İrfan Önürmen among thirty-three Turkish artists in Instanbul Modern 'In Pursuit of the Present' exhibition

"'In Pursuit of the Present' at Istanbul Modern's temporary space"

Istanbul Modern, which will continue its activities in Beyoğlu until the new museum building in Karaköy is completed, opened their temporary space with a new collection titled "In Pursuit of the Present." Istanbul Modern can be visited during Eid al-Fitr except the first day of the Eid.

In the exhibition, Istanbul Modern focuses on human conditions in today's world. The exhibition features works that explore the relationship between humans and cities, nature, and between their own selves and their physical environment in historical, social and personal contexts.

Identity, body, gender politics, construction and destruction periods, nature and human relations are examined through the works at the exhibition, created by various intersecting and interrelating thematic strands.

Thirty three artists from different regions:

In the exhibition, 42 works of 33 artists comprising of paintings, statues, installations, videos and patterns take place. They focus on the dynamics of human relationship with the physical environment. The self-searching of people who struggle with the destructive dimensions of different changes and their relationship with their subconscious are an important axis of the exhibition.

Read the full article here.

Tommy Hartung and Amanda Long's collaborative community piece "Rainbow Mural" featured in Times Ledger

Art in the Parks program kicks off throughout the borough

By Julia Moro

With warm weather approaching, it is the perfect time to visit local parks. Further adding to the fun is the city Parks Department’s public art program, Art in the Parks, which announced new outdoor exhibitions at Forest Park, Lewis H. Latimer House and MacDonald Park. 

Amanda Long and Tommy Hartung’s work, “Rainbow Mural,” is on display at the Greenhouse Playground off the Woodhaven Boulevard entrance to Forest Park. This piece runs along about 800 feet of retaining wall located across the playground and skate park near the historic carousel.

“The public interacting with my work has always been a central focus. Often the work is less about my intent and more about the public feeling,” Long said.

It was important to the two artists to make a collaborative piece with the community to show that art can be a social gathering. The making of this mural was, in part, the artists’ work; but it was also painted by local volunteers and children who enjoy the park.

The work the two artists and the community have done shows a painted, pixelated rainbow pattern. A portion of the mural is in colorful chalkboard paint so children in the park can continue to add to it.

Read the entire article here.

Tommy Hartung and Amanda Long's "Rainbow Mural" transforms Forest Park in Queens

Art in The Parks Program to Install Works in Forest and MacDonald Parks

By Tara Law

Colorful contemporary works of art are transforming Queens Parks into open air galleries for a limited time.

NYC Parks is currently in the process of installing three pieces of art in Queens Parks. Two works of art have already been put in place at Lewis H. Latimer House and in Forest Park, and a third will be put in place in MacDonald Park this month.

The installations are being made through the Art in the Parks initiative, a 50-year-old contemporary art program. NYC Parks has collaborated with 1,300 artists to install more than 2,000 works of art in public spaces.

Artists Amanda Long and Tommy Hartung’s work “Rainbow Mural” is on display at Greenhouse Playground in Forest Park until May 20, 2019.

The mural, which Parks calls a “pixelated rainbow pattern,” is painted onto 800 feet of retaining wall by the playground and skate park on Woodhaven Boulevard by the carousel. Part of the mural was made with chalkboard paint, where children can doodle with chalk.

The artwork is located off the Woodhaven Boulevard entrance to Forest Park.

Read the full article here.


C24 Gallery announced among Seattle Art Fair Exhibitors

Seattle Art Fair Announces Its Exhibitors for the 2018 Fair

By Christopher Frizzelle

The 2018 Seattle Art Fair will boast a diverse roster of local, national, and international galleries representing 34 cities from 10 countries, including 23 international galleries, according to details made available to the press less than 24 hours ago. 

Galleries include "returning international stalwarts such as David Zwirner, Gagosian, Galerie Lelong & Co., and Adams and Ollman, and Seattle’s Greg Kucera Gallery, Foster/White Gallery and James Harris Gallery. The fair continues to expand its reach, drawing new exhibitors from around the globe, including Tokyo's Gallery Yufuku and Talion Gallery, Berlin'sKuckei+Kuckei, Los Angeles' Samuel Freeman Gallery, and New York’s C24 Gallery and Hirschl & Adler Modern."

The full list of participating exhibitors is below.

This year's programming—installations, talks, performances, and presentations—will be announced in June, and will "explore identity, modes of play, and technology."

Abmeyer + Wood, Seattle
Absolut Art, Stockholm / New York
ACA Galleries, New York
Adams and Ollman, Portland
Alexandre Gallery, New York
Allan Stone Projects, New York
Back Gallery Project, Vancouver
Berry Campbell, New York
C24 Gallery, New York

Read the full article here.

