istanbul is an exociti

On going Photo Shoot in Tehran

2006-12-23T03:28:00.000-08:00

Installed in Parkingallery

2006-11-17T02:11:00.000-08:00

here are some pieces in installed in Parkingallery!
the other photos will be received soon from the people around the city (Tehran) and the rest of of the world! (I Hope!)
Also thanks Dear Martin, our great commander!
for Exociti III!
I'm Planning to head to Istanbul soon for Conscious in Coma, Video screening in Goethe Institue only if I can manage the finacial side of it!
so I hope to see you some of you there!

next step austria

2006-11-14T07:05:00.000-08:00

here comes the next step in austria:

the banner with the question of deniz is manufactured:

I added the question:
But what means „folk“ in times of mass societies?

and the *divani-bird*, amirali made:

withe the question:

*How about this world and us? Who was born in a meager desert by chance or in arctic chills then has to stay there? Who lives in areas devastated by men or turend unhospitable by nature then has to stay there? Where is that written? Who negotiated and determined that?*

joerg will add some of his works ...

the invitation:
http://baodo.mur.at/history01/agenda01/z0607.html

vienna-some acts

2006-11-13T12:05:00.001-08:00

Taborstrasse-13Nov06

Museums Quartier-1Nov06

MariaHilfer Strasse-1Nov06

MariaHilfer Strasse-1Nov06

vienna- some facts

2006-11-13T12:05:00.000-08:00

praterstern-under the bridge

from notorious turkish ghetto "gurtel" 16th district

Living with the Private Sector: Some notes on "Péra" in Istanbul - Text by Vasif Kortun

2006-11-02T06:09:00.000-08:00

Living with the Private Sector
Some notes on "Péra" in Istanbul

Most of Istanbul's institutions dealing with art and culture have been located on and around the Avenue between Taksim and Tünel. The Avenue's original name was Grande Rue de Péra, and changed to "Avenue of Independence" after the establishment of the Republic of Turkey. The nostalgia for Pera of the late 19th Century held its sway for decades with pretty much the same nuances. A mere phantom of the mercantile culture of the late 19th Century colonizing Istanbul, Péra, despite its ever decreasing non-muslim populations, with its architectural and spatial residue, was a place where "Europeanness" could be experienced. Since the pedestri-onization of the Avenue at the end of the 1980s, "Péra Nostalgia" has increasingly become a tool in the service of high-end business.

(...)

The re-facading of some of the buildings on the Avenue – initially, through the usage of glass and aluminum a la 80’s and then through a second re-dressing in generic "historical" styles were the initial forays of theme-parking the place. The Aksanat Building bears witness to this as well as Beyoglu Business Center. All but a memory of the mittel-europa elegance, a fiction from poems and nostalgia literature, The Markiz Patisserie that had been closed for some 25 years opened anew in 2004 with pomp and romp plus a mini-mall of high end life style shops in the back. This “shop-window Pera-izm” uses historical styles and nostalgia as a tool to sub-limate the pathetic desire to acquire class not only at Péra but also in the so-called restoration programs at the historical peninsula. This is most evident in the Süleymaniye area where an invented “high Ottoman” architectural style is applied to the surface of concrete buildings. The same style necessitates that the poor, undesirable communities are kicked out and replaced by those who "deserve" and appreciate“Hauttomania.” Capital and agencies of the city govern-ment have donned their velvet gloves and are busy arranging the city ready for the big sale. The city’s master plan provides full service to the private sector and its business interests.

A barrier runs between the two sides of Tarlabasi Avenue. The barrier came when the mayor of Istanbul sent the bulldozers through to wedge open a small street into a large avenue con-necting the Taksim center to the old city. The avenue severed a community in two. To one side stood the prospering, detrafficked Pera, and to the other the ever-debilitating, unsustainable Tarlabasi with its poor Kurdish, Nigerian immigrant communities, bachelor dorms, Romans and the like. 15 years of “forced” under-development, is now replaced by a rehabilitation program to displace the undesirables by violent gentrification with new business and residency.

I claimed two years ago that those art centers endorsed as public spaces —even though they may have been privately supported— will be ushered out of Avenue [Péra zone] and replaced by glittery commercial galleries and show-room-like cultural centers. However, the real-estate values have increased in such a way that the area seems now to be undergoing massive sani-tization, thereby eliminating the possibility of cultural centers altogether. One by one, the area's, seedy casinos, brothel/night-clubs are being re-located to another non-muslim district– namely the Pangaltı/Kurtuluş area, while a clean and chic entertainment industry of valet park-ing and gate keepers replaces them.

"Péra" is becoming a massive shopping-mall, a “zero-friction” zone, and we can safely assume that, while economic value skyrockets, the side streets will also adopt to high-end as the clien-tele changes. No more shall we see young girls pulling up their skirts a couple of centimeters while entering "Péra." The punks, heavy metal boys, goth girls, junkies and runaway school kids, anyone who comes here to do or wear what they can not do or wear in their own neighborhoods will shy away. From the transvestites, to the Istanbul Bar Association, from the Maoists and PKK, the freedom of speech that the Avenue was so associated with is now being handed over to the megaphones of the flagship companies of the multi-national brands. Pro-tests and marches are getting scarcer.. It has been three years since the “Saturday Mothers” have gone.

"Péra" has been a much more extreme public space than Bakırköy, Kadıköy and Beşiktaş cen-ters. It has been the hang-out of the undesirables of difference. No where else on earth can one encounter as intense and concentrated scale of cultural institutions and economic diversifi-cation on a detrafficked street. It was a place where economies were radically diversified. Yet, each day a draper, or a photographic studio, or a jobbing tailor, or a funeral undertaker, or a small printing house leave as shopping centers or department stores of multi-national brands settle in. This also transforms the profile of the frequenters of the Avenue. Parallel to this change, a radical transformation has come about with regards to the function of the existing extroverted art institutes whose clientele are not professionals. Few art institutes in the world enjoy working with a mixed-profile audience the make of which is not a bourgeois public. Yet this was the very potential the Avenue offered.

