伊斯坦布尔双年展

  2013年的第13届伊斯坦布尔双年展首次对公众免费开放,并在五个公共空间同时举行,邀请了世界各地的88位艺术家和艺术团体,希望通过艺术及其引起的想象力与创新思维来重新思考“公共性”的概念,以促进社会的参与和讨论。
  横跨欧亚两块大陆的伊斯坦布尔,邶临宜人的博鲁斯海峡。而随着9月份的到来,全世界最具先锋性的当代艺术陆续登陆了这座具有丰富历史文化的古老城市……
  “公共空间为政治论坛”- 第13届伊斯坦布尔双年展(9月14日-10月20日)
  自1987创办至今,伊斯坦布尔双年展由伊斯坦堡文化艺术基金会主办,是土耳其最大规模的艺术展会,也是至关重要的国际性展览活动。
  今年的双年展首次对公众免费开放,并在五个公共空间同时举行,邀请了世界各地的88位艺术家和艺术团体,希望通过艺术及其引起的想象力与创新思维来重新思考“公共性”的概念,以促进社会的参与和讨论。
  双年展对于今年5月底土耳其的抗议活动,发出强烈的共鸣。由于警方砍倒塔克西姆广场盖齐公园(GeziPark)的树木以及对于公园的拆毁而导致的游行,更由于警方对抗议民众施加暴力而导致双方矛盾升级。愤怒的抗议者占领了广场并将其转变成一个生机勃勃的、包容各类人群的人民公社,并创造了各种独特的标语和艺术作品。 今年双年展的名称借自诗人拉莱•穆尔杜尔(LaleMüldür)写于1998年的同名著作,“妈妈,我是野蛮人吗?”。双年展的策展人埃尔德姆齐(FulyaErdemci)说,“作为一个野蛮人意味着什么?毕竟,‘野蛮人’处于文明的边界上,他们反映了社会中的‘绝对他者’,与身份政治和多文化语境的框架紧密相关。
  埃尔德姆齐(FulyaErdemci)回忆到:“整个街道都在积极发言!政治标语和涂鸦填满了路上所有横向和纵向的表面上。广场上挤满了上千民众——年轻人、老人、女人、孩童。更重要的是,人们结实具体地感觉到的自由。而我们也带着这份奇妙的独立和喜悦的心情,加入了他们的步伐。没有人再感到害怕。”埃尔德姆齐策划了第54届威尼斯双年展的土耳其国家馆。“我们从中学到很多。这些如此不同的群体因拒绝极化政治的一贯做法,决定为了他们的基本自由和权利聚集在一起,共同生活并且共同行动。”
  第13届双年展亮点包括:
  AntrepoNo.3:
  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。
  加拉塔希腊小学:
  中国当代摄影家王庆松作为唯一的中国艺术家,携三幅摄影作品参展-“跟我学”、“跟你学”和“跟他学”,指出中国教育系统的问题和弊端。
  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。
  ARTER:
  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。
  中国青年艺术家亮相伊斯坦布尔双年展-伊斯坦布尔外围平行展“色温”(9月12日-20日)
  色温:“中国青年艺术家扶持推广计划”(CYAP)伊斯坦布尔交流展于9月12日开幕,27名中国青年艺术家的作品亮相。 “色温”是“光学”和“色彩学”中的专用名词,系指“光源的色温”,即热黑体辐射体与光源的色彩相匹配时的开尔文温度。借用这一概念作为本次展览的主题,是取其“色彩的温度”这一字面含义。‘“色温”作为本次展览的主题,正是想强调艺术家的情感表达以及充满热情的生活态度’策展人贾方舟解释道。
  展厅中央,摆放着青年女艺术家陶艾民的作品“女书”。 她用旧搓衣板拓印现出斑驳的痕迹,如同书法石刻所呈现的在时间的磨砺下沧桑变化的视觉效果。原先流行于湖南省,妇女常常聚在一起,一边做女红,一边唱读、传授女书。女书拓片,妇女使用过的搓衣板,以及女性劳动的影像组合成独特的装置艺术,刻画这些女性的生活状况和自由抒发心情、追求心灵解脱的精神。
  CYAP(中国青年艺术家扶持推广计划) 致力于发现和支持中国新一代青年艺术家,促进青年艺术家交流发展,催化艺术创新,建立新的文化价值观,广泛在全球范围内组织活动、建立合作和推广传播。
  国际画廊陆续登陆伊斯坦布尔-伊斯坦布尔国际艺术博览会(9月16日-18日)
  9月15日,首届伊斯坦布尔“国际艺术博览会”(ArtInternational Istanbul)在Halic展览中心预展开幕。定位高端国际化,62间参展画廊中,只有10家当地画廊,其余展商来自美国、欧洲、迪拜、埃及等,并吸引到了土耳其当地以及国际上的收藏家和名流前来参观。高品质艺术作品给参观者们留下了极为深刻的印象。博览会组织者和创始人之一DyalaNusseibeh表示,我们不但为土耳其当地藏家的参与和满意度而欣喜,同时也很高兴吸引到很多国际藏家特地前来。我们很看好土耳其的艺术市场,并且认为这正是引进国际艺术品的最佳时机。今年首届已经打下很好的基础,十分期待明年的2014国际艺术博览会。
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。

(整理:冯碧)

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.
CURATOR
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.
ADVISORY BOARD
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.
SPONSOR
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.
VISUAL IDENTITY
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.
PROJECT APPLICATIONS
Artists who would like to apply to participate in the 13th Istanbul Biennial should send their project proposals together with their portfolios to application.biennial@iksv.org until 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.