Tommy Hartung in Conversation

Tommy Hartung in Conversation

May 31st, 6:30 - 8pm

560 West 24th Street, NYC 10011

Join artist Tommy Hartung in conversation with curator Tim Goossens, for an intimate talk in conjunction with R.U.R., a solo exhibition of new work by Tommy Hartung on view now at C24 Gallery.

R.U.R. is a reinterpretation of Karel Čapek’s 1921 science fiction play of the same name (most notably remembered as the first text to use the term “robot”), re-written through Hartung’s surrealist DIY aesthetic and stream of consciousness storytelling. Presented in three acts, the exhibition features photographs, sculptures, and interactive videos that investigate the rapid progression of technology, and the systems of power that both result from and are fueled by the uncertainties that come along with the dehumanization of everyday life, work, and activities as human interactions become more and more steeped in technology, or “robotized”.  Dealing with themes of power constructs, manipulation, and male dominance, the exhibition is particularly timely given the recent sentencing of Larry Nassar - a key subject of Hartung’s work depicted throughout R.U.R.

Tim Goossens serves as faculty member MA at Sotheby’s Institute of Art and as one of the youngest senior faculty members at The School of the New York Times. Congruently and for over a decade, he has continued to expand his curatorial practice and social activism with a variety of public art festivals, triennials, art commissions and numerous independent projects worldwide, all of which inspires his research as a contributing editor for Oxford University Press.  He began his career at MoMA shortly after double graduate school and moved as assistant-curator to MoMA PS1, where he worked closely with the founding director, renowned artists and emerging talent alike. At these institutions and beyond, he has worked with artists such as Kenneth Anger, Bjork, Joan Jonas, Sam Moyer, Stephen Posen, Yoko Ono, Patti Smith, and the estate of David Wojnarowicz. He has curated numerous international projects including Listen Up!, India’s first public sound art exhibition, Till I Get It Right (Labor, Mexico City, 2015), Dark Paradise (Clocktower, NYC and Nara Roesler, Brazil, 2013) and Larger than Love (as part of Berlin Biennial, 2012). In recent years he was one of the curators for Aurora, the large-scale public art festival in Dallas, Texas, and for This is the sound of ™, at the Triennial in Belgium.

The free talk takes place May 31 from 6:30 - 8pm at C24 Gallery.

Please RSVP by sending an email to

The Gaurdian highlights Tommy Hartung

Frieze New York: how this year's art fair got political

The annual New York City-based incarnation of the much-anticipated art fair is heading to the streets with a powerful set of protest-themed pieces

By Nadja Sayej

Wedged between South Bronx and Harlem, Randall’s Island in New York City has an unlikely past – part of it was previously called “Negro Point”.

It first got its name, officially, in 1984 after being referred to as such since the late 1800s and was renamed in 2001 when it was brought to the attention of the city’s parks commissioner, Henry J Stern.

Thanks to Stern, it is now called Scylla Point, in reference to the mythological sea monsters Scylla and Charybdis (nearby is Charybdis Playground in Astoria Park).

But that’s not enough, which is why the annual Frieze art fair – which opens today on Randall’s Island – invited New York artist Adam Pendleton to hang a flag at Scylla Point that reads “Black Lives Matter”.

“I called up Adam and said, ‘I can’t be who I am and not acknowledge this history,’” said Adrienne Edwards, a curator at this year’s fair. “I asked him to consider placing the flag at ‘Negro Point’ as a gesture to see how the flag holds that space.”

It’s an attempt to bring politically charged projects to the same old booth-and-blue-chip annual event, as Edwards is curating Frieze New York’s first annual Live section, which is devoted to the poetics of protest.

Edwards, who works as the performance curator at the Whitney Museum of American Art, included Pendelton’s project and others for a project she has titled Assembly.

“I believe art is not made in the world but of the world,” said Edwards.

It’s an antidote to the usual booth-driven, fluorescent-lit art fair, where roughly 195 galleries from 30 countries are inside five white tents.

“There’s a rich history here of artists speaking to the social and political issues of their time,” she said. “In my lifetime, I have never seen anything like what’s happening right now politically; the broader world has changed and the consciousness has been raised.”

Also on view are large-scale American flags by New York artist Hank Willis Thomas, who has hand-embroidered over 15,000 stars, representing the number of people who lost their lives to gun violence in the country from 2016 to 2017.

“Since February, 2,000 people have been shot and killed in America,” said Thomas. “Often, we have memorials and monuments to people who are fallen heroes, but we don’t know who the victims of gun violence were.”

He cites the wars both outside and inside the country. “The fact we had more people killed last year than American soldiers in both wars in Iraq and Afghanistan – which are wars that have been going on for 20 years – is pretty astounding,” he said. “The country will memorialize fallen soldiers, but what about all these other people who died at home for unexplained reasons? This piece is a memorial for fallen stars.”