(...)

Looking at things from another angle, one could say that social engineering has perhaps never been as successful in utilizing the single national denominator of the banality of populism pre-sented as democracy. We can now choose the style of our next city-transport-boats via the internet, and enjoy a Picasso or another brand artist at the museums! Art and culture has in-vaded huge sponosored bill-boards. The customers are corporate. The public is substituted by its phantom representation on the screen and the billboards. The historical peninsula, turning into a theme-park in an ever-increasing speed, is now connected to Péra for the avenue's en-tertainment and shopping potential.

From the galleries of the 1980s; the cultural centers of the 1990s; to the museums of the 2000s, the private sector has reinvented itself increasingly as a mass-mediatized institution self-selecting its audience. Should the public sector not step in, and these institutions do not interface with potential audiences, the corporatisation of the cultural sector will be complete.

Vasif Kortun

adnan and mattia exocitiZES milan or the EXOCITI milanese (21.10.06)

2006-10-30T03:36:00.000-08:00

alzaia naviglio

via bergognone

via pio IV

adnan and mattia exocitiZES milan or the EXOCITI milanese

2006-10-30T03:31:00.000-08:00

via gaspare bugatti

piazza del duomo
corso di porta t'cinese 83 (döner point :))
s. lorenzo

adnan and mattia exocitiZES milan or the EXOCITI milanese

2006-10-30T03:24:00.000-08:00

via torino

via cesare correnti
maggio 24 (fish point)

p. genova-tortona

Greetings from Tehran

2006-10-23T16:31:00.000-07:00

here is a photo of me in Malmo by Cedric Bamford
I want to thank you all for this great experience which we shared to together in Istanbul.. keep me updated about the next stages!

last day of exociti in vienna/ mariehilfe strasse+neubaugasse

2006-10-22T06:36:00.000-07:00

everything in its right place- taborstrasse vienna

2006-10-22T06:35:00.000-07:00

erased

2006-10-15T13:38:00.000-07:00

this building is now painted. memory truth vision is gone. but here are some beautiful photos by amirali...

exociti - step II in austria

2006-10-15T09:42:00.000-07:00

"Constructing: Us and the Others" at graz, friday the 13th 2006 ... this was an event in the center of the city.

as part of it I did the *step II*, we did one more session on:
"I Am The Turk The Party Leaders Warned About"

the complete graz-set will be shown here:
http://www.van.at/howl/cyb/next/set03/exo2.htm

here is the *general site* on this subject:
http://www.van.at/howl/junction/kont03/set/turk.htm

graz

2006-10-15T09:30:00.000-07:00

from vienna to graz ... the second biggest city in austria ... ovul came to see the philosopher slavoj zizek.

on that way she did a *joghurt-meditation* (beside journalist chris haderer).

and we did one more session on the subject *cover your eyes*.

an exociti report "can you hit and run?" (published in XXI the architectural magazine october issue)

2006-10-12T15:40:00.000-07:00

Vurup Kaçabilenlerden misiniz?: Kısa Bir Exociti Raporu

Anıtlar üzerine kurulu bir kamusal alan belleğimiz var Türkiye’de. Devlet ideolojisinin parçası olarak kamusal alan algılayışımızı şekillendirmiş bu anıtsallık, söz konusu kamusal sanat projeleri olunca da kendini bir yerlerden gösteriyor. Her şey içerisine sızmak ya da organik parçası haline gelmek değil, bastırıp üzerine çıkmak kendini hakim şekilde görünür kılmak üzerine kurulu. Hali hazırda süren Exociti projesi ise kendini alt ve karşıt bir kültür olan sokak sanatı üzerinden kurgulayan bir kamusal alan projesi. Yani varolan kamusal sanat belleği içerisinde kodlanamayan bir proje. İsmi, izi, nereden çıkacağı belli olmayan bir hayalet proje.

Bu ülkede poster, etiket yapıştırmak, duvar boyamak ille de ideolojik bir duruşla özdeşleştiriliyor. Saklı, gizli, yasak. Tabii bu hissiyatın temelinde ülkenin yakın tarihinde kamusal alanda yaşanmış ve yüzleşilmemiş kötü anılar var. Anıtların bu kadar baskın olmasını da bu toplumsal belleğin bastırılmasıyla/bastırılmaya çalışılmasıyla ilişkilendirmeliyiz. Exociti karşıt bir kültür üretimi içerisinden geldiği için politik bir duruşu haliyle benimsiyor ve bu yüzleşme meselesinin altını deşmeye çalışıyor. Sokaktaki görsel dilin dışında olan işler, sokakta yürüyenden etrafıyla daha farklı bir görsel ilişki kurmasını talep ediyor. Bu yeni farklı ilişki bakmak, fark etmek, şaşırmak ve merak etmek üzerine kurulu.

Exociti için üretilen işlerin hiçbirinde nasıl bir şeyin dahilinde olduklarını ya da kim tarafından üretildiklerini gösteren bir işaret yok. Toplumsal bellek dahilindeki görsel ideolojik kodlamalardan uzak olmaları projenin ilk haftası boyunca süren sokak performanslarına bir yerinden dahil olan insanları şaşırttı. Tünel’de Adnan Yıldız’ın “A Very Beautiful Miracle” posterini asarken yanımıza yaklaşan görevli posteri görünce “Ben de başka bir şey zannetmiştim, gecenin bu saatinde geldiniz,” dedi. Küçük Parmakkapı Sokak’ta Karri Kuoppala’nın “Halvdan Buradaydı” posterini gören kafe garsonları posterin ne olduğunu anlatınca “Barış ve kardeşlik amaçlayan her şey gönülden kabulümüzdür,” diye bir cevap verdi.

