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/

tershane fabrika günleri 2

http://www.tershane.org/

the squid_mürekkep balığı

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

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.