Also on view is Los Angeles artist Lara Schnitger’s piece Suffragette City, which has the same title as the David Bowie song. This performance art protest for women’s rights will have the artist leading a march with makeshift placards. Rather than words scrawled over the placards, they’re emblazoned with images of women and there will even be a cameo of a handcrafted “goddess” posted up on a wooden plank.

This year, the winner of the annual Frieze artist award went to Canadian artist Kapwani Kiwanga, who has created a public artwork called Shady, a wall-like sculpture made from farmer’s fabric to protect crops, though it looks like a Mexican border wall prototype.

“This particular shade cloth at once evokes this idea of a barrier, as well as a porosity that invites people to think about possible transgression,” Kiwanga told the Art Newspaper.

Together, the political projects raise the importance of bringing the rather insular world of the art fair on to the streets. Which also raises the question of does the art world need to start thinking of art fairs beyond the booth? Perhaps.

As New York magazine art critic Jerry Saltz pointed out, art galleries pay between $15,000 to $125,000 for a booth at Frieze art fair – just for the weekend. But in a time when protest art and public projects garner more intrigue, are art fairs even necessary any more?

Starting at the same time, yet separate to the art fair is a set of virtual reality and video works by New York artist Tommy Hartung, whose RUR project, inspired by the science fiction play by Czech writer Karel Čapek, also look at Facebook’s forthcoming dating service through a creepy lens.




“Facebook began as a misogynist ranking system for frat boys on campus to sexually harass and stalk woman online,” said Hartung. “The internet, in general, has enabled male predators on an unprecedented scale, creating a virtual locker room and normalizing stalker behavior.”

Questions around global warming and nuclear disaster are also abound, like in a flower installation by Japanese artist Atsunobu Katagiri that looks at an endangered flower called the Monochoria korsakowii, which returned after Fukushima stirred up the soil during the tsunami.

Over at the Anat Ebgi gallery booth from Los Angeles, the Arab-American artist Jordan Nassar shows a series of embroidered works honoring the strength of Palestinian women – who the artist met in Israel – while carrying on the details of their handcraft tradition with a sympathetic touch to understand his family’s own past.

New York artist Matthew Brannon also looks back to the past – specifically, the Vietnam war to help understand the present. For his Concerning Vietnamproject at the Casey Kaplan Gallery booth, the artist interviewed war veterans, visited midwestern artillery museums and sifted through piles of declassified documents to better understand the subject, which is a seemingly endless labyrinth captured in a series of graphic, vintage-hued wall works.

While Edwards only curated the Live section and the Frieze Artist Award, her vision seems to cast a timely resonance over the entire show, in general.

“I hope that together, these projects will serve as a platform to help us imagine what is possible today through the poetics of protest,” said Edwardsof the Liveprogram.

“By breaking down boundaries between galleries and the street, the artist and their audience and making new propositions that open up conversations about the role of art in today’s society.”

Read the full article here

    Tommy Hartung: "R.U.R." featured as Must See Exhibition in artnet

    Shows! Shows! Shows! 34 New York Must-See Gallery Exhibitions to See This May                                                                                        Anchored by Frieze Week, May is one of the busiest months for gallery shows in New York.

    By Sarah Cascone & Caroline Goldstein

     “Tommy Hartung: R.U.R.” at C24 Gallery

    If you missed Tommy Hartung’s debut at C24’s Volta booth, here is a second chance to catch his sinister, pixelated interpretation of the classic 1921 play by Karel Čapek, based on a world overrun by robots who have usurped power from their creators. Using interactive videos, photographs, and sculptures, Hartung brings the text to life for a contemporary audience who will undoubtedly draw parallels to everything from Westworld to the recent data-collection hearings around Facebook and Cambridge Analytica.

    Read the Full Article Here

    Tommy Hartung featured in Zealnyc

    Art Break: Galleries Featuring Painting and Sculpture, With Photos By Stanley Kubrick at the Museum of the City of NY

    By A. E. Colas, Contributing Writer

    This week, Art Break’s choices cover a variety of interests. Want to know more about painting? Visit Almine Rech Gallery for a show on late 20th century painting and its relevance. Maybe you prefer photography – in which case, you’ll be checking out Danziger Gallery’s display of Paul Fusco’s pictures. There’s also a great exhibit of Stanley Kubrick’s early work in still photography at The Museum of the City of New York. If you like craft and design, Friedman Benda presents the collective GT2P as well as the artist Erez Nevi Pana. Both are known for their work using natural materials in making sculptures and decorative objects.

    In addition, Galerie Lelong & Co. has Ursula von Rydingsvard, the well-known sculptor whose works use materials ranging from paper to metal. Those among us who admire great draftsmanship will be heading over to Galerie Buchholz to see Paul Bonet’s drawings for the book bindings that gained him international fame among collectors and book lovers everywhere. And if you just like technology, stop in at C24 Gallery and look at Tommy Hartung’s latest show about humans and their fascination with robots. So hop on the train and go see some art!