Şehirle birlikte üretmek, şehirle akışkan bir ilişki kurmak mümkün müdür? Bu sorunun peşindeyken tabii ki bir haritayla yola çıkılmadı. Şehirde sanatçılarla hep birlikte gece ve gündüz yapılan yürüyüşler sonrasında oluşan harita ekip olarak şehirdeki tecrübemizi işaretledi. Bir deneyimi kurgulamadı ama bir deneyimin/sürecin sonucu olarak ortaya çıktı. Özellikle İstiklal Caddesi’nin temposu hiçbir şeyin yerinin belirlenmesini olası kılmıyor. Şu an hala inşaat halinde olan caddenin üzerinde sürekli yer değiştiren işaret bariyerleri sayesinde etiketler tahminimizden fazla seyahat etme olanağı buldu. Sadece Exociti’nin değil, çeşitli organizasyonların etiketleri de bu bariyerlerde seyahat ediyor. Sonunda söz alanlarına dönüşen bariyerlerin bir tanesinin üzerine biri en sonunda büyük harflerle “Topbaş Granit Olsun” diye yazmış. Sokak taşlarına bile işleyen Türk olma meselesi ise müdahale edilmeyecek bir şey değil. “Bu Caddede Doğal Türk Granitleri Kullanılmaktadır” tabelalarının üzerine Hale Tenger’in D.T.O. etiketini yapıştırmaktan daha güzel bir cevap var mı? Bunun cevabı da yine sokaktaki basit bir grafitiden geliyor “Dünya 1 Olsun”.

Bu noktada Exociti yola çıkış noktası olan şehrin katmanlarından birine dönüşmek işlevini gayet iyi bir şekilde yürütüyor. Yine anıtsallık mantığından şekillenen bir günde her tarafta boydan boya Exociti posteri görme arzusuna projenin kendisi şehirde baskın olmayı değil şehirle birlikte varolmayı isteyerek karşı çıkıyor. İstiklal’de yürürken gördüğünüz üstüste yapıştırılmaktan düşecek ağırlığa ulaşmış poster/ilan katmanları kadar bu şehirdeki kamusal alanı oluşturan farklı ilgi gruplarının biraradalalık deneyimini daha iyi açıklayacak bir şey var mı? Şu nefessizlik halini. Her an birbirinin üzerine yapıştırma, her yeri her şeyi kaplama bu kadar hızlı akan bir şehirde bünyeye ancak kurgusal ve geçici bir üstünlük duygusu sağlıyor. Ama yine de hiçbir bünye bu kurgusal üstünlükten vazgeçmek istemiyor. Sanki bir posterin yanındaki aynısından başka bir poster her şeyi birdenbire değiştirecekmiş gibi. Exociti blogdaki bazı fotoğraflardan fark ettiğiniz gibi bu yarışa bir köşesinden müdahale edip sonra da olanları izlemeyi tercih ediyor.

Böylelikle sokağın farklı dinamiklerini gözlemlemek mümkün oluyor. İnsanların resimli şeylere daha az tepki gösterdiğini sözlü şeylerden de kıllandıklarını anlıyorsunuz. Etiketler yolunurken önce yazı kısımları yolunuyor. Ade Darmawan “Sadece Yorgunuz” posterlerinden birinde kendi çektiği bir fotoğrafı birinde ise internet üzerinden indirdiği Kaçkar Tv görüntüsünü kullandı. Kaçkar Tv görüntüsü olan posterlerden biri Tünel’deki merdivenlerin başına asılmıştı. Biri gelip önce 30 Ağustos nedeniyle televizyon görüntüsünde olan Türk bayrağını yoldu. Merakımdan birkaç kere gidip baktığımda her seferinde birilerinin cesaret alarak posterin farklı bir yerini yolduğunu gözlemledim. En sonunda biri kalan parçaları ise lime lime olmuş yerde buldum. Bu küçük örnek projenin akışını, hayatını, döngüsünü anlatıyor. İnsanların müdahalesi de bu projenin en az işler kadar parçası.

Bu noktada belgelemenin bu projedeki hayati önemi ortaya çıkıyor. Sokağa çıkıp göremeyenler için proje sanal olarak www.exocitistanbul.blogspot.com’da devam ediyor. Hem yapılanlarla hem sokulenlerle. Exociti’nin iki ay gibi uzun bir süreye yayılmasınin amaci işlerin durup durup tekrar ortaya çıkmasını, yeniden çarpmasını sağlamak. Hatta sürekli değişen posterlerin/etiketlerin üzerinde değişmeyen posterler/etiketler olarak ara ara tekrar varolarak projeye ilişkin bir toplumsal görsel bellek yaratmanın mümkün olup olamayacağını da araştırmak.

Ovul Durmusoglu

PS: Sorry for the Turkish. But I'm translating this into English to Amirali. Hope I'm not late for this Tehran mag, I'm working even harder here.
PS2: Fark ettim ki yazinin skec halini koymusum buraya. Yaptigim degisiklikleri bunda da yapmaya calistim. Ama klavye Turkce degil bir garip oldu. Neyse...

at vienna ...

2006-10-09T03:35:00.000-07:00

so:
ovul came to vienna and amirali is now set there ...

SANA NE?

2006-10-07T10:35:00.000-07:00

city of multiverse

2006-10-07T03:30:00.000-07:00

folks!

I am in vienna now. conference of the “city upgrade”-crew:
http://www.ortlos.org/blog/11

gonna tell you more about that later.
ovul arrived this morning. hope to see her soon.

this is architect ivan redi.

