pınar asan

Dol- Aş- Ma / Wandering

2008-12-30T23:37:00.009+02:00

cin ayşe 2 çıktı!

2008-12-30T22:59:00.004+02:00

TEYEL ATANLAR

Özüm Hatipoğlu Bakış

Pınar Asan Şiir

Ellen Friedman Kathy Acker söyleşisi (2. bölüm)

Elçin Türkmen Düğünden Evler

Meryem Oruç Kırlangıç

Anita Sezgener Altındağ’a gitmeli

Halide Edip Demir Akşamsafaları

Türkan Karagöz Delik

Özgül Akıncı Biliyorum, yapmazsın

Anita Sezgener 65 yaş için virgül

DOSYA: KADINLARIN DADA’SI

Lilith Noir Hani bana dada

Anita Sezgener Feminist İmlâ

Maud Lavin Hannah Höch, Bir Etnografya Müzesinden

Ruth Hemus Seks ve Kabare: Dada Dansçıları

Anita Sezgener (der. , çev) Portreler

Pam Brown Modern olmak
(Carolyn Burke ile söyleşi)

Mina Loy Love Songs I

Tanya Dalziell Mina Loy’un Şiirinde Yas ve Caz

Mina Loy Yine, ay

Emmy Hennings Kabareden sonra

Baroness Elsa von Freytag Margaret Anderson ve Jane Heap’e Mektup

Irene Gammel “O Çırılçıplak Soyunur”

Baroness Elsa von Freytag Taç Giyme Töreni

what time is it there?

2008-12-30T22:45:00.009+02:00

What time is it there? is a single channel experimental video. I made use of several personal video images in order to create new sorts of meanings. In addition to this, by adding a performance section I attempted to reinforce the atmosphere tried to be created with the images. This video is partially an autobiographical work on remembering, waiting/expecting and leaving/going etc. Every image other than the performance has been selected from my own visual diaries and home movies, the moments that I recorded without any intervention at all. Most of the images I recorded until now are the documents of the moments I found highly meaningful and share more or less the same visual quality and content. When I decided to make What Time is it There? I had some feelings and themes in my mind. Just from the beginning I preferred to search for some visuals that would go with the feelings and themes in my mind. Therefore, by taking my video images as the basis, I listed images that seemed appropriate to me in a manner to constitute a structure that would contain above mentioned themes.

The video opens with an image of a woman in a forest, looking around. Following this image, we see some other images taking part until we see the same woman again sweeping dried leaves in the forest. The performance of sweeping the woods was considerably metaphorical, but at the same time material. I figured that when this image goes into play all through the video, themes such as leaving the city and remembering would be understood more clearly. Use of a fixed space kept watching and leap between the images together. Placing the end of this performance at the beginning of the film, I divided integrity of the act. Showing end of a linear act would give preliminary information on the next things to be seen. In this manner I would be able to keep the interest of the audience alive as well as to make her/him to ask questions on the meaning of the following image. Here, Marina Abromovich’s Balkan Baroque, Trinh T. Minh-ha’s Reassemblage and Sue Friedrich’s Sink or Swim with their depictions through several visual styles was considerably illuminating for me.
Marina Abramovich, in Balkan Baroque, represents separate pieces of performances which are highly minimal and existentialist. By re-performing basic actions of everyday life which are linked to each other, she creates a fragmented body of narration and represents critique of art, humanity and gender.
What Trinh T. Minh-ha did in her work Reassemblage was looking for answers to the questions what a document and a documentary is and how the presentation should be. However her particular method was narration. Minh-ha attempted to destroy the parts expected by the audience, namely beginning, middle and end. She also made use of repetitive sounds and cuttings, inserting black titles to create an experimental visual form and prevent the viewer to identify with the images. In this sense, she directed the viewer’s attention to the idea of representation and its meaning.
Yet in Sue Friedrich’s Sink or Swim with the narrator’s and even a story’s presence, almost all visuals are personal documents. The images correspond to the narrative by establishing slight connections. There we see the result, a narrative, experimental, personal film that explicitly questions what a personal document is and pushing the limits of the genre.

These experimental forms provided me essential references for this video. But I intended to eliminate the narrative and to enable the images themselves to create a unity: audience to be carried to a certain place by each single image - calling a feeling although cannot be expressed with the words and the story being capable of explaining itself. Therefore, I tried to approach the editing as the way that memory works. I took every image as a memory fragment that had duration and brought them together in the present. Moreover, I used slow motion and repetition effects to make the images correspond with the concepts of remembering and past. In this sense, I wanted the viewer to abandon her/his passive reception of the work and on the contrary think more on the meaning of each visual and its reflection on the whole structure.

cin ayşe

2007-12-19T18:40:00.000+02:00

cin ayşe
"hafızalara taze, deltalara su"

çıktı!!!