    At C24 Gallery, Tommy Hartung: R.U.R. (May 4 – June 23, 2018) uses costume, photographs, and interactive video to examine why we are so fascinated by the idea and reality of robots, regardless of the cost to our humanity. You’ll rethink your relationship to technology and its place in your life.

    Read the full article here

    Nilbar Güreş interview for EXBERLINER

    A certain softness: Nilbar Güreş

    By Anna Larkin

    Turkish artist Nilbar Güreş on using humour and fabric to craft her own political language.

    You may have caught Güreş’ subversive representations of women at the 2010 Berlin Biennale or in her brilliantly deadpan video Undressing at the Jewish Museum last year. If not, fear not: she’s back with her first Berlin solo show at Galerie Tanja Wagner. Her unique brand of pan-medium humour, socio-political critique and handcraft is also currently on view in the group show Colony at Berlin’s Schwules Museum. Güreş, who works between Istanbul and Vienna, sat down with us to talk about her work and what inspires her.

    Your work is often called “political” – what does that mean to you?

    I feel that racists and fascists are in power everywhere, some openly using religion as a weapon, and some more covertly. I am angry about this and I think a lot of people feel the same. I have a personal language for dealing with political issues. I don’t say things directly; I don’t present photographs of protests as art. It’s not my language. But my work does address the issues faced by oppressed groups, such as LGBTQA+ people. Most art lovers have a comfortable life and don’t want to be disturbed by these politics. I think it’s important to change this hard-hearted attitude.

    What are the politics at play behind the piece How I Met Your Mom, for example?

    The work is the silhouette of a woman at her window and a man, hiding his penis, trying to flirt with her from below. It’s about the idea that we all have bodies and how religions try to put distances between them, with cloth and rules. It also references animism and all the beliefs that existed before colonialism. The mother could be from any of the three monotheistic religions: Judaism, Islam or Catholicism. I don’t like any of them.

    Your work crosses multiple mediums, and in pieces such as Snake: Violet you combine ready-made elements with high handcraft. How important is medium to what you produce?

    I think medium whispers to us about the artist. I would say I am a painter though, because I always start every work with a drawing. Works using fabric always hold something personal for me. A lot of the fabrics I use are those I collected as a child and asked my mother to keep for me. Cold elements don’t speak to me, I like a certain softness in my mediums: they can mould, integrate, change and move.

    Where did you source the fabric for The Lovers?

    That came from my dowry box and is very old material. The figures are a lesbian couple, made from two parts of a long pillow usually given to a couple on their wedding night. The saying in Turkish is, “I hope you get old on the same pillow”. I wanted to show that this pillow could be split, to give more space to each person, but still keep them together.

    Humour is an integral element in your work – what is its worth to you as an artistic device?

    Humour means hope. That is all.

    Read the full article here.


    Brian Tolle Selected for The East Midtown Waterfront Project

    NYCEDC, working in partnership with the NYC Department of Parks & Recreation, the NYC Department of Transportation, elected officials, and local communities, is engaged in planning for the East Midtown Waterfront Project to improve access to the East River, enhance bicycle and pedestrian connectivity, and create waterfront amenities for public use and enjoyment in accordance with Vision 2020: New York City Comprehensive Waterfront Plan and OneNYC. The new waterfront esplanade would stretch for 22 blocks and fill a major gap in the 32-mile Manhattan Waterfront Greenway.

    The selected design team is led by Stantec and design commenced in October 2017. It is anticipated that the construction of the Greenway will be complete in 2022.  NYCEDC, working in partnership with NYC Parks and NYCDOT, has selected an artist to serve on the design team for the East Midtown Greenway. Brian Tolle was selected through a selection process designed by Via Partnership working with Stantec. The design team assembled an artist selection committee with representatives from City agencies and the community, with members possessing visual art expertise, knowledge of living artists and artistic production, and support for project vision. An advisory panel comprised of representatives from the design team and an appointed representative from Community Boards 6 and 8 was also integral to the selection process.

    Forty-seven local, national, and international artists recommended by the public art consultant, the design team, and the community, were invited to participate in the invitational competition. Tolle was selected based upon his qualifications and interviews with the design team, artist selection committee, advisory panel and the community. Selection criteria included:

    • Artistic excellence as demonstrated by past work and submitted materials
    • Experience working on projects requiring collaborative skills
    • Demonstrated understanding of the requirements for creating work for public space
    • Demonstrated appreciation of architecture and public space use and engagement
    • Demonstrated ability to work within budgets and meet project deadlines
    • Ability to engage a wide audience

    The selection process included a qualifications review meeting on January 30. This meeting was open to the public. The three finalists selected at this meeting attended a project orientation and design workshop. The final selection was made at a public meeting on February 28. Each of the finalists gave a presentation and answered questions from community members.

