Sergi açılışında gerçekleşen performanstan görünüm / “Abdestbozan Söylenceleri”, Şafak Çatalbaş, 2017
View from the performance at the opening / “Tales Of The Tapeworm”, Şafak Çatalbaş, 2017

POST-TRUTH SPA CENTER sunar: Omni-antenna ile Hissi Haberler Saati

16/06/2017

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POST-TRUTH SPA CENTER
sunar:
Omni-antenna ile
Hissi Haberler Saati

Gerçekler korkunç derecede sıkıcıdır.
Post-gerçeklerse tatlı,
renkli, canlı, heyecanlıdır.

“Omni-antenna” sizi bütünüyle hisseder,
gerçekliği o anki ihtiyacınıza göre üretir
ve kulak okşayıcı bir ses tonuyla size fısıldar.

Post-gerçekler hisler yoluyla
hücrelere sızar,
hissedildikçe coşar,
coştukça daha hızlı koşar.
Sansasyon her yeri sarar.

Manyetik alanları algılama yeteneğiniz
Omni-antenna ile doruk noktasına ulaşır.
Omni-antenna bir uzvunuza dönüşürken,
anlık duyumlar beyninizi gıdıklar.
Şipşak haberler akar, akar, akar.

Performans: Şafak Çatalbaş / 16.06.2017 / 18.00 – 19.00
DEPO / Tütün Deposu Lüleci Hendek Caddesi No.12 Tophane 34425 İstanbul

“Post-Truth Spa Center” sis kolektifi / Kuşla Göz Arasında sergisi kapsamında Şafak Çatalbaş tarafından sunulan geçici bir rahatlama alanıdır. Sergi katılımcılarından Ali Miharbi ve Lara Ögel’in katkılarıyla zenginleşen bu alan, performatif bir spa, harika bir haberleşme mecrasıdır. Cazibedar ve şifalıdır. Mesajınız alınmıştır.

POST-TRUTH SPA CENTER presents:
Omni-antenna!

Truth is terribly boring.
Post-truth, however, is sweet,
colourful, lively, exciting.

Omni-antenna detects you,
creates whichever truth you need at the moment
and whispers it endearingly into your ear.”

Post-truth leaks into cells,
overflows when it is sensed,
starts running when it runs over.
Sensation spreads.

Your ability to perceive magnetic fields
reaches its climax with Omni-antenna.
As Omni-antenna becomes your limb,
Instantaneous sensations tickle your brain.
Breaking news flow, flow, flow.

“Post-Truth Spa Center” is a temporary relaxation space presented by Şafak Çatalbaş in the framework of the exhibition “In The Blink Of A Bird”. This space is a performative spa, a fantastic communication medium which is enriched with the contributions of the exhibition participants Ali Miharbi and Lara Ögel. It is charming and curative. Your message has been received.

Performance: Şafak Çatalbaş / 16.06.2017 / 18.00 – 19.00
DEPO / Tütün Deposu Lüleci Hendek Caddesi No.12 Tophane 34425 İstanbul

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From the performance / Performanstan görüntü / Photo credit: Ali Sarugan
Click here to watch the video documentation of the performance.
Performansın dokümantasyon videosunu izlemek için buraya tıklayınız.

Kuşla Göz Arasında / In The Blink Of A Bird

31/05/2017

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Kuşla Göz Arasında

27 Mayıs – 17 Temmuz 2017

Açılış: 26 Mayıs Cuma, 18:00
Performans: 19:00

“Kuşla Göz Arasında”, kolektif üretimin imkânlarını arayan, birlikte düşünmenin, hareket etmenin, yola çıkmanın, karar vermenin usûl ve yöntemlerini tartışan bir grup insanın, Apartman Projesi’nin ev sahipliğinde 2016 yılında başladıkları bir ortak çalışmanın ürünü.

Katılımcıları azalıp çoğalan ve ‘sis’ adı altında toplanan bu kolektif girişim; görünürlük, mevcudiyet ve söz söylemenin eski ve yeni araç gereçleri üzerine kafa yordu; bildiri, tutanak, yönetmelik, mektup, fanzin türünde matbuatı değerlendirdi. Karar vermenin, yargıya varmanın usûl ve yöntemlerine, bunlar etrafında üretilen söz kalıplarına, mekân düzenlemelerine baktı. Bugün ve bu coğrafyadan yola çıkarak ama sınırlar varsaymayarak şiddet ve dilsizleşmeyi düşündü. Baskı ve sansür dalgasının bugün üretilecek şeyleri ve söylenecek sözleri nasıl dönüştüreceğini sordu. Ortak bir gerçekliğin, olası bir ‘şimdi’nin üretimini ve birlikte hareket etmenin imkân ve imkânsızlıklarını tartışmayı sürdürmek istiyor.

