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Theredgaze.Pdf 1 1 Edited by A.S. Bruckstein Çoruh together with / zusammen mit Lotte Laub Istanbul: Istiklal Cad. Mısır Apt. No:163, K. 2 & 3 D. 5 & 10 34433 Beyoglu/Istanbul, Turkey t: +90 212 251 1214 f: +90 212 251 4288 Berlin: Goethestraße 82, 10623 Berlin/Germany t: +49 (0) 30 31809900 f: +49 (0) 30 31809901 zilbermangallery.com 4 5 5 CONTENTS / INHALT For Beral Madra 04 Prefaces: Lotte Laub, A.S. Bruckstein Çoruh and the 5th International Çanakkale Biennial 2016 which has been cancelled due to political pressure three weeks 18 The rats may feast where they want / Die Ratten sie mögen before the opening schmausen wo sie wollen (Pablo Picasso) Für Beral Madra Artists: Sarkis, Memed Erdener a.k.a. Extramücadele, Imran Qureshi, Rebecca Raue, Erkan Özgen With texts by Uwe Fleckner, Tobias Nöbauer & Işın Önol, Erkan Özgen der 5. Internationalen Çanakkale Biennale 2016 gewid- met, die im September 2016 unter politischem Druck abgesagt wurde 44 If at all the word martyr means anything today / Wenn der Begriff des Märtyrers heute eine Bedeutung habe (Navid Kermani) Artists: Arnold Schoenberg, Ali Kaaf, Memed Erdener a.k.a. Extramücadele, With a text by Sarkis 53 As long as wars are still being waged in the name of religion / Solange im Namen der Religion noch Kriege geführt werden (Şükran Moral) Artists: Memed Erdener a.k.a. Extramücadele, Şükran Moral, Aisha Khalid 57 I am just one protest, I am just one artist / Ich bin nur ein Protest, ich bin nur ein Künstler (Erdem Gündüz) Artists: Aisha Khalid, unknown Flemish artist, Ahmet Elhan, Eşref Yıldırım With texts by Daniel Boyarin, Naz Cuguoğlu 72 Appendix 6 7 LOTTE LAUB Being Witness Zeuge-Sein On June 18, 2013, Erdem Gündüz stood motionless for were, a closely woven carpet of relations intertwining in Am 18. Juni 2013 steht Erdem Gündüz unbewegt acht (Audio), Aisha Khalid, Şükran Moral, Erkan Özgen, Pablo eight hours on Taksim Square in Istanbul, his gaze fixed time and space, to the extent that the curatorial practice Stunden lang auf dem Istanbuler Taksim-Platz, seinen Picasso (Poesie), Imran Qureshi, Rebecca Raue, Sarkis, on the flags of the Atatürk Cultural Center. Through Twit- is centered around true encounters with artists and in- Blick auf die Fahnen des Atatürk Kulturzentrums gerich- Arnold Schönberg, Eşref Yıldırım. Die in The Red Gaze ge- ter, he became world-famous overnight as #duranadam, tellectuals over great distances. These are mimetically tet. Über Twitter wurde er über Nacht weltweit bekannt troffene Werkauswahl bildet gleichsam einen dicht ge- standing man. He moved people all over the world with vicarious paths—to Lahore, Berlin, Paris, Damascus, Ko- als #duranadam, stehender Mann. Mit seinem stummen, webten Teppich raumzeitlicher Verflechtungen, insofern his still protest during the Gezi Park demonstrations in bane, Derik, Diyarbakır, Istanbul, and Lampedusa. reglosen Protest während der Gezi-Demonstrationen in als die kuratorische Praxis auf realen Begegnungen mit Istanbul. His protest simultaneously appropriated a pa- Istanbul hat er Menschen auf der ganzen Welt bewegt. Künstlern und Intellektuellen über weite Distanzen hin- thos formula and was reminiscent of the man who in 1989 The Red Gaze, curated by Shulamit Bruckstein Çoruh, Mit seinem Protest greift er zugleich eine Pathosformel weg beruht. Es sind mimetisch nachempfundene Wege – placed himself in front of a convoy of tanks on Tiananmen implements a method developed in the 1920s by the art auf und erinnert an den Mann von 1989, der sich auf dem nach Lahore, Berlin, Paris, Damaskus, Kobane, Derik, Square, the Gate of Heavenly Peace in Beijing. In con- historian Aby Warburg. On the basis of series of pictures, Tiananmen-Platz, dem Platz des himmlischen Friedens Diyarbakır, Istanbul und Lampedusa. trast to the unnamed person in Tiananmen Square, Erdem he attempted to make visible analogies in form and ex- in Peking allein vor einen Konvoi von Panzern stellte. Gündüz is an artist, dancer, choreographer, performance pression through space and time in order to study the af- Anders als der Unbekannte vom Tiananmen-Platz, ist The Red Gaze, kuratiert von Shulamit Bruckstein Çoruh, artist. The pathos of the protest becomes artistic praxis, terlife of the ancient »pathos formula.« Correspondingly, Erdem Gündüz ein Künstler, Tänzer, Choreograph, Per- folgt einer Methode, die der Kunsthistoriker Aby War- the artist transcends the borders of political action into the curator of The Red Gaze pursues diverse synchronic formance-Künstler. Der Pathos des Protests wird zur burg in den 1920er Jahren entwickelt hat. An Hand von art performance, making himself into a work of art, a sta- and diachronic relationships in the arts, although there künstlerischen Praxis, der Künstler überschreitet die Bilderreihen versuchte er, über Räume und Zeiten hin- tue, a memorial. Erdem Gündüz expressed in an inter- is neither an attempt to be exhaustive nor classifying, but Grenze von der politischen Aktion zur Kunst-Performan- weg Ähnlichkeiten in Form und Ausdruck unmittelbar view: »I am just one protest. I am just one artist. […] I am rather to find »a definition of knowledge not only shaped ce, er macht sich selbst zum Kunstwerk, zum Standbild, sichtbar werden zu lassen, um das Nachleben antiker nothing. […] My idea is free, my spirit is free […].