    Read more here

    Seçkin Pirim at Design Shanghai

    One of the leading names of contemporary Turkish art, Seçkin Pirim, is taking part in Design Shanghai with the invitation of ACAF (Australia China Art Foundation) and shows his new works from ''Discipline Factory'' and ''Hypochondriac'' series.

    Design Shanghai, Asia’s leading international design event, is celebrating its 5th anniversary in 2018. As Asia’s biggest international design event, Design Shanghai focuses on bringing exceptional design, quality and inspiration together, and introducing the world’s most established brands, exciting up-and-coming designers from China and abroad as well as renowned galleries. The fair will show over 400 leading international and home-grown design brands and galleries from over 30 countries, presenting their exciting and innovative ideas through extensive product launches, bespoke installations and exclusive networking events.  

    Seckin Pirim’s new 10-meter sculpture from his ''Discipline Factory'' series, will be exhibited at Shanghai Exhibition Center’s main entrance during the art and design week that will continue for 2 weeks at Shanghai. At the same time, for 2 weeks, another installation from ''Hypochondriac'' series which we have seen before at C24 Gallery New York, will be at one of Shanghai’s most crowded public places. As an artist who has shown his ''Discipline Factory'' series at London Saathci Gallery before, Pirim, is also participating as a speaker with 30 design icons at Design Shanghai.

    He has been also awarded as “The Peak of Design Shanghai”

    Seçkin Pirim:     
    Seçkin Pirim was born in 1977 in Ankara, and after graduating in 1995 from the High School of Fine Arts, enrolled at the Mimar Sinan University Fine Arts University Department of Sculpture. Following his graduation in 2000, he also completed his Master’s degree at the same institution. As a sculptor and design artist, Seçkin Pirim has taken part in over 50 group exhibitions, and has held 16 solo exhibitions -13 in Turkey, and 3 abroad. Pirim has won many awards in the fields of sculpture and design, and his works are included in many private and museum collections both in Turkey and abroad. He continues to work at his studio in Istanbul.

    Read more here



    By HG Masters

    There was no sign outside the Abu Efendi Mansion (Konağı) announcing the exhibition “Koloni” (“Colony”) held inside the late 19th-century building located just across the tram tracks from the Hagia Sophia (Aya Sofya). Given the metaphorically chilly climate in Turkey—incrementally more repressive every month—the understated presence of the show made sense considering its themes and concerns: curators Kevser Güler, Derya Bayraktaroğlu and Aylime Aslı Demir describe these as “the scope of post-human and queer critique kinship.” For context, in November, Turkey’s capital city Ankara had banned all exhibitions and film screenings with lesbian, gay, bisexual, trans and intersex themes. Since 2015, police have blocked and violently suppressed the once-annual transgender and gay pride parades held in Istanbul. That “Koloni” was the biennial exhibition of the Kaos Gay and Lesbian Cultural Research and Solidarity Association (known as Kaos GL and based in Ankara) could only have been inferred from the copies of the organization’s magazine available on a table in the building’s foyer.

    The artworks of “Koloni” similarly vacillated between explicitness and obscurity. Despite modest external promotion, at the same time, curators didn’t hold back in presenting overtly queer or trans themes to those who had ventured past the security guard. The ground floor, for instance, featured a video by Dynasty Handbag, Oh, Hummingbird (2017), a psychedelic music video starring artist Jibz Cameron’s alter egowearing a nude suit drawn with female genitals while singing a ballad about a hummingbird having to navigate a polluted natural environment. You couldn’t miss the sound of Dynasty Handbag’s singing, though the small monitor was placed on the floor, perhaps obscuring details of her outfit unless you crouched down.

    Upstairs, the negotiation between overtness and obliqueness continued in nuanced ways, as artists represented bodies in various kinds of transition or transformation. Nilbar Güreş’s embroidered and painted diptych work, entitled Vaginal Fisting (2014), again required close inspection to see just how she visualized the titular action by hybridizing floral and biological imagery into small figures collaged on blue-striped textile (I noted that in the exhibition map, the title was not translated into Turkish). In a tiny adjacent room was a pair of black nylon pants with a bright pink belt, its crotch melted away in sections—Güreş’s Queer Desire Is Hot (2017)—which, by comparison, seemed like simplistic declaration. Chemical transformations are the subject of Mary Maggic’s video Housewives Making Drugs and accompanying diagram on paper Open Source Estrogen Mind Map (both 2017). The video features two trans-femme stars, Maria and Maria (played by Jade Phoenix and Jade Renagade), who in a mock live cooking show demonstrate how to synthesize estrogen from urine, providing instructions for those who want or need to pursue a DIY hormone treatment. Moving even further into the post-human territory was Daria Martin’s 16 mm film Soft Materials (2004), which was shot in the Artificial Intelligence Lab at the University of Zurich, and captured two nude performers (one man, one woman) trained in “sensory awareness,” interacting with the robotic machines in dance-like routines or intimate touching.

