This Place You See Has No Size At All

"This place you see has no size at all..."
Kadist Art Foundation
19 bis - 21 rue de trois Frères 75018 Paris
tel./fax : +33 (0)1 42 51 83 49

December 4, 2009 - February 7, 2010
Opening: Friday December 4, 2009, from 6-9pm

curated by Jennifer Teets

With existing and newly commissioned works by:

David Adamo, Mark Aerial Waller, Mariana Castillo Deball, Aslı
Çavuşoğlu, Alex Cecchetti, Kate Costello, France Fiction, Darius
Mikšys, Tania Pérez Córdova, Michael Portnoy, Pietro Roccasalva, Alex
Waterman

Writings by Mark von Schlegell

----------

Madame, Monsieur,

Everything I am about to tell you began with a sighting of a heron in
a tree. There I was in the Jardin Trocadero at the Parc de Saint Cloud
on a late summer afternoon, burying the bones of Tom Ripley, in what
the history books told me was once a labyrinth. When I looked around,
I noticed that the place had no size at all. In one instance, the
landscape was unusually curvy and in another, intricate alleyways and
corridors appeared miraculously as I turned corners. Though I could
see no one, a flurry of recombinant voices echoed from the hedges and
the dialogues of fourteen individuals began to take on the qualities
of those around them, in a seemingly ritualistic order.

"This place you see has no size at all..." is an exhibition rooted in
the possibility of virtual and parallel worlds as a viable platform
for the production and consumption of art. Originally proposed as an
out-of the box adaptation to an "alternate reality game", on July 22,
2009, artists were convened from around the globe to partake in a
"scenario" at the Parc de Saint Cloud in Paris, of which they had
little knowledge of, yet were immediate to its origin of initiation.
In collaboration with sci-fi writer Mark von Schlegell, an abstract
time-travel guide was scripted, combining clues, facts, and prompts
around the peculiarities of the garden together with the singular
questions: What could you perceive as the present? What would this
present be? What are the elements of the present? Who are the members
of the present? What methods and tools could be used to arrive here?
The guide spawned a chain of events suggested by and created for each
of the artists with the purpose of activating a work and a
communication process.

Puzzles, motion, fictitious force, heuristics, chambres, a perte de
vue, lost item, incoherency, the dead end. In one of the alleyways I
found a man resting on a bed-sheet. He was surveying the universe with
a planisphere. He told me he got there via an air balloon in order to
produce a shroud, that this shroud was an embodiment of all of us. A
fiction of the strangest kind that can't be materialized in any known
form of art including classical conceptualism. He held an invisibility
cloak that somehow protected him from the world of visible matter. It
was sure to give him good fortune.

A hypothetical collective structure, a private happening, and now
exhibition, "This place you see has no size at all..." is purportedly
non site-specific; on the contrary it grapples with the objectives of
context. At Kadist, newly commissioned works are paired together with
existing works, prompting an array of interactions, relationships, and
readings in the exhibition setting.

Dear reader, what I am telling you is real. I believe in real things.
If we did not have real experiences, how would we have dreams?


------------

Schedule of parallel exhibitions and performances:

Opening night: Friday, December 4th: Michael Portnoy with a
performance titled "Met ton doigt quelque part!", said Theo. 7:30pm,
Kadist Art Foundation

Saturday, December 5th: FRANCE FICTION, opening of parallel exhibition
in conjunction with the Kadist show at 6pm, FRANCE FICTION, 6bis rue
de Forez 75003

Thursday, January 7th: a night of radio play by Alex Waterman and Mark
von Schlegell, 7:30pm, Kadist Art Foundation

...Fingerprint on the invisible canvas of time...Trees of St. Cloud
swaying in near silent savagery...Bells casting the fair ones away...
Footsteps sounding on the matted leaves...

LOVE THE CLEAR DARK
story by Mark von Schlegell
radio play and soundtrack by Alex Waterman

Performed live by Mark von Schlegell and Alex Waterman with additional
voices by Jennifer Teets.

Wednesday February, 3rd: guided tour with Alex Cecchetti, Museé du
Louvre, 7pm. Meeting point to be confirmed.

For more information please see: www.kadist.org
Program is subject to change

This project has been realized with the generous support of The
Elephant Trust and the Saison de la Turquie in France.