Depo’nun ilk katında, teksir ve riso gibi basma ve çoğaltma araçları etrafında şekillenen “Gelen Kağıtlar” bölümü yer alıyor. İkinci katta ise çeşitli televizyon programı setlerinin tekrar üretildiği bir televizyon stüdyosu olarak kurgulanmış “Televizyon” bölümü bulunuyor. Serginin bu iki ana aksı şimdiye kadarki ortak çalışmaların ve davet edilen işlerin yanı sıra sergi boyunca da yeni katılımlarla genişlemeye devam edecek, yeni buluşmalara imkân verecek ve üretim sürecini görünür kılacak.

“Kuşla Göz Arasında”nın hazırlık sürecine bir de performans çalışması eşlik etti. Sergi kapsamında gerçekleştirilecek bu performans hem sergiyi şekillendiren soruların ve kaygıların, hem de usûl ve yönteme dair tartışmaların bir kaydını tutuyor. Performans metni el yapımı bir kitapçık olarak üretilecek ve serginin haritası gibi kullanılabilecek.

Kuşla Göz Arasında, Selda Asal, Fatma Belkıs, Şafak Çatalbaş, Elmas Deniz, Borga Kantürk, Evrim Kavcar, Sevgi Ortaç, Gümüş Özdeş, Gökçe Süvari ve Merve Ünsal’ın birlikte çalışarak düşünsel ve biçimsel altyapısını kurduğu, davet ve iştiraklerle genişleyen bir sergi.

Sergide Ali Miharbi, Artıkişler Kolektifi, Atalay Yeni, Azra Deniz Okyay, Bengi Güldoğan, Berk Asal, Burak Delier, Ceren Oykut, Didem Pekün, Didem Erk, Emine Ekinci, Ezgi Kılıçaslan, Florian Wüst, Göksu Kunak, Gülsün Karamustafa, Güneş Terkol, Hera Büyüktaşçıyan, İrem Tok, İz Öztat, Julia Lazarus, Komet, Lara Ögel, Mehtap Baydu, Merve Kılıçer, Nihan Somay, Onur Ceritoğlu, Özgür Atlagan, Özgür Erkök Moroder, Özlem Şimşek, pad.ma, Sasha Povzner, Sevim Sancaktar, Suat Öğüt, Sümer Sayın, Yasemin Özcan & Sena Başöz ve Yasemin Nur’un katkıları bulunuyor ve sürece yeni insanlar eklenmeye devam ediyor. Sergi süresince de eklenmeye devam edecek.

***
In The Blink Of A Bird

27 May – 17 July 2017

Opening: Friday 26 May, 18:00
Performance: 19:00

“In the blink of a bird” is the product of a collaborative work initiated by a group of individuals who pursue the possibilities of collective production, and reflect on the ways and methods of thinking, acting, departing and deciding together. The project which is hosted by the Apartment Project was launched in 2016.

This collective initiative, gathered under the title of ‘sis’ (Turkish word for ‘fog’) with the joining and disjoining of participants, has projected on the old and new tools and devices of visibility, presence and articulation, and perused printed material such as manifestoes, minutes, directives, letters and fanzines. They looked at the ways and methods of making decisions and judgments, as well as the verbal patterns and spatial arrangements produced around these ways and methods. Setting out from this day and this geography -yet disregarding borders- they reflected on violence and tonguelessness. They questioned how the wave of oppression and censorship will transform what is to be produced and said today. The collective seeks to continue to discuss the production of a shared reality, of a probable ‘now’, and the possibilities and impossibilities of collective action.

The section shown on the first floor of Depo is the “Incoming Papers” shaped around printing and reproduction instruments such as mimeograph and risograph. The second floor hosts the section entitled “Television” which is constructed as a television studio where the settings of various TV shows are reproduced. These two main axes of the exhibition will continue to expand throughout the duration of the exhibition with new participations adding to the current joint and invited works, will enable new encounters, rendering the production process visible.

The production process of In the blink of a bird was accompanied by a performance work. This performance, which will be featured as part of the exhibition, intends to keep record of the discussions on the ways and methods addressed, as well as the questions and concerns that shape the exhibition. The text of the performance will be produced as a hand-made manual that can be used as a map of the exhibition.

In the blink of a bird is an exhibition expanding through invites and participations based on the conceptual and structural basis constructed by Selda Asal, Fatma Belkıs, Şafak Çatalbaş, Elmas Deniz, Borga Kantürk, Evrim Kavcar, Sevgi Ortaç, Gümüş Özdeş, Gökçe Süvari, and Merve Ünsal.

Current contributors are Ali Miharbi, Artıkişler Collective, Atalay Yeni, Azra Deniz Okyay, Bengi Güldoğan, Berk Asal, Burak Delier, Ceren Oykut, Didem Pekün, Didem Erk, Emine Ekinci, Ezgi Kılıçaslan, Florian Wüst, Göksu Kunak, Gülsün Karamustafa, Güneş Terkol, Hera Büyüktaşçıyan, İrem Tok, İz Öztat, Julia Lazarus, Komet, Lara Ögel, Mehtap Baydu, Merve Kılıçer, Nihan Somay, Onur Ceritoğlu, Özgür Atlagan, Özgür Erkök Moroder, Özlem Şimşek, pad.ma, Sasha Povzner, Sevim Sancaktar, Suat Öğüt, Sümer Sayın, Yasemin Özcan & Sena Başöz, and Yasemin Nur, with new names adding in the course of the process and the exhibition.