    Back in the more esoteric direction were İris Ergül’s Vertebrae(2017), which is a set of amoebic-looking islands of latex and fake fur rising up from the floor—resembling both human and animal parts, internal organs and exteriors. The events in Gökçe Yiğitel’s video recording of a two-hour performance Proteus (2017) were hard to discern in the sunlit space, but the physical remnants involved an audio recording of a 12-minute guided meditation and an “incubation site” comprising a piece of glass, where various bacterial growths were encased in agar and labeled. Also deploying a piece of glass as its surface was Yavuz Erkan’s messy, painterly composition of diverse materials—including “kidney stone(s) of a mother,” “home-grown K3[Fe(CN)6] (Potassium Ferricyanide) single crystal(s),” “broken piece(s) of a brown glass bottle,” bleach and apple cider vinegar, and the handle of a black plastic bag—which had an enigmatic appeal.

    Birds—and post-internet aesthetics—returned in several works on the second floor upstairs, including Katja Novitskova’s massive photographic cut-out (sourced online) of a red bird’s curling beak and head, Approximation Mars I“Assemblage Version” (2014), which sits on a bed of correspondingly bright-red aquarium pebbles and blurs all the lines between the natural and artificial realms. Similarly exploring the crossovers between nature and scientific study, Ursula Mayer’s film Atom Spirit (2016–17) imagines a quasi-futuristic, female-led team of scientists collecting DNA from natural locations in Trinidad and Tobago—including from hummingbirds. Meanwhile, Kerem Ozan Bayraktar’s Mimicry (2017) installation and video depicts a flower production factory that is more online retail fulfillment center than greenhouse.

    Looking to the past for possible models for the future, İz Öztat installation works were from her “Posthumous Production” series by an alter-ego named Zişan, who was involved (or was imagined to be involved) with early 20th-century avant-garde circles in Europe as well as Turkish socialist groups. These works take the form of various woven cane sculptures, including one visualizing Nietzsche’s idea of the “eternal return” and a hanging woven lattice stitched with the word “Utopie.” Psychosexual dystopias were evoked Erinç Seymen and Uğur Engin Deniz’s pair of digital works. Each is a looping, animated drawing in Seymen’s fastidious style, with surrealist, nightmarish imagery: a mass of bodies pouring from the windows of a school-like building; an amorphous creature comprised of flowers, leaves and human hands holding a ruler and a knife.

    Even more difficult to parse—particularly in the absence of texts about the works—were Yasemin Nur’s installation Permeate (2017), a room-installation of squares of old pieces of paper arrayed on old wooden furniture and boxes, and Umut Yıldırım’s booklet resting on a red bench with red buckets of soil beneath it. The latter, titled Lungs (2017), contained poem-like lists of related things—AK-47, M16, RPG-7, for example; or various kinds of vegetables and grains—in what was described in the caption as an “inventory,” though it was unclear of what.

    The significance of other works might have also passed me by if I hadn’t gleaned certain biographical or contextual subtexts from friends’ explanations. On the building’s top floor, for instance, a video work by the filmmaker collective İyi Saatte Olsunlar (“Let the Good Times Roll”), titled Raskol’s Axe (2013), is a music video of a drag performer lip-synching the 1978 song Melankoli by the diva Nükhet Duru. The video was directed by the late Boysan Yakar, who was one of the co-founders of the group, and who was known for his work as a mayoral advisor in a prominent city municipality on LGBTI issues, making him one of the only openly gay figures in Turkish politics. He and two other LGBTI activists died tragically in a car accident in September 2015. The show contained another kind of memorial, also hiding in plain sight, in the form of a newspaper sitting on an old armchair in the front foyer, that I only saw on my way out. Aykan Safoğlu’s project The Ark (2017) consisted of the artist placing remembrance ads in Turkish newspapers that—as far as I understood them—read as poetic, personal memories compared to the formal announcements surrounding them, made by families or corporations of the recently deceased.

    Safoğlu’s work, like many others in “Koloni,” positioned itself in a paradoxical space:  readily visible and yet largely inscrutable, at least on an initial glance or to those inadvertently coming across them. “Koloni” itself, as with many recent cultural events and exhibitions in Turkey—including the last two editions of the Istanbul Biennial—revealed how progressive organizations, curators and artists alike are figuring out how to avoid unwanted attention from the forces of emboldened chauvinism and ethno-militarism that dominate public life in Turkey today. While this increasingly restricted space compels artists and the cultural community to be more savvy in their presentation of challenging materials—and most likely to engage in even more forms of self-censorship than before—the accessibility and legibility to the wider public of such cultural events has severely diminished. But at this point in time, even the simple fact of survival for boundary-exploring intellectual and cultural events like “Koloni” remains an achievement.

