Friday, September 07, 2012
Thursday, September 06, 2012
Artforum: 50TH ANNIVERSARY SPECIAL ISSUE: ART’S NEW MEDIA
Sunday, December 25, 2011
|ZWÖLF IM ZWÖLFTEN|
Duration: 10/12/2011 - 3/3/2012
Anny & Sibel Öztürk
|curated by René Block and Ece Pazarbaşı|
Friday, November 11, 2011
Monday, October 10, 2011
THE 12TH ISTANBUL BIENNIAL
September 17 / November 13, 2011
The visual identity and the title of the 12th Istanbul Biennial—Untitled (12th Istanbul Biennial), 2011—reference the work of the Cuban American artist Felix Gonzalez-Torres (1957–1996), one of the most important artists of the contemporary era.
The five group exhibitions of the 12th Istanbul Biennial are titled Untitled (Abstraction), “Untitled” (Ross), “Untitled” (Passport), Untitled (History), and “Untitled” (Death by Gun). Each departs from a specific work by Felix Gonzalez-Torres. More than 50 solo presentations carry further the discussions broached by the group exhibitions.
solo presentations:Zarouhie Abdalian
Jonathas de Andrade
Ardmore Ceramic Art Studio
Yıldız Moran Arun
Nazım Hikmet Richard Dikbaş
Özlem Günyol & Mustafa Kunt
William E. Jones
Tamás Kaszás & Anikó Loránt
Meriç Algün Ringborg
Nasrin Tabatabai and Babak Afrassiabi (PAGES)
Mona Vatamanu & Florin Tudor
Hank Willis Thomas
Alessandro Balteo Yazbeck & Media Farzin
Monday, September 12, 2011
Curator of the Main project - Peter Weibel.
The title for the Biennale, “Rewriting Worlds”, proclaims that art is a sphere where new things are unceasingly generated, and contemporary artists rewrite the world as it exists around them by conveying new ideas and viewpoints in their artistic work. Peter Weibel believes that the exhibition’s main goal is “to demonstrate different levels of artistic thought — technological, political and psychological.”
The main project will be located at two venues — the ARTPLAY Design Center, and the TSUM Art Foundation, both in central Moscow. There will also be 6 special guests, as well as 69 special projects and parallel programs at different venues. In addition, the Biennale expands its geographic boundaries beyond Moscow, with special projects planned in Yekaterinburg, Nizhny Novgorod, Kiev, and London.
- Nadezhda Anfalova (Russia)
- Marina Alekseeva (Russia)
- Kader Attia (France)
- Catalina Bauer (Chile)
- Bernadette Corporation (USA)
- Michael Bielicky / Kamila B. Richter (Czech Republic/Germany)
- BlueSoup (Russia)
- Alexei Borisov & Olga Nosova and VTOL (Россия)
- Roberto Cabot (Brazil)
- Jim Campbell (USA)
- Daniel Canogar (Spain)
- Rejane Cantoni & Daniela Kutschat (Brazil)
- Chen Chieh-jen (Taiwan)
- Valery Chtak (Russia)
- Stan Douglas (Canada)
- Claire Fontaine (France)
- Electroboutique (Russia)
- Olafur Eliasson (Denmark / Germany)
- Michael Elmgreen (Denmark) & Ingar Dragset (Norway)
- EVOL (Germany)
- Thomas Feuerstein (Austria)
- Gints Gabrans (Latvia)
- Andrea Galvani (Italy / USA)
- Kate Gilmore (USA)
- Paolo Grassino (Italy)
- Shilpa Gupta (India)
- Alina Gutkina (Russia)
- Richard Hamilton (UK)
- FX Harsono (Indonesia)
- Jeppe Hein (Denmark / Germany)
- Susan Hiller (UK / USA)
- Rebecca Horn (Germany)
- Manabu Ikeda (Japan)
- Wang Jianwei (China)
- Isaac Julien (UK)
- Olga Kisseleva (Russia / France)
- Jürgen Klauke (Germany)
- Taisia Korotkova (Russia)
- Learning Film Group (Yevgeny Fiks, David Riff, Ilya Budraitskis, Nikolay Oleynikov) (Russia)
- Armin Linke (Italy / Germany)
- Rafael Lozano-Hemmer (Mexico/ Canada)
- Ken Lum (Canada) and Zheng Shengtian (China)
- Ingeborg Lüscher (Switzerland / Germany)
