Sep 16, 2017 - Nov 12, 2017

Galata Greek Primary School

15th Istanbul Biennial

A recurring venue of the Istanbul Biennial, the building has a special significance due to its legacy as a school, a place for learning and knowledge and a key institution in any residential neighbourhood. Fifteen artists are showing their work at the Galata Greek Primary School, each with an individual space, in classrooms, hallways, stairway landings, the former ballroom and the attic. The Galata Greek Primary School library runs an ongoing educational programme, which continues throughout the exhibition period.

The 15th Istanbul Biennial, entitled a good neighbour and curated by the artist duo Elmgreen & Dragset.

The biennial located in the heart of Istanbul, and has been visited free of charge at six nearby venues within walking distance.

Bringing together a variety of artworks dealing with different notions of home and neighbourhood, the 15th Istanbul Biennial exhibitions took place at Istanbul Modern, Galata Greek Primary School, Ark Kültür, Pera Museum, an artist collective’s studio, and Küçük Mustafa Paşa Hammam

Galata Greek Primary School
Galata Greek Primary School, located in Karaköy and in close proximity to Istanbul Modern, was built in the Neoclassical architectural style in the late nineteenth century. The school was one of the main educational locations for children of Greek descent in Istanbul for over a century. Due to a decrease in the Greek population of Istanbul in the second half of the twentieth century, the school officially closed its doors in 2007. 

Pedro Gómez-Egaña*
Domain of Things

We refer to communities, practices or events as ‘underground’ when a general public cannot access or see them. Yet the term ‘underground’ has other connotations: humans retreat underground during war or disaster, for instance, and they may live underground in order to remain safe.

*b. 1976, Bucaramanga, Colombia
lives in Bergen, Norway and Copenhagen, Denmark

The ‘underground’, then, is a notion closely allied to ideas of survival and permanence on the one hand, as well as being a site where individuals can move, express themselves and behave freely on the other.

Pedro Gómez-Egaña’s work examines these dual notions of ‘underground’ space as a site for containment and freedom alike. In his performance piece and installation Domain of Things, he interprets underground space as a site of refuge, yet also pleasure.

Individuals lie on a structure incorporating rails and wheels. Above them is a construction made of flooring segments. Each of these segments represents a particular domestic space: a dining room, a bedroom and a bathroom, furnished with different technological or media objects, such as a newspaper, a radio, a screen. Domestic space resembles a machine. As the performers activate the machinery underneath the structure, the ‘home’ above moves too – becoming fractured, disintegrating and re-forming itself.

Gómez-Egaña sees technology as a force aiding the individualism of expression on the one hand, and as a medium manifesting a desire for connection on the other. The performers in Domain of Things conjure a number of earthly delights: alcohol and particular smells. The work calls attention to the human will to experience pleasure amid dire conditions, at a time when society seems torn between a desire for individual liberty and communal connection, as well as establishing a dialogue between over-ground and underground sites and activities – visible and invisible life.

Mark Dion*
The Persistent Weeds of Istanbul, Resilient Marine Life of Istanbul

The works of Mark Dion interrogate the conventions of scientific display. Borrowing from the aesthetics, visual techniques and conventions of ecological or natural history museums, Dion performs and presents his research in order to foreground the human construction of knowledge, history and the natural world.

* b. 1961, New Bedford, Massachusetts, USA
lives in New York, NY, USA

His works question the distinctions between rational scientific inquiry and subjective or irrational influences.

In looking at the role played by research and scientific expertise in contemporary society, he also examines how pseudoscience and ideology arise within public discourse and knowledge production.

For the first part of his project examining two of Istanbul’s biotic communities, The Persistent Weeds and Resilient Marine Life of Istanbul, he worked with nature and wildlife illustrators, as well as fine artists, to portray the mutinous weeds of the city. The resulting sixty-four watercolours are presented in a display cabinet that viewers can open and examine. The plants represent the triumph of natural survival amid a harsh and complex cityscape, while also demonstrating that the most invasive species are those that have the capacity to survive.

