November 1st, 2015

Istanbul Biennial

Pelin Tan, Anton Vidokle - Adahan Sarnıç

Artists: Etel Adnan, Vernon Ah Kee, Haig Aivazian, Ali Akay,Meriç Algün Ringborg, Alternatif Üretim, Francis Alÿs, Ayreen Anastas, Wes Anderson, Song-Ming Ang, Giovanni Anselmo, Artıkişler Kolektifi, Ed Atkins, Jennifer Baichwal, Sonia Balassanian, Fatmagül Berktay, Lynda Benglis, Annie Besant, Annie Besant (Lea Porsager aracılığıyla)/Annie Besant (Medium Lea Porsager), Beyoğlu Üç Horan Ermeni Kilisesi Asogik Korosu/The Beyoğlu ‘Üç Horan’ Armenian Church Asogik Choir, Alice von Biberstein, Olcay Bingöl, Patrick Blanc, Iwona Blazwick, Erwin Blok, Karl Blossfeldt, Murat Deha Boduroğlu, Anna Boghiguian, Kristina Buch, Hera Büyüktaşçıyan, James Cameron, Janet Cardiff & George Bruce Miller, Niki Caro, Francesco Cavalli, Taner Ceylan, Edgar Cleijne, Beatriz Colomina, Carolyn Christov-Bakargiev, Francesca Cubillo, Richard E. Cytowic, Cansu Çakar, Levent Çalıkoğlu, Ayşe Çavdar, Aslı Çavuşoğlu, Çömlekçi Hasan Usta/Clay Maker Hasan, Raimondo Tommaso D’Aronco, Charles Darwin, Juan A. De Carlos, Tacita Dean, Elmas Deniz, Penelope Deutscher, Irini Dimitriyadis, Marguerite Duras, Övül Durmuşoğlu, Dora Enconomu, Rita Ender, Cevdet Erek, Esra Ersen, Tolga Etgü, Bracha L. Ettinger, Akın Evren, Bedri Rahmi Eyüboğlu, Milovan Farronato, Robert Flaherty, Pathé Frères, Su Friedrich, Karl Ritter von Frisch, Rene Gabri, Galata Rum Okulu/Açık Okul/Galata Greek School/Open School, Ellen Gallagher, Vittorio Gallese, Émile Gallé, Mario Garcia Torres, Fernando García-Dory, Theaster Gates, Sema Genel Karaosmanoğlu, Ezra Getzler, Liam Gillick, Arshile Gorky, Boris Groys, Paul Guiragossian, Gawirrin Gumana, Djambawa Marawili, Boliny Wanambi, Gumuk Gumana, Mundukul Marawili, Mawalan Marika, Wandjuk Marika & Mawalan Marika, Wonggu Mununggurr, Munggurrawuy Yunupingu, Alice Guy-Blaché, Patricio Guzmán, Deniz Gül, Ahmet Gürata, Hakan Gürvit, Irena Haiduk, Semi Hakim, Jan Peter Hammer, Lubaina Himid, Wang Hui, John Huston, Pierre Huyghe, Emre Hüner, Richard Ibghy & Marliou Lemmens, William Irvine, Nikita Kadan, Tolga Karaçelik, William Kentridge, Vahakn Keshishian, Ali Ethem Keskin, Merve Kılıçer, Ufuk Kocabaş, Lucia Koch, Ezgi Kofman, Koop Ularca, Serdar Korucu, Yelta Köm, Stephan Köster, Frans Krajcberg, Jacques Lacan, Adila Laïdi-Hanieh, Gabriel Lester, Caoimhín Mac Giolla Léith, Liu Ding, Marcos Lutyens, Steven Henry Madoff, Djambawa Marawili, Daria Martin, Chus Martínez, Fabio Mauri,Elena Mazzi, Cildo Meireles, Onur Metin, Millirrpum, Djalalingba, Diambalipu, Djayila, Dundiwuy, Dhuygala, Raijyin, Manuna, Larrakan, Wulanybuma, Wawunymarra, Nyabilingu, Hayao Miyazaki, Wonggu Mununggurr, Natjialma, Maw’ & Dhangatji Mununggurr, Waka Mununggurr, Nguyen Huy An,Ingo Niermann, Hans-Ulrich Obrist, Ersan Ocak,Zeynep Oğuz, Senam Okudzeto, Füsun Onur, Solveig Øvstebø, Sevgi Ortaç, Avan Ömer, Gülbahar Örmek,Xangul Özbey, Önder Özengi, Neşe Özgen, Emin Özsoy, İz Öztat & Fatma Belkıs, Prabhakar Pachpute, Pad.ma (Shaina Anand, Lawrence Liang, Jan Gerber, Sebastian Lütgert), Orhan Pamuk, Adrian Parr, Parrhesia Dostları Cemiyeti/Society of the Friends of Parrhesia, Tuğrul Paşaoğlu, Rupali Patil, Christine Taylor Patten, Jeffrey Peakall, Zeyno Pekünlü, Giuseppe Pellizza da Volpedo, Wolfgang Petersen, Susan Philipsz, Heather Phillipson, Lucia Pietroiusti, Michelangelo Pistoletto, Griselda Pollock, Alexander Provan, Ana Prvacki, Arlette Quynh-Anh Tran, Walid Raad, Michael Rakowitz, Vilayanur S. Ramachandran, Santiago Ramón y Cajal, Cheng Ran, Marwan Rechmaoui, Steve Reinke, Kevin Reynolds, James Richards, Haris Rigas, Pietro Rigolo, Theodor Ringborg, Roberto Rossellini, Joachim Rønning & Espen Sandberg, Georgia Sagri, E. Belit Sağ, Güliz Sağlam, Sarkis, Nevzat Sayın, Grace Schwindt, Aurora Scotti, Leonas Seljukas, Aslı Seven, Jeremy Shaw, Wael Shawky, Robert Smithson, Ania Soliman, Fredrik Carl Mülertz Størmer (Thale Elisabeth Sørlie & Arne B. Langleite), Peter Stone, Will Stubbs, Peter G. Tait, Güher Tan, Pelin Tan, Tangör Tan, Leslie Thornton, Lev Troçki/Leon Trotsky, Müge Turan, Nazan Üstündağ, Anton Vidokle, Ben Vickers,Adrián Villar Rojas, Lawrence Weiner, Guido van der Werve, Dilek Winchester, Andrew Yang, Göksun Yazıcı, Pınar Yoldaş, Seda Yörüker, Elvan Zabunyan, Fahrelnissa Zeid