Special thanks to Germana Innerhofer Jaulin

191/205

1985 yılının Ocak ayında, Türkiye Radyo Televizyon Kurumu Genel Müdürlüğü Türkçenin yapı ve işleyişine ters düştüğü ve standart Türkçe düzeyine ulaşamadıkları gerekçesiyle 205 sözcüğün TV ve Radyo programlarında kullanılmasını yasakladı. İçinde ‘Anı, Anımsamak, Bellek, Deneysel, Devinim, Devrim, Doğa, Düşlemek, Kuram, Olanak, Öykü, Özgürlük, Örneğin, Söyleşi, Tüm, Yaşam’ gibi kelimelerin de yer aldığı bu genelge bir süre yürürlükte kaldıktan sonra kaldırıldı.

Dönemin TRT Genel Müdürü Tunca Toskay, 30 Ocak 1985 tarihli Hürriyet Gazetesi’ne verdiği bir röportajında bu yasağın gerekçesini şöyle açıklıyordu:

Soru: TRT yayınlarında bazı kelimlerin yayınını yasaklarken amacınız neydi?

Cevap: Amacımız dil konusunda bölünmeyi önlemekti.

Soru: Niçin kullanılan kelimelerde tercihler yaptınız?

Cevap: Dilde bir Türkçeleşme hareketi var. Bir kısım aydınlarımız halkın dili ve aydınların dili diye iki ayrı sınıf yarattılar. Bunun çaresi sadeleştirmektir. Bizim yaptığımız anayasanın kullandığı dili ölçü almaktır. İleri ve geri gitmeden dilin dengede kalmasını sağlıyoruz.

191/205, yasaklanan bu kelimelerin TRT arşivleri ve gazetelerden bulunabilen 191 tanesinin cümle içinde kullanılmasıyla oluştu.

191/205
7.28 dak.
300 adet LP üzerine baski

In January 1985, the General Directorate of the Turkish Radio and Television Corporation (TRT) banned the use of 205 words on TV and radio broadcasts on the grounds that they do not comply with the general structure and operation of the Turkish language and that they are beneath the level of standard Turkish. The order banned words such as “memory, remember, recollection, experimental, motion, revolution, nature, dream, theory, possibility, history, freedom, example, conversation, whole, life,” but it was ultimately repealed.

Then-TRT General Director Tunca Toskay explained the motives behind the order in an interview with Hürriyet Newspaper on January 30, 1985:

Question: What is your purpose in banning the use of certain words on TRT broadcasts?

Answer: Our aim is to prevent lingual division.

Question: How did you decide on the words?

Answer: There is a movement towards becoming more Turkish in the language. Some intellectuals in our country created two classes: the language of the people and the language of intellectuals. The solution to this is to purify. What we do is to take the language used in the constitution as reference. We wanted to find a balance in the language without moving forward or backward.

191/205 consists of 191 of these banned words found in TRT archives and newspapers.

191/205
7.28 min.
300 editions printed on LP

I'll be in Paris...

...starting from the 8th of November until the end of December.

http://www.citedesartsparis.net/

Hypnotic Show...

...on November 14, 2009, at 7:30pm at Kadist Art Foundation in Paris.

With scripts, ideas and works by:

Julieta Aranda
Olivier Babin
Derick Carner
Asli Cavusoglu
Torreya Cummings
Gintaras Didziapetris
Cerith Wyn Evans
Michael Fliri
Loris Gréaud
Will Holder
Pierre Huyghe
Joachim Koester
Jennifer Di Marco
Patrizio Di Massimo
Nicholas Matranga & Francesca Bennet
Piero Passacantando
Gareth Spor
Maryelizabeth Yarbrough

as well as a one night session conducted by Marcos Lutyens

Curated by  Raimundas Malasauskas  

here

Screening at unitednationsplaza

Incompleteness of the narrative

This screening is an experiment with a set of videos, which aims to bring new perspectives into the so-called new medium video. All of the videos, which will be screened in 30 minutes with the moderation of Aykan Safoglu, can be subject to a modernist understanding of the cinematic language. Is it really possible to read all their associations through a modernist dialectic? In the light of the term temps mort, we will have the opportunity to examine these video narratives, whether they have a potential to assign new possibilities of reading the image in order to overlook the deadness of it.

The temps mort defines and lingers upon postdiegetic cinematic space; it rests upon a scene after the "main" action has finished or has moved on:

As space and time are so formally and thematically connected in cinema, it is also obvious to say, that the medium video shares this same characteristic of cinema.
When the people have left the frame, the action fades away, leaving us with a non-anthropocentric image of the world. The “dead time” description is in at least one sense misleading. It is not time, or space, which is dead; these violent primordial forces are never more alive and devastating than at such moments. Where are those moments in the contemporary video art?

