International Projects Since 2015

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International projects since 2015 A Fund for Contemporary Art Gelatin Museum Boijmans Van Marko Lulić Anna-Sophie Berger Beuningen, Rotterdam, 2018 Skulpturenmuseum Cell Project Space, London, Glaskasten Marl, 2019 2019 Christian Eisenberger Kunsthalle Gießen, 2020 Lois Weinberger documenta 14, Kassel, 2017 Katrin Hornek ar/ge kunst, Bolzano, 2021 Oliver Laric Mathias Poledna Ines Doujak 9th Liverpool Biennial, 2016 10th Liverpool Biennial, 2018 11th Liverpool Biennial, 2021 Lazar Lyutakov Simian, Copenhagen, 2021 Sophie Thun Kim? Contemporary Art Centre Riga, 2021 Katrin Hornek Sarah Ortmeyer 2nd Riga Biennial, 2020 2nd Riga Biennial, 2020 Philipp Timischl Anna-Sophie Berger Fondation Fiminco, S.M.A.K., Ghent, 2018 Paris, 2021 Julia Haller Christoph Meier Midway Contemporary Art, Casino Luxembourg, Minneapolis, 2018 2018 John Gerrard Susanna Fritscher 13th Gwangju Biennale, 2021 Centre Pompidou-Metz, 2020 Renate Lorenz & Pauline Boudry 3rd Timișoara Art Encounters Biennial, 2019 Leander Schönweger Ursula Mayer 15th Istanbul Biennial, 2017 16th Istanbul Biennial, 2019 Susanna Fritscher Ashley Hans Scheirl & Thomas Feuerstein Ulrike Müller 14th Biennale de Lyon, 2017 Jakob Lena Knebl 15th Biennale de Lyon, 2019 Queens Museum, 15th Biennale de Lyon, New York, 2020–2021 2019 Angelika Loderer Heimo Zobernig Kay Walkowiak New Museum Triennial, Austrian Pavilion, 1st Lahore Biennale, 2018 New York, 2021 56th Biennale di Venezia, 2015 Ulrike Müller 78th Whitney Biennial, New York, 2017 Søren Engsted Friedl Kubelka Main exhibition, vom Gröller Lois Weinberger 57th Biennale di Venezia, 2017 MACRO, Rome, 2021 documenta 14, Athens, 2017 Paul Renner Contemporary Arts Museum Houston, 2021 John Gerrard Manifesta 12, Palermo, 2018 Franz West Renate Bertlmann Ulrike Müller Main exhibition, Austrian Pavilion, Nikolaus Gansterer Main exhibition, 14th Sharjah Biennial, 2019 57th Biennale di Venezia, 2017 58th Biennale di Venezia, 2019 58th Biennale di Venezia, 2019 Gernot Wieland Bienal de America del Sur, Buenos Aires, 2021 Ines Doujak 4th Dhaka Art Summit, 2018 VALIE EXPORT Ana Hoffner ex-Prvulovic* 4th Kochi-Muziris Biennale, 5th Kochi-Muziris Biennale, Phileas since 2015 2018 2021 63 international curators invited to Vienna 37 participations of Austrian artists at international Biennials 64 exhibitions supported (52% female artists) Philipp Fleischmann 51 commissions of new artworks 34th Bienal de São Paulo, 2021 Jun Yang Martin Walde publications produced Oliver Laric Katarina Matiasek 16 33rd Bienal de São Paulo, 21st Biennale 21st Biennale 22nd Biennale 50 donations of artworks to Austrian museums 2018 of Sydney, 2018 of Sydney, 2018 of Sydney, 2020 €2,500,000 raised in private funding.