Venues: Galata-Tophane-Beyoğlu: SALT Galata, Vault Karaköy The House Hotel, Kasa Galeri, Galata Greek Primary School, Istanbul Modern, a floating boat on Bosphorus, DEPO, two garages on Boğazkesen Street and Çukurcuma Street and a store on Boğazkesen Street, the Museum of Innocence, the Italian High School, one of three fictional venues of the biennial French Orphanage, The House Hotel Galatasaray, a house on Bostanbaşı Street, Cezayir building, another fictional venue of the biennial Casa Garibaldi, ARTER, once the Anatolian Passage and now a shoe store FLO Building, Pera Museum, a room in the Adahan Hotel and the Adahan Cistern; Kabataş-Kadıköy-Büyükada: Tunca Subaşı & Çağrı Saray studio in Yeldeğirmeni, Kaptan Paşa Seabus, Büyükada Public Library, Splendid Palas, Rizzo Palace, Mizzi Mansion, Çankaya 57, and Trotsky House in Büyükada, and also Sivriada; Şişli: Hrant Dink Foundation and Agos as well as Hrant Dink Foundation and Agos – Centre for Parrhesia, Küçük Mustafa Paşa Hammam, Rumeli Feneri, and another fictional venue of the biennial Riva Beach; Kastellorizo: Fiorucci Art Trust

Exhibition Title: The 14th Istanbul Biennial: SALTWATER: A Theory of Thought Forms

Date: September 5 – November 1, 2015

Note: The catalogue can be found for download here, and the guidebook here.