A second cabinet focuses on the marine life in the Bosphorus. For this, Dion collected specimens of crustaceans, shellfish, anemones and marine invertebrates from the shores of the Bosphorus, and from fishermen and seafood mongers, to create a portrait of a complex biotic organism. These plant and animal neighbours that dwell with tenacious fragility among us, are not always seen, but each is an important part of our ecosystem.

Andrea Joyce Heimer*

In today’s social-media culture of confession, sharing, externalisation and ceaseless commentary, it is easy to lose sight of the complexity of our own private experiences. Andrea Joyce Heimer’s paintings, which are often energetic depictions of interior or domestic settings, evince this complexity with a sense of bleak humour. They do not shy from the awkward, the inexpressible, or the personal, but are honest, thematic assessments of the brutal comedy of human relationships and their unassailable mystery.

*b. 1981, Billings, Montana, USA
lives in Ferndale, Washington, USA

Some works present ludic, slightly chaotic interiors, such as one abuzz with brightly coloured patterns, a Tiffany lamp, a speckled carpet, and a number of vibrant objects and plates on the table. Others are cartoonish, garish and comical portrayals of family life.

Bored Girls In Painting Class

The Failed Pantry Raid of 1993

Adolescence, suburban life, alienation, self-consciousness: Heimer – who has a background as a writer – represents these themes in her vivid narrative paintings. She does so with a light hand, and a two-dimensionality of depiction that recalls traditional crafts or folk art on the one hand, cartoons on the other. In an age of relentless externalisation, her paintings expose the private feelings that are kept to one’s self and are infrequently or only impartially articulated – even to ourselves.

Dan Stockholm*

What makes a house a home? While two spaces may appear identical, the difference might lie in the capacity for a home that has been lived in, physically touched, to encode and retain memory – the smells, patterns, feelings and recollections that accrue with habit.

After Dan Stockholm’s father passed away in 2013, the artist initiated an action that reflects on the physicality of touch and acts of mourning and memory – the results of which are assembled in his installation HOUSE (2013–16). The installation includes documentation of an action during which Stockholm, over the course of three days, physically touched the complete outer surface of his father’s red brick home.

*b. 1982, Thisted, Denmark
lives in Copenhagen, Denmark

The scaffolding standards recall not only a house, but also the supporting structures of memory, and the way it is constructed and reconfigured through time or distance.

Stockholm’s plaster casts bear the red prints of hands and fingers in various positions, like silent gestures standing for the ineffable act of mourning.

Jonah Freeman & Justin Lowe*
Scenario in the ShadeScenario in the Shade

Every society has its youth cultures. Within them, social communities and selfexpression are closely linked, manifested through highly specific recreational activities, artistic styles, sports, commodities, slang and clothing.

*b. 1975, Santa Fe, New Mexico, USA
lives in New York, NY, USA

b. 1976, Dayton, Ohio, USA
lives in New York, NY, USA

Jonah Freeman and Justin Lowes project is an architectural and cinematic articulation of fictional youth cultures in California, a world of accelerated subcultural development, as interpreted through the mise-en-scène of a cluster of underground habitats.

The multi-space installation and film Scenario in the Shade takes as its point of departure the fictional region described by futurist Herman Kahn in his 1967 book The Year 2000. Kahn speculated that the cities of San Diego and San Francisco along the California coast would eventually grow into a single metropolis, which he called SanSan.

California has long been a site where many youth cultures have coexisted: from surfing to New Age therapy, counter-cultural experiments with drugs and psychedelia, and countless musical forms such as punk, reggae and surf music.

Each room in the installation is associated with a specific group in the San San Metropolis. The Fort is a hybrid of Rastafarian, techno-hippies and private school drop-outs. Bamboo Union is an Eastern European smuggling network that consumes opioid-grade cough syrup while listening to a fusion of heavy metal and EDM.

