Temkinli Mesafe

Vicdan 19 Ocak

2012-01-19T18:09:00.003+02:00

idans-poster, 2011

2011-09-24T14:30:00.000+02:00

idans 2011 Poster

2011-09-18T20:49:00.000+02:00

2011-08-15T15:18:00.001+02:00

Documentarist 2011-Poster

2011-05-21T21:08:00.000+02:00

Hüseyin Bahri Alptekin, Ben bir stüdyo sanatçısı değilim, 2011, Kitap

2011-04-14T16:56:00.000+02:00

Serkan Özkaya Poster, 2010

2011-01-26T15:26:00.002+02:00

Satılık Bina, Depo

2011-01-26T13:41:00.003+02:00

Temkinli Emlak sunar...

İsimsiz/Untitled, Depo

2011-01-26T13:41:00.002+02:00

Küçük Korku Dükkanı, Little Shop of Horrors 2011

2011-01-18T22:36:00.003+02:00

Earth

2011-01-10T19:21:00.001+02:00

The Day the Earth Stood Still

Depo Sergisi, 2011

2011-01-05T11:13:00.002+02:00

Diva- her Final Tour in Amsterdam 1973

2011-01-02T12:43:00.003+02:00

The Next Documenta Should be Curated by the Pope!

2010-12-11T11:00:00.000+02:00

Altınlı Ekmek@PiST, 2006

2010-11-12T12:13:00.000+02:00

PiST'de geçtigimiz sene temmuz ayında gerçekleştirilen 15 dakikalık etkinlikler bağlamında yaptığım performans. Üretilen 150 adet ekmegin sadece bir tanesinin içinde çeyrek altın vardı, 2 gün oncesinden yapılan duyurular sonucu performans günü 15 dakika içinde tüm ekmekler dağıtıldı, altınlı ekmek Pangalti esnafina denk geldi.

Altınlı Ekmek için Fatoş Üstek'in yazısı

2010-11-10T12:20:00.001+02:00

What is it? Where is it?
Performance of Altınlı Ekmek (Bread with Gold)

Vahit Tuna works on different mediums and realizes installations on venues and common places. His work titled Altınlı Ekmek (Bread with Gold) has been realized at the 15 minutes exhibitions titled Reserved, at Pist/// Interdiciplinary Project Space in July 2006 in Istanbul.

For the work, 150 breads have been baked and one with a small gold coin inside. The breads have been given away from the window of Pist1, which was formerly a shop to buy bread, to the people who are passer-bys, reside in the area of Pangaltı either in working spaces or in their apartments. Two days before, the performance has been announced to the public through flyers that have been broadcasted in the neighborhood. The flyers have been produced in the means of language that is mostly used by mass media. The performance lasted 15 minutes and has welcomed more than 150 people. People not only came and took the bread but also stayed till the very end of performance with quest on who would find the gold in the bread. The uprising excitement of who gets the gold and the common shared joy of receiving bread for free, has signed the happening of the act.

Bread, being the most common item, the basic need of nourishment, appears to be the medium of Tuna’s performance; the medium that opens itself to sharing and loses its physical being and transmits its experience and idea in the audience who experiences the work. In other words, Tuna displays an extraordinary approach to medium, assigning a common object as a medium of intended art practice, and questioning the medium as such. Bread with Gold is the very form of conceptual art in its very state of sharing among the people who are from a surrounding where conceptual art is taken at stake as an unnamed act of art. The work itself is also a quest of perceiving the performance as an art piece; a piece which stands far from the established norms of art making, a piece that attempts to involve the contributors with the knowledge of experiencing an act of art, a piece that is displaying the process of art making on its very intentions and especially a piece playing around what is and what is not art.

Bread has various connotations in Turkish society, not only the food you need but also the food you can afford to buy. The level of social income designates the nourishment, the surrounding, events to come across – such as participating in social gatherings, art events, etc. Tuna, by choosing bread the main item of his performance and the gold coin as the unexpected fortune, refers to the contemporary state of public; a public that founds dreams of easy money making, in need of income for that purpose playing lottery, calling TV competitions at the same time trying to manage every day struggle, feed themselves at least in basic means. Additionally, the public has a tradition of giving and receiving gold coins on special days, likewise Ottoman Empire used to in order to please the public and share wealth. Based on the common practice of the public on various levels Vahit Tuna forms a ground for share with its uncanny aspects of the current status quo.

