Monday, August 26, 2013


for performance video::

Multitude Foundation and Wuhan Art Terminus (WH.A.T.) present the Multitude Art Prize in collaboration with the Ullens Center for Contemporary Art (UCCA). Grounded in the concept of the “multitude,” in which the extraordinary (re)emerges from a social group undergoing a geopolitical change, the Multitude Art Prize examines the role of art and its relevance in different regions of Asia. The Multitude Foundation is a Hong Kong registered charitable trust founded to promote Asian contemporary art through international dialogue, and the Wuhan Art Terminus (WH.A.T.) is a contemporary art centre currently being developed in Wuhan that takes inspiration from the idea of the “terminus,” a place that both sends out and receives people and their ideas. UCCA is proud to host the inaugural Multitude Art Prize exhibition from April 28 – June 16, 2013 (opening April 27), as well as a special conference on April 28 placing the situation of contemporary Asian art within a global context. The exhibition, which will be held annually in a different Asian city, will feature five winning artists or artist groups representing the most creative, critical minds in a rising Asian contemporary art scene. In the accompanying programs, invited speakers, including leading Asian curators and scholars as well as Western museum directors involved in the institutional collaborative “L’Internationale,” will provide an eclectic, academic analysis of the present and future of contemporary art in Asia.
  • 1.    Yao Jui-chung, Taiwan
    2.    Alfredo and Isabel Aquilizan, Philippines
    3.    MOON Kyungwon & JEON Joonho, Korea
    4.    Raqs Media Collective, India
    5.    Ha Za Vu Zu, Turkey

    Yao Jui-chung was born in Taipei in 1969, and graduated from the National Institute of the Arts (Taipei National University of the Arts) with a degree in Art Theory. Yao is one of the region’s most prolific contemporary artists, and a fervent supporter of Taiwanese art both at home and abroad. His oeuvre encompasses installation, photography, performance, video, works on paper and sculpture, as well as several books; consistent in his varied work is an examination of the absurdity of the human condition. He has participated in numerous international exhibitions, including representing Taiwan in “Facing Faces-Taiwan” at the 1997 Venice Biennale. He has curated exhibitions including “The Realm of Illusion – The New Wave of Taiwan Photography” (2002) and “King-Kong Never Dies – The Contemporary Performance & Video Art in Taiwan” (2003). His works are in the Taipei Fine Arts Museum; the Kaohsiung Museum of Fine Arts; the National Taiwan Museum of Fine Arts; Queensland Art Gallery, Brisbane, Australia; Bibliothèque National de France, Paris, and many private collections. Yao has also published several books, and teaches in the Department of Fine Arts at the National Taiwan Normal University.

    Alfredo and Isabel Aquilizan work together as a couple, both as parents and artists. Alfredo was born in the Philippines in 1962, graduated from the Philippine Women’s University in 1986, earned his MA from the Polytechnic University of Norwich, and is currently pursuing a PhD at the Griffith University in Brisbane, Australia. Isabel was born in the Philippines in 1965, and graduated with a BA in Communication Arts from Assumption College in Makati City, Philippines. Alfredo and Isabel pursue individual creative projects, but also collaborate artistically on issues relating to family and community, specifically their everyday life with a family of five children. The duty of raising these children and ensuring their well-being has come to inflect their work with collective habits – or habits of collection – as well as with a deep engagement with the question of belonging. In the Philippines, where filial ties are extensive, the Aquilizan brood cannot be solitary; it is part of a community of kin that weaves in and out of the household. Through the years, the home as an abode gathers testimonies of passage: of clothes and toys outgrown, furniture stacked in storage, and other possessions strewn along paths.
    For the past ten years, the Aquilizans have continuously collected fragments for their protracted “Project Belonging” (1997-2007).The artists have been invited to participate in a number of international biennales and survey exhibitions including “Touched” Exhibition, TATE Liverpool, UK; Asia Pacific Triennial of Contemporary Art (1999/2009); Biennale Cuvee, Selection of World Art Ok Contemporary Art Center (2009); Dojima Biennale, The World Through Art (2009); Singapore Biennale (2008); Adelaide Biennale (2008); Biennale of Sydney (2006); EchigoTsumari (2006); Gwangju Biennale (2004); La Biennale de Venecia (2003); and the Pusan Biennale (2002). Both artists live and work between Brisbane and Manila with their five children.