Disco Creeps hail from the methamphetamine retail culture that merges light-wave based narcotics with the latest in counterfeit luxury goods.

Lungiswa Gqunta*
Lawn 1

The sculptures of Lungiswa Gqunta investigate the ongoing, tense and destructive relationships surrounding race, architecture, dispossession, capitalism and South African history. Her sculptures and installations, which employ commonly found domestic effects and objects such as bottles or mattresses, are examinations of historical continuities and injustices that persist within post-Apartheid South Africa.

*b. 1990, Port Elizabeth, South Africa
lives in Cape Town, South Africa

In Lawn (2017), she creates a ‘lawn’ out of broken bottles that have been inverted and placed on the top of a wooden plate. In apartheid South Africa, only affluent whites had lawns, which were tied to their prosperity and notions of domesticity, security and racial privilege. Upturned, broken bottles are placed on garden fences to deter outsiders. Aside from connoting capitalism and globalisation, the bottles in Gqunta’s works evoke those used to make petrol bombs during riots in recent years in South Africa. Bottles are also suggestive of alcohol, which the artist notes first came to Africa through Europe as a result of the slave trade.

Ali Taptık*
Friends and Strangers

Within cities, we are all neighbours. City life entails the coexistence of numerous people living in close proximity, whose relationships, encounters and interactions are largely products of chance and serendipity.

*b. 1983, Istanbul, Turkey
lives in Istanbul, Turkey

Presented at the Galata Greek School the seven photographs are on display on four stairwell landings. Friends and Strangers reflects on questions such as empathy, proximity and interconnection within an urban context, asking, ‘How do we relate to individuals we don’t know?’

Life-paths may intersect, or they may not. Architect and photographer Ali Taptık’s contribution to the Istanbul Biennial is a photographic installation with a virtual component, entitled Friends and Strangers (2017).

The work tells a story about individuals from four different parts of Istanbul and their unexpected crossing of paths.

Kasia Fudokowski*

It is a paradoxical truism that the only constant is change itself. How might this notion of continuity-in-change relate to cultural difference?

*b. 1985, London, UK
lives in Berlin, Germany

Employing primarily sculpture, Kasia Fudakowski’s works draw upon the paradoxes of cultural history to playfully assert typologies, archetypes and stereotypes of genders, nations and ethnic legacies.
Difference becomes commonality in Fudakowski’s work Continueouslessness (2017).

The work’s title suggests a sense of constancy through change (a ‘coalition of chaos’, in the artist’s words) and presents a functioning – yet incongruous – union of different parts, wheeled and interlinked.

A barrier as much as a union, the series plays up character types while constructing a nominal ‘world family’, pointing out the conditions of interdependence that persist within today’s atomised groups and communities. Serial, unfinished and potentially endless, the work’s infinite permutation of interdependent forms represents an awkward, if necessary, holding of hands.

Mahmoud Obaidi*
Compact Home Project

It takes thousands of years to build a civilisation, but only minutes to destroy one. In 1991, Mahmoud Obaidi left his native Iraq, a nearly 7,000 year old civilisation torn apart by war. His works respond both to the loss of his homeland, and to the role of art in visualising and re-creating this sense of home and its dissolution.

*b. 1966, Baghdad, Iraq
lives in Burlington, Ontario, Canada

For the Istanbul Biennial, Obaidi is showing three works that respond in a personal manner to the recent history of Iraq. His installation Compact Home Project is an archive full of sketches, newspaper clippings and other ephemera that he has collected since leaving Iraq. The protective folders, made from metal and mesh dividers, in which they are presented suggest that the artist is trying to safeguard his re-configured documents from warfare or destruction.

Bilal Yılmaz*
Dirty Box

Over the past few decades, processes of globalisation and neoliberalism have crept into many cities around the world.