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From the opening performance / Photo credit: Ali Sarugan

To Seminar / BAK, basis voor actuele kunst

24/02/2017

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Design: Kummer & Herrman.

To Seminar
March 10–May 21, 2017

BAK, basis voor actuele kunst
Lange Nieuwstraat 4
3512 PH Utrecht
the Netherlands
Hours: Wednesday–Sunday 12–6pm

T +31 30 231 6125
info@bakonline.org

bakonline.org
Facebook

To Seminar—an exhibition evolving over time through a series of performative and discursive public meetings—inquires into the practices of learning about, with, and through art today. It asks how we can move beyond the present-day ramifications of the so-called educational turn in contemporary art and toward a collective pursuit of learning with a real relation to social praxis.

The project unfolds as a contemporary reading of philosopher Roland Barthes’ essay “To the Seminar” (1974). Engaging with the notion of the seminar—as a concept and as an intimate and complex practice—as something pivotal for learning today, To Seminar transforms the noun into a verb in an attempt to activate its “unpredictable rhythm,” proposing it as a tool for intervention into the settled practices of education today; in art and beyond. For what was once celebrated as the “educational turn” today turns far too often into either routine initiation into a knowledge economy or cognitive capitalism, or into the placatory emptying of the meanings of “knowledge production,” “community,” and “method.” If, like Barthes’ time of writing, ours is a present immersed in “a certain apocalypse in culture,” the true task of learning is not to normalize this present’s morbid symptoms as has become customary, but rather to collectively think through and act out alternative imaginaries. With artists, theorists, and other cultural practitioners, To Seminar reengages the three conceptual spaces that intersect when a seminaring takes place—institution/ transference/text—and seeks to recompose them into a balanced comradeship for renegotiating the conditions of the contemporary.

A series of public gatherings—performances, talks, screenings, etc.—takes place in the course of this exhibition-as-seminar:

Seminar: Sleeper
March 10, 2017, 5–7pm
Tiong Ang in collaboration with Heekyung Ryu, Kristina Országhová, Jan Yongdeok Lim, Robert Wittendorp, Ola Hassanain, Alejandro Ramirez, Winston Nanlohy, and Andrés Novo, on the occasion of the opening of To Seminar

Seminar: Institution
March 21, 2017, 7–10pm
İnci Eviner, Sara van der Heide, and Jan Verwoert, moderated by Marijke Hoogenboom

Seminar: Co-Action Device. I rather laugh
March 23, 2017, 7–10pm
İnci Eviner in collaboration with Sırma Öztas, Adnan Devran, Iris Ergül, Buse Aktas, Şafak Çatalbaş, and Ecem Sarıçayır

Seminar: Text
March 30, 2017, 7–10pm
Job Koelewijn, Falke Pisano, and Mick Wilson, moderated by Vivian Sky Rehberg

Seminar: Transference
April 6, 2017, 7–10pm
Tiong Ang, René Francisco, and Marquard Smith, moderated by Margo Slomp

Seminar: Art Works on Commission, Free
April 13, 2017, 5–7pm
René Francisco

Seminar: Education is what enables every person to judge for themselves what secures or endangers their freedom
April 18, 2017, 7–9pm
Jeremiah Day

Seminar: Reflection on Knowability
April 20, 2017, 7–9pm
Irit Rogoff, followed by a discussion moderated by Kitty Zijlmans

Seminar: Campus
May 18, 2017, 3–5pm
Sarah Pierce in collaboration with the students of DAI, Arnhem

To Seminar has been conceptualized by Henk Slager. Seminars are realized with contributions by numerous graduate art programs in the Netherlands and beyond. A publication will be published by Metropolis M Books in summer 2017. To Seminar has been made possible through the collaboration between BAK and MaHKU (HKU University of the Arts, Utrecht).

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Co-action Device: I rather laugh / performative workshops

Imago Mundi – Mediterranean Roots / exhibition in Palermo, Italy

20/02/2017

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Şafak Çatalbaş / Emotional Citizen, 2015 (Imago Mundi / Istanbul Codex Collection)

Imago Mundi – Luciano Benetton Collection
Mediterranean Routes
3,500 artists, 21 collections, 19 countries: an unprecedented creative portrait of a sea and its peoples

Palermo, Zisa, Zona Arti Contemporanee
18th February /10th March, 2017
 
Treviso, February 2017. The Mediterranean Sea, an ancient crossroads of civilizations, cultures and histories. Dedicated to the peoples of this common space, “Mediterranean Routes” is an exhibition of Imago Mundi collections from the 19 countries bordering the Mare Nostrum, on display in Palermo from 18th February to 10th March as part of the Biennale Arcipelago Mediterraneo at Cantieri Culturali Alla Zisa – Spazio Zac – Zona Arti Contemporanee.
 