    MOON Kyungwon & JEON Joonho
    MOON Kyungwon received her Ph.D in Visual Communication at Yonsei University, Korea, MFA on Art from California Institute of the Arts, USA, and MFA / BFA from EwhaWomans University, Korea. Some of MOON’s selected solo exhibitions include “GREENHOUSE” at Gallery Hyundai, Seoul (2010), and works from a residency at Fukuoka Asian Art Museum, Fukuoka (2004). She has also participated in several group exhibitions including Gwangju Biennale, Gwangju (2012); dOCUMENTA(13), Kassel (2012), Korea Artist Prize, Gwachun (2012); “A Silent Voice” at Tokyo Wonder Site, Tokyo (2010); “A Different Similarity” at Bochum Museum, Bochum (2010); santral Istanbul, Istanbul (2009); Now Jump at Nam June Paik Art Center, Yongin (2008); and Nanjing Triennale at RCM Museum of Modern Art, Nanjing (2008). MOON worked with Tadao Ando for a public art project at Genius Loci in Seopjikoji, Jeju Island, Korea (2007), as well as Media Canvas at Seoul Square, Seoul (2010). MOON is a recipient of the 2012 Grand Prize of Gwangju Biennale, and 2012 Korea Artist Prize, co-organized by the National Museum of Contemporary Art, Korea, and the SBS Foundation. MOON’s works are collected in the Fukuoka Asia Art Museum, Fukuoka, Japan; the National Taiwan Museum of Fine Art, Taichung, Taiwan; Monte Video, Amsterdam, Netherlands; and the Seoul Museum of Art, Seoul, Korea, amongst other places.
    JEON Joonho received his MA from the Chelsea College of Art and Design and BFA from Dongeui University. JEON has had several solo exhibitions at SCAI The Bathhouse, Tokyo (2009); GalerieThaddaeusRopac, Paris (2008); Arario Gallery, Cheonan (2008); and at Perry Rubenstein Gallery, New York (2007). JEON has also participated in several group exhibitions including dOCUMENTA(13), Kassel (2012); Yokohama Triennale, Yokohama (2011); “Your Bright Future” at LACMA, LA (2009); The Museum of Fine Art, Houston, Texas (2008); “All About Laughter” at Mori Art Museum, Tokyo (2007); and “Metamorphosis” at L’EspaceCulturel Louis Vuitton, Paris (2008). JEON is a recipient of the Grand Prix of the 27th Biennial of Graphic Art in Ljubljana, 2007, and also a prize at the Gwangju Biennial, 2004. His works are included in the public collections of the Museum of Fine Arts, Houston, USA; Seoul Museum of Art, Seoul, Korea; and National Museum of Contemporary Art, Gwacheon, Korea.

    Raqs Media Collective was formed in 1992 by independent media practitioners Monica Narula (1969), JeebeshBagchi (1965), and ShuddhabrataSengupta (1968). Based in Delhi, India, Raqs Media Collective have been variously described as artists, curators, editors and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them along the intersections of contemporary art, historical enquiry, philosophical speculation, research and theory – often taking the form of installations, online and offline media objects, performances and encounters. Raqs is based at Sarai at the Centre for the Study of Developing Societies (CSDS) in Delhi, an initiative they cofounded in 2000 aiming at developing a public and creative model of research-practice. Though Raqs has a background in documentary film, since being invited to participate in the Documenta 11 art show in Kassel, Germany in 2002, the group has been working more in the contemporary art field. In addition to Documenta and the Venice Biennale, the group’s work has been shown at the Walker Art Center in Minneapolis, the Palais des Beaux Arts in Brussels, the Liverpool Biennial, and the Guangzhou Triennial. Raqs was awarded the Unesco-DigiArts Award at ISEA 2004, and in 2006 was invited to co-curate the show “On Difference” in the Kunstverein in Stuttgart, Germany.
    Raqs is a word in Persian, Arabic and Urdu and means the state that “whirling dervishes” enter into when they whirl. Raqs signifies and embodies the practice of a kinetic contemplation of the world. It is also a word used for dance.