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Baltic Triennial 13 – Give up the Ghost
BALTIC TRIENNIAL 13 – GIVE UP THE GHOST Contemporary Art Centre (CAC), Vilnius 11 May – 12 August, 2018 Private view 11 May, 6pm Artistic Director: Vincent Honoré BT13 – GIVE UP THE GHOST launches its fi rst chapter at Contemporary Art Centre (CAC), Vilnius on Friday, 11 May with an evening of performances followed by a public programme on Saturday, 12 May. BT13 in Vilnius includes works by Caroline Achaintre, Evgeny Antufi ev, Korakrit Arunanondchai, Darja Bajagić, Olga Balema, Nina Beier, Huma Bhabha, Dora Budor, Miriam Cahn, Jayne Cortez, Melvin Edwards, Daiga Grantina, Max Hooper Schneider, Anna Hulačová, Pierre Huyghe, E’wao Kagoshima, Sanya Kantarovsky, Ella Kruglyanskaya, Benoît Maire, Katja Novitskova, Pakui Hardware, Anu Põder, Laure Prouvost, Ieva Rojūtė, Rachel Rose, Augustas Serapinas and Michael E. Smith alongside a public programme of performances by Liv Wynter, Adam Christensen, Anton Lukoszevieze, Ieva Rojūtė and Žygimantas Kudirka celebrating the Triennial. The Baltic Triennial has historically taken place at the CAC Vilnius only. For its 13th edition, it will - for the fi rst time - be organised by and take place in Lithuania, Estonia (opening on June 29th) and Latvia (opening on September 21st), taking the form of three distinct chapters. Baltic Triennial 13 is informed by a shared concern: what does it mean to belong at a time of fractured iden- tities? BT13 – GIVE UP THE GHOST unfolds through and with this very question, careful not to off er a single or illustrative response. Instead, it opts for a collective vision of what is at stake: independence and depen- dency—and everything that lies in between—to territories, cultures, classes, histories, bodies and forms.
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12Th Istanbul Biennial
Tracy Williams, Ltd New York VOLUME 26 ISSUE 3 MAY 2011 12th Istanbul Biennial Marcus Verhagen The institution of the biennial is burgeoning – and in crisis. While biennials proliferate across the globe, commentators point out that they tend to be unwieldy, centrifugal affairs with grand titles and thin curatorial premises. Many also hold that the biennial does no favours to quiet or demanding work; in shows too sprawling for their curatorial scaffolding vast showstoppers, works more likely to inspire awe than sustained engagement, tend to set the tone. Meanwhile, biennial curators regularly stress that they want to raise the visibility of non-Western artists, while continuing to give pride of place to artists who work in or near the old centres of the commercial artworld. And many biennials are designed to burnish the cultural credentials of their host cities in the eyes of tourists and potential investors; their cultural and political ambitions are often undone, or at least compromised, by their instrumentalisation at the hands of political patrons and sponsors. The biennial has largely internalised these common criticisms. Artists have aired their misgivings in pieces such as De Novo, the film that Dominique GonzalezFoerster made for the 2009 Venice Biennale, in which she detailed the disappointments of her previous participations, or Death in Venice, a piece by Gonzalo Dıáz for the pavilion of the Istituto Italo-Latinoamericano in 2005, which used letter-shaped fish tanks to spell ‘ARTE’ and so clearly likened the Biennale to a fishbowl and those involved in it to fish – colourful, essentially idle and oblivious to external concerns.