    HG Masters is the editor at large of ArtAsiaPacific.

    Koloni” is on view at Abud Efendi Konağı, Istanbul, until February 3, 2018.

    Read the full article here

    Blouin Artinfo highlights Viktor Popovic's "Split Archives" Exhibition at C24 Gallery

    'Split Archives' by Viktor Popović at C24 Gallery, New York

    By Blouin Artinfo

    C24 Gallery in New York is hosting “Split Archives,” the first solo exhibition by Croatian artist Viktor Popović. 

    This exhibition showcases over 30 works of the artist exploring the modernist culture of the erstwhile Yugoslavia in the 1960s, created in the last three years. Popović has conducted extensive research on history and the collective social memory on the subject using method of appropriation and archival research technique, which is reflected in this recent series.

    In post-war Yugoslavia, there was a tremendous demand for architectural development and expansion. In “Split Archives,” Popović showcases the city archives of Split, his hometown in Croatia, which showed an exponential development in urban planning and architectural development during this time. The artist has used found objects and industrial raw materials like fluorescent light tubes and color correction filters to create his hybrid light installation that explores the relationship between utility and creativity. There are also “Untitled Archive ST3” and “Untitled Archive ST3: Military Hospital,” which show enlarged photographs of architectural model and interior decoration inside a military hospital. The most prominent piece of the exhibition is an installation made of used hospital beds made of iron, which represents the simplicity and straightforwardness of modern architecture. The beds also contain traces of use, which associates them with memory.

    Read the full article here.

    Tommy Hartung at VOLTA NY featured on artnet

    Among art fairs, VOLTA‘s format remains unique, in that all its participating galleries are asked to present a solo booth. It’s a simple conceit, but one that allows for a sense of depth and context, and a level of visual focus that cuts against the visual overload that can make the fairs so fatiguing.

    “Much thought goes into placing the galleries in such a way that meaningful dialogues between different artists, especially in this solo context, create an even deeper understanding and appreciation of the variety of artistic positions presented,” said Amanda Coulson, artistic director of the fair.

    This year marks VOLTA’s eleventh in New York City and its fourth at Pier 90, where the proximity to Armory has boosted attendance considerably. (For the curious, the fair’s name comes from the fact that it got its start as a satellite fair in Basel, Switzerland, where it was housed in a former electric plant there.)

    There’s plenty to see. Don’t miss, for instance, the latest curated group show at the center of the fair. This year’s edition was organized by Mickalene Thomas and Racquel Chevremont, titled “The Aesthetics of Matter.” It focuses on collage by several rising stars.

    Below, we break out a few of the standout solo projects of VOLTA New York 2018.

    Alan Fontes at Galeria Emma Thomas, São Paulo, Brazil:

    Houses, or the remnants of their structures in the wake of disaster, are a recurring motif in Brazilian artist Alan Fontes‘s work. The interior of his solo installation booth at Galeria Emma Thomas for VOLTA, titled “The House” is centered on the idea of a three-dimensional painting, says director Camila Neubarth. It conjures up associations of an owner or occupant wandering through their home in the dazed aftermath of catastrophe.

    Visitors navigate detritus including scattered floor tiles, picture frames, suitcases, and bottles, along with destroyed furniture and even a piano, all cast in a dull shade of volcanic ash-gray. The paintings that hang on the walls of the space depict eerie small-scale houses, islands in a sea of black paint as well as larger depictions of houses sliced in half or with entire sections missing, with piles of personal belongings still visible inside, evoking post-disaster news imagery.

    Tommy Hartung at C24, New York:

    Tommy Hartung’s installation at C24 Gallery, titled R.U.R. (Rossum’s Universal Robots), is based on Karel Čapek’s 1920 science fiction play where the term “robot” was first used. The play explores the uncertainties raised by the speed of technological progress and the dehumanization that occurs with the robotization of human interactions. In Hartung’s adaptation, the original work is re-written through photographs, costumes, and videos, posing the question of why people want robots to look human.

    Hartung’s photographs consist of character studies and pictures inspired by the constructivist art originally designed for the original play’s playbills. The video installation (above) is flanked by two creepy mannequin heads contain cameras, briefly incorporate the viewer into the video loop.

    William Buchina at Slag Gallery, Brooklyn, New York:

    William Buchina‘s “rephrasing” and reutilization of primary source material are what Slag Gallery gallery director Irina Protopopescu describe as part of “a crusade unpack his own creative process.” The result is an intriguing series of paintings that invite careful study, albeit without delivering a clear or linear narrative. But that’s part of the fun. The process of making the works is central to the story-line, says Protopopescu. “In making them I imagine a lost ritual… random and unrelated elements take over,” Buchina said in a statement.