*b. 1986, Manisa, Turkey
lives in Istanbul, Turkey

In fact, these processes are not entirely new: in the early twentieth century, the Marxist philosopher Walter Benjamin lamented shifts in the experience of daily life in cities, such as the loss (via capital) of chaotic and mysterious urban spaces, cluttered bazaars and festering canals.

For Yilmaz, amid the processes of cleaning up cities for and by global capital, ‘dirt’ stands for the elusive, unexpected and chaotic aspects of cities: the historical, material debris, manual labour and crafts, or the gritty sense of specificity that is the first to go as cities are homogenised. Dirt, then, is something to be treasured and – as here – affectionately documented.

Erkan Özgen*

The ongoing European migrant crisis counts as one of the major humanitarian emergencies of the twenty-first century: millions have been displaced from the Middle East and northern Africa and made their way into Europe, facing perilous conditions both en route and at their precarious sites of arrival.

Erkan Özgen’s video Wonderland reflects on the ineffability of trauma.
The short video introduces a thirteen-year boy named Mohammed, who escaped from Kobani in northern Syria, directly south of the border with Turkey – a city that experienced a significant siege by ISIL forces in January 2015. Since he is deaf and mute, Mohammad can use only his body, and no words, to articulate his traumatic experiences. He does so with animated energy and no overt sense of sadness.

*b. 1971, Derik, Mardin, Turkey
lives in Diyarbakır, Turkey

The work shows the impossibility of representing war and conflict, trauma and pain to those for whom these experiences are foreign, and how viewers must construct, imagine and visualise such experiences from their own subjective position.

Leander Schönweger*
Our Family Lost

Schönweger’s project is an installation that responds in dreamlike fashion to notions of architecture, intimacy and estrangement – whether in private homes or institutional buildings.

*b. 1986, Meran, Italy
lives in Vienna, Austria

Within the attic of the school, the artist has constructed a labyrinth. When viewers pass through a doorway, they enter a room with a subsequent doorway, followed by an identical room with a doorway, and so on. As they progress, the rooms become smaller and smaller, as in a fractal.

Credits: Story


Project & Exhibition Coordinator: Özkan Cangüven
Digital Adaptation & Curation: Burcu Pek
Photographs: Sahir Uğur Eren, Poyraz Tütüncü
Texts: Pablo Larios
Acknowledgements: Ekin Arslan, Esra Çankaya, Mina Nur Öncel, Erim Şerifoğlu


Istanbul Biennial is organised by Istanbul Foundation for Culture and Arts (İKSV).
İKSV is a non-profit cultural institution. Since 1973, the Foundation continues its efforts to enrich Istanbul’s cultural and artistic life.


Bige Örer

Elmgreen & Dragset

Exhibition Coordinators
Elif Kamışlı
Özkan Cangüven

Project Coordinator
Gamze Öztürk

Assistant Curator
Sofie Krogh Christensen

Public Programme Coordinator
Zeyno Pekünlü

Business Development Coordinators
Serra Gözören
Lale Muşkara
Margo Lauras

Business Development Assistant
Bengisu Çağlayan

Office Coordination
Ekin Arslan

Editorial Team
Ömer Behiç Albayrak
Erim Şerifoğlu
Anita Iannacchione

Design and Art Direction
Rupert Smyth Studio

Graphic Design Assistants
Lucas Odahara
Ferhat Balamir
Elif Çiftçioğlu

Website Programming
Sascha Krischock
Sezen Özgür

Biennial Campaign

Production Research
Merve Yücel
Habib Bolat
Serda Çamlı
Selen Erkal

Research Assistant
Rosa Paardenkooper

Video Projects
Ali Uluç Kutal
Erdal Hamamcı
Başat Karakaş
Matthias Taupitz

Esra Nazlı Apbak

Murat Özçaylak

Guided Tours
Mine Küçük

Guide Coordination
Pelin Kuş

Special Project Coordinator
Kıymet Daştan

Venue Managers
Gamze Öztürk
Habib Bolat
Selen Erkal
Merve Yücel
Ege Yaman
Ömercan Çakır