We will try to examine the videos of Asli Cavuşoğlu, Burçak Kaygun, Erinç Seymen, Helin Anahit, Tayfun Serttaş, and Yaratıcı Direniş, through the lens of Deleuze's philosophy, whereas the modernist language to interpret the video may also be deconstructed.

WEDNESDAY AUGUST 26TH

4 – 12 PM WUNP / NEUROTRANSMITTER
Radio transmission of closing activities. (Angel Nevarez / Valerie Tevere)

4 – 12 PM a selection of very fine Zombie Movies
"for those who will stay in Berlin after the Building, something that may help them to deal with the empty site: to screen some zoombie movies"
Movies selection by Chus Martínez.

4 – 5 PM A Trail of Images (Workshop)
5 – 7 PM A Trail of Images (City walk, 10 people max.)
!Mediengruppe Bitnik
After a short introduction to Sousveillance and CCTV film making, we will set out on a walk through Berlin. Equipped with CCTV video signal receivers we will let the incoming surveillance camera signals lead us through the city. The CCTV video signal receivers will catch surveillance camera signals in public and private spaces and make them visible: surveillance becomes sousveillance. By making images visible which normally remain hidden, we gain access to the "surveillance from above" enabling us to use these images for a personal narrative of the city. Workshop with construction manual for later DIY!

6 – 7 pm Reterritorialization of Transit Space – A Short Guide
to Project Art
A lecture by Christopher Faulhaber

7 – 8 pm Instructions for a Drawing Class
Instructions printed as posters are offered as an experimental form of art school syllabus sent by post to the participants. The 'course' is six weeks long and will begin on-site at The Building. – Chloe Briggs

7 – 8 pm Freedom Festival
A video essay about biennials by GRID (a collaboration between Paolo Caffoni and Jose Roberto Shwafaty)

8 – 9 pm Incompleteness of the narrative (screening)
A video program put together by Aykan Safoğlu

9 – 10 pm "Toppled"
A lecture by Florian Göttke. "Toppled" is an archive, a large collection of images of the statues of Saddam Hussein collected from the Internet. Through ordering and closely examining these images several storylines emerge. Göttke presents these images and their stories in a slideshow lecture which explores the conceptual, magical, and political links between the person (Saddam) and his representation.

10 – 11 pm What can we achieve together? (screening and circle sit)
The rare footage of Buckminster Fuller at Golden Gate Park in San Francisco surrounded by hippies in the late 60s captures time-capsulated moment. The curious generation of free love, sex and drug exploration, questions Fuller on his perceptions of the future and his utopian visions of how to make the planet earth a better place. In thirty minutes Fuller and the hippies pose 58 questions of our contribution to the existence of human life on the planet. In order to answer the question of 'what can we do?' this exercise will attempt to create a circle sit formation. -- Sepake Angiama

11 – 12 pm A Brief History of Curating
A public conversation with Hans Ulrich Obrist and Elena Filipovic about Walter Hopps and the eleven ground-breaking curators gathered together in Obrist's most recent book, A Brief History of Curating (JRP|Ringier)
Special thanks to Bettina Korek.

12:00 pm La Stampa (concert)
La Stampa is a five piece band from Berlin and Hamburg formed in 2007: they've got tunes, they've got rhythm, they've got rhymes about feelings and facts. Helplessly happy, unashamedly moody and mouthy, they are Jörg Heiser (voc/git), Thomas Hug (piano), Reznicek (synths), Jan Verwoert (voc/bass), and Jons Vukorep (voc/drums).

1:00 am The final Geschmeckt!!!
The last of our glorious basement parties: DJs, alcohol, dancing, etc….


Other work and contributions that will be at the building:
Federica Bueti -- Less/express (publication)
Vanessa Lopez & Israel Cordero – "Le mystère des temps composes" 2009. Offset print on paper. Take-away paper stack.
Willi Brisco - 705 A7865. Vancouver Public Library. August 17 2008 (photo)
Dana Wajda – Photocopied image

The Building
Platz der Vereinten Nationen 14a
10249 Berlin DE

geçersiz sebep / yeterli neden

9 Eylül - 7 Ekim 2009

Sanatçılar: Gökçen Cabadan, Aslı Çavuşoğlu, Gökçe Çelikel, Nazım Hikmet Richard Dikbaş, Mert Öztekin, Tayfun Serttaş, Güneş Terkol

NON'ın açılış sergisi "geçersiz sebep / yeterli neden", muhakeme yeteneğimizin dönüşümünü farklı tarihi dönemlerde, erginlik süreçlerinde, bazen içgözlemlerle, bazen majör açılımlarla ele alan 6 işi bir araya getiriyor.