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(0)30 24 34 59 42 [email protected] Content Facts Curatorial Statement Videostatements Gabriele Ho
Content Facts Curatorial Statement Videostatements Gabriele Horn, Director, Berlin Biennale Hortensia Völckers, Executive Board / Artistic Director, Kulturstiftung des Bundes (German Federal Cultural Foundation) María Berríos, Renata Cervetto, Lisette Lagnado, Agustín Pérez Rubio, Curators, 11th Berlin Biennale Participants Curators Chapters of the epilogue The Crack Begins Within Venues Exchange Publications History of the Berlin Biennale Main funder: Kulturstiftung des Bundes Corporate partner: BMW Curatorial Workshop How to gather Support and Media Partner Transcripts of the video statements As of: 4.9.2020 / Subject to change Press requests T +49 (0)30 24 34 59 42 [email protected] Facts Title of the epilogue The Crack Begins Within Previous exp. 1: The Bones of the World (7.9.–9.11.2019) exp. 2: Virginia de Medeiros – Feminist Health Care Research Group (30.11.2019–8.2.2020) exp. 3: Affect Archives. Sinthujan Varatharajah – Osías Yanov (22.2.–2.5.2020, extended until 25.7.2020) Curators María Berríos, Renata Cervetto, Lisette Lagnado, Agustín Pérez Rubio Director Gabriele Horn Duration of the epilogue 5.9.–1.11.2020 Specifics of the first two weeks of the running time 5.9.2020 First public day of the exhibition (due to the extensive coronavirus measures and the associated admission restrictions there will be no opening) 5. and 6.9.2020 Free admission to all venues (all timeslots are already booked) 9.–12.9.2020 Extended opening hours until 9 pm at KW Institute for Cotemporary Art and Gropius Bau Press preview 4.9.2020, 10 am–7
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New Museum to Present First US Museum Exhibition for Paweł Althamer Featuring the Artist’S Iconic Portraits and a Sculpture Workshop
TEL +1 212.219.1222 FAX +1 212.431.5326 newmuseum.org FOR IMMEDIATE RELEASE MEDIA CONTACT: December 17, 2013 Gabriel Einsohn, Senior Communications Director Hyatt Mannix, External Affairs Associate [email protected] 212.219.1222 x209 Andrea Schwan, Andrea Schwan Inc. [email protected] 917.371.5023 New Museum to Present First US Museum Exhibition for Paweł Althamer Featuring the Artist’s Iconic Portraits and a Sculpture Workshop Visitors Will Paint Gallery Walls in a Collective Participatory Artwork New York, NY…Beginning in February 2014, the New Museum will present the first US museum exhibition devoted to the work of Paweł Althamer. Since the early 1990s, Althamer (b. 1967 Warsaw, Poland) has established a unique artistic practice and is admired for his expanded approach to sculptural representation and his experimental models of social collaboration. Althamer is predominantly known for figurative sculptures of himself, his family, and various other individuals within his community. Beyond simple , 2013. Exhibition view: portraiture, these sculptures, along with the artist’s other activities, highlight the complex social, political, and psychological networks in which he Venetians operates. “Paweł Althamer: The Neighbors” will be on view on the Fourth, Third, and Second Floor galleries from February 12–April 13, 2014. The exhibition will include a new presentation of the artist’s work, Paweł Althamer, Althamer, Paweł Biennale, 2013. Photo: Jens Ziehe, Berlin. Venice Courtesy the artist, Foksal Gallery Foundation, Warsaw, Berlin and neugerriemschneider, Draftsmen’s Congress, originally presented at the 7th Berlin Biennial (2012). Over the course of the exhibition, the blank white space of the New Museum’s Fourth Floor gallery will be transformed through the gradual accumulation of drawings and paintings by Museum visitors and a wide array of invited community organizations.
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Mise En Page 1
SEXTANT ET PLUS, associée à IKSV et CULTURESFRANCE, présente EMPLOI SAISONNIER "Emploi saisonnier" est un projet proposé par Celenk Bafra et Véronique Collard Bovy, basé sur un en - semble de recherches et d’échanges initié en 2008 dans les villes d’Istanbul, Izmir, Antakya, Diyarbakir, Paris et Marseille. Le point de départ était de rendre compte de manière précise des questions urbaines, sociales et culturelles des villes du pourtour Méditerranéen, et plus particulièrement de Turquie. Ces recherches se sont concentrées sur les différentes problématiques socio-culturelles de ces cités et sur les modalités de production collectives comme autant de solutions pour les artistes d’exister ensemble en inventant des systèmes d’échanges et de solidarité. De ces recherches découle l’élaboration de trois propositions artistiques, trois expositions présentées à la Friche Belle de Mai, à Marseille. Il était crucial, concernant le programme de résidence, d’y intégrer des artistes de Turquie familliers avec la dimension collective, le vivre et travailler ensemble. Venus d’Izmir, une des grandes villes de Turquie et un des plus important port de la côte asiatique, quatre artistes, par ailleurs figures emblématiques d’une des plus importantes initiatives d’artistes contemporains à Izmir, nommée K2, ont mené leurs résidences à Marseille. Bien que leurs propositions artistiques se soient formalisées de manière individuelle, une approche commune et une filiation spirituelle existe par ce passé partagé. Le processus de leur résidence jusqu'à la production de leur travaux, traitant des questions du quotidien et des modes de vie, a contribué au contenu de l'exposition "Arrangements" au même titre que les oeuvres des autres artistes invités qui, par leurs positions et leurs approches des questions du quotidien, viennent la nourrir et l'enrichir.