Exhibition Attendants Coordination
Kamil Kulaksız

Installation Assistants
Melih Aydemir
Mert Bakcacı
Nurettin Ersin Çiçek
Melodi Dilan Gülbaba
Eda Hisarlıoğlu
Ekin İlke Ünsal
Mert Sarısu
Başak Tuna

Photo Archive
Esra Çankaya

Opening Events Coordination
Beril Azizoğlu

Office Assistant
Uğur Ceylan

Technical Team Support
Erdoğan Morgül
Nihat Karakaya
İzzet Taş

Ece Ögel
Burcu Pek
Mina Nur Öncel
Duygu Barlas

Studio Elmgreen & Dragset
Holger Hönck
Anita Iannacchione
Sofie Krogh Christensen
Margo Lauras
Simon Lindhardt
Rosa Paardenkooper
Moritz Pitrowski
Anja Schiller
Sandra Stemmer
Ryan Thayer
Leona Tobien

Participating artists in the 15th Istanbul Biennial

Adel Abdessemed
Njideka Akunyili Crosby
Alejandro Almanza Pereda
Heba Y. Amin
Volkan Aslan
Alper Aydın
Burçak Bingöl
Monica Bonvicini
Louise Bourgeois
Berlinde De Bruyckere
Vajiko Chachkhiani
Mark Dion
Latifa Echakhch
Jonah Freeman & Justin Lowe
Kasia Fudakowski
Candeğer Furtun
Pedro Gómez-Egaña
Lungiswa Gqunta
Gözde İlkin
Mirak Jamal
Andrea Joyce Heimer
Morag Keil & Georgie Nettell
Mahmoud Khaled
Kim Heecheon
Fernando Lanhas
Victor Leguy
Klara Lidén
Liliana Maresca
Olaf Metzel
Lee Miller
Mahmoud Obaidi
Henrik Olesen
Lydia Ourahmane
Erkan Özgen
Aude Pariset
Ugo Rondinone
Stephen G. Rhodes
Leander Schönweger
Sim Chi Yin
Dayanita Singh
Dan Stockholm
Rayyane Tabet
Young-Jun Tak
Ali Taptık
Tatiana Trouvé
Tsang Kin-Wah
Tuğçe Tuna
Kaari Upson
Andra Ursuta
Kemang Wa Lehulere
Lukas Wassmann
Fred Wilson
Bilal Yılmaz
Xiao Yu



Ayşe Bulutgil

Elif Obdan Gürkan
(International Media)
Ayşen Ergene

Ayşen Gürkan
Zeynep Seyhun
(International Media)
Zeynep Topaloğlu
Berk Çakır

Ayşe Zeynep Güldiken

Visual Archive Associate
Poyraz Tütüncü

Visual Archive Assistant
Ozan Şahin

Ayşegül Öneren
(International Media)

Biennial Reporter
Nora Tataryan

Archive Photos
Muammer Yanmaz
Ilgın Erarslan Yanmaz
Mahmut Ceylan
Sahir Uğur Eren

