First thing in the morning we headed out by taxi for our 9:00 meeting with co-founders and directors Didem Ozbek and Osman Bozkurt at PiST in the Pangalti area of Istanbul. PiST is an artist-led organisation focussed around exhibition and dialogue. It was founded in May 2006 and occupies 3 disused shops. Didem spoke PiST’s methods of distribution through their PoST newspaper, LiST the only what’s on guide for contemporary visual art in Istanbul and about their support for artist’s dialogue within the city and its role in maintaining an independent scene in Istanbul. Didem and Osman also spoke about one of their recent project’s Turkish Pavilion.
From here we headed to one of the other Istanbul venues AKM on Taksim Square and met with Ceren Erdem from the Istanbul Biennial Office who worked closely with Hou Hanru throughout. She gave us a detailed insight into how the research process was carried out for the Biennial, her experience of working with Hou Hanru, his curatorial approach to the Biennial and funding.
After meeting with Ceren Erdem we went to the recently opened Rodeo Gallery to meet with Huseyin Alptekin who was part of a group show called This Then That. He is one of Turkey’s most prolific contemporary artists who’s work has been included in exhibitions and Biennials throughout the world. He is also currently showing in The Emergency Biennial Chechnya, a review of contemporary Turkish art at Santralistanbul and the Venice Biennial. Also at Rodeo Gallery we met with the gallery director, Greek born, Sylvia Kouvali who spoke about her experiences in setting up the gallery and her additional projects for example her co-curated artist film screening Frozen Waves with Michelle Cotton.
After this we went to another Istanbul Biennial venue Santralistanbul on the Bilgi University campus which houses the Special Projects including the Apartment Project. The Special Projects features a range of artist led organisations’ projects often with a socially engaged dimension or with a focus on dialogue.
At 18:00 we met with one of the Istanbul Biennial Nightcomers curators Marcus Graf a German born curator who has lived in Turkey for about 6 years. He spoke about the curatorial approach to the Nightcomers and its reference to the Chinese Cultural Revolution in the 1960’s and 1970’s when people posted images and text demonstrating their dissatisfaction with the totalitarian regime on street corners.
We then went to the Otto Café on the campus for our evening meal.
At 20:30 we returned to the hotel for informal speed dating with three Istanbul based artists Elmas Deniz, Canan Senol, Deniz Gul who had been recommended by another curator.
Subscribe to:
Post Comments (Atom)
3 comments:
The PIST directors, Didem and Osman gave a really interesting insight into how art is valued in contemporary Turkey. Their gallery space occupies 3 shop fronts along a small but active side-street in Pangalti, attempting to entice local residents to contribute to and attend events, and providing a local creative voice to the otherwise economically driven surrounding area.
The lack of understanding and acceptance of art in much of Turkey is mainly due to an unfamiliarity with contemporary arts. Istanbul's art scene is still very young - 5/6 years, thus exists in ever expanding, but small pockets of the city. The lack of any public arts funding also reflects this immaturity, with all funds raised - even for events as large as the Biennial - from scratch through private sponsorship.
Attempting to negotiate this funding problem is a huge challenge, and requires an inordinate amount of drive and passion to start up and sustain any sort of initiative. With the political situation in Turkey also being volatile and uncertain, many potential funders are distracted by other uncontrollable situations.
On a street level, PIST negotiate and seek to raise the value of art in their neighborhood. They have continual discussions with the surrounding shop keepers for example, who are beginning to understand what art is, and what it can offer. In their projects they attempt to engage, often humorously with their community, breaking down barriers and nurturing an understanding and interest, making art accessible to its public audience. KG
PIST was a really interesting place and organisation. In particular as a model of independence and grass roots activity really exemplary. It seemed firmly engaged in contemporary practice.
I came away wondering how exactly they did support themselves and wondered how the same 'taking over shop fronts would relate to SoundNetwork
I think there were some parrallels with The Art Organisation who SoundNetwork work with, although PIST had a definite contemporary art focus.
It was interesting also their independence from the Biennial, despite having made the nicest and simplest map of the Biennial activity which had some parrallels with the way the Liverpool Independents has worked in the past.
I came away reflecting on our own need of space: we as an organisation and more as an artist led network feel we cant fully justify the investment (particularly with respect to public money) in 'our own space'. However PIST and BAS have shown some of the advantages of visibility of having a physical space, its practical aspects and psychological effect on the feeling of belonging and the ability to actually interact with the community around your space.
Our growing relations with other organisations that already have spaces remain the best model for us at present as a network I think. But this trip certainly has made me think.
Yeah, PiST was great. It was really interesting meeting Didem and Osman and seeing their space. For me, it was probably the most relevant and I could draw many parallels between PiST and The Royal Standard... although quite different.
I love their humor and tongue in cheek approach. They seemed to have a great deal of ambition and focus on what they want and how to get it.
In terms of location, I found it very interesting that they see it crucial to be on 'street level' to be as visible as possible, like a shop. This is something that i've thought about a great deal since when looking for a new location for The Royal Standard.
Post a Comment