伊斯坦堡当代美术馆旁边的旧仓库AntrepoNo.3，来自墨西哥Guadalajara的观念艺术家JorgeMéndez Blake,带来了2007年创作的装置作品，“城堡(El Castillo)”。这位艺术家经常在作品中描绘建筑和文学所产生的冲突。进入展场正面入口处，随即进入眼帘的是一座横穿空间的高大砖墙。由于艺术家在墙下垫了一本20世纪小说家弗朗茨•卡夫卡1922年小说“城堡”，在墙中间形成一个结构性缺陷。卡夫卡的世界中，城堡代表了权利和知识的象征，将揭开小说主人公所遇到独特世界的谜。艺术家的装置中，书本代表了渴望，形象化表现了潜在的知识以及吸收知识的不可能性。而砖墙则形似墨西哥作家JuanRulfo的摄影作品“Barda en Guadalajara”。
另外，巴西艺术家CinthiaMarcelle和电影制片人Tiago Mata Machado带来了几部影像作品。其中，“The Century”(世纪)这部影片完美展现了“左”、“右”党派之间的政治冲突。物件反复由左扔到右边，又扔回左边，联想到伊斯坦布尔街道上的抗议事件。
SALT Beyoğlu：阿根廷艺术家DiegoBianchi的大型装置作品“Market or Die”(市场或死亡)，模拟了混乱的市场场景，如同使用了放大镜和扭曲镜来反映城市生活。
12－13日在米马尔希南艺术大学预展后，Hector Zamora的行为表演“Material Inconstancy”于双年展期间在ARTER呈现录像。人们在空中互相连续抛送砖头，直到最终堆成一栋35层的砖墙，影射了土耳其的疯狂修建热潮，即最终导致了五月底的盖齐公园事件。
博览会预展期间，共吸引了4000多位VIP嘉宾的参与，现场氛围很热烈。销售亮点包括Yvon Lambert画廊所代理的Francesco Vezzoli的雕塑作品“Portrait of Sophia Loren as the Muse of Antiquity (After De Chirico)， 以250,000欧元的价钱售出，以及阿尼什•卡普尔的2011年创作的编制作品”无题”，以850,000英镑的价钱售出。
The 13th Istanbul Biennial Public Programme co-curators Andrea Phillips and Fulya Erdemci’s statement on the protests of the 2nd and 3rd Public Programme Events
The 13th Istanbul Biennial Public Programme events were disrupted for the second time by the same group of protestors.
At the artists’ performance by Vermeir & Heiremans on May 10 at the Taksim Marmara Hotel as part of the 13th Istanbul Biennial Public Programme, a group of protestors disrupted the performance by repeatedly entering the stage and lying on the floor covered in a banner. They were taken outside the conference room by the Biennial production team so that the performance could continue. During the hour long performance, Niyazi Selçuk, who was among the audience, persistently filmed Fulya Erdemci, the co-curator, Istanbul Biennial Director and their guest.
At the end of the performance, Fulya Erdemci asked Niyazi Selçuk not to use the footage of herself without her permission. Niyazi Selçuk said that he regarded this as a threat and he could use the footage in any manner he wanted. When Fulya Erdemci and her guest stated that this was a violation of their personal individual rights and they would file a complaint to prevent the unauthorized use of this footage, Selçuk responded he wanted to file a complaint against them in return. Both parties filed complaints about the other and legal proceedings were initiated. No complaint was filed against the protestors.
Reflections on what happened
The actions of the protestors at this performance questioning the relationship of art and capital can be discussed and considered in the framework of the relation between art and activism to the extent that they do not entail violence or vandalism. However, can Niyazi Selçuk persistently filming Fulya Erdemci for over an hour be regarded as a protest or activism? If this is to be regarded as a protest method, what is the aim of this protest? Is it possible to bring a political issue to the agenda through psychological violence, harassment and violation of individual rights? When protesting ceases to be a means and becomes an end in itself, what does it actually aim for?
How can political thought and action define and respond to the boundaries between activism, vandalism and opportunism?
The aim of the Biennial and Public Programme is to open up the idea of a real public sphere to all kinds of different voices, even conflicting ideas, in which people can talk without fear and without obstructing one another. Impeding such platforms only reproduces the methods that obstruct freedom of expression. We think that talking, listening and trying to understand each other is the only way to enable social, political and artistic change.
The artists to participate in the 13th İstanbul Biennial will be determined by Fulya Erdemci, the curator of the exhibition. Erdemci continues to carry out her research both in Turkey and abroad.
Each applicant is supposed to send his or her digital portfolios and project proposals together with the filled application form and send them to the e-mail address below. Further information on the 13th Istanbul Biennial may be reached through the Biennial’s web site.
The conceptual framework of the Istanbul Biennial was announced: 'Mom, am I barbarian?'
The title and conceptual framework of the 13th Istanbul Biennial was announced by its curator Fulya Erdemci on Tuesday, 8 January at a press meeting which was held at the Maçka Campus of Istanbul Technical University. Bige Örer, Director of the Istanbul Biennial, joined Fulya Erdemci as a speaker at the press meeting. Fulya Erdemci, who determined the title of the 13th Istanbul Biennial as “Mom, am I barbarian?” with a reference from poet Lale Müldür’s book of the same title, explained the conceptual framework.