Archive Videos
Hamit Çakır


Didem Ermiş Sezer

Editorial Coordinator
Erim Şerifoğlu

Merve Evirgen

Publications Operator
Ferhat Balamir

Graphic Designers
Esra Kılıç
Ayşe Ezgi Yıldız

Sezen Özgür


Selçuk Metin

Ebru Gümrükçüoğlu


Yasemin Keretli Çavuşoğlu

Zeynep Pekgöz

Zeynep Karaman
Yeşim Birhekimoğlu

Zeynep Bilgihan


İrem Akev Uluç

Marketing Communication Coordinator
Cansu Aşkın

Creative Services Coordinator
Meriç Yirmili

Field Operations Coordinator
Sezer Kari

Digital Media Coordinator
Bahar Helvacıoğlu

Social Media Assistant
Ece Kartal

CRM Coordinator
Özge Genç


Dilan Beyhan

Membership Programme Coordinators
Yıldız Lale Yıldırım
Gülce Şahin

Sales and Business Development Coordinator
Gonca Varol

Sales Operations Coordinator
Ercan Kaya

Sales Operations Associate
Neva Abrar

Operation Associate
Işıl Öztürk

Sales Operations Assistants
Yeliz Vural
Çağlar Koca
Burak Akgün
Canan Alper


Özlem Ece

Research Assistant
Fazilet Mıstıkoğlu


Esra Çankaya


Head of Finance and Administration
Ahmet Balta


Ahmet Buruk (Budget and Accounting)
Başak Sucu Yıldız (Finance)

Accounting and Finance Operations Associate
Deniz Yılmaz

Accounting and Reporting Associate
Kadir Altoprak

Çiğdem Arslan
Büşra Açıkgöz


Aslı Yurdanur


Semin Aksoy

Human Resources Specialist
Eren Ertekin

Human Resources Associate
Cansu Zülfikar

Strategic Planning Specialist
Ezgi Yılmaz

Building Administration and Security Manager
Ersin Kılıçkan

System Administrator
Kadir Ayyıldız

Information Technology Assistant
Tahsin Okan Erdem

Reception Officer
Lidya Durmazgüler

Warehouse Officers
Muzaffer Sayan
Şerif Kocaman

Özden Atukeren
İbrahim Çakmak
Aydın Kaya
Hayrullah Nişancı
Serap Sürgit
Müzeyyen Öztürk



Bülent Eczacıbaşı

Vice Chairmen
Ahmet Kocabıyık
Prof. Dr. Münir Ekonomi

Nuri Çolakoğlu
Hayri Çulhacı
Ahmet Misbah Demircan
Oya Eczacıbaşı
Tayfun İndirkaş
Prof. Yekta Kara
Ergun Özen
Ethem Sancak
Dr. Mimar Kadir Topbaş
Oya Ünlü Kızıl

Corporate Identity Advisor
Bülent Erkmen

Legal Advisor
Av. Sadife Karataş Kural

Administrative Affairs Advisor
Rıfat Öktem


Bülent Eczacıbaşı

Ahmet Kocabıyık
Prof. Dr. Münir Ekonomi


Fatma Okan (Borusan Holding AŞ)
Sibel Yazıcı Kesler (Arçelik AŞ)


General Director
Görgün Taner

Head of Finance and Administration
Ahmet Balta

Human Resources and Administration Director
Semin Aksoy

Marketing Director
İrem Akev Uluç

Sales and Business Development Director
Dilan Beyhan

Sponsorship Programme Director
Yasemin Keretli Çavuşoğlu

Media Relations Director
Ayşe Bulutgil

Corporate Identity and Publications Director
Didem Ermiş Sezer

İKSV Studio Director
Selçuk Metin

Istanbul Music Festival Director
Dr. Yeşim Gürer Oymak

Istanbul Film Festival Director
Kerem Ayan

Istanbul Biennial Director
Bige Örer

Istanbul Theatre Festival Director
Dr. Leman Yılmaz

Istanbul Jazz Festival Director
Pelin Opcin

Istanbul Design Biennial Director
Deniz Ova

Salon İKSV Co-Directors
Egemen Eti
Deniz Kuzuoğlu

Cultural Policy Studies Director
Özlem Ece

Executive Assistant
Nilay Kartal


International Friends and Patrons Council

Istanbul Foundation for Culture and Arts would like to thank the International Friends and Patrons Council members.