The waters of the Mediterranean, navigated since ancient times by fishermen, merchants, soldiers and explorers, are a place of meeting and intersection, fusion and socialization, synonymous with prosperity and openness for the civilizations born on its shores, and for those nearby, who turn their gaze to the sea.

Imago Mundi has chosen to dedicate this new exhibition to the Mare Nostrum (Our Sea, as the Mediterranean was known to the Romans), whose ‘our’ aspires to be an expression of belonging on the part of all nations who share this sea, this cradle of Western civilization: from the Middle East, with Palestine and Israel, Syria and Lebanon, to the African coast, with Egypt, Libya, Tunisia, Algeria and Morocco, crossing Europe from the far west of Portugal to Greece and Turkey through Spain, France and Italy, with a focus on Campania and Sicily, and beyond, through Albania, Montenegro, Croatia and Slovenia.

The exhibition offers an unprecedented and original contemporary insight into this area with the sea at its heart: the 21 collections, almost 3,500 artworks by as many artists, collectively explore new routes across this sea which in recent decades has also become a barrier, identified with tragedy, despair and death.

The show includes the exhibition “Shame and Soul”: British photographer Giles Duley and Syrian illustrator Semaan Khawam, exiled in Lebanon, both present in their respective Imago Mundi collections, dialogue with each other through their own art. A video-documentary traces the highlights of their meeting, which took place in Beirut in January. Their story becomes a symbol of how no barriers exist between humans, when hearts beat as one. “Mediterranean Routes” thus proposes a comprehensive picture of the Mediterranean Sea, which, despite the dramatic events of our times, still wishes to be a constructive symbol of hope, opportunity, future and beauty.

Imago Mundi is the non-profit contemporary art project promoted by Luciano Benetton: artists from around the world, established and emerging, take up the challenge of the same medium, a 10×12 cm canvas; to date 20,000 artists from 120 countries, regions and peoples, have become involved in the project. The result is a mosaic of stories, passions, dreams, actions and contradictions, where each work lives by its own light but at the same time is part of a global image.

MEDITERRANEAN ROUTES
Cantieri Culturali Alla Zisa – ZAC – Zisa Zona Arti Contemporanee, Via Paolo Gili, 4
From 18th February to 10th March, 2017
Tuesday-Sunday 10am-6pm
Free admission

VIDEO-DOCUMENTARY SCREENING
Cantieri Culturali Alla Zisa _ Cinema de Seta
19th February; 6pm
Free admission

For more information:
Imago Mundi External Relations
martina.fornasaro@imagomundiart.com / +39 338 623 3915
barbara.liverotti@fabrica.it / +39 51 0422 5372
www.imagomundiart.com

Blow Up: Kavunu Gördüm

02/01/2017

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Performative exhibition / SALT Galata, 20-23 April 2017
Performatif sergi / SALT Galata, 20-23 Nisan 2017

Actants // Eyleyenler: Aslı Narin, Didem Erk, Elif Süsler, Şafak Çatalbaş

Kavun bütün zamanlara tanıklık eder. Gündeliğin şimdiliğini geniş zamana açar. Bütün zamanların aynı anda var olduğunu hayal eder. Ütopik/distopik bir şimdidir onun hikayesi. Yüzlerce çekirdeğini mekana yayar, üç odaya dört sanatçı düşer.

Elif Süsler, gündelik hayatın bir kahramanlık hikayesine dönüşme olasılığından yola çıkar. İki boyutlu düzlem gittikçe bulanıklaşır. Birbirine paralel ilerleyen hayatlar bütünde kaybolmaz, ama ne kadar büyür? Mekan bir kurgu haritasına dönüşür. Birbirinden habersiz bulanık karakterler giderek birbirlerine bağlanırlar. Çoklu bir mekan ve zamanı barındıran bir olay örgüsü mekanı kaplar. Kurgudaki kopuklukları tamamlamak içinse eyleyen devreye girer, kavunun gördüğü kahramanları taklit ederek örgüyü tamamlar. İki nokta arasındaki en uzun ve en kısa mesafe, iki hikaye, iyi ve kötü, yalnız ve beraber, orada ve burada.

Şafak Çatalbaş şehirde bir kavunla birlikte gezmektedir; evcilleştirilen tohumların en eskilerinden olan yol arkadaşının tüm zamanlar boyunca sınırsızca topladığı seslerden ayırt edebildiklerinin kaydını tutmaktadır. Durum her neyse acildir, zaman şimdidir. Rastlantısal bir veri akışında, parçalı-kusurlu bilgilerin ve belleğin performatif doğasının yardımıyla başka diyalogların tohumları atılır. Tohum ebedi, hareket sürekli, mevcudiyet el yakıyor: Gündelik hayatın akışı içinde başka bir akışı görünür kılmak mümkün mü, ya da Babil Kulesi’nden atlayan kavunların torunları şahit sayılır mı hala, sessizliğin zamanından çalınan konuşmalarla bir avuç dolar alınır mı? Canlılık zincirine kaynak yaparak bütün bilgiye, çekirdeğin bilgisine ulaşılabilir mi, bir anlığına da olsa? Kavun, bir grup insan tarafından elden ele dolaştırılarak ne kadar yol katedebilecek, bunca yıl biriktirdiği sesleri neye dönüştürecek, sessizlik mi yoksa hareket mi bilgiyi üretecek? An be an değişen duyumlar, sergi mekanında izlenebilecek mi?

