Dol- Aş- Ma / Wandering

cin ayşe 2 çıktı!

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?

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

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

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

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

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/