Bread with Gold, in a way, is sequential to Tuna’s former installations: Eve gelirken ekmek almayı unutma (Do Not forget to buy bread on the way home) 2000 is a billboard that has been installed on a balcony of an apartment in Kadıkoy. The billboard is an open space for coming across. The sentence is not only an every day sentence produced among public but also a reminder of responsibility of managing a household, a continuation of family and togetherness.

Bir ekmek, bir gazete, iki şişe su (One bread, one newspaper, two bottles of water) is a video installation on a market car realized as an artist folder for 5th Istanbul Biennial titled On Life, Beauty, Translations and other Difficulties, curated by Rosa Martinez in 1997. The video is a documentary on the artist himself by the speech of the building keeper in which Tuna lives. The building keeper talks on the artist such as which exhibitions he participated, that he is a good person and a good artist. Tuna installed his work in the office room of the biennial near the folders of other artists who proposed projects.

Fatos Ustek, 2006

Koltuk, Uluslararası Rezidensi Programı / Sofa, International Residency Programme

2010-10-05T13:37:00.000+02:00

Nohut oda, bakla sofa: Koltuk Rezidensi Programı. 2007 yılında başlamış bir projedir, ofiste yer alan koltuk sanatçıların kullanımına açıktır (uyuma, uzanma, düşünme, konuşma-tartışma) 2007 rezidensi sanatçısı Borga Kantürk. Programa dahil etkinlikler; Masa açılışları, Masa toplantıları. Çay ve kahve beleş, ayrıca yine beleş olarak komşulardan sağlanan wireless (kablosuz) internet mevcuttur.
(En üstteki resme tıklayarak detaylı tanıtım filmini izleyebilirsiniz)

vahittunanoktakom açıldı!

2010-09-29T20:12:00.000+02:00

http://www.vahittuna.com/

Documentarist-2010

2010-06-11T17:20:00.001+02:00

City Sense, 2009, Poster

2010-04-27T21:45:00.002+02:00

ArtUnlimited, Erwin Wurm

2010-04-26T10:45:00.001+02:00

President's Car, 1998

2010-04-08T16:27:00.000+02:00

Serkan Özkaya, Today Could be a Day of Historical Importance-Book, 2010

2010-02-03T18:11:00.004+02:00

Today Could Be a Day of Historical Importance-Poster

2010-02-02T19:19:00.003+02:00

Yazık! her şey ölecek demek ben ölürsem!

2010-01-29T12:53:00.001+02:00

Cam Adamlar, Poster

2009-12-13T13:19:00.000+02:00

Hangi İnsan Hakları? -Documentarist- Poster 35x50

2009-12-11T18:21:00.004+02:00

ArToday-1998

2009-12-03T09:49:00.003+02:00

Kasa Galeri-2001

2009-12-02T22:53:00.002+02:00

Oyunu Bozuyorum, 2007

2009-11-24T14:29:00.000+02:00

idans kartpostal

2009-10-26T19:04:00.002+02:00

Amann Dergisi, 1999

2009-10-26T14:34:00.001+02:00

1999-2000 yillari arasinda tasarimini yaptigim Amann dergisinden sayfa ornekleri

Güneşli Pazartesi, 2007

2009-10-24T14:31:00.000+02:00

Merce Cunningham-Pina Bausch idans

2009-10-16T15:00:00.002+02:00

idans flyer

2009-10-16T14:52:00.007+02:00

Ashura Oyunu için poster

2009-09-07T00:13:00.000+02:00

Job, 2009 - BerliN

2009-08-02T20:21:00.002+02:00

Armut, 1997

2009-05-08T15:06:00.000+02:00

Garajistanbul 5 Aylık Program Kitabı

2009-05-07T12:08:00.000+02:00

Programme book for garajistanbul.
Baskı: A4 Ofset

Göreli Konumlar ve Kanaatler/Relative Positions and Conclusions

2009-04-21T14:41:00.005+02:00

Namus Oyunları, Afiş, 2008

2009-03-02T16:42:00.004+02:00

Muhabir/Reporter, Tiyatro Afişi/Theater Poster, 2009

2009-02-28T16:26:00.004+02:00

Serkan Özkaya Book for Slag Gallery, NY Feb. 2009

2009-02-20T16:10:00.005+02:00

Selim Birsel Arka Bahçe/Backyard

2008-10-23T13:50:00.000+02:00

Egzersiz, Hafriyat Karaköy, 1-25 Mayıs 2008

2008-10-06T16:32:00.000+02:00

Makina Beden

2008-08-03T00:22:00.005+02:00

Tuğçe Tuna'nın Makina Beden performansı için mekan düzenlemesi ve ses. 16. Uluslararası Tiyatro Festivali, Santralistanbul Enerji Müzesi, 23-24-25 Mayıs, 2008