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Galerie Alberta Pane
GALERIE ALBERTA Sof Hair PANE MARCOS LUTYENS CURATED BY CHIARA VECCHIARELLI September 4TH October 30TH 2021 47 rue de Montmorency - 75003 Paris Opening: Saturday, September 4th, 3pm Opening hours: Tu-Sat 11am - 7pm Black holes have no hair - scientists have long thought. Until recently, from a black hole we could know the mass, to some extent the electric charge and even the angular momentum when they did not belong to the static kind, but any other property, any additional information about a body entering a black hole seemed to be forever lost, locked up or disappeared beyond the threshold that astrophysicists call the event horizon. To an outside observer, black holes appeared to be completely bald, with not even a particle escaping from their edge, until something like sof hair - as defned by Stephen Hawking, the very author of the no-hair theorem, along with Perry and Strominger - appeared on their surface. Something like a radiation of energy carried by gravitational waves seemed at last to whisper what had never been audible. What if something of our consciousness could also vibrate around us, afer being encrypted like the internal information of a black hole, on the surface of a sphere? Couldn't art bring to the surface, perhaps trace, as in a hologram, the information necessary to access our inner universe? How to make visible the singularity of the knowledge of others? And what is the form of wisdom? Is there a way to make tangible what seems elusive? These are the questions Marcos Lutyens wishes to articulate with the Sof Hair project, which opens at the Alberta Pane Gallery on September 4.
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Public Istanbul
Frank Eckardt, Kathrin Wildner (eds.) Public Istanbul Frank Eckardt, Kathrin Wildner (eds.) Public Istanbul Spaces and Spheres of the Urban Bibliographic information published by the Deutsche Nationalbib- liothek The Deutsche Nationalbibliothek lists this publication in the Deut- sche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Cover layout: Kordula Röckenhaus, Bielefeld Cover illustration: Kathrin Wildner, Istanbul, 2005 Proofred by: Esther Blodau-Konick, Kathryn Davis, Kerstin Kempf Typeset by: Gonzalo Oroz Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-865-0 CONTENT Preface 7 PART 1 CONTESTED SPACES Introduction: Public Space as a Critical Concept. Adequate for Understanding Istanbul Today? 13 FRANK ECKARDT Mapping Social Istanbul. Extracts of the Istanbul Metropolitan Area Atlas 21 MURAT GÜVENÇ Contested Public Spaces vs. Conquered Public Spaces. Gentrification and its Reflections on Urban Public Space in Istanbul 29 EDA ÜNLÜ YÜCESOY Globalization, Locality and the Struggle over a Living Space. The Case of Karanfilköy 49 SEVIL ALKAN Fortress Istanbul. Gated Communities and the Socio-Urban Transformation 83 ORHAN ESEN/TIM RIENIETS Peripheral Public Space. Types in Progress 113 ELA ALANYALI ARAL Old City Walls as Public Spaces in Istanbul 141 FUNDA BA BÜTÜNER Regenerating »Public Istanbul«. Two Projects on the Golden Horn 163 SENEM ZEYBEKOLU Public Transformation of the Bosporus. Facts and Opportunities 187 EBRU ERDÖNMEZ/SELIM ÖKEM PART 2 EXPERIENCING ISTANBUL Introduction: Spaces of Everyday Life 209 KATHRIN WILDNER Istanbul's Worldliness 215 ASU AKSOY Public People.