Intervention

2006-10-03T15:24:00.000-07:00

Karri painted this graffiti in Acicesme Yokusu in Galatasaray for a group called DSK. It looks like DDS painted over.

session ... 2nd October (Taksim/Cukurcuma/Cihangir)

2006-10-02T07:33:00.000-07:00

Beyoglu Gazetesi

2006-10-02T02:20:00.000-07:00

Interactivity

2006-10-01T16:58:00.000-07:00

Topbas is the head of Metropolitan City Municipality and Demircan is the head of Beyoglu region Municipality. "Let Topbas and Demircan Become Granite Stone," the note says. When I first saw this barricade, this deep wish was only covering Topbas; then someone added Demircan as well.

rainy nite

2006-09-28T16:53:00.000-07:00

textures

2006-09-28T16:29:00.000-07:00

some others working on the street

2006-09-28T16:19:00.000-07:00

EXOCİTİ.ORG

2006-09-27T00:57:00.000-07:00

exociti.org started to run!! sorry for the delay...

some more (abx of exociti)

2006-09-27T00:30:00.000-07:00

D.T.O./D.B.O.

2006-09-24T10:27:00.000-07:00

I AM THE BAD WOMAN

2006-09-23T09:52:00.000-07:00

wonderfull! amirali it would really nice to put up in berlin. pardon am who? i will print some like that; anyway i like this one. I AM THE BAD WOMAN. HA HA HA

some short videos -2 (Karri Paints a Scandinavian Turk!)

2006-09-22T15:36:00.000-07:00

http://www.youtube.com/watch?v=KaJxYLumB5w

http://www.youtube.com/watch?v=pBjyC687qnw

http://www.youtube.com/watch?v=Pcd8W-Kr6nM

Check them out!

some short videos -1

2006-09-22T15:34:00.000-07:00

http://www.youtube.com/watch?v=B5Stbi0ae8o

http://www.youtube.com/watch?v=Tf69NNmYtuo

http://www.youtube.com/watch?v=K-yXB3UEmMU

Greetings From Frankfurt

2006-09-22T12:41:00.000-07:00

This is realy great to see the Istanbul team is documenting every thing & I realy like the Comment the "Propaganda" guy made because it's shows a diffrent kind of reaction -with the same Material (Spary Paint)- has been bounced back to this project which is great.

I also liked the maps very much,that shows/gives an overview/result of all wondering around walks during our visit to the city, Thanks to Ovul!

wish you all good luck
PS: I'm giving some of the stickers to some friends in Frankfurt & I hope they will send me some pics of them within the city...
what do you think if I stick some in Berlin? if its okey just let me know by Email...

a comment? -by a guy called fly propaganda

2006-09-20T16:00:00.000-07:00

kadikoy map

2006-09-20T15:58:00.000-07:00

we found out that kadikoy district is not included in the touristic maps of istanbul. will do our own soon.

besiktas map

2006-09-20T15:57:00.000-07:00

another view

2006-09-20T15:54:00.000-07:00

a map

2006-09-20T08:13:00.000-07:00

session number... 20th September

2006-09-20T07:43:00.001-07:00

exociti ... next steps

2006-09-20T07:43:00.000-07:00

the big thing is a location called *postgarage*. art-events, clubbings and so on:

as I saw your spirit for party-time: you would like it!
check: http://www.postgarage.at/

the small thing implemented there (a former gas-station) is the *NIL*: little african restaurant, media-lab, art-location: http://nil.mur.at/

Inside the *nil* I did the first installation on *memory / truth / visions*
http://baodo.mur.at/history01/agenda01/z0602.html

on that picture you can see the set AND (nice event!) the african musician Seydina Insa Wade from senegal ... see: http://baodo.mur.at/history01/agenda01/z0604.html

so this is the place, where I will start next steps, to branch EXOCITI ... heading graz at first.

with the question deniz asked ... kombined with some further aspects of identity.

:-))
martin

steps to istanbul

2006-09-19T22:19:00.000-07:00

time for memories ... and outlook ...

some steps to istanbul ... others here: http://nextcode.blogspot.com/

ADNAN YILDIZ, 12 Eylül'ün Karşısına! (radikal iki, 17-09-2006)