Gökçen Cabadan "hepimiz et ve kanız" adlı enstalasyonunda, herhangi bir sağlık ansiklopedisinde karşılaşabileceğimiz yüz derisinin bir kısmı soyulmuş mükemmel görünüşlü bir cocuğun portresini ve saldırma öncesi anında öldürülmüş bir gelinciğin mumyasını bir arada bize sunuyor. Aslı Çavuşoğlu, 18 komik videodan oluşan işinde, başkalarının ızdırabına gülmek üzerine kurulu güldürü videolarının baş rollerinde oynayarak karşımıza çıkıyor. Gökçe Çelikel, tablosuna kendi model oluyor ve ergenlik çağını çağrıştıran puantiyeli çorap, sahte inciler ve koyu renk fondoten ile poz veriyor. Nazım Hikmet Richard Dikbaş, yaratma sürecinin doğuş anına dikkat çekmek üzere yola çıktığı "9 Araba Bekliyor" adlı yerleştirmesinde bu doğuş anının zamansal yapısını, çok katmanlılığını ve sürekli tekrar eden devinimini haritalayan bir mekan kuruyor. Mert Öztekin, niçin Roma İmparatorluğu'nda yaşamış insan sayısından daha fazla insanın Roma konulu filmlerde oyunculuk yapmış olabileceğini araştırıyor. Tayfun Serttaş "Seni Seviyorum" adlı heykelinde, Sabiha Gökçen üzerine üretilen etnisite tartışmasının, yakın tarihimizin en acı verici cinayetlerinden birisine uzanan öyküsünü sorguluyor. Güneş Terkol, kreşte çekilmiş bir fotografından yola çıkarak yaptığı "kendilerine değil birbirlerine" adlı işinde yerli malı meyvelerinden yapılmış maskelerin altındaki çocukların bakışlarındaki şaşkınlığı bizimle paylaşıyor.

NON disiplinsiz sanat pratiklerini benimseyerek yeni diller ve sanatsal ifadeler ortaya koyan sanatçılara adanmıştır.

www.galerinon.com
Boğazkesen Cad. No:27-A Tophane, Beyoğlu, İstanbul

unsound reason / adequate cause

Artists: Gökçen Cabadan, Aslı Çavuşoğlu, Gökçe Çelikel, Nazım Hikmet Richard Dikbaş, Mert Öztekin, Tayfun Serttaş, Güneş Terkol

NON’s opening exhibition “unsound reason / adequate cause” brings together 7 works that trace the transformation of our judgment skills with introspections and major openings into different historical ages and the processes of adulthood.

In his installation titled “we are all flesh and blood”, Gökçen Cabadan combines a standard image from a health encyclopaedia, the portrait of a seemingly perfect child with a section of his facial skin peeled off to reveal the inner structure of the section, in juxtaposition with a stuffed weasel in an attacking posture. Aslı Çavuşoğlu stars in all the 18 “funny” videos her work is composed of, which are based on the idea of schadenfreude, or laughing at other people’s suffering. Gökçe Çelikel becomes the model of her painting and poses with dotted tights, fake pearls and dark foundation, suggesting adolescence. Nazım Hikmet Richard Dikbaş’s installation 9 Coaches Waiting sets out to focus on the moment of genesis in the creative process, constructing a space mapping this temporal, multilayered and repetitive structure. Mert Öztekin investigates how a higher number of people than the population of the Roman Empire itself managed to star in films based on the Roman Empire. In his sculpture titled “I Love You”, Tayfun Serttaş’s sharp and remote discourse interrogates the story of how a discussion on ethnicity about Sabiha Gökçen led to one of the most painful murders of our recent history. In her work titled “not for themselves but for each other”, based on a photograph of the artist at nursery, Güneş Terkol shares with the viewer the surprised look on the children’s faces, hiding behind masks made of fruit for the Home Produce Week.

The Petty Travel Show For A Dear Audience / Sevgili Seyirciler İçin Küçük Bir Gezi Programı

The video was edited among the 40-hours-long tapes, which were recorded by my aunt and her husband during different guided tours they have participated in the last 12 years. It consist of the scenes where my aunt and her husband give a statement about the landscape, objects, animals etc. to the camera and to the audience they long for.