Elif Bayoğlu & Mehmet Erdem
Füsun & Faruk Eczacıbaşı
Emin Hitay
Tansa Mermerci Ekşioğlu
Ari Meşulam
Ayşegül & Ömer Özyürek
Canan Pak
Uli Sigg
Chiona Schwarz

Helga de Alvear
Massimo de Carlo
Cecilie & Knut Brundtland
Sevil Dolmacı
Sevda & Can Elgiz
Nesrin Esirtgen
Huma Kabakçı
Johann König
Amanda & Andrew Love
Emmanuel Perrotin
Gizem Uslu Tümer
Şebnem & Mahmut Ünlü
Danh Vo
Pırıl & Igno Van Waesberghe
Nicolai Wallner
Dr. Gisela Winkelhofer & Monsieur Louis Nègre

Associate Friends
Aslı Başgöz
Tom Bergesen
Atle Gerhardsen
Christian Ringnes
Ina Johannesen
Ursula Krinzinger
Tony Ventura


Istanbul Foundation for Culture and Arts extends special thanks to:

TC Kültür ve Turizm Bakanlığı
TC İstanbul Valiliği
İstanbul Büyükşehir Belediye Başkanlığı
TC Başbakanlık Tanıtma Fonu Kurulu
TC Başbakanlık Dış Tanıtım Başmüşavirliği
TC Başbakanlık Gümrük Müsteşarlığı
TC Kültür ve Turizm Bakanlığı Müsteşarlığı
TC Dışişleri Bakanlığı Yurtdışı Tanıtma ve Kültür İşleri Genel Müdürlüğü
TC Kültür ve Turizm Bakanlığı
Telif Hakları Genel Müdürlüğü
TC Kültür ve Turizm Bakanlığı
Tanıtma Genel Müdürlüğü
TC İstanbul Valiliği İl Kültür ve Turizm Müdürlüğü
Devlet Hava Meydanları İşletmesi
Genel Müdürlüğü Atatürk Havalimanı
Mülki İdare Amirliği
İstanbul Gümrükler Başmüdürlüğü
İstanbul Büyükşehir Belediyesi
Kentsel Tasarım Müdürlüğü
İstanbul Büyükşehir Belediyesi Turizm Atölyesi, Sayın Tülin Ersöz
Gümrükler Genel Müdürlüğü
Geçici Muafiyetler Şube Müdürlüğü
İstanbul İl Emniyet Müdürlüğü
Beşiktaş Belediye Başkanlığı
Beyoğlu Belediye Başkanlığı
Beyoğlu Kaymakamlığı
Beyoğlu Emniyet Müdürlüğü
Fatih Belediye Başkanlığı
Kadıköy Belediye Başkanlığı

Adam Mickiewicz Institute (Krzysztof Olendzki, Olga Wysocka, Ewa Borysiewicz)
Arts Council Korea (Seoyeong Byeon)
Arts Council Norway (Kristin Danielsen)
Bernard van Leer Foundation (Michael Feigelson, Jackie Ratsma, Teresa Moreno, Yiğit Aksakoğlu, Neslihan Öztürk)
British Council (Emma Dexter, Margaret Jack, Esra A. Aysun, Su Başbuğu)
Consulate General of Brazil in Istanbul (Paulo Roberto Caminha De Castilhos França, Sena Belkayalı)
Consulate General of Holland in Istanbul (Robert Schuddeboom, Quirine van der Hoeven, Recep Tuna, İpek Sür van Dijk)
Consulate General of Italy in Istanbul (Dr. Federica Ferrari Bravo)
Consulate General of the Republic of Poland in Istanbul (Andrzej Papierz, Piotr Drzewiecki, Edyta Michalska, Iwona Drzewiecka)
Danish Arts Foundation (Gitte Ørskou, Ane Bülow)
Denver Art Museum
Dimitrie Cantemir Romen Kültür Merkezi (Dr. Nadia Tunsu, Şeila Suliman)
Embassy of Canada to Turkey Ankara (Chris Cooter, Simin Taylaner)
Embassy of Mexico in Ankara (Bernardo Córdova Tello, José León Cárdenas Verdugo)
Federal Chancellery of Austria (Christian Kern, Thomas Drozda, Charlotte Sucher)
Flanders State of the Art (Hilde Lievens, Robert Michel)
Goethe-Institut İstanbul (Dr. Reimar Volker, Lena Alpozan)
Institut für Auslandsbeziehungen (Elke aus dem Moore, Ingrid Klenner)
Institut Français (Anne Tallineau, Alexandra Servel, Hélène Maza-Hajmi, Sylvie Riou)
Institut Français Istanbul (Matthieu Bardiaux, Ekim Öztürk, Saadet Ersin, Zeynep Peker, Adeline Chauveau, Christophe Pecot)
Italian Institute of Culture (Alessandra Ricci, Gianni Vinciguerra, Tanju Şahan)
Jerwoord Charitable Foundation (Shonagh Manson, Iona Rowland)
National Arts Council Singapore (Rosa Huey Daniel, Dawn Lim)
Office for Contemporary Art Norway (Katya García-Antón, Anne Charlotte-Hauen)
Phileas – A Fund for Contemporary Art (Moritz Stipsicz, Jasper Sharp, Stefanie Reisinger)
Pinakothek der Moderne, Modern Art Collection, Munich (Bernhart Schwenk)
Pro Helvetia (Philippe Bischof, Andreas Moos, Marianne Burki, Patrick Gosatti)
SAHA (Merve Çağlar, Yavuz Parlar, Arzu Zorlutuna, Ela Perşembe, Berna Karagülle)
Singapore International Foundation (Davina Lai)