2006-09-18T09:40:00.000-07:00

Geçen hafta Radikal İki'de yayınlanan yazısında Orhangazi Ertekin, Türkiye'de siyaset ve yargı mekanizmalarının hâlâ nasıl 12 Eylül'ün etkisinde işlediğini ve darbenin hâlâ etkili olduğunu belirtiyordu. Darbeyle yüzleşmediğimiz; sorumlularıyla hukuken, sonuçlarıyla ise fiilen hesaplaşmadığımız sürece bugünümüzün de elimizden kayıp gideceğini ekliyordu. Zira darbeyle yüzleşmek/hesaplaşmak, Türkiye'nin 26 yıldır ertelediği bir katarsis. Arınma için bütün tarihi fırsatlar (Susurluk, Şemdinli vs.) karşımıza çıkarken, Türkiye'de gerginliğin, kaygının ve korkunun günlük hayatın bir parçası haline gelmesi ve olayların üstünün örtülmesi direncimizi-umudumuzu azaltıyor. Oysa katartik bir deneyimin bir nevi yeniden başlama, yeni bakış açıları kazanma, yaşadığının farkına varma gibi olumlu sonuçlar doğurabileceğini -psikolojiden- biliyoruz. Peki, Türkiye neden bu kadar korkuyor, travması bu kadar mı büyük?
12 Eylül'den kalan etkilerin açıkça görüldüğü, ama aynı zamanda bir o kadar da yok sayıldığı yer şüphesiz kamusal alan. Kamusal alan tanımımız Sayın Cumhurbaşkanımızla pek örtüşmüyor, kendisi devletle özel arasındaki her alanı kamusal alan olarak tanımlıyor. Ya da başörtüsünün giremeyeceği her yeri. Oysa Türkiye'nin daha makro siyasi tavırlara ihtiyacı var. Kamusal alan neresi? Bülent Arınç, Anayasa'da ve kanunlarda herhangi bir tanım olmadığını belirtiyor. O Anayasa'da tabii ki kamusal alan tanımı olmaz, çünkü yıllardır oralarda olup biten kavgalar, mücadeleler unutturulmaya çalışılıyor. 12 Eylül'le ilişkimizin, asıl kamusal alanla ilişkimizi 'hâlâ' nasıl etkilediğine en taze örnek, yeni meydana gelen bir sansür olayı. Tepebaşı'nda, The Marmara'nın tepesindeki ekrandan ("yama") gösterilen Ahmet Öğüt'ün "Hafif Zırhlı" adlı animasyonu, serginin açılışından 20 gün sonra, Lübnan'a asker gönderme kararının alındığı gece, orada toplanan polisin dikkatini çekti. Polis, videonun teröristleri provoke edebileceğinden (onlar adına) korkarak yayınını durdurdu. Her saat başı (üstelik videodaki gibi anime bir anlatımla değil, birebir) şiddet ve vahşet gösteren televizyonların, gazetelerin ülkesinde ne büyük hassasiyet!
Bu korkuların da, Susurluk ve Şemdinli'nin üzerine bir bardak su içmemizin de altında hepimizin içimize işlemiş olan aynı fiksasyon yatıyor: O günlere dönme korkusu. Bu karanlık döneme ait verilere göre, 7 bin kişinin idamı istenmiş, bunların 124'ü onaylanmış, 50'si idam edilmiş. 650 bin kişi gözaltına alınmış, 1,683, 000 kişi ise fişlenmiş. Bunlar herkesin bildiği şeyler, dışarıdan da okunuyor.
Geçen hafta başlayan poster/sticker/stencil projesi "Exociti" dolayısıyla birçok sanatçı konuşması gerçekleşti. Bunlardan birinde tartışma, kamusal alanı nasıl algıladığımız üzerineydi. Ve Türkiye'de kısa bir süre kalma fırsatı bulan yabancı bir dostumuzun söyledikleri her şeyin özetiydi: "Bence, ülkenizde kimse 12 Eylül'den sonra kendini sokakta güvende hissetmiyor."
"Rock'n coke-laşma"
Bugün kamusal alanı nasıl algıladığımıza gelince... 2000'li yıllara bakarsak, 90'ları videoyla-televizyonla evde geçiren bir kuşağın sokağa tekrar dönmeye başladığını görüyoruz. Açıkhava festivalleri, sergiler ve konserler... Ben dahil, zamanın diğer post darbe çocukları anne-babalarının aksine kavga ve mücadele için değil, eğlence için meydanlardalar. Bu, aslında bir tür "rock'n coke-laşma". Sanki (üç kişinin yan yana yürümesini "örgüt" olarak tanımlayan) o paranoyak ruh halinden kurtuluyoruz ama diğer yandan sanki o yıllar hiç yaşanmamış gibi davranıyoruz. Bizim gibi apolitik bir kuşağın kamusal alanla ve sivil inisiyatifle ilişkisini incelemek için bize yeni bir model lazım. Üstelik imaj, reklam ve iletişim stratejilerinin yönlendirmelerinden de bahsetmek gerekiyor. Biz orada toplanmıyoruz, biz oraya yönlendiriliyoruz. Diğer yandan bu analizleri dikkatli ve iyi niyetle yapmak lazım, toplumsal kutuplaşma yaratma meraklıları boş durmuyor; en son Yılmaz Özdil -Sabah'taki yazısında- şehit fotoğrafının yanına Rock'n Coke'ta eğlenen gençlerinin fotoğrafını koyarak, bu 'janr'da bir zirve yakaladı.
Afişe çıkmak
Kamusal alanın bu dönüşüm çabaları, son yıllarda sanatın da gündeminde oldu. En önemlileri... "Yerleşmek" sergisinden geçen İstanbul Bienali'ne kadar devam eden süreçte, Vasıf Kortun kamusal alanı bir çalışma alanı haline getirmeye, ona siyasi kimliğini tekrar kazandırmaya çalıştı. Ayrıca Nişantaşı ve Karaköy'de gerçekleşen (dekoratif olmakla eleştirilmekle beraber) 1. ve 2. Yaya Sergileri önemli çabalardı. Fakat Nişantaşı'nda sonradan gerçekleşen (cam şişeden yılbaşı ağaçları ya da ay çekirdeğinden banklar gördüğümüz güzelleştirme derneği harekâtları tadındaki) etkinliklerden dolayı, ne yazık ki bu sergilerin mimarı Fulya Erdemci ileride Turgut Özal gibi hatırlanacak. Bahsi geçen "Exociti" ise bir sergi değil, ona korkmadan, iddiasız bir parmak egzersizi olarak bakabiliriz. Sanatçılar ürettikleri işleri gecegündüz çıkıp sokağa asıyorlar. Yani afişe çıkıyorlar! Posterler yırtılıyor, yeniden asılıyor. Herkes bakıyor, güvenlik geliyor. Araştırmanın konusu da zaten sokakta gerçekleşen bu iletişimin sınırları. Ama kimse bir gecede bütün şehri ilanlarla kaplamayı düşlemiyor. O, başka türlü şovenist bir tavır olurdu. Artık bu ülkede bir gecede hiçbir şey değişmesin.
12 Eylül vesilesiyle sokağa tekrar bakmak, sokağa daha cesur çıkmak lazım. Örnek havuz problemimiz şu olsun: Taksim'de bir yılı aşkın süredir bitmeyen yol inşaatı hâlâ devam ediyor ve belediye astığı ilanda Çin'den gelen taşların yerine Türk taşlarını koymakla övünüyor. Hesap soranımız var mı? Oysa biliyoruz ki, en milli duygular en derin ihalelerde saklı. Gelin, artık 12 Eylül'ün ardından bakmayalım, karşısına çıkalım. 12 Eylül'ü 11 Eylül'e bağlayan sürecin peşine düşerek...

nightshift

2006-09-17T04:36:00.000-07:00

POSTER session nr.5 + sticker

2006-09-16T07:50:00.000-07:00

15 SEPTEMBER stickers session nr.23

2006-09-16T07:46:00.000-07:00

clash? what clash!