As they say: Nothing is more dull than an unnamed landscape.*

2009
Single Channel Video,
9.40 min.
Turkish with English subtitles.

*Prosper Mérimée


Halam ve eşinin son 12 yılda katıldıkları rehberli yurtdışı turlarında kaydedip, sonrasında sıkıcılıklarından dolayı izlemeyip de bir kenara attıkları 40 saati aşkın görüntüyü izledim.
Halam ve eniştem, kamerayla bir manzara kaydederken gelecekteki muhtemel izleyicilerini birdenbire hatırlayıp, manzaraya dair televizyon programlarını çağrıştıran beyanlar vermeye başlıyorlardı. Kamera karşısında turistken turist rehberine dönüştükleri bu anlar daha çok bir ortaokul dilbilgisi alıştırmasını ya da az muğlak bir Rocha testini çağrıştırıyordu. Ama zaten izleyicinin görüntüsünden de anlayabileceği bir kertenkele çekerken neden bir de ‘kertenkele’ deme gereği duyuyorlardı?
Belki de manzarayı kelimelerle dolduruyorlardı.
Video kameraya –dolayısıyla da gelecekteki izleyicilerine- açıklama yaptıkları bu bölümlerden oluşuyor.

Tek kanal video
2009
9'40''
İngilizce altyazılı

Artlies article

here

Lives and works in Tarlabasi

TIME-CHALLENGER

an exhibition about critical reconstruction

with

GÖKÇEN CABADAN, ANDRÉ CATALÃO, ASLI ÇAVUŞOĞLU, OLOF DREIJER, FELIX GMELIN, LAUREN VON GOGH, ROMEO GONGORA, SUSANNE KRIEMANN, MAKODE LINDE, CHRISTODOULOS PANAYIOTOU, RINUS VAN DE VELDE, VIRON VERT AND A VIDEO INTERVIEW WITH ULUS BAKER BY ARAS ÖZGÜN
CURATED BY ADNAN YILDIZ

OPENING ON SUNDAY 21.06.09
FROM 11:00 UNTIL 18:00

A TOUR BY THE CURATOR ADNAN YILDIZ AT 15:00
PERFORMANCE BY LAUREN VON GOGH AT 15:30



Time-Challenger was born as an exhibition proposal for the open call of the Curator Curator project, which is a collaborative organization between Enough Room for Space from Rotterdam and HISK, a post-graduate program currently located in Ghent. The original proposal was based on the idea of opening a space-time for a discussion of how artistic reconstruction has been operating today through diverse conceptual approaches and contextual references in relation to current image politics. Recently, there have been numerous exhibition projects addressing artistic re-enactments, remakes, reproductions, and reinterpretations …Time-Challenger takes into consideration the art historical and analytical framework of these projects while taking a different direction by connecting the discussion to Antonio Negri’s concept of the “reconstruction of hope.” Just after the proposal was selected by Enough Room for Space, I did a research visit to the exhibition space and engaged in discussion with the residents of the studios and post-graduate students there during the Open Studio Week. Finally, the proposal has been crystallized by these discussions and aspects of the artistic production at HISK and has now turned into an exhibition about critical reconstruction. The term “critical reconstruction” is borrowed from Gary Wolf (Venture Kapital, Wired Magazine, 1998) who writes about the reconstruction of Berlin following the fall of the Berlin Wall. Coincidentally, or perhaps as a sign of Zeitgeist, this proposal was completed in Berlin’s Kreuzberg neighbourhood, the site of much of the most dynamic reconstruction in Berlin since 1989.

In Seven Easy Pieces (2005), Marina Abramovic acts out select historical performance artworks from 1970’s artists (such as Vito Acconci, Joseph Beuys etc.) including two of her own. The series of performances at Guggenheim Museum (New York) sharpened the tendency of questioning the timing of re-enactments, remakes and reinterpretations etc. in the art world. In an interview in the New York Times in early November, 2005, Abramovic explained the impetus for her most recent performances, stating that she “felt a strong need to preserve the memory of performances that influenced [her] as an artist. ‘There’s nobody to keep the history straight ... I feel almost, like, obliged. I felt like I have this function to do it.’ And this sense only grew stronger when she began to see ideas behind many important performances borrowed with no credit given, or appropriated by advertising and fashion.”