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Zarouhie Abdalian We Can Decide March 11 – April 24, 2021
Zarouhie Abdalian We can decide March 11 – April 24, 2021 Altman Siegel presents We can decide, a solo exhibition of new works by Zarouhie Abdalian. The exhibition centers around a sound installation, threnody for the unwilling martyrs, which sees Abdalian return to the use of bells as a basis for sound sculpture. Throughout We can decide, a state of suspension pervades the space of the gallery and threnody for the unwilling martyrs is its emblem. Set just slightly in motion, five brass signaling bells sound out their indeterminate status, both and alternately signifying and hailing, marking and calling, meaning and doing. In recognition of the mass murder Abdalian asks us to lay at the feet of the U.S. government, it may be read as a memorial and an incitation. Elsewhere in the gallery, two large sculptures impose themselves as nameless witnessing objects to the present conjuncture. Emptied of its cargo, a 2,500 lbs. bulk bag gapes. Nearby, the torso of an internal combustion engine stands as tribute to social labor and Promethean will. Suspended from the ceiling, a light sculpture counts out the indeterminate intervals between events, registered as flashes of brilliant energy. A poem—the exhibition’s namesake—is printed as a takeaway. The text is derived from a 2019 piece titled Rhymes and Reckonings (for Sverdlovsk and Yekaterinburg) made with collaborator Joseph Rosenzweig. The body of the text records in irregular couplets the social character of commodity production—that is, the real world from which the “readymade” objects of the exhibition are plucked. Abdalian’s interest is not so much in what any given object represents but what of its history can be clarified at the utopian (no place) site of the gallery.
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THE 13Th ISTANBUL BIENNIAL PUBLIC PROGRAMME Public Alchemy
THE 13th ISTANBUL BIENNIAL PUBLIC PROGRAMME Public Alchemy “MAKING THE CITY PUBLIC” 8-10 February Friday, 8 February Venue: Istanbul Technical University, Maçka Campus C101 Conference Hall 18.30: Introduction: Fulya Erdemci & Andrea Phillips 18.45: Poetry reading: Lale Müldür (Poet) 19.00: Lecture: Teddy Cruz (Architect, Professor in Public Culture and Urbanism in the Visual Arts Department at University of California, San Diego, co-founder of CUE/Center for Urban Ecologies) Where is Our Collective Imagination? Architecture and the Crisis of the Public A critical challenge in the context of the current economic crisis is how to restore the ethical imperative between individuals, communities, and institutions in co-producing the city. Today’s search for a civic imagination must prompt us to question the exclusionary politics and economics that detonated the sprawling urbanizations of consumption of the last years. How to re-imagine the public in order to produce new paradigms of social infrastructure, housing and citizenship is the most important task we can engage today to confront urban socio-economic inequality. 20.30: Improvisation: Cevdet Erek (Artist and Musician, Lecturer at ITU TM Conservatory and Architecture Faculty) Saturday, 9 February Venue: Istanbul Technical University, Maçka Campus C101 Conference Hall 14.00: Lecture illustrated by hand: Christoph Schäfer (Conceptual Artist, Sparkling Draughtsman, Educational Entertainer, Urban Writer and Uninvited City Planner) A Machine of Possibilities: the urban turn, art and the right to the city The importance of cities is growing. Being in the centre has become a question of survival for people and a key to success for companies.
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Master of Arts Thesis
Master of Arts Thesis Euroculture University of Uppsala, Sweden ( Home) University of Strasbourg, France ( Host ) January, 2015 Rethinking Istanbul Biennial In The Process of Globalization Submitted by Gözde Sütçü Robin Student number home university: 820616-7945 Student number host university: 21119150 Contact details (telephone/email) +33651496731 Supervised by: Name of supervisor home university: Mathias Persson Name of supervisor host university: Alexandre Kostka Toulouse, France Signature 1 MA Programme Euroculture Declaration I, Gozde Sutcu Robin hereby declare that this thesis, entitled “Rethinking Istanbul Biennial In The Process of Globalization”, submitted as partial requirements for the MA programme Euroculture, is my own original work and expressed in my own words. Any use made within this text of works of other authors in any form (e.g. ideas, figures, texts, tables, etc.) are properly acknowledged in the text as well as in the bibliography. I hereby also acknowledge that I was informed about the regulations pertaining to the assessment of the MA thesis Euroculture and about the general completion rules for the Master of Arts Programme Euroculture. Signed: Gözde Sütçü Robin Date: 14 January 2015 2 Preface I would like to take this opportunity to thank my friends: Turkan Kantale, Louwane Courtney, Astrid Walsh and Ayse Nil Ozden. My husband, Charles Robin, deserves special recognition for supporting me during the long and arduous process of writing my thesis. I am filled with gratitude for his patience and understanding. And finally, I would also like to thank my professors; Mr. Alexandre Kostka for helping me in choosing my subject which allowed me to further identify and refine my professional goals and Mr.