2006-09-16T02:01:00.000-07:00

you read about the bishop of rome and *president* oft vatican?

the pope gave a new example, how to raise a fire.

so this is also, what we were talking about. because!

this is NO clash of civilications. this aint no *war of cultures*.

it is a war AGAINST cultures, driven by angry OLD men, using angry young men as tools.

in fact the essence of cultures menas:
+) contrast
+) exchange
+) being different
+) sharing interests

humiliating muslims is a simple act of provocation, I see theses angry old men crying for the days of cold war, when the world seemed to be easy:
+) west = good
+) east = bad

as I said in istanbul:
my work as an artist is no tool for propaganda.

but my experience with reason, reflexion and response by prcticing fine arts makes me stand against these old men.

as we all should. not accepting the idea of a *war of cultures*. demanding the contrast and being different ...

:-/
martin

other voices ...

2006-09-15T07:52:00.000-07:00

at work ...

2006-09-15T01:15:00.000-07:00

the austrian way

2006-09-14T23:51:00.000-07:00

we were talking about what art can do for the situations ...

and I said:
I would not make my work as an artist a tool of propaganda. BUT! I will use the comptetences, I gained practicing art, to be present as a political person.

this means especially:
dont leave the public opinion and public discourses to professionals and ... to the RICH!

I give you a nice example out of the days I spent with you in istanbul:

christine lugner, called „mausi“ = mousie, proclaimed:

+) "Kebabstuben sind der Kulturverfall Österreichs."
+) "Ich will nicht, daß meine Tochter Serbokroatisch lernt."

that means:
+) „kebab-shacks are a degenartion of austrian’s culture.“
+) „I don’t want my daughter to learn the serbo-croatian language.“

who is „mousie“ lugner?
the third or fourth wife of building tycoon richard lugner.
they both founded the political party „DU“ = „Die Unabhaengigen“ („The Independent“).

richard lugner made a lot of money with building shopping malls, garages, cinemas and ... MOSQUES!

you can see some of his business there:
http://www.lugner.at/html/05luci_main.htm

mousie lugner is well known for extensive shopping, esthetic surgery and public quarreling with her husband.

her xenophobia could be okay as a privat situation. but she promotes it as a political attitude.

and here comes the best:
she exploits what she hates and defames ... making money by commercializing „the orient“.

the „Mausi Markt“ is built like a wet commercial dream of the orient:

http://www.lugner.at/html/05luci_mausimarkt.htm

any comment?

it's done like we austrians did it at the end of the 19th century.

:-/
martin

masks and identity

2006-09-14T07:33:00.000-07:00

+) Cover Your Eyes:
http://www.van.at/howl/junction/kont03/set/cover.htm

+) I Am The Turk The Party Leaders Warned About:
http://www.van.at/howl/junction/kont03/set/turk.htm

+) Memory / Truth / Vision:
http://www.van.at/howl/junction/kont03/set/memory.htm

:-))
martin

glimpse ...

2006-09-14T07:30:00.000-07:00

Some documentations 11th-12th mixed with some actions 9th-10th

2006-09-14T03:04:00.000-07:00

moments

2006-09-12T23:43:00.000-07:00

Exociti in Kadikoy (9th September)

2006-09-12T15:25:00.000-07:00

Selections from Exociti 11th-12th September (Taksim)

2006-09-12T14:49:00.000-07:00

Photo session at Urban Part 2 (Amirali)

2006-09-12T06:30:00.000-07:00

Thanks to all of you for posing in front of my camrea!
--------------------------------------------------------

different jobs ...

2006-09-11T23:51:00.000-07:00

Evinz Dogan, Övül Durmusoglu and Karri Kuoppala

Christian Hillesoe and Amirali Ghasemi

... related to krusche's logbook 12/9/06: http://twylyfe.kultur.at/log/set16/log789.htm

After 5 Days of Action in Exociti (Taksim)/ Exociti'de 5 Aksiyon Gununden Sonra (Taksim)

2006-09-11T14:50:00.000-07:00

Photo session at Urban Cafe (Amirali) part one

2006-09-11T14:49:00.000-07:00

(a nice photo By Deniz)
-------------------------------
My pictures:

7th September Deniz+Ovul in Besiktas

2006-09-11T14:25:00.000-07:00

some pics..

2006-09-11T13:21:00.000-07:00

hello people,
here goes my many thanks to ovul for bringing such lovely and talented group of people together. I wish the rest of us were here as well. I will post some pics . I mainly put images for my own work under my website www.denizgul.com/works . I will upload some exociti pictures soon as in projects site. www.exociti.org will be a good one with all the documentation. my regards and love for all.

the movement ...

2006-09-11T05:31:00.000-07:00

MASTER (amirali ghasemi / iran)

COMMANDER (martin krusche / austria)

ASSOCIATES (adnan yildiz / turkey and christian hillesoe / denmark)

closeup ...

2006-09-11T02:18:00.000-07:00

at work

2006-09-11T01:59:00.000-07:00

ovul and karri

competitors

the cleaner

some impressions

2006-09-11T01:25:00.000-07:00

my own logbook is in german only. and I tell the story there ... its started here: http://twylyfe.kultur.at/log/set16/log788.htm

but I will upload bigger versions of the images here ... so you can see and also use for http://www.exociti.org/

eray makal

the hands of karri kuoppala (only two of the, of course! the third is mine ;-)))

christian hillesoe and deniz gul

ovul durmusoglu

far from you ...

