7th Çanakkale Biennial

ANNOUNCEMENT

Under current pandemic conditions:
There will be no inauguration ceremony.
There will be a pre-screening between 19-21 September only for scheduled private visitor groups.
Exhibitions can be visited on the days and times specified in the program between 22 September - 17 October,
and can be viewed online starting from the 19th of October

Please do Respect the Protection Measures from Covid-19

CONCEPTUAL FRAMEWORK

CONSTELLATION

Since ancient times, constellations separated by imaginary borders, have helped define the positions of the stars in the sky. Mythologies have formed around characters resembled by these constellations. Constellations have been used by mankind in their efforts to interpret life and the universe as they observed space from the earth and connected dots from near and far. In other respects, a constellation is a notion referenced by the sociology of culture and is defined as “a point where thinking suddenly halts with overflowing tensions.” (A.K. Thompson via W. Benjamin). This is not an arbitrary point and image is “what-has-been, comes together in a flash with the now, to form a constellation.” (Susan Buck-Morss) Constellation is a phenomenon that occurs on the moment when different elements, facts, locations interrelate and intersects, and it is detectable and perceivable only when we start thinking about the potentials those moments possess: it refers to the pattern and not the fact. With this aspect, it reminds the clustering of artworks with one another as well as within the realm of art history.

In colloquial language Constellation is a concept that refers to a group of peoples or things that are interrelated or similar. In that sense, it refers to the setup that CABININ has developed for the 7th edition of the Çanakkale Biennial. It also represents the constitutive strategy of CABININ that consists of contemporary art-oriented relations, collaborations, as well as interdisciplinary interactions with disciplines such as architecture, archaeology, history, and ecology.

What Does it Look Like? / CABININ
“What Does It Look like?” exhibition, built by CABININ in the context of “Constellation”, focuses on works that address the forms and methods of communication in a time where the act of conveying information through face to face dialogue is getting “weaker” by the day. Bringing together the works of artists from different generations and disciplines on image, moving image, symbol, body and writing, the exhibition focuses on the intersection of communication and art. “What Does It Look Like?” aims at providing a context that focuses on our common heritage of symbols used as a tool of culture as it constructs reality. It triggers thinking and production of the potential of art’s symbolic language to predicate using its vast power to associate and appeals to us from outside and beyond the daily experience, evoke the possibility of change, transformation, metamorphosis of the reality, hint at conflict and plurality and eventually talk to us about the possibility of communicating with symbols by inventing new meanings through them.

“Culture: Damaged or Destroyed” / Azra Tüzünoğlu
Azra Tüzünoğlu’s four-part exhibition titled “Culture: Damaged or Destroyed” hosts works by women artists only. The first part focuses on the transience of human life and the permanence of cultural assets -when in fact it is quite the opposite- and draws attention to “The Endangered Culture”. Threats rendered invisible become apparent: Looting of artefacts deemed normal by colonialism, women labour going unnoticed under the patriarchy and the peripheral art, as obscured by art historians. The second part of the exhibition is titled “The World As We Know It” and it points to the end of the world as we know it. The “observant” role we have assumed where we merely watch the time and the remnants of it without being able to interfere comes alive in the artists’ dark and witty works. The third part named “The Language of Advertising” concentrates on the artists that stole/transformed the language of advertisements: “The closer the look one takes at a word, the greater distance from which it looks back.” (as per Karl Kraus).

The fourth and final part of the exhibition consists of a series of movements that takes place in Çanakkale's public space. Soundsslike project, which is a continuation of the Soundscape of Istanbul project, which aims to look at the daily life of the city through "sound" and to archive the urban sounds that can be seen as intangible cultural heritage with the contribution of the participants, is taking place in Çanakkale. The second leg of this section, which aims to produce a series of alternative "tours" in Çanakkale, is the "Urban Ecology" tour conducted by architect and researcher İsmail Erten, focusing on the flora of the city and especially on centuries-old trees, is designed as a web-based audio tour on the ecological texture of the city.

“Unwillingly But With Pleasure” / Agah Uğur Collection
The exhibition titled “Unwillingly But With Pleasure” is being produced upon the invitation by CABININ and is curated by Azra Tüzünoğlu. It consists of selected works from Agah Uğur’s journey as a collector which he defines as “that what matters more than the destination"*. The works from Agah Uğur’s collection are put together under the theme of “game” and they come into play in their own rhythm and harmony amidst all the chaos and imperfections of the world and thus offer a temporary and limited perfection. If we were to scrutinise our actions, we could conclude that all human actions could in fact be a child’s play (Homo Ludens, Huizinga). In this respect, the “game” is the desire to carry the weight of one’s own life, even though living is absurd, and the world is unfair. And above all, game is a voluntary action. The selected works from Uğur’s collection consists of works from Turkish contemporary art and post-2000 international video art.

