Sep 16, 2017 - Nov 12, 2017

Istanbul Modern

15th Istanbul Biennial

The 15th Istanbul Biennial showcases nineteen artists’ projects within Istanbul Modern’s open-plan ground floor. Currently, the harbour area around the museum is under substantial transformation, and issues around urban development are reflected upon in several of the artworks displayed.

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.

Istanbul Modern Art Museum
Istanbul Modern is a former cargo warehouse that became an internationally renowned modern art museum following its initial use as a space for contemporary art at the 8th Istanbul Biennial in 2003. The building was designed by architect Sedad Hakkı Eldem between 1957 and 1958. 

Xiao Yu*
Ground

Xiao Yu’s work is a durational performance involving a donkey that has been brought from north of Istanbul and trained by two Chinese farmers. The animal, steered by a human, drags a plough through the exhibition space that has been filled with wet cement.

*b. 1975, Inner Mongolia
lives in Beijing, China

The plough creates a furrow in this cement ‘field’ that extends throughout the space.

The performance is a direct expression of an act of labour, one link in a chain of ecological and anthropological processes that persist widely though precariously, and are increasingly unseen by an urban public.

Increasingly, with ecological fragility and the threat of a coming age of water and food scarcity, it is perhaps no longer the human who controls nature, but the opposite: nature exerts it grip on humanity as the direction of the tracks reverses.

The work speaks to the interdependence of nature and agriculture, the taming of animals and their relationship to humans, as well as notions of labour. Increasingly, with ecological fragility and the threat of a coming age of water and food scarcity, it is perhaps no longer the human who controls nature, but the opposite: nature exerts it grip on humanity as the direction of the tracks reverses.

Young-Jun Tak*
The Silence and Eloquence of Objects

Artist’s installation for the Biennial reflects on the imbrication of domestic setting with personal identity, and situations of mobility and itinerancy.

*b. 1989, Seoul, South Korea
lives in Berlin, Germany

The work takes the form of a full-scale replica of Tak’s former Seoul apartment, installed upside-down on the ceiling of Istanbul Modern. Measuring 4 x 6 metres, the inverted apartment hangs oppressively over the viewer, giving a sense of being cast out of space.

In South Korea, it is common for young people to inhabit these small, studio flats (known as ‘one-room’), where the kitchen, bedroom and living room are all confined within one space.
In this site of lodging, self-expression, masturbation, lone dwelling and private contemplation, we see a bed, a desk, some bookshelves, a table and other objects: the possessions that formed the layout of the small space the artist called home. These inexpensive furnishings, chosen by Tak for their ease of portability, have either been cast or coated with a thick white acrylic paste and then painted white.

As well as being a reflection on the current realities of itinerant living, the work shows the way in which we imbue and project our private, personal histories onto the objects that we own and the spaces in which we live.
Not just the apartment, it seems, but the whole world is upside-down.

Adel Abdessemed*
Cri

Abdessemed’s work Cri (2013) unites material history and human tragedy in the form of a haunting, freestanding sculpture.

*b.1971, Constantine, Algeria
lives in London, UK and Paris, France

The life-sized statuette depicts a naked young girl, balancing on one foot. Her pose is delicate and inexpressibly sad. With her arms lifted in mid-air, and one leg bent, the child’s eyes are closed, and her mouth gaping open in a silent scream.

The brutal loneliness and pain of this human subject is reinforced by the use of a single material, with an off-white colour, which gives a further impression of the child’s alienation, of being stripped bare.

Although Cri reveals little by way of explicit references, it does have an additional layer, since it appropriates a well-known black and white photograph, taken by the photojournalist Nick Ut in 1972, as North Vietnamese troops bombed South Vietnam. In the original source photograph, four young children – among them, the young girl depicted in Cri can be seen running down the road towards the camera, screaming as napalm rains down on them.

Upon closer inspection, the surface of the sculpture reveals small ridges, and an additional level of material history, since the work is made out of ivory.

Thus in its sculptural form, in the photographic image that it appropriates, and in its material, the work speaks to the loss of home, comfort, dignity and life, and conjures the tragic timelessness of suffering and violence.

