Istanbul Art News Kapandı Mı – In the 2017-2018 season, openings by young and dynamic actors, new artistic paths and collaborations are on the agenda in the contemporary art scene, while well-established institutions and events in the culture-art scene are criticized for their strategic mistakes.
The term ‘period’ is used to describe activities that take place in a certain time or period in fields such as culture, art and sport. We often add the year before to describe the season in question. In the field of culture and art, different sectors have different time slots. For example, the theater season generally starts in October-May, the music season starts in September at indoor performance centers, but the outdoor festival season starts in May. When it comes to modern art; September coincides with the return to cities, the opening of schools and the end of summer. Here we are again in September and we have opened the 2017-2018 season with a series of events in the field of contemporary art.
Istanbul Art News Kapandı Mı
The season opened with the contemporary art market. What a neat sentence, five words. However, the back of the case is never clean, never simple and straightforward. A biennial exhibition that has been running for two years, an art fair that has changed its history after 10 years and is trying to pick up the ruins of the previous year, galleries that have closed, moved and gradually shrunk, an institution that has returned to the cultural-art stage after four years, and the modern art market of Istanbul that has prepared all this. We take a look at how the 2017-2018 season started with the series opener, plenty of commentary and some analysis.
Günün Spor Manşetleri (25 Ağustos 2022)
We recommend you to read this full article about the concept of “period” by artist Yagiz Özgen: “I do not believe that intellectual activities in the field of art have aesthetic or ethical standards. The beginning and end of the period, the material value of the work, the level of beauty, etc. The main reason why we think that artistic activities have such characteristics may be our social habits and psychological needs, which are accepted without question. Because outside of what we call ‘art seasons’ and ‘just e venues’, there can be quality events and exhibitions.For this reason, I have to say that it is not good for me to make a general judgment based on a month’s progress and evaluation of certain areas.
The most anticipated event of the season is the 15th Istanbul Biennale, which celebrates its 30th anniversary this year and is organized by Elmgreen and Dragset and has the title “Good Neighbor”. Since the announcement of the biennial monitors, there has been much and generally positive talk about the topic and the conceptual framework. Only two-year positions have interrupted this upward trend. Undoubtedly, with the theme of “Good Neighbor”, each biennial is expected to take place in different places, neighborhoods, houses and neighborhoods, and although Bakargiv ranked the use of space at the top of the previous Istanbul Biennale, we thought that this year’s biennale would take us to the corners of Istanbul, its unused houses and neighborhood days. However, the biennial festival is unfortunately limited to Istanbul’s major museums, galleries and artists’ workshops. In an interview with Kültür.limited, two-year director BJ Orer said that the curators are artists who prefer white cubes and isolated spaces for their artistic practice. However, the biennial audience still expressed negative feelings about the choice of venue in many places. Despite all this, it is clear that the content of the biennial exhibitions and the public program prepared by Zeino Pekunlu are satisfactory.
The Istanbul Biennale presents a challenge in which ivory, donkeys and worms are used in works of art for publication and public. Although there is a protest against live and dead animals every two years, the inadequacy of the explanations given by the İKSV management and inspectors indicates that this issue will be discussed for a long time.
Pdf) Kabin Tipi Demonte Mobilyalarda Kavelalı Minifiks Köşe Birleştirmelerde Eğilme Momenti Üzerine Minifiksler Ve Parça Kenarları Arasındaki Uzaklıklarının Etkisi
The 15th Istanbul Biennale was accused of being “non-political” by the international press. Elmgreen and Dragset’s curatorial choices and the artists’ personal interpretation of the “good neighbor” theme are considered by some art critics or columnists as “playing in safe waters” or “self-censorship”. On the other hand, however, the state of art is political or the fine line between ‘politics’ and ‘politics’ finds its place in the 15th Istanbul Biennale.
By bringing the 15th Istanbul Biennial to the same day this year, Istanbul, which wanted to take advantage of the Biennial Wind, foreign visitors, and Biennial Opening Week activity, unfortunately did not receive the attention it had hoped for. As expected, it is covered every two years. Many people we talk to in the industry make the mistake of bringing Istanbul Biennial and Modern Istanbul together on the same day. Collectors, art consultants, gallery managers and artists see this situation as mixed and sad.