« Gündüz by the West« (Bruckstein Çoruh). Aby Warburg described zum Mahnmal. Erdem Gündüz äußert sich in einem Inter- »Pathosformeln« zu erforschen. Entsprechend geht die the dancer asserted his body as his voice. By resisting the process in his picture atlas Mnemosyne as a »displac view: »I am just one protest. I am just one artist. [...] I am Kuratorin in The Red Gaze den vielfältigen synchronen violence, he inspired countless others to join him, thus ing of the panels,« which is also characteristic for The nothing. [...] My idea is free, my heart is free, my spirit is und diachronen Beziehungen zwischen den verschiede- becoming a witness of our age. Red Gaze. Warburg had reproductions of artworks and free [...].« Sein Körper sei seine Stimme, so der Tänzer nen Werken nach, wobei weder Vollständigkeit, noch Sys- other material mounted on panels, bringing them into Gündüz. Indem er Widerstand leistet gegen die Gewalt tematik angestrebt ist, sondern »eine Neudefinition des With the exhibition The Red Gaze, the Zilberman Gallery new constellations by moving them. This strategy en- und damit Unzählige angeregt hat, sich ihm anzuschlie- Wissens einer nicht nur westlich geprägten Moderne« presents contemporary works, works from classical mo- abled works to be liberated from their prescribed fixed ßen, wird er zum Zeugen unserer Zeit. (Bruckstein Çoruh). Aby Warburg beschreibt sein Verfah- dernity, and the baroque period on the question of the positions in hierarchies of genre, schools, and epochs. ren in seinem Bildatlas Mnemosyne als ein »Schieben der gaze, being testimony, resistance to disappearance and In the exhibition The Red Gaze, Bruckstein Çoruh also Zilberman Gallery präsentiert mit der Ausstellung The Gestelle«, wie es auch charakteristisch für The Red Gaze against violence. The exhibition brings together drawings creates object constellations that can be turned every Red Gaze Werke der Gegenwart, der klassischen Mo- ist. Er hatte Abbildungen von Kunstwerken auf Gestelle and paintings on paper, photographs, textiles, sculp- which way, although the shifting touches art genres as derne und des Barock zu Fragen des Blicks, der Zeu- aufgebracht, die er durch Verschieben zu neuen Kon- tures, objects, written and spoken poetic texts, and video, well, when she has the painter Picasso, of all people, genschaft, des Widerstands gegen das Verschwinden stellationen zusammenführte. Durch diese Strategie wur- coalescing artistic, poetic, and political associations. It writing poetry, the composer Schoenberg painting, and und gegen die Gewalt. Die Ausstellung führt Papierar- den die Werke aus ihren vorgegebenen Fixierungen nach displays works by Ahmet Elhan, Memed Erdener a.k.a. the dancer and performer Erdem Gündüz speaking. (In beiten, Fotografien, Textilarbeiten, Skulpturen, Objekte, Gattungshierarchien, Schulen, Epochen befreit. Dem Extramücadele, Erdem Gündüz (text and audio), Ali Kaaf, the exhibition there is an audio recording of an interview vertonte und verschriftlichte Poesie und Videoarbeiten entsprechend geht es Shulamit Bruckstein Çoruh bei ih- Navid Kermani (audio), Aisha Khalid, Şükran Moral, Er- excerpt with him.) It is a matter of synesthesia—making zusammen, die sich zu künstlerischen, poetischen und ren »Objekt-Konstellationen« um die Verdeutlichung der kan Özgen, Pablo Picasso (poem), Imran Qureshi, Rebec- colors audible and sounds visible. This synesthetic and politischen Assoziationen verdichten. Sie zeigt Werke von vielfältigen Beziehungen zwischen den Werken, wobei ca Raue, Sarkis, Arnold Schoenberg, and Eşref Yıldırım. playful process can express pre-conscious ideas, making Ahmet Elhan, Memed Erdener a.k.a. Extramücadele, Er- das Verschieben außerdem die Kunstgattungen betrifft, The selection of works made in The Red Gaze forms, as it unexpected meanings flare up. In line with this combina- dem Gündüz (Text und Audio), Ali Kaaf, Navid Kermani wenn sie ausgerechnet den Maler Picasso dichten, den 8 9 tory approach, one of the artists in The Red Gaze, Memed 1944 are, like Paul Klee’s Angelus Novus from the year Komponisten Schönberg malen, und Erdem Gündüz, den Jahr 1944 und zeigt Schönbergs Gesicht in strenger Fron- Erdener formulates: »[...] photograph, form, sign and 1920, anticipating,
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