Lydia Ourahmane*
All the way up to the Heavens and down to the depths of Hell

The works of Lydia Ourahmane evince the capacity of individuals to overcome the historical narratives in which they are embedded. Many of them look to the history and the present of the artist’s country of Algeria and daily life after the Civil War of 1997–8.

*b. 1992, Saïda, Algeria
lives in Oran, Algeria and London, UK

Growing up there, the artist experienced the realities of military fundamentalism and the entanglements of corruption and terrorism, as well as the legacies of ‘independence’ within postcolonialist life.

The work's title is from a Latin phrase (Cuius est solum, eius est usque ad coelum et ad inferos) describing property rights to the realms above and below the physical site of ownership.

A trumpeter occasionally visits the platform, playing a sombre, ceremonial-sounding tune written by the artist that recalls the military reveille or a ritual rite such as the killing of an animal.
Ourahmane’s contribution explores the affective and environmental legacies of land ownership and its relationship to colonisation and decolonisation, as well as the totems of protectionism. By looking at land use and transfer, her work shows how our experiences of the environment and one another shift through the direct influences of capitalism, colonialism, trade and contamination, both psychological and real.

Kemang Wa Lehulere*
Conference of the Birds

Lehulere’s installation examines contemporary group dynamics in a world riven by oppositions, identities and belief systems.

*b. 1984, Cape Town, South Africa
lives in Cape Town, South Africa

In this work (named after an album by the Dave Holland Quartet), a series of sixteen blackboards, inspired by forgotten countries that no longer exist, investigates historical erasure. Writings on their surfaces, mostly rubbed out, point to the ways in which educational settings such as schools can inculcate, revise as well as distort versions of history, while also emphasising the human ability to resist such revisionist omission and distortion

The black and white iconography of a ‘blackboard’, meanwhile, recalls the issue of race relations.
A separate work places Turkish politics and educational systems alongside Lehulere’s examination of the politics of race and the legacy of ethnographic and ethnic absolutism. The installation incorporates a Turkish classroom desk as well as birdhouses: sites of shelter and passage for migratory beings. The desk recalls the current political environment in Turkey, in which many academics, teachers and researchers are being dismissed from their jobs.

The sculptures, performances and installations of Kemang Wa Lehulere comment on the educational and experiential divides felt by people of different colours and backgrounds, whether from the artist’s native South African context or outside of it. His works incorporate everyday objects within cultural and institutional settings: school desks, books, murals and blackboards document and present what the artist calls ‘deleted scenes’ from South African history.

Klara Lidén*
Untitled (studyzaun), Untitled (wartezaun), Untitled (liegezaun)

Lidén is presenting three works that refer both to the street and to bourgeois interiors and waiting rooms.

*b. 1979, Stockholm, Sweden
lives in Berlin, Germany

Inflections of the word Zaun– meaning fence in German – they are intended to block viewership as much as to be viewed, waited in, or studied.

The alliance between a fence, which excludes and divides, and an emblem of cold comfort is intended by the artist as a commentary on an age of increased borders and fence-making – an era in which those with privilege and power have the capacity to contain and restrain, and where safety is falsely equated with exclusion. In this way, Lidén collapses urban and domestic spaces using simple materials that, in their combination and contextualisation, gain weight as symbols of a quietly resistant politics.

The works of Klara Lidén employ discrete elements of the built environment of public or urban space. She appropriates these elements to investigate questions surrounding privatisation and a disappearing commons or spaces for public use.

Victor Leguy*
Structures for Invisible Borders

It has been said that history is written by the victors...

*b. 1979, São Paulo, Brazil
lives in São Paulo, Brazil

The works of Victor Leguy point out how institutionalised or official accounts of history undergo simplification or obfuscation due to ideology, politics, ignorance or corruption. His project focuses on histories and trajectories of migration and displacement, specifically in the context of São Paulo, Brazil.