teyel atanlar

anita sezgener
bayrak kusması bu Leyla, bize burada yer yok...

kathleen o'grady
dilin muhafızı: helen cixous ile söyleşi

elçin türkmen
gık
geldim

anita sezgener
feminist imla
daire mi zikzak mı?

ellen g. friedman
kathy acker ile söyleşi bölüm 1

halide edip demir
mektup 2

pınar asan
"belleğim vatanımdır": sarkis üzerine

meryem fehime oruç
silviya'ya

a. deniz üster
dam budalası, iktidar ve popüler kültür

sonsöz

kabuk_ the shell

2007-10-08T01:10:00.001+03:00

kabuk

türkiye’ nin, dijital çekilip dijital gösterime giren ilk uzun
video sinema örneği “ kış bahçesi ” nden sonra, “kabuk”
yönetmen uygar asan’ ın ikinci uzun video sinemasıdır.

‘kabuğuna çekilmek’, ‘kabuğunda yaşamak’, ‘yabancılaşma’
dediğimiz zaman anlatmaya çalıştığımız şey tam olarak nedir?
“kabuk” un kahramanı burhan’ı uyumsuzlukla, beceriksizlikle
suçlayarak kestirip atabilir miyiz konuyu?
burhan, seçen midir, içeri itilen mi? nereden başlayabiliriz
durumu anlamaya ?

başka bir deyişle “kabuk”, ‘kabuğunda yaşamak’ sorununu
mercek altına alırken baba-iktidar, yabancılaşma gibi kavramlara da
uğrayan ve durumun sadece kişisel bir açmazdan kaynaklı olup
olmadığının sorusunu da soran bir yapı kurmaktadır.

gala: 9 ekim 2007 salı 14.00
istanbul modern sinema

sezgin cengiz
ayşe bayramoğlu
tolga iskit
barış atay mengüllüoğlu
emre saka
tolga yeter
sebahattin yılmaz
gülser asan
dilan şahin

yönetmen yardımcısı: pınar asan
ses / müzik: tolga çelik
sanat yönetimi: anita sezgener / nilay kacar
kurgu: uygar asan
görüntü yönetmeni: uygar asan
yürütücü yapımcı: anita sezgener
yapımcı: uygar asan
senaryo / yönetim: uygar asan

2007
100'
ingilizce altyazılı dvd / pal

dağıtım:

yeşil karınca
video düş laboratuarı
0 - 216 - 550 11 42
yesilkarinca@yahoo.com
www.yesilkarinca.com

Soft Power_Seoul

2007-09-14T18:06:00.000+03:00

Fear and Gender in Public Space

Part of the exhibition Soft Power, curated by Jiyoon Lee

World Women´s Forum 12-14th September 2007 in Seoul.

Fear and Gender in Public Space is an ongoing curatorial and research process by Veronica Wiman presented as part of the exhibition Soft Power curated by Jiyoon Lee, during the World Women´s Forum 12-14th September 2007 in Seoul.
The site specific presentation and intervention during the World Women´s Forum in Seoul presents four video/photographic works by artists, filmmakers and photographers Zanele Muholi, Gerard Marx/ Lara Foot Newton, Pinar Asan and Gina Osterloh. invited by Veronica Wiman. With the Swedish artist collective r a k e t a´s sculpture and questionnaire, visitors of the presentation and the Hotel are also invited to take part in the global journey and investigation of Fear and Gender in Public Space.

>>> Who is the city for, by whom is it created and what shall we do there?
There is a "rape park" in almost every city. Women's fear and vulnerability in public space is universal and a subject of society - but as well yours and mine. Our patriarchal society also dominates public space and contemporary moral sense and it continues to demand women to take responsibility for male sexuality. Fear and Gender in Public Space investigates art in the public realm and the power of artistic practice to research and effect civic concerns. Through the exchange within the interdisciplinary group and encounters with the city's architecture and society designers, civics develop personal and collaborative understandings and practice.
Fear and Gender in Public Space unfolds in curatorial, social and educational practice and is part of an ongoing international curatorial/research project by curator Veronica Wiman called Fear and Gender in Public space taking local perspectives from a multitude of global contexts as a starting point. So far the project has travelled to and been implemented in Cali (Colombia), Los Angeles (US), Helsinki (Finland), Banff (Canada) and Johannesburg (South Africa).

www.genderandpublicspace.org

WORK TITLES

ENRAGED BY A PICTURE
Zanele Muholi

AND THERE IN THE DUST
Gerard Marx/ Lara Foot Newton

ANY NOON
Pınar Asan

SOMEWHERE TROPICAL
Gina Osterloh

Questionnaire by r a k e t a
Book of Questions by r a k e t a

küf.mold

2007-08-24T16:21:00.000+03:00

değisik teknikler kullanan birçok ülkeden sanatçının katıldığı küf sergisi kapalıçarşının mimarisinden, tarihinden, enerjisinden beslenerek küf gibi mekana yayılarak kapalıçarşı sakinlerinin, çağdaş sanatın, mimarinin, tarihin, güncel hayatın birbiriyle olan bağlantılarının izini surmeye bir davettir..