2006-09-11T01:19:00.000-07:00

dear friends!

as you see:
I came back in a plane named *sofia*.

on one hand: capital of bulgaria. so I have been linked to the balkans in a way.

on the other hand sophia means: wisdom. (this ist, what it would take for *western europe*, looking for its roots AND its future ...)

I still feel the heartbeat of istanbul and the warm emotions of all of you. so you can imagine: I miss you.

went back to my small village with a feeling of wideness in my mind.

thanx to you!

:-))
martin

Karri's Graffitis in Istanbul (Cihangir-Galatasaray-Urban Cafe) 10th September

2006-09-10T16:54:00.000-07:00

After 4 Days of Action in Exociti 2 (Taksim)/ Exociti'de 4 Aksiyon Gununden Sonra 2 (Taksim)

2006-09-10T16:41:00.000-07:00

After 4 Days of Action in Exociti (Taksim)/ Exociti'de 4 Aksiyon Gununden Sonra (Taksim)

2006-09-10T16:08:00.000-07:00

new masks

2006-09-03T06:41:00.000-07:00

you find the new masks at:
http://www.van.at/howl/junction/kont02/kont61.htm

+) make a download.
+) make a session.
+) send me images ...

:-))
martin

inside / outside

2006-08-31T13:04:00.002-07:00

after being on the road and doing some things on our way to linz we put all stuff to a gallery ... this is, what I like: switching positions.

but most of all I like developing some ideas for being at the track or in the city ... in public space.

on the other hand exhibitions like that are a good reason for reflexion.

on this image you can find some elements created for the way to istanbul ...

next steps

2006-08-31T13:04:00.001-07:00

sorry for the delay, folks!

I have been on the road and did my *layer for linz*.

it is pointing at istanbul.

I did different actions. one of it was to carry out the theme *memory / truth / vision*. here is a part of it:

and some sessions with the *mask*, I will bring to istanbul ...

moving / travelling

2006-08-31T13:04:00.000-07:00

I used this *zastava crvena* as a metaphor of movement. a minimum on technics + stuff, but 4 people can travel with it.

martin hofbauer did me the favor to leave an interpration of this zastava by the route we took ...

coming soon in EXOCiTi

2006-08-31T09:36:00.000-07:00

EXOCiTi Opens on 6th September!

2006-08-31T09:34:00.000-07:00

2 other ideas form amirali

2006-08-29T17:05:00.000-07:00

to Martin
Here is an instruction about How to make an Exo bird (an exotic bird ) ,from some color squares/pixels in few steps!
+) Transform them!
+) apply some deformation!
+) align them in the middle of the page!
+) then align them in the center!
+) add some typography if its needed!
CC to Ovul may be these are useful for fanzine too!I'm sending it to you by email!
---------------------------------

an ugly attempt to make a diwani "Exociti logo"
---------------------------------

mattia parlangeli (favorable climate) /adnan yıldız (a very beautiful miracle)

2006-08-27T06:20:00.000-07:00

adnan yıldız / a very beautiful miracle

"anywhere that anybody lives is not only nature anymore. it is human nature anymore. human condition. zone of possibilities."

mattia parlangeli/ Favorable Climante

"An ecosystem of anthropic origin presents various environmental systemthat stretch out not to take advantage connections,in the time the original forms reduce themselves considerablefor give space to the alien species colonizers,which, put in by the man, they can later time able to become wild.In a journey between two anthropic ecosystems,putting the closer east to the west, in a territorial phase of fragility,"Favorable climate" and its project of distribution urge to think if exoticism and prejudiceswill continue to be such also opposite to a possible expansive changing.Istanbul will lose the prejudices or the exotic fantasies of town in front of its exapansive aims?"

2006-08-26T03:11:00.000-07:00

h.c.strache, leader of the fpoe (it´s the austrian right-wing party) made a song (sung by himself) downloadable from the website www.fpoe.at; it´s full of prejudices and not-well-hidden racism. so i decided to made an animation video out of it... well, voilá, here it is.
the strache-song is named "oesterreich zuerst" ("austria first").

strache uses slogans as "no tax-money for turkish tents", "social state - not immigration" or "pummerin - not muezzin" and so on for his election campaign. ("pummerin" is the legendary bell in the clocktower of the cathedral of st. stefan, vienna)...

Diwani outline

2006-08-16T12:34:00.000-07:00

During my trip to Istanbul I realised that one of the artworks/handcrafts/souvenirs which tourists take/buy/consume in Istanbul is Diwani calligraphy which is a branch of Arabic/Persian calligraphy, & unfortunately lost of people can't read it any more because the official alphabet change in the turkey history & perhaps the change of education system ( may be after the fall of Ottoman empire! am I right?)
here is my attempt to copy the name of exociti in Persian with a bit of Diwani calligraphic seasonings vs Graffiti spray paint!
I know It might look terrible now but I'll keep practicing!
href="http://photos1.blogger.com/blogger/3237/134/1600/diwani-out-line.jpg">

A found image over the web:

calligarphic outline

2006-08-16T12:12:00.000-07:00

poster... :-)

2006-08-15T03:31:00.000-07:00

for you, martin:

billboard

2006-08-14T23:06:00.000-07:00

[I could not resist ... but I tried. ;-)) martin]

cover your eyes

2006-08-14T02:56:00.002-07:00

this is a sketch of the MASK, which joerg will develop in a fine style. my version ist just to demonstrate how it works.

it will be online for download and printouts on din a4-paper. the coloured area is to be cut out to show a part of the FACE. (but NO holes for the eyes!)

in version two it can be used as STENCIL. (well, you know, what to cut out for that ...)