To do so he researched the lives of certain immigrants mentioned in the school textbook Snips of Old São Paulo, which severely downgrades the historical role that they played in Brazil. The artist established contact with their descendants through an action that is common among Amerindian peoples – the exchange – collecting objects texts, documents and photos in order to form a portrait of their divergent histories.

Leguy then partially covered these objects, documents and photographs with a white line, suggesting erasure or disappearance, the sanitation of brutality and history, and indigenous and migrant history that are simplified or expurgated in the official narrative.

These objects are partially painted white, recalling conditions of symbolic invisibility, and the whitewashing of information, narratives and histories.

Alper Aydın*
D8M

‘Progress’, or the advancement of human history, encompasses a number of ruinous and destructive acts. Processes of construction and wreckage are closely linked.

*b. 1989, Ordu, Turkey
lives in Ordu, Ankara, Konya and Istanbul, Turkey

The works of Alper Aydın respond to human interactions with nature.

His temporary interventions into environmental sites point out the connections between human building and ecological collapse and resource depletion.

For the Istanbul Biennial, Aydın’s work D8M , which includes the blade of a bulldozer, has been placed inside Istanbul Modern.

This tool for razing and displacing natural terrain is seen pushing a thicket of real trees that were cut to make way for a new airport north of Istanbul, as part of a construction project that is also displacing homes. An emblem of the eradication that comes with construction, the piece of equipment appears to roar and flex itself.

The work animates and performs our destructiveness, disavowal and forgetfulness of our natural habitats.

Rayyane Tabet*
Colosse aux pieds d’argile

Does human progress necessitate destruction? The works of Rayyane Tabet point out unlikely affinities between the ancient and the contemporary, and the economic and symbolic exchanges that comprise ‘culture’, as well as confluences between disparate geographical regions.

*b. 1983, Ashqout, Lebanon
lives in Beirut, Lebanon

In one work, Colosse aux pieds d’argile, Tabet showed how the expensive architectural elements from the East that found their way to wealthy Italian estates in the nineteenth century were there for a simple economic reason: heavy boats move more swiftly than light ones, and so boats were loaded with stone and marble architectural details from buildings, which were then sold off as exotic treasure.

Tabet’s , Colosse aux pieds d’argile is a sculptural installation comprising numerous marble columns and concrete cylinders. The columns were found by the artist in a junkyard in his native Beirut. He learnt that they had come from a family home in the middle of the city. A real-estate speculator wanted to purchase the house for the prime site on which it stood, but the many family members who had inherited it were engaged in a legal dispute that made it impossible to sell it. According to property laws in Beirut, a home with no roof must either be fully renovated or sold, and so the developer hired a group of workers to covertly collapse the roof.

Tabet’s work looks at the commonalities between homesteads past and present, the destruction and natural entropy of buildings and architectures, as well as capitalist profit-making and its processes of ruin.

Candeğer Furtun*
Untitled

Furtun’s Untitled (1994–1998) series of ceramics shows nine bare human legs placed side by side and installed on a bench-like construction.

*b. 1936, Istanbul, Turkey
lives in Istanbul, Turkey

Recalling mannequin legs, the disembodied limbs are male, if hairless, and one pair is touched by a hand.

Suggesting a number of bodies in a row, the work references the hammam culture of Turkey, in which people sit on benches in a space of healing and rest. Yet it might also recall the seating of people on public transport, in waiting rooms, or other public-private spaces.

Or perhaps this group of exclusively masculine ‘manspreading’ limbs quietly addresses the furtive conditions and exclusionary tactics of male power: the coming together of men in order to negotiate or sign deals behind closed doors.

While the leg is the means of mobility for the body, here it is immobilised; while the hand is a site of expression, of use and of touch, here it is without function.

Henrik Olesen*
Cables, Keys, Glasses, Lights

Henrik Olesen's Cables, Keys, Glasses, Lights examine the politics of the repressed, the unseen, the hidden, the private and the excluded.

*b. 1967, Esbjerg, Denmark
lives in Berlin, Germany

Through the use of simple materials, such as collages and printouts, or the laying out of individual possessions on a wall, he explores the trappings of individual identity with a particular attunement to the history of homosexuality.