- Anna Maria Maiolino (Brazil)
- Igor Makarevich / Elena Elagina (Russia)
- Taus Makhacheva (Russia)
- Fabián Marcaccio (Argentina / USA)
- Casey McKee (USA / Germany)
- Almagul Menlibayeva (Kazakhstan)
- Achim Mohné & Uta Kopp (Germany)
- Lada Nakonechna (Ukraine)
- Yong-seok Oh (Korea)
- Ahmet Öğüt (Turkey / Netherlands)
- Wendelien van Oldenborgh (Netherlands)
- Anna Marta Overaa (Norway)
- Walid Ra'ad (Lebanon / USA)
- rAndom International (Germany / UK)
- Neo Rauch (Germany)
- Rosângela Rennó (Brazil)
- Ki-bong Rhee (Korea)
- Gerhard Richter (Germany)
- R&Sie(n) (France)
- Charles Sandison (UK / Finland)
- T. V. Santhosh (India)
- Christoph Schlingensief (Germany)
- Ruth Schnell (Austria)
- David Shrigley (UK)
- Christa Sommerer (Austria) & Laurent Mignonneau (France / Austria)
- Jonas Staal (Netherlands)
- Joulia Strauss (Germany/Russia)
- Yasuhiro Suzuki (Japan)
- Yuken Teruya (Japan)
- Timo Toots (Estonia)
- Nomeda & Gediminas Urbonas (Lithuania) in collaboration with Tracey Warr
- Guido Van der Werve (Netherlands)
- Mariana Vassileva (Bulgaria/ Germany)
- Martin Walde (Austria)
- Ai Weiwei (China)
- Tintin Wulia (Indonesia)
- Cerith Wyn Evans (UK)
- Kijong Zin (Korea)
Saturday, September 10, 2011
RUN, COMRADE, THE OLD WORLD IS BEHIND YOU
16.09 - 16.10.2011
A new artwork everyday for 23 days. Exhibition, concerts, performances.
Dina Danish, Marius Engh, Søren Thilo Funder, Ahmad Ghossein, Marianne Heier, Runhild Hundeide, Hassan Khan, Guro Moe, Ahmet Öğüt, Pia Maria Roll, Benjamin Seror og Morten Norbye Halvorsen, Dan Starling, Pilvi Takala, Mario Garcia Torres, Synnøve G. Wetten, Dan Wolgers a. o.
'Run, Comrade, the old world is behind you' is an exhibition showing a new work each day from the 16th of September to the 16th of October. 23 artists will present performances, objects, films, lectures, concerts etc., during a month in line with our opening hours (wednesday-sunday).
The exhibition will start with an empty room, progressively filled with new artworks until it becomes a group exhibition. The show will end on a finissage, concert and party on Sunday the 16th of October.
Monday, August 29, 2011
Ahmet Cevdet Bey presents Tunnel of Fear
03.09.2011 - 06.11.2011
Overgaden.Institute of Contemporary Art
Overgaden Neden Vandet 17
DK-1414 Copenhagen K
Tuesday, July 12, 2011
Car Fetish. I drive, therefore I am.
Car Fetish presents the automobile as a source of inspiration for the art of the last hundred years. Starting with the Futurists, who saw in its beastly roar and thrilling, dangerous speed a new ideal of beauty, the book provides an overview of the most beautiful and inspiring artworks we owe to this tin muse. Among them are examples of Pop Art and creations by the Nouveaux Réalistes, with Jean Tinguely as biggest Formula 1 fan. The extensive catalog places the automobile in the context of cultural history as a key cultural artifact of the twentieth century.
Among the included artists are Kenneth Anger, Giacomo Balla, Edward Burtynsky, Andrew Bush, César, John Chamberlain, Liz Cohen, Stephen Dean, Jan Dibbets, Don Eddy, Hans-Peter Feldmann, Sylvie Fleury, Franz Gertsch, Allan Kaprow, Peter Keetman, Edward Kienholz, Konrad Klapheck, Annika Larsson, Jacques-Henri Lartigue, Zilla Leutenegger, Arnold Odermatt, Ahmet Ögüt, Julian Opie, Mel Ramos, Robert Rauschenberg, Pipilotti Rist, Peter Roehr, Mimmo Rotella, Bruno Rousseaud, Luigi Russolo, Franck Scurti, Roman Signer, Stefan Sous, Peter Stämpfli, Anton Stankowski, Superflex, Andy Warhol, Patrick Weidmann, Virgil Widrich, and Dale Yudelman.