Didem Erk’in masasında ise boş bir beyaz sayfa herşeye dönüşmeye hazırdır. Bedenini kalem olarak gören Erk’in sayfalarına zamanla harfler dolmaya başlar, “Bir Rüyanın Sonu” İstanbul’da değişmiş olan mekanlara ve İstanbul’u terk etmiş insanlara gönderilmek üzere hazırdır. -Sevgili Serkildoryan, Sevgili Kelebek Korse, Sevgili Libraire de Péra-mektuplar masanın üzerinde, sözcüklerin izlerinin olduğu siyah karbon kağıtları da duvarda birikmeye başlar. Mektupların göndereni, alıcısı ve adresi noksandır. Sadece zarfın üzerinde geçmiş ve gelecekten tarihler bulunmaktadır. Yazar masada yazdığı mektupları belli aralıklarla mekana okumaktadır, şehirden kavunun topladığı fısıltılar performatif bir bilinç akışı ile önce harflere sonra seslere dönüşmeye açıktır. Mekanın sesi ve zihinsel mekan arasında gel-gitler yaşanır.

Aslı Narin, kavunun ve sanatçı arkadaşlarının kavun ile beraber geçmişte ve şimdide tanık olduklarını ele alarak geleceğe yeni bir kavun fikri bırakma görevini üstleniyor. İnsanların tek bir dünya hayalinin yavaş yavaş çöküyor olması, göçmek için yeni gezegenler aramaları, yapay zeka ile süper-insan yaratma çabaları bu kavunun planlarında yer alacak mı? Aslı, geleceğin kavununun planını Şafak, Elif ve Didem’in topladıkları ile bir sanatçı kitabına dönüştürürken bir yandan da kavun çekirdeklerinin seslerinden geleceğe yollanmak üzere yeni bir ses kompozisyonu üretecek.

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“Blow Up: Kavunu Gördüm” / Kör Kavunun Rüyası (Dream of the Blind Melon) / Performans, 4. gün

Imago Mundi – Luciano Benetton Collection / Istanbul Codex / Emotional Citizen, 2015

30/07/2016

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Şafak Çatalbaş
Emotional Citizen, 2015

Six universally recognized facial expressions of emotion performed in the photo booth one after another; the result is transferred onto the canvas.

Şafak Çatalbaş / Emotional Citizen, 2015
http://www.imagomundiart.com/artworks/safak-catalbas-emotional-citizen

Istanbul Codex / Turkey / 227 Artworks
http://www.imagomundiart.com/collections/istanbul-codex

Üç Ayaklı Masa: Bir Organizma / Three Legged Table: An Organism

07/03/2016

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–Please Scroll Down for English–

Sanatçılar: Elif Süsler, Didem Erk, Şafak Çatalbaş

Rem Art Space, 11 Mart – 19 Mart 2016 tarihleri arasında Üç Ayaklı Masa: Bir Organizma performans projesi, sürece odaklanan ve sergi alanının üretim alanı olarak kullanılacağı disiplinlerarası çalışma sürecini kayıt altına alacak bir yapıya ev sahipliği yapıyor.

Birbiriyle ilişkili, aynı zamanda bağımsız üç masa etrafında gelişen olaylar bir bilinmeyene zemin hazırlar: Eylemler belirli, çarpışmalarsa sevimli, ne zaman ne yapacağı belli olmayan bir kedi gibi. Üç Ayaklı Masa, daimi performans fikrine dayanan, süregiden performatif eylemlerin bir kesitini zaman ve mekan içinde görünür kılan, hayatta kalabilmek için sergi kılığına girmiş bir organizmadır. Bu halde yaklaşık bir hafta ila on günlük bir ömrü vardır, daha sonra yeni bir kılığa bürünmek zorundadır. Seyirciyi davet eder fakat katılımcılık gibi bir kaygısı yoktur. Daimi performans fikrine dayandığı gibi eylemsizlik fikrine de açıktır.Dursa da hareket eder, nefes alır, nefes verir.