Olesen’s series of installations and ghostly collages for the Istanbul Biennial focus on the figure of the ‘dirty neighbour’ and the capacity of neighbourhoods to become sites of voyeurism, distrust, fetishism or the uncanny. The work responds to the fact that ‘neighbours’ (in many different senses) have the potential to frighten us as well as befriend us. Because we rely on those around us to respect us and our boundaries, our fears that they may not do so can make neighbourhoods places of hostility and even danger.

Mirak Jamal*

The works of Mirak Jamal span autobiographical anecdote and shared history, a politically charged past of escape and adjustment, remembering and forgetting.

*b. 1979, Tehran, Iran
lives in Berlin, Germany

As a child, his family of artists fled post-Revolution Iran for the neighboring USSR, before moving to West Germany, the US, and ultimately to Canada. Today, he lives in Berlin, continuing his experience of itinerancy.

His work for the Istanbul Biennial explores the drawings he made as a child in the USSR and West Germany. Sometimes fantastical, always imaginative, these scenes of life and depictions of objects in a number of places chart the artist’s biography from a child’s perspective.

The works point to the complicated realities of exile and itinerancy, where notions of ‘home’ are in constant flux. Memory is presented as a kaleidoscopic re-summoning of emotional attachment to places that are transitory and fragile.

Jamal’s works also suggest that what is most formative can be foreign to us, and that what we can feel closest to, we can simultaneously feel alienated from.

Fernando Lanhas*
Untitled

For the Istanbul Biennial, works on three architectural presentation boards are exhibited alongside a collage triptych.

*b. 1932, Porto, Portugal
d. 2012, Porto, Portugal

The former are sober, monochrome photographs depicting various views of a white modernist building – the spiral staircase, the façade and shots of rooms – arranged alongside delicate floor plans. The three collages depict the house that Lanhas designed and built for his own family.

Details such as shelving and a terrace, for example, are combined with images of pillows and child at play. Thus the works combine an architect’s propensity for draftsmanship and organisation with a painter’s compositional and tactile skills. These collages, where the impersonality of construction is imprinted with the subjective and private, fragmentary motifs of childhood or human memory, show how even the most austere attempts at abstraction, whether in painting or in design, can be motivated by personality, emotion and love.

Mahmoud Obaidi*
Make War Not Love, Chapter 3 & Make War Not Love, Chapter 4

It takes thousands of years to build a civilisation, but only minutes to destroy one.

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

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.

Two large-scale ink and mixed-media paintings, Make War Not Love, Chapter 3 and Make War Not Love, Chapter 4, conjure the recent memory of war and loss of home, and the artist’s experience of violence.
The paintings use an associative imagery of animals, figures and trees, each tinged with the idea of homeland, against a stark black background.

Obaidi’s works not only mourn that which has been broken or lost, but also employ art to move on and even attempt to reconstruct it.

Latifa Echakhch*

In our age of political and economic turbulence, it often feels as if the world around us is crumbling.

*b. 1974, El Khnansa, Morocco
lives in Martigny, Switzerland

Yet how do such collective narratives of progress or destruction relate to subjective, personal experiences, and how do we distinguish between them?

Each painting depicts an image of crowds in Istanbul’s Taksim Square, a site for both celebrations and public demonstrations, such as the Gezi Park protests in 2013, when people expressed their outcry against the government’s decision to erase a public space in the name of urban development. The surface of the frescoes are severely chipped; pieces of paint have fallen onto the ground, as though the architecture itself is crumbling.

Yonamine*

Yonamine’s densely layered collages respond to his experience of acculturation, segregation, itinerancy, social differentiation and gentrification across cities in Africa and Europe.

*b. 1975, Luanda, Angola
lives in Harare, Zimbabwe

Made on newspaper and using black India ink, they are composed from vernacular imagery sourced directly from the street and urban space, incorporating references to graffiti, tattoo art, street art, wheat-pasting, corporate lettering, brands and street posters.