Fulya Erdemci & Bige Örer, Photo by: Manuel Çıtak
At the press meeting, Fulya Erdemci announced that, as an exhibition in a dialogue with the city, the 13th Istanbul Biennial’s focal point would be the notion of the public domain as a political forum. According to Erdemci, this highly contested concept will serve as a matrix to generate ideas and develop practices that question contemporary forms of democracy, challenge current models of spatio-economic politics, problematise given concepts of civilization and barbarity, and most importantly, highlight the role of art in this context.
Questioning what the reintroduction of the concept of “barbarian” as a reflection of “absolute other” reveals in our contemporary society, Erdemci referred to art’s potential for engendering new positions and constructing new subjectivities for the sake of creating a space for the weakest ones and the most excluded by destabilising dominant and deep-seated discourses.
Erdemci further explained that the Istanbul Biennial aimed to highlight the potential of the discourse of public domain through an examination of spatial justice, art in the public domain and art-market relations. Aspiring to open new avenues for thought and imagination, the Istanbul Biennial will activate social engagement and public fora to generate a possibility for rethinking the concept of “publicness”.
The 13th Istanbul Biennial will use public buildings which are left temporarily vacant by urban transformation as exhibition venues. These may include public buildings such as courthouses, schools, military structures or post offices, former transportation hubs like train stations, ex-industrial sites such as warehouses, dockyards as well as the very contested Taksim Square and Gezi Park. Furthermore, the hallmarks of current urbanism such as shopping malls, hotels and office-residential towers are being considered as sites for artistic interventions.
Bige Örer also disclosed the details of the 13th Istanbul Biennial Public Programme, which will start in February as a part of 13th Istanbul Biennial. Aiming for bringing artistic production and knowledge production together, the public programme, titled “Public Alchemy”, is co-curated by Fulya Erdemci and Dr. Andrea Phillips, Reader in Fine Art in the Department of Art, Goldsmiths, University of London and Director of the Doctoral Research Programmes in Fine Art and Curating. A series of lectures, workshops, seminars and performances, which will take place from February to the end of the Biennial, will examine how a political, poetic alchemy is at work, both in Turkey and across the world, in which conventional concepts of “the public” are being transformed. The first events of the programme will focus on Istanbul’s current urban transformation under the title of “Making the City Public” from 8 to 10 February.
Additionally, as a part of 13th Istanbul Biennial events programme, a special selection of films will be screened at the 32nd Istanbul Film Festival to be held in 30 March – 14 April. The Istanbul Biennial film screening programme will articulate the concepts of barbarity, civic awakening and the city.
After the meeting organised with the participation of the press and the contemporary art professionals, curator Fulya Erdemci and the Director of Istanbul Biennial Bige Örer answered the questions. Public programme co-curator Dr. Andrea Phillips was also present in the press meeting.
As a curator and writer Fulya Erdemci, who was the director of the Istanbul Biennial (1994-2000), was director of Proje 4L in Istanbul (2003-2004) and worked as temporary exhibitions curator at Istanbul Modern (2004-2005). She was invited to curate the ‘Istanbul’ section of the 25th Biennale of São Paulo ‘Metropolitan Iconographies: Cities’ in 2002 and joined the curatorial team of the 2nd Moscow Contemporary Art Biennial ‘Footnotes on Geopolitics, Market and Amnesia’ (2007). Erdemci initiated the ‘Istanbul Pedestrian Exhibitions’ in 2002, the first urban public space exhibition in Turkey that centred on the “pedestrian” and co-curated the second edition in 2005 with Emre Baykal. In 2008 Erdemci co-curated SCAPE “Wandering Lines: Towards A New Culture of Space”, the 5th Biennial of Art in Public SPACE in Christchurch, New Zealand with Danae Mossman, presenting the work of 25 international artists throughout the urban spaces of Christchurch city. She was the director of SKOR | Foundation For Art and Public Domain in Amsterdam between June 2008 and September 2012. Erdemci has served on international advisory and selection committees. Erdemci has taught at Bilkent University (1994–1995), Istanbul University and Marmara University (1999–2000) and at Istanbul Bilgi University’s MA Programme in Visual Communication Design (2001–2007). Erdemci was curator of the 2011 Pavilion of Turkey at the 54th International Art Exhibition, Venice Biennale.
The advisory board consists of the artistic director of dOCUMENTA (13) Carolyn Christov-Bakargiev, artist Ayşe Erkmen, art consultant Melih Fereli, director of Exhibitions and Public Programs and chair of the Exhibitions and Museum Studies Program at San Francisco Art Institute Hou Hanru and director of the Al-Ma'mal Foundation for Contemporary Art, Jack Persekian.
The 13th Istanbul Biennial, which is organised by İKSV from 14 September to 10 November 2013 is sponsored by Koç Holding. Koç Holding is the “Biennial Sponsor” of all five Istanbul Biennials between 2007 and 2016.
The visual identity and publications for the 13th Istanbul Biennial are prepared by the designerRuben Pater, LAVA Amsterdam.
WRITING ON ART WORKSHOP
A workshop for emerging art critics will be held throughout the public programme inviting a selection of writers to work with the biennial curatorial team to develop new writing on artistic and curatorial projects. Writing will be published in an online platform leading up to and during the biennial. Writers will be selected from an open call. Detailed information can be found at the Istanbul Biennial website.
Artists who would like to apply to participate in the 13th Istanbul Biennial should send their project proposals together with their portfolios firstname.lastname@example.org 1 March 2013. The list of participants and projects of the 13th Istanbul Biennial will be finalized in June.
Please click here for detailed information.