Click here to view slideshow

Heather Phillipson - The House Hotel Galatasaary

Michael Rakowitz - Galata Rum Okulu

Nikita Kadan - Istanbul Modern

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of The 14th Istanbul Biennial

Press Release:

Whether it spoke or whether it simply made noise, or even if it could not be defined – we were after lending an ear to everything that exists and was imagined. At times we explored different ways of listening to objects; we pondered the innovative common denominators and differences of intellectual and artistic approaches. Paying heed to what the world said, we looked around us with the transformative power of art.

SALTWATER: A Theory of Thought Forms is an exhibition that places the transformative power of art at its core. Can the vitality of art invigorate the chequered lives of each and every individual, as well as those of groups, communities, societies and even geographies whose histories are fraught with trauma? Hinting at this possibility, SALTWATER does not merely declare a painful history and then move on and forget. Through art, it listens to the place in which it dwells – its present and all its times. It upholds the belief that, on the centennial of the sorrows endured in these lands, the path to light lies not in covering up sufferings, but in making them known and confronting them. It presents the artists’ views of the world as a series of waves and knots, correlations between reality and the surreal, consciousness and the unconscious, the poetic and the political, form and aesthetics. Drafted by Carolyn Christov-Bakargiev, the 14th Istanbul Biennial presents a joint thought experiment with numerous fields of research such as art, mathematics, science, neuroscience, architecture and oceanography.

Since 1987, each Istanbul Biennial has forged a unique relation with the city, built from different angles. The common denominator is an embrace of the city, the establishment of an intimate connection with audiences and the identification of spaces that support the conceptual framework of the exhibition. In this edition, the Biennial spreads across the city via the Bosphorus, which passes through its middle. SALTWATER follows the rhythm of the Bosphorus and makes fluid connections as it travels through the city. From Rumeli Feneri, where the Black Sea meets the Marmara Sea, to Kadıköy; from Şişli to the Golden Horn and Princes’ Islands, it constructs a brand new theory of thought forms, explored in more than thirty venues on land and sea. The number of venues and their distribution slows down the speed of experiencing the exhibition, allowing viewers to take time for contemplation. In addition to group shows at Istanbul Modern, Arter, the Italian School and Galata Greek School, artists present solo exhibitions in alternative spaces such as former and current schools, car parks, hotel rooms, warehouses and old residences.

Perhaps the most critical move in venue selection is the Princes’ Islands, included in the Biennial’s route for the first time in its history. The islands are not only a stop, but a key reference point of this event.

Sivriada (Oxeia Island), where almost a century ago, some 80,000 stray dogs were abandoned to die, opens up the possibility of transforming yet another trauma through art. Trotsky, thinker and revolutionary, who wrote his autobiography while on exile in Büyükada (Prinkipo Island) between 1929 and 1933, inspired the artists who produced new works on the island.

Carolyn Christov-Bakargiev who drafted this biennial SALTWATER: A Theory of Thought Forms created a multi-layered exhibition drawing on her knowledge of artistic, philosophical and political issues, along with her talent in bringing together different spheres, as well as the energy with which she infects those around her.

During the Biennial’s preparatory phase, most of the eighty-plus artists invited to participate conducted extensive research on site visits to Istanbul in preparation for the exhibition. Close to sixty have created new works. On each expedition, the boat rides on the Bosphorus became a kind of ritual. Thus, with its waves and promises the saltwater turned into a source both eye-opening and challenging. Using sea transportation to reach the venues and spending time on the water plays an important role for audiences, too, allowing them to get closer to the sources of inspiration that have drafted this 14th Biennial.

The Istanbul Biennial, whose organising team I have part of since 2003, and of which I have been the director since 2008, has become one of the most anticipated exhibitions in the international art world over the past decade. It offers new forms, new concepts, and opens up different spaces for discussion. This process has been possible through the commitment and enthusiasm of the curators and artists, as well as the various teams with whom we have worked.

While striving to produce a ground-breaking exhibition in the international arena, the Istanbul Biennial aspires each time to reach an ever wider audience in the city. To this end, it can be visited free of charge, and in 2013 it was attended by around 340,000 people. With the belief that each viewer will enjoy a unique experience of our exhibition, I invite everyone to explore this saltwater adventure through the city.

Translated by Liz Erçevik Amado & Irazca Geray

Link: Istanbul Biennial

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