    Read the full article here.

    Artnet News spotlights Tommy Hartung R.U.R Installation at VOLTA

    From a Ravaged Home to Creepy Mannequin Heads, Here’s What Caught Our Eye at Volta

    The solo-booth format puts the spotlight on some interesting works.

    By Eileen Kinsella

    March 9, 2018

    Among art fairs, VOLTA‘s format remains unique, in that all its participating galleries are asked to present a solo booth. It’s a simple conceit, but one that allows for a sense of depth and context, and a level of visual focus that cuts against the visual overload that can make the fairs so fatiguing.

    “Much thought goes into placing the galleries in such a way that meaningful dialogues between different artists, especially in this solo context, create an even deeper understanding and appreciation of the variety of artistic positions presented,” said Amanda Coulson, artistic director of the fair.

    This year marks VOLTA’s eleventh in New York City and its fourth at Pier 90, where the proximity to Armory has boosted attendance considerably. (For the curious, the fair’s name comes from the fact that it got its start as a satellite fair in Basel, Switzerland, where it was housed in a former electric plant there.)

    There’s plenty to see. Don’t miss, for instance, the latest curated group show at the center of the fair. This year’s edition was organized by Mickalene Thomas and Racquel Chevremont, titled “The Aesthetics of Matter.” It focuses on collage by several rising stars.

    Below, we break out a few of the standout solo projects of VOLTA New York 2018.


    Tommy Hartung’s installation at C24 Gallery, titled R.U.R. (Rossum’s Universal Robots), is based on Karel Čapek’s 1920 science fiction play where the term “robot” was first used. The play explores the uncertainties raised by the speed of technological progress and the dehumanization that occurs with the robotization of human interactions. In Hartung’s adaptation, the original work is re-written through photographs, costumes, and videos, posing the question of why people want robots to look human.

    Read the full article here.


    Nilbar Güreş among 10 female modern and contemporary women featured in Istanbul Modern International Women's Day workshop

    Istanbul Modern free for women today

    March 7, 2018

    International Women's Day, March 8, will be celebrated at Istanbul Modern, and all museum entries, workshops, guided tours and movie screenings will be free for women, and the Modern Shop will offer special discounts.

    In a workshop organized specially for women, participants will create a mural based on their personal experiences. While pondering how emotions and thoughts can be visualized, the workshop also focuses on discovering the liberating elements of artistic expression.

    Works of female artists will be examined:

    The guided tour, specially organized for women, includes works of art by 10 female modern and contemporary artists. The engravings of Aliye Berger, the "Hapishanede Ziyafet" ("Feast in Jail"), Nilbar Güreş's "Soyunma" ("Underdressing"), Hale Tenger's "Strange Fruit," Handan Börüteçene's "Kendini Bana Getir" ("Bring Yourself to Me"), Selam Gürbüz's "Silik Kostüm" ("Obscure Costume") and "Autoportrait," İnci Eviner's "Yeni Vatandaş I-II-III" ("New Citizen I-II-II"), Nil Yalter's "Başsız Kadın ya da Göbek Dansı" ("Headless Woman or Bellydancing"), Fanrelnissa Zeid's "Soyut Kompozisyon" ("Abstract Composition") and Nur Koçak's "Cahide'nin Öyküsü Serisi" ("Cahide's Story Series"), all included in the "Artist in Their Time" Istanbul Modern collection, will be visited through a 45-minute guided tour.

    Read the full article here.

    The Connaught Telegraph discusses renovation of the Irish Hunger Memorial, designed by Brian Tolle

    Lead figure in famine memorial project has Mayo roots

    March 7, 2018

    THE final phase of the extensive renovation of the Irish Hunger Memorial in Manhattan has been completed.

    The architectural project manager for the $5.3 million renovation has strong Mayo links. Indeed, the memorial itself has a strong connection with the county – the Famine-era stone cottage at the centre of the memorial came from Attymass.

    CTA Architects served as architects for the renovation, and their team was very emotionally involved with the project because of their Irish roots.

    CTA Architects' project manager, Frank Scanlon, was brought up around Westport, and in Rooskey, Co. Roscommon. His mother was the late Mary Scanlon (nee Forde) from Westport, as his grandparents were Georgie and Tessie Forde. 

    Most of his mother's side of the family are still living between Westport and Murrisk and also near Leenane. His father is Aidan Scanlon, who retired from An Garda Síochána.

    The memorial, designed by internationally renowned sculptor and public artist Brian Tolle, originally opened in 2002 and is a contemplative space devoted to honour the Great Irish Hunger and Migration of 1845-1852, while encouraging viewers to contemplate present-day hunger worldwide.

    Read the full article here.