sergi yapımcıları: suzan batu, bill doherty

tarih: 8- 25 eylül

mekan: kapalıçarşı iç bedesten galerisi , vitrinler, ortak alan, kubbeler, fes kafe

nuruosmaniye ve beyazit kapılarında haritalı broşür bulunacaktır.

sanatçılar: vitali komar , steve fagin, ray rapp, bill doherty, albert mc grigor, carolanna parlato, julie evans, lale tara, genco gülan, rachel youens, insel inal, julian jackson, rene lynch, nicole driessens, ivo van den baar, marijke bontinck, pınar asan, raziye kubat, arzu parten, hans van heirseele, mary judge, nedim kufi, pavel lembersky,talal refit, suzan batu, gaye yazıcıtunç-inal, eung ho park, chuck yuen, patricia smith, su yücel, raphael sanchez, glen garver, christian schlager, thomas broadbent, gülçin aksoy, evrim kavcar, henry du moulin, sally yap, david akey, rob van der schoor, gary petersen, jennifer croson, wendy hirschberg, norma markley, sheila ross, judith page, lori ortiz,dianna frid, amanda church, erwin keustermans, sally lelong, grafik: didem dayı-trek, özlem aslan

teknik destek: istanbul contemporary museum.

açılış: 8 eylül ve 10 eylül 2007

10 eylül 2007 saat 18:00“göçebe mutfaklar” henry dumuoulin sanat/yemek etkinliği _ fes kafe

http://kufsergisi.blogspot.com/

tershane fabrika günleri 2

2007-08-24T16:17:00.000+03:00

http://www.tershane.org/

the squid_mürekkep balığı

2007-07-22T11:01:00.000+03:00

i have been collecting images in every occasion since i first bought my handy cam: friends meetings, family celebrations, birthdays, holidays and short trips around the city etc. the film titled the squid found its inspiration from the footage that was shot during a short trip to the coast of black sea.

before starting to edit the squid, i watched the footage again and again to find the very common point among them. for me this effort was about the content of the image in connection with me as the film maker. the images which were shot in a beautiful beach were quite fascinating and cinematographic. but so paradoxically, my being there was a coincidence and i only meant to go on a short trip and i was apparently shooting an ordinary home movie. that is probably where i combine Jonas Mekas with Maya Deren and Bruce Conner. therefore, i have a home movie with personal and poetic images.
i constructed the film as a circle in the manner the memory works. Heidegger indicates that the memory belongs to today, because it reconstructs the past from the point of today. in other words, the mind recollects the moments and makes their collages at the present moment.
in the light of these concepts in mind, i used the beach; the space as the main structure of the narration. the video images were manipulated into black and white to emphasize the past, but on the other hand, the transitions between the images fluently mark the presence of the present. and the juxtaposing the images work as the memory work; a kind of unity between the past and the present. the use of the reversal movement and slow motion again turn us to the past and the present cycle.

glass road

2007-07-16T16:52:00.000+03:00

glass road, has been designed by taking the fruit pomegranate that means accession, birth and fertility.

candy –bear gummy candy- that is the symbol of the childhood and innocence is cut into pieces and transformed into pomegranate seeds by an adult. in the first part of the video , “produced” seeds of pomegranate are gradually access and accumulate, just as the plenitude of the seeds of the fruit that symbolize the fertility thereof.

in ancient greek, anatolia and north africa; breaking pomegranate in the thresholds of the houses increases fertility. Therefore, in the second part, the seeds are left in the thresholds of the houses by hoping with a childish optimism to bring fertility and well being to the lives of other people that we witness indirectly, of the sources of the voices from behind the doors. it symbolizes the belief in a common future idea is possible by touching the others’ lives from outside –here, door is the border- within the city.

fear and gender in public space

2007-07-16T15:04:00.000+03:00

Fear and Gender in Public Space / Research and Curatorial Project by Veronica Wiman

http://www.genderandpublicspace.org

http://web.ukonline.co.uk/n.paradoxa

gülbahar or Svitlena

2007-07-16T01:21:00.000+03:00

going public 06_formigine / italy

When embarking upon field survey in İstanbul, the city of constant flows, the first thing that come to my mind was “what is the thing that doesn’t flow?” and the things or persons that this flow made invisible. Then, these thoughts led me to women…

I am making little trips in the city by carrying the issue in my mind, and I find myself in a vicinity called Küçükbakkalköy, far away from the downtown, that reminds me of a huge open building site. I am approaching a pink house at the end of an empty land. A friend of mine had told me that I would meet an Ukrainian woman there. I am thinking how to explain her the reason of my being there, since the only thing I have is the question in my mind. Once we introduce ourselves, my nervousness fades away. She is quite comfortable, beginning to tell her story. Telling me her name; Gülbahar. Then I am seeing the picture; she was told that as from then, her name was Gülbahar. And we are briefly and sincerely explaining our lives that made us sitting there together. She is more like summarizing the difficulties and coincidences in chronological order.