Bu bağlamda, Didem Erk’in bilinç akışı tekniğini kullanarak oluşturduğu monologların hafıza ile ilişkisi, seçilmiş bir kitap üzerinden kurgusallıktan uzak performatif bir eylem ile evcilleştirilmemiş hafızanın görünümünü yansıtırken, Elif Süsler’in kimliksiz binalarla çevrili yaşam alanlarımızı kartpostallar ile bir maskeye dönüştürerek “geçmiş” ile iletişim kurmamızı sağlayan iyileştirici ama aynı zamanda da ironik bir bakış açısı üzerinden yapacağı önermesi, Şafak Çatalbaş’ın sokaktan diyalogları rüya kayıtlaryla ördüğü her gün değişen senaryosu ve mekanda gerçek zamanlı kayıtlarla süregiden oyuncu seçmeleriyle hayat bulan şipşak film üretim projesi ile tamamlanarak, zamanın bellek ile ilişkisi üzerinden bir kayıt niteliği taşıyacaktır.

Pazartesi hariç her gün 12.00-17.00 arası REM’e gelip performanslara katılımcı veya izleyici olarak dahil olabilirsiniz.

REM Art Space
Üç Ayaklı Masa: Bir Organizma : 11.03.2016 – 19.03.2016

Açılış: 11 Mart, 18.30 Cuma

A: Çukurcuma Caddesi No: 20 Beyoğlu – İstanbul
T: 0212 245 25 40
W: www.remartspace.org
S: Salı – Cumartesi / 11:00 – 19:00
Pazar: 12:00 / 18:00

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Artists: Elif Süsler, Didem Erk, Şafak Çatalbaş

Rem Art Space, with the performance project Three Legged Table: An Organism, hosts a structure that focuses on the process, and records the interdisciplinary study process of the exhibition space used as the production area, between the dates of March 11th – March 19, 2016.

The events that take place around three interrelated but also independent tables prepare the ground for a mystery: The events are precise, the collisions are cute, just like an unpredictable cat. Three Legged Table is an organism which is based on the idea of the permanent performance, makes a part of the ongoing performative actions visible in the setting and that masquerades as an exhibition. In this way, it lasts about a week or ten days, afterwards, it has to take a new form. The audience is invited however there are no pressure on participation.

In this sense, Didem Erk’s connections between the monologues and the memory which she has created by using the stream of consciousness method that reflects the nondomesticated image of the memory through a performative and nonfictional action from a chosen book; while Elif Süsler’s resolution which provides communication with “the past” by transforming our living space surrounded by building into a mask with postcards, through a healing but also ironic point of view and also Şafak Çatalbaş’s everyday changing scenario that she created through dream records by the street dialogues and the instant movie production project created through real-time ongoing auditions in the area come together. Therefore, these will stand for a record that represents the connection between the time and the memory.

REM Art Space
Three Legged Table: An Organism : 11.03.2016 – 19.03.2016

Opening ; 11 March, 18.30

A: Çukurcuma Caddesi No: 20 Beyoğlu – İstanbul
T: 0212 245 25 40
W: www.remartspace.org
H: Tuesday – Saturday / 11:00 – 19:00
Sunday: 12:00 / 18:00

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Kino-Palavra
; performative installation, 2016
View from the performative exhibition “Three Legged Table: An Organism”, REM Art Space, Istanbul, 2016

Open Studio at Cité Internationale des Arts, Paris

25/09/2015

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Inspired by my three-month residency at Cité Internationale des Arts in the summer of 2015. Paris view, lemon juice, hidden tracks, plastic fingers, iron dreams, a mon sevl desir, atelier 8419 – a room of one’s own.

stay with me

24/11/2014

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Official Dream Diary, 2014 // View from the exhibition “stay with me”, Apartment Project Berlin, Germany

Dönüştürmeler / Conversions

09/11/2014

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ARSIV 6
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Nidrazone, Remains of the Road, Citizen Cosmos, Hukuk-u Hayal adlı birbirlerine heterojen duran videolar, bir başka açıdan bakıldığında birbirlerine kenetlenmekteler. Şafak Çatalbaş’ın video çalışmalarında özneler, diller, hareketler, oyunlar birbirleriyle dengeyi bozan bir ilişkiye girmekte. Her bir çalışma ayrı yolları izleyerek, kendi içinde bir dönüştürme eylemiyle birlikte edimselleşmekte.

Çizgiler birbirlerini kırmakta ve yönlerini başka taraflara doğru çevirmekte. Bir ‘Zen-oluş’ içinde, düşünceler kolektif olanı birbirinden ayırmakta ve diğer yandan da birleşmekte. Her bir çizgi ise kırık halinden yola çıkarak çatallaşan yollar çizmekte. Değişkenlerin her biri çeşitlilikler göstermekte. Bir alan veya bir mekan içinde oluşan performatif diller hem sesi hem de sessizliği içine çağırmakta. Hukuk dili bir anda oyundan yapılma cam bir saydamlığın içindeki dile dönüşebilmekte. Beat generation klasiği olarak dönüp duran, bir ileri bir geri giden dairenin içinde, Kerouac’ın kitabındaki kelimeler sayfa sayfa yırtılarak yola geri verilmekte. Yollarda olan ile dönmekte olan birleşmekteler.