Sunday, June 12, 2011
MODERN ESSAYS 1AHMET ÖĞÜTACROSS THE SLOPE
JUNE 16 – OCTOBER 1, 2011
The Fiat 131 Mirafiori was the dream car of the 1970s middle class in Turkey. In addition to domestic production, the 131 was manufactured in Turkey’s Tofaş factory as Murat 131, in Spain as Seat 131 and in Soviet Russia as Lada. It was also assembled in Southeast Asia, South America and North Africa. While Mirafiori’s design and engine were imported to these foreign markets, its assembly was local. The classic middle class car of its era, today Mirafiori remains a symbol of modernization, and an early example of a developing culture around custom-made cars. Öğüt’s version of the 131, like the American automobiles of the 1950s, is elongated beyond the needs of luxury.
Is this car on the slope just a modified Murat 131, or is it a middle class dream, suspended in mid-air?
An earlier work by artist Vahit Tuna titled The President’s Car (1998) tackled issues that arose from the transformation of the luxurious American cars imported to Turkey during the Democrat Party era. These cars that were used first by wealthy families, later became taxicabs and, finally, were modified in Dolapdere as eight-person shuttle buses. Ironically, these local articulations were visually reminiscent of limousines.
A comparison between American brands like Dodge or Chevrolet and Mirafiori embodies not only a Euro-American duality, but also the contrasting fantasies of the American and European middle classes. The helplessness of the working class eluded to in Öğüt’s Across the Slope can also be perceived in the composite photograph series Hip Activities-Escorts (2003-2005) by Aydan Murtezaoğlu. The car in Murtezaoğlu’s photographs is a 1968 Opel Rekord, manufactured the year of worldwide protests that represented the first great disappointment of the middle class after World War II.
In the 1960s, Turkish engineers produced the Devrim [Revolution], a prototype hand-made car. Öğüt first explored the Devrim in Today in History (2007), a series of stories and illustrations based on Turkish newspaper texts. Öğüt’s interest in the Devrim stemmed from the historic failure of its inaugural test-drive, the embarrassing result of an empty gas tank. Like the Devrim project, Across the Slope references the competitive spirit of national pride projects, as well as the invisible obstructions that middle class aspirations stumbled upon. It provides an alternative vantage point from which to deconstruct Turkish history.
Across the Slope can also be viewed as an extension of Öğüt’s Ground Control (2008), featured in the 5th Berlin Biennial, in which he covered a 400 sq. m. exhibition space with asphalt. Creating a chain of associations - including the demand for gas, asphalt’s origins in Southeastern Turkey, the country’s position as a cheap production base for the rest of the world, the dependency inherent to Turkey’s industrialization, the development of the autobahn, tire production and the assemblage industry - Öğüt’s work shapes a dialogue that touches on political, as well as economic issues.
Across the Slope will be accompanied by a video program exploring alternative readings of the work, to be presented in SALT Beyoğlu’s Walk-in Cinema.
Thursday, June 02, 2011
Sunday, May 29, 2011
Yes, we don't
Bernard Bazile, Simona Denicolai & Ivo Provoost, Vaast Colson, François Curlet, Ahmet Öğüt, Jos De Gruyter & Harald Thys, Jeremy Deller & Alan Kane, Francesco Finizio, Richard Hughes, John Knight, Sener Özmen & Erkan Özgen, Julien Prévieux, Michael Rakowitz, Santiago Sierra, Javier Téllez, Carey Young + Links *
* Free access links to other projects, artistic or not
Joël Benzakin, independent curator based in Brussels
Nathalie Ergino, director of the Institut d'art contemporain
20 May–14 August 2011
19 May 2011, 6.30 p.m.
19 May 2011, 11 a.m.
Institut d'art contemporain
11 rue Docteur Dolard
Thursday, April 14, 2011
Once upon a time a clock-watcher during overtime hours
curated by Adrienne Drake
30 April–23 July 2011
Thursday, 28 April 2011
6:00 to 9:00pm
Fondazione Giuliani per l'arte contemporanea
Via Gustavo Bianchi 1
00153 Rome Italy
With a keenly perceptive and sharp wit, Ahmet Öğüt examines everyday happenstance, modes of behaviour and informal gestures which bear witness to broader global social and political structures. Through diverse means of expression, from installation and performance to drawing, video and interventions in public space, Öğüt weaves loose narratives that meander between artistic practice and social life to provoke critical consciousness and subtle shifts in perspective.