Ev alma komşu al

2008-06-03T21:20:00.004+02:00

Bennu Gerede için Logotype

2008-05-25T12:41:00.000+02:00

Logotype for photographer Bennu Gerede

Europe Hear Us!@Schloss Solitude

2008-04-06T15:39:00.001+02:00

Yazar Dietrich Heißenbüttel'in sergi için yazdığı metin;

Taking the wind out of one’s sails

The Istanbul designer Vahit Tuna in residence at the Solitude Academy near Stuttgart

‘Künstler!’ (‘artists!’) – a triangular warning sign next to the bar that keeps traffic out of the Solitude district marks a double contrast. People from the industrial town of Stuttgart, home of Mercedes and Porsche, like to come to the small late baroque castle in the midst of the wood, enjoying the calm far away from traffic and the splendid view over the landscape below.

But the timeless peace of this well preserved monument is being disturbed every now and then by the temporary interventions of the artists in residence at the Solitude Academy founded in 1989 by Jean Baptiste Joly. Since then, 60 artists of every genre from all over the world are chosen every year and a half to take a break from their everyday preocccupations in a place appropriately called Solitude. Evidently they can’t, so they’re trying to disturb the artificial peace with the means of the artist. One of them is the Istanbul designer Vahit Tuna, whose warning sign in fact steals the thunder of the eventual conservative weekender who might feel offended by any signs of contemporary art practice disturbing his nostalgic view of the seemingly perfect place.

During the first part of his sojourn at Solitude, Tuna has presented two video-installations that, in a similiar way, are confronting the spectator with his own expectations. Europe hear us! was the title written on the invitation to the exhibition, and in fact, expecting to see the work of a Turkish artist, one might think he was trying to draw attention to the marginal position of Turkish art or Turkey in general in it’s problematic relationship to Europe. Justly so because central Europe, and Germany in particular as a country with many Turkish immigrants pays little attention to the culture of the biggest minority living within its borders. Nonetheless, Tuna’s work of the same title is a mirror-game, not so much trying to capture the attention of Europeans but reflecting the narcissist need of Turkish people to do so.

In a small video sequence, Tuna dresses up as a hooligan chanting a slogan often to be heard in Turkey during games of the national football team: „Europe hear us/ hear the march of the Turks/ ain’t no way you can handle them/ beware, beware of them, you european faggots!“ But instead of a crowd, you see only one man, disguised by a piece of cloth over his mouth, and instead of a stadium worthy of a world championship you see a small, poor arena in need of repair, and a flame that reminds as much of Olympia as of racist arson. At the end of the long, winding corridor where the video is being presented, a photo is hanging on the wall, already published in the catalogue of Manifesta 3 in Ljubljana, showing a player in Turkish national dress performing an overhead kick. Although instead of a football he is kicking at a basketball. Once the mistake is discovered, the weight of the ball makes itself felt and the acrobatic move turns into a ridiculous jump, giving a picture, if you want, of a useless effort to impress with the wrong means.

What’s wrong with trying to be a champion? Not the competition in itself, but the feverish outcry of triumph every time Turks reach for the highest ranks be that only in a beauty contest or in a hit parade, like when Azra Akin was elected Miss World in Nigeria or when Sertab Erener won the Grand Prix d’Eurovision in Riga. If the slogan addresses Europe, this is only the sign of a deeply rooted inferiority complex, a need to belong while knowing to be excluded, a wish to be strong while knowing that one is weak. For centuries, Turkey has been the principal enemy of the West, until industrialization abruptly swept away the former military balance. Europeanization and nationalism were the means chosen by Atatürk to overcome the following decline, but in spite of its strong military forces, Turkey is still miles away from european living standards today. And even though millions of Turkish people are living by now in the heart of the continent, even the grandchildren of the immigrants are still being perceived as others. This is what Tuna’s second installation examines in a remarkable, provocative way.