As we spend time together, we are learning the details of each other’s lives. She is telling me how Svitlana gradually became Gülbahar: She had come to İstanbul 7 years ago to earn money with her shuttle trader uncle... The first separation from her son Sasha who she left to her mother in Ukraine. Things had gone bad, and she had broken with her uncle. She had not been able to return to Ukraine, as she had worked illicitly and had had no money. After a while, she is with her future partner. The waiter in the diner in Laleli where she had been lunching. “In the beginning I didn’t like him” she says. They had joined in religious marriage and Svitlana is becoming a Muslim woman named Gülbahar. Now they have two children, and she is carrying the third. Two children have no birth records, since Svitlana is an illicit immigrant in Turkey and they are not able to go to Ukraine. Therefore, the children cannot attend to school, as they aren’t “real persons”…

Through the photographs I shot and the songs I recorded, I attempted to pursue Svetlana in Gülbahar’s home. Traces of the nomadic woman abandoning her very self, her language even in private space and remembering all these as a sweet memories.

Photographs as a whole neither have a beginning nor an end as the story I listened. Consist of moments, the unflowings; fragments.

http://www.amaze.it/en/inside.html

time_kargaşa 06

2007-07-16T01:14:00.000+03:00

video installaion

‘Now’ and ‘The Past’. to tell it in other words; ‘The Past’ the individual maintains in her/himself and in the meaning of the point breaks forming her/his story, and ‘Now’ that becomes ‘Past’ quickly and is a melting, gliding ground. the individual can only throw her/himself as ‘a project’ to the future, through these two channels, continuously flowing.
‘Now’ acquires the feature of estrangement in Brechtian manner in “Time” sustaining the duration of the ‘melting’ plan in the right frame for an extended period of time. the individual has time to settle with ‘The Past’ comprised of the point breaks experienced by a woman, reflected in the left frame.
when the audience attempts to position their own experience in place of the images in the left frame, the sound heard lead them to confront the following problem: are these unrelenting sound and noises from ‘Now’ or from ‘The Past’?
‘being a woman’ means always being on restless ground.
‘passing over’ is the child of ‘Becoming’, but ‘Becoming-Woman’ means living with the wounds that do not heal easily.As the objects of womanhood fall over each other, thy leave marks of pain on the white snow.
http://www.kargart.org/

any noon

2007-07-16T00:41:00.000+03:00

“facisim takes source from the relationship between two individuals”
ingeborg Bachmann

unlike the darkness that conceals objects and/or incidents, the light makes everything visible. this is the underlying reason for choosing noon, in which the light reaches its brightest point.
therefore, the violence is made so visible that no one could say ‘i did not see’.
to take violence as a fact that is created by the unemployed and problematic masses, is only taking the easy way out.
slippers, the impossibility of running and escaping from the violence.
how possible is it to turn back to life?
http://www.filmmor.com/

paper on paper

2007-07-16T00:23:00.000+03:00

a woman in a girl's soul

a boy in man's soul

alis

2007-07-16T00:15:00.000+03:00

mutfak sefası

2007-07-15T18:18:00.000+03:00

safe

2007-07-15T18:11:00.000+03:00

o piti piti

2007-07-15T18:08:00.000+03:00

on the road

2007-07-15T17:53:00.000+03:00

neither you nor the dark soil owns me

2007-07-15T17:37:00.000+03:00

in july 2004, a public art project was held by Amargi Woman Solidarity Cooperative for the visibility of the woman murders committed in the name of honor, and domestic violence against woman

main aim of the activity was to present the woman murders reflected in the press, how they are reflected and what kind of policies should be developed to prevent this violence.
we started to hold out a list of artistic items after we gave an impressive name to the activity as “neither you nor the dark soil owns me”. we planned the exhibition of the collections of the articles of those murders from the press since 1st of January 2004.
by this exhibition it was shown that 35 women got murdered by their family members (mostly brothers), husbands or boy friends in various areas of turkey in the name of honor. i drew a few women slain figures on the street with chalk and wrote down to them the reasons why they were murdered and hanged some woman clothes and some toy weapons symbolically on ropes. to give emphasis to the hierarchy and pressure of men on woman and the male-dominated education system, i did a table of syllables and named it as “men teach women”.
we thought to turn the street into a stage that was set on daily life and on the other hand turn the stage into daily life by those installations.
http://www.amargi.com.tr/