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The Ever-Faster Spinning Carousel of Biennials
René Block We Hop On, We Hop Off: The Ever-faster Spinning Carousel of Biennials n the early sixties, when I was gathering my artistic experience, there Lars Ramberg, Liberté, 2005, mixed-media interactive were two biennials: the Venice Biennale and the Bienal de São Paulo— sculpture consisting of three toilets at Nordic Pavilion, 2007 and every five years there was documenta, in Kassel. In 1973, the Venice Biennale. Courtesy of I René Block. Biennale of Sydney joined them, virtually unnoticed at first. Since then, not even forty years have passed, and today we are confronted with so many so-called biennials, triennials, and quadriennials that it’s almost impossible to get an overall perspective on them. Some statistics speak of there now being around one-hundred-and-fifty different projects. A few years ago, the Berlin cultural critic Marius Babias described this phenomenon as follows: In the nineties, the rapidly increasing value of culture as a location factor in global cities that were competing for investment put heavy pressure on the urban independent scenes and artistic milieus, which led them, in an attempt to break out of their political and artistic isolation, to develop new living proposals and career strategies that in turn were gratefully appropriated by the cultural institutions that were being forced to profile and legitimatize themselves. The culturally charged processes of political legitimization are 1 evident in this merry-go-round. 26 Vol. 12 No. 3 And then Babias gave a concrete example: . the Berlin Biennale was a component of a Berlin marketing strategy. After the fall of the Wall, the art scene—closely enmeshed with the construction boom in Berlin—tracked down the spirit of the times in raw excavations, romantically ruined courtyards and clubs.
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AHMET ÖĞÜT *1981 in Silvan, Diyarbakır Lives and Works in Amsterdam and Berlin
AHMET ÖĞÜT *1981 in Silvan, Diyarbakır lives and works in Amsterdam and Berlin Education Solo Exhibitions (selection) 2007 - 2008 Rijksakademie van beeldende kunsten / 2018 • Bakunin´s Barricade, Kunstverein Dresden Dutch Ministry of Education, Culture and 2017 • Hotel Résistance, KOW, Berlin Science, Amsterdam • Kunsthal Charlottenborg, Copenhagen • Goshka Macuga & Ahmet Öğüt, Witte de With Center for Contemporary 2003 - 2006 Art, Rotterdam MA, Yildiz Teknik University, Art and De- 2016 • Ahmet Ögüt, ALT Bomonti, Istanbul sign Faculty, Istanbul • Studio Ögüt, Galerie Wedding, Berlin 2015 • Forward! Vooruit!, Van Abbemuseum, Eindhoven 1999 - 2003 • Happy Together: Collaborators Collaborating, Chisenhale Gallery, BA, Hacettepe University, Fine Art Faculty, London Painting Department, Ankara 2014 • We Won’t Leave, Parking Gallery VANSA , Johannesburg • Ljubljana Express: 10 Years of Distance, Galeri Siyah Beyaz, Ankara • Apparatuses of Subversion, Horst-Janssen-Museum, Oldenburg Awards and Grants • Strategies for Radical Democracy, The Blackwood Gallery at University of Toronto 2013 • The Visible Award, Biella 2013 • Fahrenheit 451: Reprinted, Checkpoint Helsinki, Helsinki 2012 • The Special Prize, Future • When the axis of the Hamster's wheel is lodged inside Sisyphus' boulder, Generation Art Prize, Kiev Stacion – Center for Contemporary Art Prishtina 2011 • De Volkskrant Beeldende 2012 • This exhibition’s factual accuracy may be compromised due to its practical Kunst Prijs nature, Künstlerhaus Stuttgart 2010 • Kunstpreis Europas Zukunft,
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