There are not many ways to fight stereotypes. Edward Said himself has been criticized that by reconstructing the historical precedents of orientalism he rather fell in the same old trap of drawing an inalterable line of divide between orient and occident, and often those who don’t want to be stigmatized by stereotype images end up looking at themselves as being different: oriental, negro, primitive, whatever the stereotype is. Irony often seems to be the only way to deal with this ironic situation, for example when young, second and third generation Turks in Germany refer to themselves as Kanaks. Tuna goes one step further by breaking the rules of representation.
The sound of gurgling water, a real toilet and a small video screen above it displaying a naked arse: this is all the beholder sees when entering the room. By looking closer, one may detect a small pipe, arranged within the WC, as is very common in Turkey. But such a combination of loo and bidet was impossible to find in a german store, as Tuna recounts. So instead of importing it from Turkey like some people did who he met in Stuttgart, he chose to ‚build‘ it himself using a bigger pipe in order to draw attention to it. At a first glance, there is little else to be seen, so one tends to admire the seemingly unchanging picture on the screen, waiting to see something happen. In the end it does: in a short counter-shot, an eye is peeping through a hole.

If in the beginning the beholder, grown up with Duchamp, may be only slightly irritated, trying to find out, what exactly this answer of a non-european artist to the famous icon of modern art might mean, he will now feel trapped. If at first he may try to detect the otherness of the device, he is now being confronted with his own voyeuristic image, looking at a naked bum and a toilet, a place where even an emperor has to go to on foot as a german proverb says.

Looking around, the visitor will detect one more thing, seemingly more appropriate for an exhibition, but in a strange place: A frame is bent around a lower corner of the room, containing not a picture but a text. No comment, anyway, on the objects in the centre of the room, but an excerpt taken taken from the book of another Solitude-fellow, the Hungarian author Peter Zilahy: In his dictionary-novel The Last Window Giraffe, Zilahy takes a deep look through the cracks in post-communist, eastern european reality, discovering a world that is neither the one he was brought up with nor the convenient western order that has replaced it. Be that as it may, the section chosen by Tuna operates another displacement: Going way back into history, it concentrates on a place that is at once familiar and far away, conjuring up past and present and, though neither situated in Hungary nor Turkey, stands for a common experience in the history of both countries.

‘Weissenburg’, that’s how the city is called here, sounds very familiar to german ears. In fact there are several places on the German map answering to that name: a town in lower Bavaria, another two in Switzerland and in the French region of Alsace, known by now under the name of Wissembourg. Moreover, it is the name of more than one medieval stronghold, meaning white castle, which is indeed the literal translation of the serbian name of Beograd. 16th century Belgrade was a point where two empires met, and to introduce that theme, the text first quotes lake Balaton which, right in the middle of Hungary, provided a natural border between the Habsburg and the Ottoman territories. The people of the former medieval kingdom, Zilahy says, were now living in two vast empires that expanded as far as Mexico on the one side and the Indian ocean on the other.

Back to Belgrade, two historical characters are being introduced: One is Mehmed Sokolovic Pasha, presented as the greatest of all Serbs which is referred to as a joke of history, since Serbian nationalism keeps on drawing upon the myth of being defenders of christian civilization. Sokolovic was born in Bosnia, delivered to Istanbul when he was young and later became a general of the Ottoman empire, victorious in the battles of Temesvár and Szigetvár. The other figure, Giovanni Kapistran, was determined to become a christian martyr. After earning a doubtful reputation by persecuting Jews he turned against the muslims and in fact took a leading role in a decisive battle, though to his grief he was not killed in action. Instead he died on the battlefield of bleeding hemorrhoids, and the cause of his canonisation was delayed after Hungary had been torn in two.
Any relation between the intestinal malaise of the 16th century christian hero and the toilet-bidet in the exposition? Maybe a little anus hygiene would have eased the destiny of the fierce warrior, but that’s certainly not the point here. All sorts of parallels can be drawn between now and then, the meeting of east and west, Belgrade being once more a battlefield where a western empire keeps fighting the forces of evil. But none of them will lead to to a stable image of Turkish, Hungarian or Serbian, western and eastern identity. All essentialist constructions of East and West are in many ways over-determined, as is demonstrated already by the divergent destinies of the two Serbian warriors. Turkey today is not the antagonist of the west anymore, but rather divided from within by eastern traditions and western orientation. Western hegemony has no counterpart any more, and in fact, everything Zilahy so aptly does in his brilliant novel is to deconstruct the rhetoric of the former eastern rival – and any other kind of rhetorics past or present.

With the title of his exhibition, the video still, the framed text, Tuna draws the visitor into considerations about same and the other, Europe and Turkey, East and West. Not to confirm or contradict any pre-conceived image, but to open up a space in between and show that the schemes of collective identification are never up to the intricate ways of reality.