Bugün, kimliklere sıkışıp kalmış olan öznellikler, Kant’ın 18.yüzyılda öne sürmüş olduğu kozmopolit vatandaşlık kavramının dünyasının aşılması için oyunlar oynamaktan başka bir çare kalmadığını bize hissettirmekte. Video çalışmasında bir yarışma ve rekabet koşulları yaratmakta olan Şafak Çatalbaş, günümüzde her yerde karşılaştığımız birinci olma hırsını açığa çıkartarak ancak kozmopolitleşebileceğimizi acı bir şekilde hatırlatmakta.

Walter Benjamin, Hannah Arendt Jacques Derrida gibi düşünürler için de bir ‘şiddet alanı’ olarak öne çıkan ‘’kurucu hukuk’’ bir başka sözde-dile çevrildiğinde anlaşılmakta mıdır? Nereden gelinmektedir? Nereye gidilmek istenmektedir? Nasıl bir hayat kurulacaktır? Sorular soruları takip eder. Bu dört video çalışması birbirlerini kesmektedir, kesişmektedir ve birbirlerine eklemlenmektedir: Kitap, hukuk, yol ile sınır ve anlık dönüştürmeler vatandaşların hayatlarını kurgusal bir şekilde düşündürtmekte.

Ali Akay

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View from the exhibition “Conversions”, Açıkekran New Media Arts Gallery, Istanbul, 2014

Über Nacht… im Künstlercamp / jetzt.de / Süddeutsche Zeitung

23/07/2014

jetzt.de
Süddeutsche Zeitung

21.07.2014 – 16:30 Uhr
Über Nacht… im Künstlercamp

Text: steffi-fetz – und Lisa Altmeier

Lisa und Steffi sind drei Monate lang als Crowdspondent-Reporter in Deutschland unterwegs. Sie recherchieren, was die Leser wollen. Für jetzt.de schlafen sie ab jetzt jede Woche an einem ungewöhnlichen Ort denn die Nacht hat ihre eigenen Geschichten.
Vorsichtig tapsen wir um kurz nach 22 Uhr über die Schwelle von Tor Nummer 5. Es ist eine der wenigen Industriehallen, in denen jetzt noch Licht brennt. Ein Beamer wirft Wörter an die Wand und auf die gelbe Jacke einer Frau. Mit einem Bleistift malt sie die Umrisse von Buchstaben in die poröse Mauer. Später wird sie uns erzählen, dass sie Safak heißt. Safak ist Künstlerin und wohnt hier. „Wollt ihr mitmachen?“ fragt sie und drückt uns zwei Stifte in die Hand.

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Nachts hat man die Muße und Ruhe, Romane an die Wand zu malen.

(…)

For full text click here

Siddhartha Meets Billy and the Bugs And The Other Guys

22/07/2014

All this happened, more or less.

Birds were talking.
One bird said to Billy Pilgrim, “Poo-tee-weet?”

War es nicht dies, was heute endlich seinen Tod gefunden hatte, hier im Walde an diesem lieblichen Flusse? War es nicht dieses Todes wegen, dass er jetzt wie ein Kind war, so voll Vertrauen, so ohne Furcht, so voll Freude?

When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in bad condition in that particular moment, but that the same person is just fine in plenty of other moments.

All time is all time. It does not change. It does not lend itself to warnings or explanations. It simply is. Take it moment by moment, and you will find that we are all, as I’ve said before, bugs in amber.

“Es ist gut”, dachte er, “alles selber zu kosten, was man zu wissen nötig hat. Dass Weltlust und Reichtum nicht vom Guten sind, habe ich schon als Kind gelernt. Gewusst habe ich es lange, erlebt habe ich erst jetzt.”

And Billy zoomed back in time to his infancy. He was a baby who had just been bathed by his mother.

Ihm schien, es habe der Fluss ihm etwas Besonderes zu sagen, etwas, das er noch nicht wisse, das noch auf ihn warte.

All moments, past, present, and future, always have existed, always will exist.

Mit tausend Augen blickte der Fluss ihn an, mit grünen, mit weissen, mit kristallnen, mit himmelblauen.

And the blue line met the red line and then the yellow line, and then the yellow line stopped because the character represented by the yellow line was dead. And so on.

The stills were more Tralfamadorian than the movies, since you could look at them whenever you wanted to, and they wouldn’t change.

“Nicht wahr, o Freund, der Fluss hat so viele Stimmen, sehr viele Stimmen? Hat er nicht die Stimme eines Königs, und eines Kriegers, und eines Stieres, und eines Nachtvogels, und einer Gebärenden, und eines Seufzenden, und noch tausend andere Stimmen?

Somewhere a dog barked. With the help of fear and echoes and winter silences, that dog had a voice like a big bronze gong.

Glücklich lachte Vasudevas Gesicht, er neigte sich gegen Siddhartha und sprach ihm das heilige Om ins Ohr. Und eben dies war es, was auch Siddhartha gehört hatte.

“They are telegrams?”

