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.
15th Istanbul Biennial: a good neighbour (2017) by Curators: Elmgreen & Dragset15th Istanbul Biennial
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.
Domain of Things Domain of Things (2017) by Pedro Gómez-Egaña15th Istanbul Biennial
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
Domain of Things Domain of Things15th Istanbul Biennial
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.
Domain of Things Domain of Things15th Istanbul Biennial
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.
Domain of Things Domain of Things15th Istanbul Biennial
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.
Domain of Things Domain of Things15th Istanbul Biennial
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.
The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul (2017) by Mark Dion15th Istanbul Biennial
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
The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul15th Istanbul Biennial
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.
The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul15th Istanbul Biennial
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.
The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul The Persistent Weeds of Istanbul / Resilient Marine Life of Istanbul15th Istanbul Biennial
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.
Installation shot (2017) by Andrea Joyce Heimer15th Istanbul Biennial
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
From left to right, "In The Summer Of 1989 Mr. McManus Cut Down A Rosebush That Was Growing Directly On The Border Between The McManus’s Back Yard And The Black’s Back Yard. The Resulting Donnybrook Was The Most Brutal Things Us Kids Had Ever Seen In Real Life. Years Later I Figured Out The Fight Wasn’t Really About Roses", "On Tuesday, July 1, 1980, In Billings,Montana, Which Is In The Southern Quadrant Of The State, It Was 70 Degrees Which Is Hot Enough To Make Most People Stay Inside In The Afternoon Except Maybe Kids, And Being Close To The Fourth Of July The Kids Would Have Been Lighting Fireworks And Watching Them Pop And Sizzle Into The Big Blue Sky Over The Peaks Of The Bighorn Mountains Like Man-Made Comets Or Magic Spells. Just South Of Town The Heat Would Have Left Two Kids Looking For A Shady Place To Kiss, Which Would Lead Them To Pictograph Cave, A Sacred Site Excavated By Archaeologists In The 1930's Where 106 Pictographs Were Found, Some As Old As 2000 Years, Whose Origins Still Leave Everyone Guessing Because Generations Of Native Americans Have Added Onto The Existing Pictures Again And Again So That The Stories Of Old Battles Intersect With The New, Confusing History, And Maybe It Was These Things A Slight Girl With Green Eyes And Straw-Colored Hair Who Liked To Draw And Who Was Between Her Eighth And Ninth Grade Year, Was Thinking Of While She Studied A Horse-Shaped Pictograph Under A Boy Who Was A Bit Older, With Brown Hair And Eyes And Who Liked Cars, Who Burst Inside The Girl, Unleashing Bits Of Things And Other Things That Would Become Me, Already Unwanted. Or Maybe The Girl Was Thinking Of The Little Bighorn Monument Where They Had Guzzled Wine Coolers Earlier While Treading The Same Ground Where General George Armstrong Custer Breathed His Last Wicked Breath At The Hands Of Brave Lakota, Northern Cheyenne, And Arapaho Warriors Whose Ghosts The Girl Thought She Could Sense Snaking Through The Bear Grass And Old Graves, And Maybe It Is Because Of These Things That Even Now, 36 Years Later, I Love Horses And Justness And Fireworks And Stories.", "Bored Girls In Painting Class." (2013/2017) by Andrea Joyce Heimer15th Istanbul Biennial
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 (2017) by Andrea Joyce Heimer15th Istanbul Biennial
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.
HOUSE House15th Istanbul Biennial
Dan Stockholm*
HOUSE
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
HOUSE HOUSE (2013/2016) by Dan Stockholm15th Istanbul Biennial
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.
Scenario in the Shade Scenario in the Shade (2015/2017) by Jonah Freeman & Justin Lowe15th Istanbul Biennial
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
Scenario in the Shade Scenario in the Shade15th Istanbul Biennial
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.
Scenario in the Shade Scenario in the Shade15th Istanbul Biennial
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.
Scenario in the Shade Scenario in the Shade15th Istanbul Biennial
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.
Scenario in the Shade Scenario in the Shade15th Istanbul Biennial
Disco Creeps hail from the methamphetamine retail culture that merges light-wave based narcotics with the latest in counterfeit luxury goods.
Lawn 1 Lawn 1 (2016) by Lungiswa Gqunta15th Istanbul Biennial
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
Lawn 1 Lawn 115th Istanbul Biennial
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.
Friends and Strangers Friends and Strangers (2017) by Ali Taptık15th Istanbul Biennial
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
Friends and Strangers Friends and Strangers15th Istanbul Biennial
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?’
Friends and Strangers Friends and Strangers15th Istanbul Biennial
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.
Countinuouslessness Countinuouslessness (2011/2017) by Kasia Fudokowski15th Istanbul Biennial
Kasia Fudokowski*
Countinuouslessness
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).
Countinuouslessness Countinuouslessness15th Istanbul Biennial
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.
Compact Home Project Compact Home Project (2003/2004) by Mahmoud Obaidi15th Istanbul Biennial
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
Compact Home Project Compact Home Project15th Istanbul Biennial
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.
Dirty Box Dirty Box (2016) by Bilal Yılmaz15th Istanbul Biennial
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
Dirty Box Dirty Box (2016) by Bilal Yılmaz15th Istanbul Biennial
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.
Dirty Box Dirty Box15th Istanbul Biennial
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.
Wonderland (2016) by Erkan Özgen15th Istanbul Biennial
Erkan Özgen*
Wonderland
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.
Our Family Lost (2017) by Leander Schönweger15th Istanbul Biennial
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
Our Family Lost (2017) by Leander Schönweger15th Istanbul Biennial
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.
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
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Bige Örer
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Elmgreen & Dragset
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Özkan Cangüven
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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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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
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Gizem Uslu Tümer
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Associate Friends
Aslı Başgöz
Tom Bergesen
Atle Gerhardsen
Christian Ringnes
Ina Johannesen
Ursula Krinzinger
Tony Ventura
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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