Dietrich Heißenbüttel

Toilet Master, 2003

2008-03-05T15:00:00.000+02:00

Toilet Master, 2003, Karışık malzeme (Alafranga tuvalet, metal boru, video, LCD ekran, ses)

Achtung Künstler! 2002 Stuttgart

2008-03-05T12:40:00.000+02:00

Residency programına dahil oldugum Akademie Schloss Solitude'un giris kapılarına (iki giris kapısı mevcut) yerlestirdigim heykel-tabela.

Eko, 2008, Mart

2008-02-25T16:27:00.002+02:00

2008-02-12T18:31:00.000+02:00

Ashura oyunu için sokak posteri

2008-02-06T00:35:00.000+02:00

CallYourMomToday, TT Net Ajanda, 2008

2008-01-25T01:13:00.000+02:00

Sema, 2007

2007-11-25T23:46:00.000+02:00

aKabi, Aydin Teker, Poster

2007-09-17T18:17:00.000+02:00

New Photographs

2007-07-01T15:56:00.000+02:00

"Mehmet" 2000

2007-06-15T12:36:00.000+02:00

Kaya, 1997, Fotoğraf

2007-06-01T14:26:00.000+02:00

Eskiden yaşadığım apartmanda, kapıcılık hizmetini yerine getiren Kaya ile birlikte gerçekleştirdiğimiz üç projeden bir tanesi.

İstanbuldans Festivali Afis

2007-05-24T12:54:00.001+02:00

Ak Sanat Melek Yüzlü Yabancı Sergisi İçin Logotype

2007-05-24T12:30:00.000+02:00

Farklı Bedenlerle Dans-2 Afiş

2007-05-23T15:50:00.000+02:00

Otoportre 2005

2007-05-17T12:53:00.000+02:00

Bir Bulut Yakaladım ve Yedim

2007-05-07T14:27:00.000+02:00

Center of the World 2005

2007-05-07T12:48:00.000+02:00

Fotoğraf, 2003

RadikalART: Ardından Değil Karşısına

2007-05-05T13:24:00.000+02:00

Bir tanesi Yildiz Universitesi onu digeri Kanyon alisveris merkezi onunde yer aldi.
Yapit isimleri "...larım" ve "öptüm" ikiside 2006 yilinda uretildi.

Siyahi Kültür Dergisi için Logotype

2007-05-04T16:54:00.000+02:00

Bio Hasar

2007-05-02T11:41:00.000+02:00

MASA: Bir güncel sanat mekânı

2007-05-01T20:01:00.001+02:00

Günümüz Türkiye güncel sanatında mesafelerin gittikçe belirginleştiği ve güncel sanatın büyük kurumların himayesine girdiği bir dönemde MASA; büyük bütceli projelerin, marka isimlerin kapattığı galerilerin ve diğer holding galerilerinin aksine, daha alternatif olana ve genç üretimlere yönelecek. Bu bağlamda sadece plastik sanatlar alanını değil; diğer farklı disiplinleri de kapsayacak.

“İddiali olmayan -büyük sahnelerde beylik oyunlar göstermeyen- düzenin peşinden koşan sanat ve ortamını tamamen dışa iten -tüm fazlalıklardan arındırıp sanatçıya kendi başına bir alan açan- bir ortam, uzam olarak MASA herkese açık!”

MASA (lit. Table); Space for Contemporary Art

In today's world of Turkish Contemporary Art, Masa will stand as an alternative to big budget projects, institutionalized art, galleries that work with only a group of well established names, and it will head for a younger production overall. In this context Masa will serve not only Plastic Arts but different disciplines as well.

"As an extension that excludes art created for the system, as an environment that aims to compose an area with no boundaries for the Artist, MASA welcomes everyone!"

Max Dergisi için sayfa tasarımları, 1999

2007-04-26T19:31:00.000+02:00

Canan Beykal için sergi gazetesi, 1997

2007-04-26T18:50:00.000+02:00

Baskı: A4 Ofset

Sıtkı Kösemen Günlükler Kitabı

2007-04-26T15:57:00.000+02:00

Galerist Gazetesi, Galerist Newspaper

2007-04-26T12:55:00.000+02:00

Baskı: Mısırlı Matbaası

Erinc Seymen sergi kitabı

2007-04-26T12:27:00.000+02:00

Serkan Özkaya için kitap

2007-04-26T12:25:00.000+02:00

Book for artist Serkan Ozkaya
Baskı: Mart Matbaası

Free Kick Sergisi için kitap

2007-04-26T12:23:00.000+02:00

Book for "Free Kick" exhibition at 9th Istanbul Biennial Hospitalty Area.
Baskı: Ofset Yapımevi

Bennu Gerede Teslimiyet sergisi için kutu tasarımı

2007-04-26T12:19:00.000+02:00

Box for artist Bennu Gerede's exhibition "Teslimiyet" at Galerist.