“Es ist so”, nickte Vasudeva, “alle Stimmen der Geschöpfe sind in seiner Stimme.”
“Und weisst du”, fuhr Siddhartha fort, “welches Wort er spricht, wenn es dir gelingt, alle seine zehntausend Stimmen zugleich zu hören?”

There are no telegrams on Tralfamadore. But you’re right: each clump of symbols is a brief, urgent message – describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn’t any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects.

“Von jeder Wahrheit ist das Gegenteil ebenso wahr!”

Before you kill somebody, make absolutely sure he isn’t well connected. So it goes.

Bitter schmeckte die Welt. Qual war das Leben.

“You never said a truer word, dear.”

Vielleicht ist es dies, was dich hindert, den Frieden zu finden, vielleicht sind es die vielen Worte. Denn auch Erlösung und Tugend, auch Sansara und Nirwana sind blosse Worte, Govinda. Es gibt kein Ding, das Nirwana wäre; es gibt nur das Wort Nirwana.”

“Only on Earth is there any talk of free will.”

“Yes.”

In der Geduld waren sie beide Meister.

“How did I get so old?”

Sechzig Jahre ist er alt geworden und hat Nirwana nicht erreicht.

“That’s one thing Earthlings might learn to do, if they tried hard enough: Ignore the awful times, and concentrate on the good ones.”

Nun aber weilte sein befreites Auge diesseits, es sah und erkannte die Sichtbarkeit, suchte Heimat in dieser Welt, suchte nicht das Wesen, zielte in kein Jenseits.

Billy was unconscious for two days after that, and he dreamed millions of things, some of them true. The true things were time-travel.

Er tötete seine Sinne, er tötete seine Erinnerung, er schlüpfte aus seinem Ich in tausend fremde Gestaltungen, war Tier, war Aas, war Stein, war Holz, war Wasser, und fand sich jedesmal erwachend wieder, Sonne schien oder Mond, war wieder Ich, schwang im Kreislauf, fühlte Durst, überwand den Durst, fühlte neuen Durst.

“Dresden,” said Billy.
“Dresden,” Lily told Rumfoord.
“He’s simply echoing things we say,” said Rumfoord.
“Oh,” said Lily.
“He’s got echolalia now.”
“Oh.”

Schon verstand er, lautlos das Om zu sprechen, das Wort der Worte, es lautlos in sich hineinzusprechen mit dem Einhauch, es lautlos aus sich herauszusprechen mit dem Aushauch, mit gesammelter Seele, die Stirn umgeben vom Glanz des klar denkenden Geistes.

Billy had a fractured skull, but he was still conscious. He didn’t know where he was. His lips were working, and one of the golliwogs put his ear close to them to hear what might be his dying words.

“Heute werden wir die Lehre aus seinem Munde vernehmen”, sagte Govinda.

They were going to travel fast. They were damned if they’d surrender. They shook hands all around. They called themselves “The Three Musketeers.”

Billy thought the golliwog had something to do with World War Two, and he whispered to him his address: “Schlachthof-fünf.”

Mit einem Kuss nahm Siddhartha Abschied.

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Detail from the installation “Cosmic Echolalia“, 2014

Citizen Cosmos Om Competition

20/07/2014

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This is a game that anybody who is waiting for their trains at the main station can join. It will take max. 5 minutes. It is called the “Om Competition”, played between two opponents. First competitor will breathe deeply through the nose and start saying the “Om” mantra until he/she is out of breath – and I will measure the time. Then the other one will start to say “Om” – and I will measure the time. The one who has uttered the longest lasting “Om” will be the winner, taking the title “Citizen Cosmos”. Having the “Citizen Cosmos” title provides its owner many benefits regarding travel issues.

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Citizen Cosmos can travel around the world, around the universe, the space, galaxies and so on.
Citizen Cosmos is free of visa.
Citizen Cosmos is welcome everywhere – but only for the duration of one “Om”.

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“Om” is said to be the primordial sound that was present at the creation of the universe. It is said to be the original sound that contains all other sounds, all words, all languages and all mantras.
“Om” is more than a sound, but the vibration of the universe. It is the frequency of energy that connects and joins all things together.
“Om” is the sound of the universe – it represents the past, present and future.

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Lord Ganesha represents Pranava, the seed syllable OM, which means “Cosmic Sound.”

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I, as the organizer of the Om Competition, announce the winner. I do it in the present.
I declare the promises of the winner’s title “Citizen Cosmos”, which is about the future as being a promise.
In the end, I declare that the period of the validity of the “Citizen Cosmos” title is limited with the duration of one “Om”, which has already been uttered by the winner in the recent past.

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In the end, beyond the representation, Om Competition itself is the past, present and future at the same time.

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This game is an attempt to be a part of the universe but only within its limitations. Keeping the possibility of a zone beyond the representation is the core of this attempt. Since the start of the civilization, measuring the unmeasurable has been our routine and we all are part of the universe as long as we are aware of this routine. How to do with this awareness is up to the person – but anyway, the universe won’t take it personally for sure.

May the cosmic sound be with you!