    Ha Za Vu Zu is an artist collective established in Istanbul in 2005. Working in performance, installation, video, sound, and anything else that captures their interest, Ha Za Vu Zu’s creative process is rooted in the social; from works that involve constructing social situations with other groups or individuals, to the conscious lack of hierarchy within their own group in whichtheir members constantly negotiate power relationships by switching roles between the creator, director, and performer.Recent projects include “Underconstruction”, Apartment Project Berlin, Germany, 2012; “What a Loop”, Non Stage, Istanbul, Turkey, 2011; “Between Stamp and Mars no: 3”, SALT, Istanbul, Turkey, 2011; 10e Biennale de Lyon, 2009; “BREADWAY”, Urban stories: The X Baltic Triennial of International Art, Vilnius, 2009; “Our Teeth Will Be Snow White”, 10th International Istanbul Biennial, 2007; and “We Are Getting Vocalized”, Galerist, Istanbul, 2007. HaZa VuZu invites audience participation in their work, exploring new social roles and possibilities through this interaction.
    Colin Chinnery is an artist and curator based in Beijing. He is currently Artistic Director of the Wuhan Art Terminus (WH.A.T.), a contemporary art institution under development in Wuhan, China; and Director of the Multitude Art Prize, a pan-Asian art award and international conference. He was Director in 2009 and 2010 of ShContemporary Art Fair in Shanghai,and before that, Chinnery was Chief Curator / Deputy Director at the Ullens Center for Contemporary Art (UCCA) in Beijing, where he was instrumental in setting up China’s first major contemporary art institution. Between 2003 and 2006, as Arts Manager for the British Council in Beijing, he initiated major projects in experimental theatre, live art, sound art, and visual arts, bringing a wider public into contact with experimental practice.
    2013 Multitude Art Prize Discourse Series
    Shifting Targets: Approaches to Art and Multitude in Asia
    2013.04.28  10:00-18:30  UCCA Auditorium
    The Multitude Art Prize Discourse Series is an annual program of discussions that travel with the exhibition program across Asia, opening up thematically with each edition. As a starting point for a long-term conversation, this year’s inaugural conference explores questions fundamental to the project’s inception.

NY Times 18.08.2013




In Istanbul, Seeing Art Through Two Lenses

Ayman Oghanna for The New York Times
A recent solo exhibition by the Turkish artist Volkan Aslan at Arter.
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The art scene in Istanbul has gradually shifted from a heavily traditional one that celebrates the city’s history to a contemporary one that prizes its upstarts. Less than a decade ago, the city’s Museum of Modern Art was inaugurated. Last year the contemporary art space SALT opened. This year a number of Istanbul galleries will be on hand at London’s Frieze (as they were at the Randalls Island New York version and at Art Basel in Basel and Hong Kong).

