Close
Gönderiliyor...
Archive

Latest News

The new stop of the 15th Istanbul Biennial’s international billboard project is Moscow | 04.08.2017 Artists announced for the 15th Istanbul Biennial | 25.07.2017 The second stop of the 15th Istanbul Biennial’s international billboard project is Limerick City Gallery of Art | 29.05.2017 The 15th Istanbul Biennial to open its doors in six venues | 22.05.2017 Biennial Special tickets | 15.05.2017 14th Istanbul Biennial participants at Sharjah Biennial 13 | 03.04.2017 Adrián Villar Rojas at Metropolitan Museum of Art | 08.03.2017 "a good neighbour" billboard project at The Home of St Patrick Festival in Ireland | 01.03.2017 Jannis Kounellis died at the age of 80 | 17.02.2017 Five exhibitions worth traveling for in 2017, according to Newsweek | 04.01.2017 The title and conceptual framework of the 15th Istanbul Biennial is announced | 07.12.2016 Exhibited for the first time at the 14th Istanbul Biennial, 'Red/Red' joins the collection of MoMA | 12.08.2016 An exhibition of Cansu Çakar is at Jordan | 21.04.2016 15th Istanbul Biennial's curators announced | 13.04.2016 Invitation to Bige Örer from Whitechapel | 18.03.2016 'Thought Forms' visit Chicago after the biennial | 11.01.2016 14th Istanbul Biennial ended | 06.01.2016 News from 14th Istanbul Biennial | 15.07.2015 Plan your visit | 09.07.2015 Biennial Special tickets | 16.06.2015 Save the Date for the 14th Istanbul Biennial: SALTWATER: A THEORY OF THOUGHT FORMS | 20.05.2015 SALTWATER. A Theory of Thought Forms | 18.05.2015 Carolyn Christov-Bakargiev appointed Director of GAM Torino and Castello di Rivoli | 15.05.2015

2017

2016

2015

2014

2013

2012

2011

2010

2009

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.