Kaari Upson*

Kaari Upson takes an almost anthropological approach to the domestic sphere and its contents.

*b. 1972, San Bernadino, California, USA
lives in Los Angeles, California, USA

Her work examines representations and experiences of memory and affect, of decoration and disorder, of desire and repulsion.

For the Istanbul Biennial, Upson expands on her investigation of what the Austrian philosopher Alexius Meinong has called the ‘home-less object’...

...
- objects for which, as Slavoj Žižek has elaborated, ‘There is no place … neither in reality nor in the domain of the possible.’

The sculptural inhabitants of Upson’s spectral and dreamlike world – discarded objects found on the streets, weathered and mutated through their expulsion – uncannily evoke the familiarity of the domestic and its seductive and unknowable inverse.

Volkan Aslan*
Home Sweet Home

Volkan Aslan’s video installation Home Sweet Home (2017) is a meditative take on the realities of displacement.

*b. 1982, Ankara, Turkey
lives in Istanbul, Turkey

With its disjunctions of time and perspective, and imagery of water and travel, the work commemorates individuals forced to make long journeys, such as migrants or those who have suffered a loss of home.

Home Sweet Home is also a poetic parable about the way in which we all share an itinerant and fragile human condition, even though each of us may experience this condition differently.

Credits: Story

Exhibits

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

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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.


15th ISTANBUL BIENNIAL

Director
Bige Örer

Curators
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
TBWA

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

Transportation
Esra Nazlı Apbak

Hospitality
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

Interns
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
Yoğunluk
Yonamine
Xiao Yu

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MEDIA RELATIONS

Director
Ayşe Bulutgil

Managers
Elif Obdan Gürkan
(International Media)
Ayşen Ergene


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

Associate
Ayşe Zeynep Güldiken

Visual Archive Associate
Poyraz Tütüncü

Visual Archive Assistant
Ozan Şahin

Assistant
Ayşegül Öneren
(International Media)

Biennial Reporter
Nora Tataryan

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

Archive Videos
Hamit Çakır


CORPORATE IDENTITY AND PUBLICATIONS

Director
Didem Ermiş Sezer

Editorial Coordinator
Erim Şerifoğlu

Editor
Merve Evirgen

Publications Operator
Ferhat Balamir

Graphic Designers
Esra Kılıç
Ayşe Ezgi Yıldız

Webmaster
Sezen Özgür


İKSV STUDIO

Director
Selçuk Metin

Assistant
Ebru Gümrükçüoğlu


SPONSORSHIP PROGRAMME

Director
Yasemin Keretli Çavuşoğlu

Manager
Zeynep Pekgöz

Coordinators
Zeynep Karaman
Yeşim Birhekimoğlu

Assistant
Zeynep Bilgihan


MARKETING

Director
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


SALES AND BUSINESS DEVELOPMENT

Director
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

CULTURAL POLICY STUDIES

Director
Özlem Ece

Research Assistant
Fazilet Mıstıkoğlu


INFORMATION AND RECORDS CENTRE

Manager
Esra Çankaya


FINANCE AND ADMINISTRATION

Head of Finance and Administration
Ahmet Balta


FINANCE

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

Accounting and Finance Operations Associate
Deniz Yılmaz

Accounting and Reporting Associate
Kadir Altoprak

Assistants
Çiğdem Arslan
Büşra Açıkgöz


PUBLIC AND INTERNATIONAL GRANTS

Manager
Aslı Yurdanur


HUMAN RELATIONS AND
ADMINISTRATION

Director
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

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

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BOARD OF DIRECTORS

Chairman
Bülent Eczacıbaşı

Vice Chairmen
Ahmet Kocabıyık
Prof. Dr. Münir Ekonomi

Members
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


EXECUTIVE BOARD

Chairman
Bülent Eczacıbaşı

Members
Ahmet Kocabıyık
Prof. Dr. Münir Ekonomi


AUDITORS

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


MANAGEMENT

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

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International Friends and Patrons Council

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

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

Friends
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)
SANDY BROWN (Berlin)
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

Credits: All media
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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