*“[Collecting] is the pursue of the destiny of objects without necessarily putting forward their functional use or utility. The most meaningful spell that a collector casts over it is to restrain that singular object in a gravitational field. The object freezes in this field, as the final excitement, the excitement of acquiring it passes over it.”

The 7th Çanakkale Biennial will prioritize to create the conditions to present these works to art-lovers at different times and in different venues and contexts within the course of six months, and depending on the developments related to the global covid-19 pandemic, if deemed necessary, the biennial content will also be shared through digital and online media.

ARTISTS
Agnès Varda
Agnieszka Polska
Ahmet Sipahioğlu
Alexandra Pirici
Ali Can Metin
Anahita Razmi
Aslı Altay
Cao Fei
Cevdet Erek
Constantin Xenakis
Cristina Lucas
Ekin Bernay
Ekin Saçlıoğlu
Erinç Seymen
Füsun Onur
Gülsün Karamustafa
Hale Tenger
Halil Altındere
İnci Eviner
Koki Tanaka
Korhan Başaran
Marcos Ávila Forero
Marko Mäetamm
Nabuaki Onishi
Nora Turato
Pınar Yoldaş
Rüstem Aslan
Sanja Iveković
Serkan Demir
Taus Makhacheva
BIENNIAL TEAM
  • Curator: CABININ, Azra Tüzünoğlu
  • Director: Seyhan Boztepe
  • Executive Curator: Deniz Erbaş
  • Production Director: Kubilay Özmen
  • Exhibition Management: Erdal Sezer
  • Coordinator: Burak Topçakıl
  • Design: Nesrin Mete, Turgut Erentürk
  • Editors: Deniz Erbaş, Azra Tüzünoğlu
  • Translation: Alev Uysal
  • PR: Ebru Kalu
  • Web: Onur Özer
  • Social Media: Duygu Burunsuz
  • Photo / Documentation: Saygın Mavinil, Melis Göbekçioğlu, Cem Katı
  • Coordination Team: Fatih İlhan, Helin Sude Boztepe, İsmail Erten, Mehmet Erim, Mert Can Fırat, Murat Çetin, Ogün Yücel, Ovez Bagşıyev, Tolga Özbek, Uğur Mete, Ülkü Sönmez, Yeliz Saydan, Yıldız Çapkan
PROGRAM

“What Does it Look Like?”, CABININ

venue: MAHAL Between September 22nd and October 17th, Tuesdays, Thursdays and Saturdays

“Culture: Damaged or Destroyed”, Azra Tüzünoğlu

The Endangered Culture venue: Korfmann Library Between September 22nd and October 17th, Tuesdays, Thursdays and Fridays

“Culture: Damaged or Destroyed”, Azra Tüzünoğlu

The World As We Know It The Language of Advertising venue: Red Villa Between September 22nd and October 17th, Tuesdays, Thursdays and Saturdays

“Unwillingly but with Pleasure”, Agah Uğur Collection

venue: Museum of Troy Between September 22nd and October 17th, (on the days and hours defined by the Museum Directorate)

The Sounds of Çanakkale

In the framework of Soundsslike Project Soundsslike archive, created within the scope of Pınar Çevikayak Yelmi's doctoral research on Sounds of Istanbul, aims at establishing the relationship of daily habits with the urban fabric through an auditory perspective, and to increase awareness on cultural sounds and public consciousness.

[Detailed information]

Urban Ecology Walk

Web-based sound tour on the urban ecological fabric of Çanakkale, and the socio-cultural context of its flora

VENUES
SUPPORTERS

Thanks

Agah Uğur, Ahmet Çelik, Akın Yalman, Ali Akol, Anzhelika Baryshnikova, Armağan Aydeğer, Ayşegül Özbek, Burak Güç, Bürosarıgedik, Carbon 12, Ceyhun Demir Enstrüman Yapım Atölyesi, Ciné Tamaris, Dada Neşeli Fikirler Atölyesi, Eray Ergeç, Fatma Gezer, Fecri Polat, Galeri Akıncı, Galeri Nev, Ghislain Vidal-Giraud, Halil Altındere, Hou Hanru, Hüseyin Harput, İSEM Mimarlık ve İsmail Erten, Kathrin Becker, Kibriye Boztepe , LambdaLambdaLambda, Maria Lind, Mehmet Erim, MOMus – Museum of Contemporary Art, Murat Çetin , Mustafa Kansu, Mustafa Mete, Nicoleta Andrei, Niyazi Önen, Nursac Sargon, Özgür Demirci, Petra Diehl, Rıdvan Gölcük, Sabire Susuz, Selami Harput, Syrago Tsiara, T. Fatih Şahin, Tolga Özbek, Yıldız Çapkan

Bm