“The most important and long-awaited season for gallerists has come to fruition,” said Mixer director Bengu Gunn, who moved to a new space in Juma Art Building in Karakoy in September and opened the season with an exhibition titled “O+oma+a.” Over the years it was possible to talk about two distinct periods of art in Istanbul. The first of these is the opening season, when the galleries open their first exhibitions in September, and the Istanbul Biennial meets every two years, and the other is an exciting time with Modern Istanbul in November. As a gallery, we try to hold our best shows during these times and connect with as many visitors as possible. This year both terms were compressed into one week. Instead of a fair, we have an audience every two years. But because we have to attend the fair, we cannot communicate effectively with this audience. The fact that certain days coincided with the day after the holiday also affected the business flow this year. Especially since the change of our gallery to Karakoy fell with the same dates, we do not have the opportunity to participate in many parallel art events. In conclusion, I can say that this time was very important for us and it was more fruitful than we had long expected.
Gençliğin Ruh Sağlığı Krizi
This year, Contemporary Istanbul was criticized not only for changing its history, but also for its spatial design, communication style and repetitive content. Artist Ekin Su Kocho expressed his thoughts about repetition in the works presented at the exhibition as follows: “I have heard criticism from many people about the repetition of work. The criticism was very similar to previous years. As an artist who strives to remain active on the international stage, it is inevitable to enter the comparison between Turkish and foreign artists at the fair. In the press releases of Contemporary Istanbul, we have a reduction in the number of visitors and the total value of works offered for sale at the fair. In 2016, CI hosted more than 90,000 visitors and the total value of the works offered for sale was 56 million dollars. CI announced that despite changing the date this year, it could not achieve the desired results and the number of visitors was more than 80,000 and the total value of the works offered for sale was 55 million dollars. When analyzing these figures, collector Baha Toygar the following prediction for the 2017-2018 season: “Many of the galleries and artists I spoke to after the CI complained that sales were at a low level. Given the current political situation in Turkey and its impact on the market, I think the future will be bad.
“The direction of the big buyers towards foreign artists is a big negative for the art market, which until now has ignored other buyers,” he said. Toygar continues to offer positive wishes for the Turkish contemporary art market: “Despite all the negativity and closed galleries, we have a dynamic art environment.” We can see exhibitions of world-renowned artists such as Ai Weiwei, while we look at exhibitions of very new young artists. The opening of a new gallery next to the closed ones and the ongoing museum constructions are promising. I hope this construction will be finished soon. Galleries such as Zilbermann and Sanatorium open foreign branches among the positive developments. In this way, Turkish artists will also be open to the international market.
One of the other aspects of the fair that happened this year was the space design carried out by Tabanlioglu Architecture, but gave visitors a hard time with fake grass and the gala reception of the fair, which attracted a certain group. This year, CI abandoned the annual party with gallery managers, collectors, artists, art critics and other guests and organized a ‘party’ in the Esma Sultan Mansion with ‘special’ guests, and many participating galleries and the fair and national culture and art press were not aware of it. This invitation is said to support the ‘stucked’ attitude in culture and art circles.
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At the beginning of other popular cultural and artistic events of the period, Ai Weiwei’s exhibition opened at the Saqip Sabanci Museum and received positive responses from both visitors and the art press. The art consultant Seville Dolmasi describes the exhibition of Ai Weiwei as the most important exhibition of the season after the 15th Istanbul Biennale: “The art season 2017-2018 has started quickly.” For me, the driving force of the season was definitely two years. The Ai Weiwei exhibition at the Sakip Sabanci Museum was the second major exhibition after an exciting two-year period. From buyers to producers, brokers, writers, critics, academics, auctioneers and art professionals, this exhibition has brought a re-energizing, unifying and hopeful atmosphere to the art market. The art scene, which has been depressed for many political and economic reasons in recent years, has re-invigorated new galleries and existing buyers with important artists coming to Istanbul every two years, providing new openings for new buyers.
For a while, “What will become of this Beyoglu state?” As the subject of columns, analysis and discussion, Istikal Street continues to thrive through culture and art, with some institutions taking it one step at a time. After traveling to Tofan and Karakoy, one of the first residents of Misir Apartment in the field of culture and art with Galerie Neve and P Artworks, Mikser moved to Syracusevillerstraat and went to Karakoy in collaboration with Artsumer. These four galleries were brought together for the first time in a building designed as a gallery at Juma Art. The Sanatorium, which took Asmalymussit’s breath, joined the galleries working to realign contemporary art in Karakoy. It is not clear how the transformation of Beyoğlu will take shape and whether Karakoy will become an art route again, but Bengu Gun of Mixer is positive about the matter and says that they have seen the results of their move to Karakoy: “Two years ago in Yoğlu, it was a very good street. After visiting the gallery, our audience chose a place in Bioglu to drink coffee and dinner in the evening. But unfortunately, many places had to be closed due to terrorist accusations and the ym Beyoğlu’s popularity with our audience. This is what I’m talking about.
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