Many artists today have been using similar approaches and strategies of reinterpreting ar t history as well as transforming world history and culture. Rather than framing the discussion as a form of artistic production through an art historical perspective, Time-Challenger aims to deal with the timing of these productions to relate these tendencies to the repositioning of contemporary politics, image culture and digital-visual capital. As an exhibition about critical reconstruction, Time-Challenger reformulates the critique as an open-ended process of personalizing the situation, performing artistic know into a synthesis of many perspectives. To make things public, there always needs to be a personal position. The process of making things public in contemporary art practice not only brings together art works but also makes dialogues visible in order to create a physical experience for potential interactions.

To deal with the monsterous experience of global capital, Antonio Negri proposes the term “reconstruction of hope” in his Time for Revolution (2005): “how can a revolutionary subjectivity form itself within the multitude of producers? How can this multitude make a decision of resistance and rebellion? How can it develop a strategy of re-appropriation? How can the multitude lead a struggle for the self-government of itself?” He responds to these questions through reconstructing hope: “In the biopolitical postmodern, in this phase that sees the transformation and productive enrichment of labour-power, but on the other hand sees the capitalist exploitation of society as a whole, we thus pose these questions. As for the answers, I certainly do not possess them. But ... probably a few bricks toward the reconstruction of hope (or better, as in Alma Venus, dystopia) have been laid. (144-45).” Time-Challenger shares a common conceptual ground with the exhibition project, There is no audience, an exhibition about public imagination (22.05.09-30.08.09, Montehermoso, Spain) and focuses on the same terms on a different level.* Here, Time-Challenger is more interested in the possibility of reformulating the discussion of artistic reconstruction in relation to the political atmosphere of our time and integrating the strategy of reconstructing hope into the process.

Through rethinking modernism, Time-Challenger will display some artistic reconstructions that challenge pre-given definitions and realities of our past and present time — related the problematic of timing. In the exhibition, Gökçen Cabadan displays paintings that depict contemporary visions of family and health and transform the ready-made images at an abstract level of reconstructive criticality. Developing a conceptual identity and an expressive quality, Viron Vert’s drawings and collages include elements of history and culture through personal memories and attachments. Aslı Çavuşoğlu’s video A Turkish Doctor: Ömer Ayhan ironically fictionalizes a success story reflecting the power of the media over content via an evening news program. Romeo Gongora’s Prison is composed of monologues from four prisoners and establishes a critical dialogue on society and models of justice (punitive/rehabilitative). By using a level of abstraction through ready-made images and painting, André Catalão’s installation is a reflection of the artist’s cultural memory. Olof Dreijer’s sound installation is composed of animal sounds and provides a fictional space through reconstructing the perception of nature and the elements of evolution.

As an unforgettable gesture, Felix Gmelin’s Farbtest II, Die Rote Fahne, Colour Test II, The Red Flag is composed of the original shot and the remake of Gerd Conradt’s tracking shot of students running through the streets of West Berlin from 1968. Gmelin’s father had been one of those waving the flag, and the two-channel video loop directly reflects on Negri’s point. Lauren von Gogh conceptualizes a personal story, and reconstructs an everyday experience for the audience in order to create a social critique. Susanne Kriemann’s publications presented on a table include different strategies of recontextualizing the form of images; they are unique examples of experimenting on the format of publication and reading images. Makode Linde’s silk screen prints stimulate a contemporary critique of the history of culture and identity: logos from global sport industry delicately installed into the illustrative portraits of African figures remind us of the exploitation of labour. Christodoulos Panayiotou works with archives and personal memories of sound and image, recreating new dimensions in the perceptive levels of the audience through his installation. Borrowing the images from the world of exploration and discovery (in this instance, National Geographic) Rinus Van de Velde performs his artistic research through his charcoal drawings. There is also a video interview with Ulus Baker by Aras Özgün, What is an opinion? presented in the exhibition that opens a channel to the audience regarding the social process behind the construction of any opinion.

This discussion will be linked to the question: “how does any form of artistic reconstruction develop a level of criticality through its production process, and how does this criticality embody a public challenge?” within the framework of the exhibition, which is designed on the basis of Paul Virilio’s strategic methodology: “Play at being a critic. Deconstruct the game in order to play with it. Instead of accepting the rules, challenge and modify them. Without the freedom to critique and reconstruct, there is no truly free game: we are addicts and nothing more.” (from the interview with Paul Virilio by Jérôme Sans).

by Adnan Yıldız


* Like Time-Challenger the proposal for the exhibition There Is No Audience was also produced for an open call. That one was selected from 370 proposals, sent from 35 countries as Montehermoso 2009 Curator Grant.