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Ayman Oghanna for The New York Times
The artist Elif Nursad stands in front of one of her murals.
Ayman Oghanna for The New York Times
Elipsis Gallery.
Emre Akcora
An installation and performance by the art collective Ha Za Vu Zu.
Suyabatmaz Demirel Architects
Rampa Gallery.
Now, it seems, the city has truly come into its own as a contemporary art hub.
Because culture so often regenerates, even within this nascent world is an older guard — established artists whose work graces the sort of pristine minimalist galleries you’d find in Chelsea in Manhattan — and rogues who create subversive street art. They, too, are gaining a foothold, sometimes presenting works in cooperation with cosmopolitan institutions. But their art, which is often on view in public spaces, seems more accessible to tourists, who may unknowingly come across it on a stroll through the city. Many works by these newer artists were inspired by — and on view during — demonstrations at Taksim Square this summer.
As I wandered around Istanbul in the wake of the protests, I explored this bifurcated world, and realized that seeing one side without the other is an incomplete viewing. Below is a survey of the two approaches juxtaposed, the best way for the eye to recognize contrasts.
Elipsis Gallery
This small photography gallery, opened by Sinem Yoruk in 2007, is tucked away on a leafy street in the newly stylish neighborhood of Karakoy. But don’t let its size fool you. Elipsis has relevance in the broader art world; it even counts the Guggenheim among its followers on Twitter. It has the requisite white walls and charcoal matte floors of a big-city gallery, and when I was there had a show called Edition III that included the work of an art darling: Civan Ozkanoglu, a Turk who now lives in New York. (He is also part of a show at the Museum of Modern Art.) Opening next month is an exhibition featuring digitally reproduced works of the avant-garde photographer Sahin Kaygun, whose medium in the early ’80s was Polaroids.
Elipsis Gallery, Hoca Tahsin Sokaka, Akce Han, 10, Karakoy;
Rampa Gallery
This gallery sits in a renovated row house in Besiktas, northeast of the old town, nestled in the little hills of the city and facing the Bosporus. Founded in 2010 by the husband-and-wife team of Arif and Leyla Tara Suyabatmaz, it is one of the most renowned galleries in Istanbul. It reliably delivers work by a set of high-priced artists who are no strangers to prestigious art fairs across Europe, and the gallery was part of New York’s Frieze this year. Its next exhibition, called “Open Phone Booth” (and opening Sept. 11), features pieces by the Turkish artists Cengiz Cekil, whose work is part of MoMA’s permanent collection, and Nilbar Gures, who now lives in Vienna.
Rampa Gallery, Sair Nedim Caddesi, 21/A, Akaretler;
Midway between the medieval Galata Tower and Taksim Square, and sandwiched between stores on the busiest shopping street in Turkey, is this well-regarded exhibition space. It opened in 2010 as an initiative of the Vehbi Koc Foundation. Since then it has regularly featured thought-provoking shows. Its recent solo exhibition by the Turkish artist Volkan Aslan, for example, included a memorable section with hybridized statuettes, like a lady in a red dress with a duck’s head, dispersed around the room. Come September, Arter will be hosting the Istanbul Biennial, this year cheekily entitled “Mom, Am I Barbarian?”
Arter, Istiklal Caddesi, 211, Beyoglu;
Ha Za Vu Zu
Your timing needs to be perfect to catch the experimental performance art collective Ha Za Vu Zu on stage, or on the street. This eight-year-old group is made up of a mix of five 30-something Turkish artists each of whom come with his or her own mixed-media super power. It seems fitting since their mission is to save the world, or rather to inspire social change and new ways of political engagement. One of their recent works unfolded at Bethnal Green in London, where as part of an exhibition with the Whitechapel gallery, they used 20 volunteers to supply vocals in an agitprop performance. Their intention was for these participants to make such statements and use them as a gesture of reaction for onlooking crowds.
This summer they tried to further their cause as citizens (not artists) at Taksim Square during the protests. To track down Ha Za Vu Zu, it helps to check their blog.
Elif Nursad
Originally from the Black Sea area, this protest artist regularly contributes cartoons to the political magazine LeMan. The writing may be in Turkish but the work is not lost in translation: it stars a cloaked superheroine on fantastical adventures within the Istanbul metro and on ancient cobbled streets. Ms. Nursad also sells some of her pieces online and through the Ilhami Atalay Gallery, which her father opened 30 years ago as a protest art haven. But the best way to enjoy her work is to keep an eye out for her feline murals around town, especially en route to the Hagia Sophia Mosque in the Golden Horn area.
Elif Nursad murals, Alemdar Caddesi, 22, Sultanahmet;
Anonymous Protest Art
Politically charged street art proliferated across Taksim Square as the protests against redeveloping Gezi Park got under way. Temporary installations like a “Post-It” tree with revolution-inspired messages, a throne meant for a resting princess after protesting all day, a life-size chessboard with the Turkish police as the pawns and a Caterpillar loader sprayed bright pink all surfaced as artists were on view. More permanent works are still on view, for now. All manner of stenciling and graffiti with a political bent can be found on the tight streets in the bourgeois areas of Cukurcuma and Cihangir, including Liva Sokagi, Balyoz Sokagi (off the bigger Mesrutiyet Caddesi), Yüksek Kaldirim Caddesi and Sah Kulu Bostan Sokagi. The names might be a mouthful but they are certainly showcasing some of the best work in the city.
This article has been revised to reflect the following correction:
Correction: August 20, 2013
An article on Aug. 18 about the art scene in Istanbul made several errors.
This year London’s Frieze Art Fair takes place in October, so it is not the case that nearly a dozen Istanbul galleries were already on hand there. It misspelled the surname of a Turkish artist who will be showing her work at the Rampa Gallery starting Sept. 11; she is Nilbar Gures, not Gure. It misstated the body of water the Rampa Gallery faces; it is the Bosporus, not the Black Sea.
And there were several misspellings in addresses. Rampa Gallery is on Sair Nedim Caddesi, not Cadessi. Arter gallery is on Istiklal Caddesi in Beyoglu, not Ystiklal Cadessi in Beyoolu; Elif Nursad murals are on Alemdar Caddesi, not Cadessi. And streets where stenciling and graffiti may be found include Liva Sokagi, Balyoz Sokagi and Sah Kulu Bostan Sokagi (in each case, not Sokaoi).
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About Me

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Güneş Terkol takes inspiration from her immediate surroundings, collecting materials and stories, which she weaves into her sewing pieces, videos, sketches and musical compositions.She also member of HaZaVuZu artist collective and GuGuOu group keeps working. Terkol, born 1981, is a Turkish artist based in Istanbul. She graduated from Mimar Sinan University, Fine Art Faculty, Painting Department. She completed her master’s degree in Yildiz Teknik University Interdisciplinary Art Department. Selected solo exhibitions include Holographic Recording at Gallery NON in Istanbul (2014) and Dreams On The River at OrganHaus in Chongqing (2010). Selected group shows include the 2016 “ Live Uncertainty”, 53 nd Bienal de Sao Paulo, 2015 “Passion, Joy, Fury”, MAXXI,Rome 2015 Stay10th Gwangju Biennale in Korea (2014), Better Homes at the Sculpture Center in New York (2013), Signs Taken in Wonder at MAK in Vienna (2012) and Dream and Reality at Istanbul Modern (2011). Terkol has attended the residency programs at ISCP New York, 2013; OrganHaus, Chongqing, 2011 and Gasworks, London, 2010.