10 / 09 / 2009 - 11:33 Uhr

METROBUS TO ÜSKÜDAR – CONDUCTING PERSPECTIVES IN CONTEMPORARY ART

Baden Brothers

Underwater-Art: le Suisse-Marocain et ses amies, Piscine Paris 2009, Foto: Le manifeste coloré 2009

Vor uns die Sintflut? Underwaterart in Istanbul? Morgen will die 11. Istanbul-Biennale eröffnen. Einmal mehr müssen sich die Kuratorinnen die existenzielle Frage stellen: “What keeps Mankind alive?” Die ersten Künstler haben bereits Ausstellungsalternativen zu den Fluten des Bosporus gefunden, müsen aber noch warten, bis der Amphibienverkehr die Metrobusanschlusstselle zum Kuratorenbüro ansteuert. Da ist es gut, dass die Deutsche Forschungsgemeinschaft einen Trupp Experten ins Krisengebiet sendet, um das Problem auch kunstwissenschaftlich zu betrachten.Es scheint, als hätte der heiße Kunstbetrieb eine weitere Abkühlung bekommen: Heftige Überschwemmungen plagen die Organisatoren der Istanbul Biennale und machen den Kunsttouristen nach der Sommerpause existentielle Sorgen der anderen Art. Vielleicht müssen wir das Thema unserer Podiumsdiskussion, zu der ich mit meinem Graduiertenkollegg morgen in Istanbul anreise, ein wenig anpassen, und statt Metrobus von Vaporettos reden.

Die Macher der Venedig Biennale haben wohl schon lange mit der Konkurrenz aus Istanbul gerechnet, aber nicht, dass es auf diese Art zum Biennalenkampf kommen würde. Hoffen wir, dass die Kunst dabei nicht ins Wasser fällt. Und um die Kunst auch nicht aus den Augen zu verlieren, habe ich mit zwei Doktorandenkollegen der HfG Karlsruhe ein Ponton geplant, das auf der Welle des Kunstmarktes eine anthropologische Forschungsperspektive auf die Werke der Künstler und deren Ausstellungsbedingungen richtet. Am Rande Europas und im Zentrum der Welt, in Istanbul werden wir das Fest mit der Wissenschaft verbinden.

Please join us at:

Panel Discussion parallel to the opening of the 11th International Istanbul Biennial 2009 – The University of Arts and Design Karlsruhe and the Istanbul 2010 Art Production Center Istanbul
September 13th, 2009, 2 – 4 pm

Program

Participants: Introduction
Martin Schulz (Karlsruhe)

Moderation
Beat Wyss (Karlsruhe)

Panel Discussion Members:
Victor Burgin (London)
Beral Madra (Istanbul)
Bureau d’ Etudes (Paris)
Devrim Bayar (Brussels)
Ludwig Seyfarth (Berlin)
Nazli Gurlek (Istanbul)
Marcus Graf (Istanbul)
Hortense Pisano (Frankfurt)
Olga Kopenkina (New York)
Nesrin Tanc (Duisburg)

Location: Istanbul 2010 Art Production Center
Kadırga Meydanı; Date: September, 13th 2009; Time: Opening 2:00 pm – There is no metrobus going to Üsküdar – not yet. In the era of global trading, global playing and global thinking, a short “subway track” has become a metaphor in terms of bridging cultural differences. Undermining the Bosporus, the ancient route of trade and the border between Europe and Asia, this traffic line is supposed to be a shortcut in travelling and working.  The bridges that have been connecting both parts of Istanbul still maintain their function; yet, not the bridge is symbol to cover the gap anymore, but the subway, making the demarcation still recognizable to the passer-by, yet invisible to the rest of the population. It is the cultural and literal underground that always provokes assimilation, changes and development in different perspectives only to emerge in mainstream discourse, seemingly out of nowhere. Avantgarde art at first operates in a clandestine fashion, then the “word spreads” and it gains public recognition. Via material and mental images, groups, civilizations, families and communities identify and unify under the auspices of consumption. Iconography and iconoclash dialectically frame the history of the production and perception of images. Byzantine Mosaic, Muslim calligraphy, modern architecture and advertisements are situated closely together at a place like Istanbul – a compulsive seduction for contemporary art. Hence, images and artifacts reflect their powerful historiographic surroundings, thereby showing the circumstances of artistic production.

21st century culture is dependent on movement and speed. But simultaneously and paradoxically, it is also based on passivity. Public transport, Public relations, production and consumption only unfold their true potential via the notion of the passenger, a person who is moving without immediate action. He or she epitomizes the working-class hero, the member of the mass, the salaryman. These are leitmotifs for a criticism in political theory, subculture, haute-couture and art history. From modern Avantgarde to contemporary counter culture, speed has been conducting changes. Epiphanies and concepts like teleportation, telecommunication and “remote control” both result from the urge to move mankind faster between heaven and earth. The news have been spread by messengers, hidden by enigmas of symbols, ciphers and closed up by seals. But speed still is a privilege for the happy few.  The crowd is caught in slow-motion, getting to work, getting home, trapped in their construction of subjectivism and so-called ‘individualism’. Perhaps, only a work of art has the potential to break through this rather limited horizon of action –or, better ‘non-action’- and to provoke attention.

At the end of art-history, image theories trickle down to the discourse of subcultural activity, revealing inconspicuous ideas of meaningful pictures. Obviously, this is only a superficial phenomenon, incorporating a symbolic reference to art histories rich entanglement in suspense and mysticism. However though, no final destination is yet to be reached.
The panel entitled „Metrobus to Üsküdar – conducting perspectives in contemporary art” aims to focus on the ideas outlined above, the structures of contemporary life and artistic production. Exhibitions like the Istanbul Biennial drive attention to these conditions of human existence by recalling modern poetry and its political gesture and begging the question of „what keeps mankind alive?“.  In the context of this artistic expression, we would like to suggest an additional, theoretical approach in the context of the image, to re-negotiate image science and its contemporary status after the iconic turn (Mitchell) and the end of art-history (Belting). Having the city of Istanbul and its historical character as a background, we seek to merge a variety of perspectives on contemporary art in order to explore new methods of transcultural understanding within the use of images.

organisiert von:
Buket Altinoba, Sebastian Baden, Deniz Yenimazman
www.hfg-karlsruhe.de

İSTANBUL 2010
Avrupa Kültür Başkenti
European Capital of Culture
Visual Arts Director
Beral Madra
İstiklal Caddesi Atlas Pasaji
No: 131 Beyoğlu 34435
İstanbul-Turkey

10 / 09 / 09 - 11:33 Uhr

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