In Once upon a time a clock-watcher during overtime hours, Öğüt's solo exhibition at the Fondazione Giuliani, the artist moves his practice in a new direction, using an art collection as source material. Öğüt has selected works by Marina Abramovic, Giovanni Anselmo, Carl Andre, Mircea Cantor, Peter Coffin, Cyprien Gaillard, Joseph Kosuth and Sislej Xhafa from the Giuliani Collection to create "atmospheres" or interventions around each work which call attention to the characteristics of the works themselves, while also appropriating them to create multi-layered narratives with an open trajectory to generate and expand upon new meanings. Underlining these interventions is the consideration that no artwork has one single reading but is open to subjective interpretation. While paying homage to the works by these artists, Öğüt questions authorial originality and intentionality. He creates visual texts, which invite the viewer to really ponder a work of art while formulating new considerations and multiple readings.
Interspersed throughout the exhibition spaces are a body of artworks by the artist himself, several of which have been produced specifically for the show. These works underscore Öğüt's continuing interest in time, sociological structures and mechanisms of surveillance and control. The 16mm film collage, Wikipolis, juxtaposes a scene from Metropolis, Fritz Lang's seminal 1927 film on urban dystopia, with an image of a former nuclear bunker in Stockholm that now houses a data centre with 8,000 computer servers, two of which belong to WikiLeaks. The interactive installation, River Crossing Puzzle, transforms a traditional children's puzzle into a playful but politically charged game, while with My Spy Desk, the exhibition's viewers become unintentional protagonists. Ultimately, Once upon a time a clock-watcher during overtime hoursinvites the viewer to bear witness to and participate in an exercise of irony, nuance and layered interpretation.
Born in Diyarbakir, Turkey in 1981, Öğüt currently resides in Amsterdam. Winner of the Volkskrant Art Prize 2011, Öğüt's recent solo exhibitions include Stones to Throw, Kunsthalle Lissabon, Lisbon; Underestimated Zones, Laumeier Sculpture Park, St. Louis; Ricochet # 4, Museum Villa Stuck, Munich; Speculative Social Fantasies, Artspace Visual Arts Centre in Sydney; Things we count, Künstlerhaus Bremen; Mutual Issues, Inventive Acts, Kunsthalle Basel; Across the Slope, Centre d'Art Santa Monica, Barcelona. Selected group exhibitions include Performa 09, New York; 5th Berlin Biennial for Contemporary Art; 9th International Istanbul Biennial. In 2009 he co-represented Turkey at the 53rd Venice Biennale together with Banu Cennetoğlu.
The exhibition will officially open Saturday 30th April from 4:00 to 8:00 pm.
Fondazione Giuliani per l'arte contemporanea
via Gustavo Bianchi, 1 – 00153 Rome Italy
Tuesday through Saturday from 3:00pm to 7:30pm, and by appointment
www.fondazionegiuliani.org - email@example.com - +39 06.57301091
Press contact: Elena Bari | NewRelease – firstname.lastname@example.org - 02.47956722 – 3289781241
With support from the Royal Netherlands Embassy in Rome
Monday, March 14, 2011
Stones to throw
Rua Rosa Araújo 7-9
Kunsthalle Lissabon is proud to present Stones to throw, Ahmet Öğüt's first solo show in Portugal. In Stones to throw, an installation specifically developed for Kunsthalle Lissabon, Öğüt departs from nose art, the decorative paintings or designs on the fuselage of military aircrafts, which can be seen as a form of aircraft graffiti, to present a series of 10 painted stones that feature the same kind of designs seen in airplanes. Throughout the exhibition, and gradually, all of the stones, except the last one, will be removed from Kunsthalle Lissabon's exhibition space and sent to Diyarbakir, Öğüt's hometown. The stones will then be received by a friend of the artist and left abandoned on the streets. All the process of removing the stones from the exhibition and abandoning them on the city will be documented and presented in Kunsthalle Lissabon as part of the artist's installation. Diyarbakir, located in southeast Turkey has been witnessing an increase of children arrested on charges of stone throwing.
The exhibition will also include older works such as Somebody else's car (2005), Short circuit (2006) and This area is under 23 hour video and audio surveillance (2009).
The exhibition Stones to throw is generously supported by the Embassy of The Netherlands in Lisbon, Calouste Gulbenkian Foundation and EDP Foundation.