Cristina Guerra Contemporary Art (Lisbon)
Dvir Gallery (Tel Aviv)
Galerie Eva Presenhuber (Zurich)
Galerie Kamel Mennour (Paris)
Galleri Nicolai Wallner (Copenhagen)
Galerie Krinzinger (Vienna)
Galerie Perrotin (Paris)
Galleria Raffaella Cortese (Milan)
Gerhardsen Gerner (Berlin)
Galería Helga de Alvear (Madrid)
Kaufmann Repetto (Milan)
König Galerie (Berlin)
Massimo de Carlo (Milan/London)
Pace Gallery (Beijing)
Pace Gallery (New York)
Reena Spaulings Fine Art (New York)
Taka Ishii Gallery (New York/Paris)
Victoria Miro (London)
Zilberman Gallery (Istanbul/Berlin)

Lenders to the exhibition
Antonio Colombo Arte Contemporanea (Milan)
ChertLüdde (Berlin)
Cristina Guerra Contemporary Art (Lisbon)
Daniel Marzona (Berlin)
Frith Street Gallery (London)
Galerie Buchholz (Berlin)
Galeria Quadrado Azul (Lisbon/Porto)
Hometown (New York)
Isabella Bortolozzi Galerie (Berlin)
König Galerie (Berlin)
Lindsay Gallery (Columbus)
Mitchell-Innes & Nash (New York)
Nicelle Beauchene Gallery (New York)
Pace Gallery (New York)
Project Native Informant (London)
Rolf Art Gallery (Buenos Aires)
Sprüth Magers (Berlin)
STEVENSON (Cape Town/Johannesburg)
Tanya Bonakdar Gallery (New York)
Victoria Miro (London)
Zilberman Gallery (Istanbul/Berlin)

Archivo Liliana Maresca
Collection Aaron Zulpo
Collection Aishti Foundation
Collection Artemis Baltoyanni
Collection Ebru Özdemir
Collection Emma Allen & Alex Allenchey
Collection Fundação de Serralves – Museu de Arte Contemporânea
Collection Harvey Fierstein
Collection Jennifer Ley & Kit Skarstrom
Collection Lee Miller Archives
Collection Leila Heller
Collection Lisa Waltuch & Jon Zeitlin
Collection Mara Baldwin & Sarah Hennes
Collection M HKA / Collection Flemish Community
Collection Michael Zamsky
Collection Nina Hale
Oyuncak Müzesi Koleksiyonu
Ömer Koç Koleksiyonu
Sadberk Hanım Müzesi Koleksiyonu
Collection Pedro Lanhas
Collection Victoria Elman & George Wong
The Napoleone Collection

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The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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