:-))
martin

alternative cover

2006-08-14T02:56:00.000-07:00

I like this special pattern very much, that sign of warning: yellow + black stripes.

most I use cardboard with that pattern as you get it in shops. but it can also be produced with a bubble-printer. black colur on yellow 160 g/m2-paper works very well.

It can be used as shown or be combined with the masek ...

:-))
martin

useful tool

2006-08-13T22:40:00.000-07:00

i´ve found a ery useful tool to print posters; it´s freeware and downloadable from my site posteriza.exe

with this application you´ll be able to print a huge poster via your default printer (or copy machine) by separating it into DinA4-pages (the posteriza program will allow you to correctly put them together by definig exact connections).

have fun.

joerg

best practice?

2006-08-13T11:51:00.000-07:00

on the other hand:
does practizing art make us able to read codes beyond the codes of our own everyday life?

are people like us in a better condition?

or is there a kind of *master-code*, we learn by making estecial experience????

:-/
martin

visible, obvious, underground ...

2006-08-13T11:42:00.000-07:00

amirali wrote:

>>during my previous visit, Istanbul was the city of the contrast too,as I was watching all of the WEST icons & representations while seeing all this old buildings & reliefs from the Ottoman era which most of them are poems written in Farsi ( Persian ); but I believe its much more understandable for than you because I live in another high contrast city which has many of this features, but its totally underground!!<<

I ask:
is this something special in these regions?

isn't it a basic situation in every city? but! what about the differences?

I remember visiting st. petersburg (russia). huh! I did not see, what I saw.

what I mean:
unknown codes. chiffres, I could not read, by looking in the eyes of their people. and by scanning the walls of this huge city ...

:-))
martin

[*wild boy*, poet in st. petersburg]

transit zones

2006-08-13T11:33:00.000-07:00

so as a next aspect:
relation between private and public space ... and: power of definition.

who has permission to design the SURFACE of public space?

who decides about the messages there?

well, one version to deal with that is the definition of TRANSIT ZONES ... temporary properties ... also dedicated to the physical presence of certain persons ...

this example was realized on a path to KALEMEGDAN, the fortress over BEOGRAD, osmans and habsburgers fought some battles for ...

:-))
martin

p.s.:
some more of these scenes:
http://www.van.at/howl/junction/trans/index.htm

scenes now and then ...

2006-08-13T11:25:00.000-07:00

there is another aspect, I find intersting. the developing (and history) of media-types and -genres. the ways of use.

about hundred years ago there were no compact-cameras. most foto-shootings happened in studios.

it was business as usual, to create scenes like those, amirali provided now. the reasons are different of course. but the action is similar.

its fascinating for me to get in touch with such procedures, referring on earlier media-situations.

see the foto from my family in 9 / 9 / 1886. right. more then hundred years old. check the background!

:-))
martin

scenes

2006-08-13T11:17:00.000-07:00

amirali sent those two images, based on a very fine idea:

>>The other idea is to prepare 3 different backgrounds for a shooting session in the city,one of them is a view of Istanbul The others are taken from east and west !! so every participant can choose a background for him/her self! (for example choosing your desired background between istanbul , new york & Taj mahal or a religious place in Iran<<

I like this apporach as
+) dealing with concepts of private and public space
+) as a matter of physical presence with physical items ...

you might know computer-aided effects like blue box and so on. so I like the idea of creating images by using that ANALOGUE stuff ...

:-))
martin

shiveli

2006-08-12T09:09:00.001-07:00

this is what serbian people say to cheer and drink: shiveli.

as moslem might stay away from booze:
are there any similar rituals?

this image shows a scene in novi beograd ... as the third of three steps. you find them here:
http://www.van.at/howl/cyb/next/set01/note01.htm

this is about the way down south along a rout: vienna - beograd - istanbul.

would it be possible to imitate this scene on other places?

:-))
martin

krusche in disguise ...

2006-08-12T09:09:00.000-07:00

well, I got to manage the team-status. or will ovul have to?

anyway!

I opened my blog:
http://nextcode.blogspot.com/

you find THREE subjects there:
+) for debate
+) as coming images (stencils)

for the istanbul-sessions ...

:-))
martin

stencil: how to misinterprete turkey (vogeltanz)

2006-08-11T13:23:00.000-07:00

may the world be turk (hale tenger)

2006-08-10T07:16:00.000-07:00

who asks who who the hell who is

2006-08-09T00:54:00.000-07:00

“Pardon, Siz Kimsiniz?” is a statement project to be publicly distributed in the form of a poster/ banner/ sticker/ advert in the midst of the city, aiming to attract and catch the public/ the citizen and keep direct verbal contact. Another channel to reach for interest and awareness among public with the catch phrase is to broadcast it on TV, and use sources of media and press.

The statement in Turkish – meaning “Pardon, Who Are You?”- , addresses the passer-by or the audience with questioning of identity. Not defining the subject, the question neutrally positions the reader to a distance; whether not giving the answer nor positioning anyone on reason. The motive of the project is to raise such question without proposing an ideal state of being, a state of belonging; neither concerns to create an ego nor impose an identity. The question most should be visible for public/personal opinion and positioning.

Channeling the project through mediums of media/press, the project favors to create platforms for feedback to use in post production and documenting. While in the cityscape, it seeks a random response from the casual observer.

* The statement will remain Turkish during the realization of the project outside Turkey.

denizgul.

Paper doll No.1 by (amirali)

2006-08-05T22:57:00.000-07:00

this is not the one (2) / (vogeltanz)

2006-08-04T08:27:00.000-07:00

this is not the one (1) / (vogeltanz)

2006-08-04T08:25:00.000-07:00

this is not a civilized man (vogeltanz)

2006-08-04T04:58:00.000-07:00

this is not an uncivilized man (vogeltanz)

2006-08-04T04:52:00.000-07:00