Kentin Kapıları Boyunca Sergisi için Kitap

2007-04-26T12:13:00.000+02:00

Book for exhibition of "Along the Gates of Urban" at Oda Projesi. Curator: Erden Kosova.

Hatice Güleryüz için kitap [Tuhaf Yakınlıklar]

2007-04-26T12:05:00.000+02:00

Book for artist Hatice Guleryuz "Strange Intimacies".
Baski: Ofset Yapımevi

Bir milat olarak: Karma Sergi, 1998

2007-04-22T09:50:00.000+02:00

Karma Sergi oldukça keyifli bir sergiydi, çok eğlenmiştik. O zaman daha çok eğleniyorduk galiba. İşin ismi "Kaya". Farklı malzemeler kullanmıştım, mesela bir sehpa yaptırmıştım, yarım daire pleksi, 1969 tarihli National Geographic dergisi (kapak konuları: İnsanoğlunun Ay'a ayak basması ve epey geniş ölçekte Türkiye'nin tanıtımı) cami hoparlorleri, ses, fotoğraf. Benimle aynı odada Canan Şenol ve Hakan Onur'un işleri vardı. Resmi Görüş çıkacaktı dergi olarak, blog durumları yoktu, bir de digital kamera yoktu.
Küratör: Vasıf Kortun

Kaçırılmaması gereken bir sergi

2007-04-17T14:32:00.000+02:00

Kick the First World 1998

2007-04-02T12:33:00.000+02:00

1998 yılında ürettiğim bir foto-montaj, "Avrupa Duy Sesimizi" videosu ile eş zamanlı bir çalışma.

Fotoğraf [Phronemophobia]

2007-03-28T16:26:00.000+02:00

Phronemophobia için [Video]

2007-03-28T15:50:00.000+02:00

Levi's 301

2007-03-13T09:46:00.000+02:00

Gerçekleşen Ütopya

2007-03-09T23:35:00.000+02:00

Akademie Schloss Solitude için aylık newsletter, 2002-2004

2007-03-01T12:29:00.000+02:00

İsimsiz

2007-02-28T21:43:00.000+02:00

Düştesin Uyan, 1996

2007-02-20T14:31:00.000+02:00

Habitat "Öteki" (1996) sergisinde yaptığım video yerleştirme.

Special Thanks, 2006

2007-02-13T13:02:00.000+02:00

Avrupa Duy Sesimizi! / Europe Hear Us! Video, 2000

2007-02-11T00:37:00.000+02:00

Yalanla İlgili Herşey, 2006

2007-02-09T23:38:00.000+02:00

Selda ile papaz olduğumuz mektup. :)

İstanbulREConnects Logotype

2007-02-09T13:05:00.000+02:00

Bididibido, 2006

2007-02-07T20:31:00.000+02:00

Sori, Logotype

2007-02-07T11:55:00.000+02:00

Genç Etkinlik 3, Kaos sergisi, Poster

2007-02-05T18:37:00.000+02:00

Ali Can Yaraş'ın projesi için resim, Habitat, 1996

2007-02-05T17:24:00.000+02:00

Ali Can "Öteki" sergisi kapsamında bisikletlerin arkasına sanatçılardan işler istemişti, ve bu bisikletler şehri dolaşacaktı. Hatırlanacağı üzre Habitat sırasında Habitatçıların dolaşacakları alanlar yeniden inşaa edilmiş, tinerci cocuklar kediler gibi şehrin en uzak noktalarına bırakılmış (her kedi evine döner) ve şehir tam bir şantiye alanına dönmüştü. Hatta Taksim meydanına bir gecede havuz yapıldığını hatırlıyorum. Bir çok kişi sabah bu havuzu görünce uzaylıların işi sanmıştı.

Farklı Bedenlerle Dans Projesi için işaret

2007-02-05T17:14:00.000+02:00

2001 yılında Tuğçe Tuna'nın gerçekleştirdiği "Farklı Bedenlerle Dans" projesinde afiş ve broşürlerde kullandığım işaret.

Bu Gerçek Bir Defter Değildir, Yorum Ajans için defter

2007-02-05T17:13:00.000+02:00

Baskı: Promat