Collective, Collaborative and Creative Consciousness Conference with Contemporary Art Professionals from Neighbor Countries / Kolektif, Ortaklaşma ve Yaratıcı Bilinç Komşu Ülkelerden Çağdaş Sanat Uzmanlarının Katılımıyla Konferans


PRESS RELEASE

Collective, Collaborative and Creative Consciousness*

Conference with Contemporary Art Professionals from Neighbor Countries

16 January 2019, SOFA HOTEL, Istanbul, Turkey

AICA Turkey is organizing a one day conference, entitled  “Collective, Collaborative and Creative Consciousness* with Contemporary Art Professionals From Neighbor Countries” that will take place at Sofa Hotel on16 January 2019 in Istanbul.

The distinguished participants are: Shulamit Bruckstein (Germany), Irina Chmyreva (Russia), Răzvan Ion (Romania), Beral Madra (Turkey), Fırat Arapoğlu (Turkey), Rachel Sukman (Israel), Syrago Tsiara (Greece).

The aim and function of this conference in Istanbul, organized by AICA Turkey is examining the state of networking, collaboration and exchange between the artists, art experts and art and culture institutions of neighbor countries and proposing new methods and actions to improve relationships and ensure the sustainability.

We are aware that current local wars and economic shortfalls in the region remain obstacles to the continuation of cultural and artistic exchange. Under the circumstances artists and experts in the region are dependent on the art market in Western EU countries rather than in their own countries. This attraction to the market and leading art and culture organizations is being influenced by private sector culture policies, by art market speculators, by collectors and art experts who collaborate with them.

Considering the geo-political and economic turmoil in the region and the neo-liberalist positioning of the official cultural policy of the governments, we should re-question the function, success and influence of contemporary art productions and activities and art- and culture-criticism in our countries as well as the germinal possibilities of working in partnerships, collective and collaborative methods for the benefit of artists and art experts.

Through this timely conference, despite political and economic difficulties, we want to enter an effective and productive turn of events in the art scene. Discussing the issues that effect our art scenes with the distinguished and experienced members of our associations will transfer a new knowledge and hope to young generations and to the public.

AICA Turkey would like to thank to its distinguished sponsors Mr. Hakan Çarmıklı, Sofa Hotel and Pera Museum.

* The term 'collective consciousness' was introduced by the French sociologist, Emile Durkheim, in 1893, in his book The Division of Labor in Society. He stated that, the totality of beliefs and sentiments common to the average members of a society forms a determinate system with a life of its own. It can be termed the collective or creative consciousness.

** Conference title and content is developed by our Honorary President Mrs. Beral Madra.

Etkinlik ücretsizdir. Etkinlik dili ingilizcedir.

 

BASIN BÜLTENİ

Kolektif, Ortaklaşma ve Yaratıcı Bilinç*

Komşu Ülkelerden Çağdaş Sanat Uzmanlarının Katılımıyla Konferans**

16 Ocak 2019, Sofa Hotel, İstanbul

AICA Türkiye 16 Ocak 2019 tarihinde Sofa Hotel’de komşu ülkelerden çağdaş sanat uzmanlarının katılımıyla “Kolektif, Ortaklaşma ve Yaratıcı Bilinç” başlıklı bir konferansa ev sahipliği yapıyor.

Panel katılımcıları: Shulamit Bruckstein (Almanya),Irina Chmyreva (Rusya), Răzvan Ion (Romanya), Beral Madra (Türkiye), Fırat Arapoğlu (Türkiye), Rachel Sukman (Israil), Syrago Tsiara (Yunanistan).

AICA Türkiye tarafından düzenlenen konferans, komşu ülkelerdeki sanatçılar, sanat uzmanları ve kültür-sanat kurumları arasındaki iletişim, işbirliği ve karşılıklı çalışma programlarını irdelemek, karşılıklı ilişkileri geliştirmek ve sürdürülebilirliği sağlamak için yeni metot ve eylemler önermeyi amaçlıyor. 

Bölgemizdeki güncel bölgesel savaşların ve ekonomik çöküntülerin, kültürel ve sanatsal ilişkilere engel olduğunun farkındayız. Bu şartlar altında, bölgedeki sanatçılar ve uzmanlar kendi ülkelerindeki sanat pazarından ziyade, Avrupa Birliği ülkelerindekilere bağımlı hale gelmektedir. Piyasaya olan bu bağımlılıksa, kültür ve sanat organizasyonlarının özel sektör politikaları, sanat piyasası spekülatörleri, koleksiyoncular ve sanat uzmanlarının etkisinde olmalarıyla sonuçlanıyor.

Bölgemizdeki jeopolitik ve ekonomik çalkantılar ve ülkelerin resmi kültür politikalarındaki neo-liberal konumlanmaları göz önüne alınırsa, ülkelerimizdeki çağdaş sanat üretimleri ve aktiviteleriyle kültür eleştirisinin ve ayrıca, sanatçılar ve sanat uzmanlarının eşgüdümlü, kolektif ve ortaklaşmaya dayalı çalışma metotlarıyla yarar sağlayacakları olasılıkların işlev, başarı ve etkisini tekrar sorgulamamız gerekiyor.  

Politik ve ekonomik zorluklara rağmen, bu konferans yoluyla, sanat dünyasında etkili ve verimli bir dönüşüme ön ayak olmayı arzuluyoruz. Ayrıcalıklı ve deneyimli meslek birliğimiz üyeleri ve katılımcılarının varlığıyla sanat dünyamızı etkileyen konuları tartışmanın genç nesillere ve kamuoyuna yeni bilgiler ve umutlar aktaracağını umuyoruz.

**

AICA Türkiye Sayın Hakan Çarmıklı, Sofa Hotel ve Pera Müzesi’ne değerli desteklerinden dolayı teşekkür eder.

* 'Kolektif bilinç” terimi ilk kez Fransız sosyolog Emile Durkheim tarafından 1893’te “Toplumsal İşbölümü” kitabında kullanılmıştır. Durkheim, aynı toplumun ortalama yurttaşlarının ortak inançlar ve duygular bütününün, kendine ait bir hayata sahip özel bir sistem oluşturduğunu belirtir. Bu kolektif veya ortak bilinç olarak adlandırılabilir.

** Konferans başlığı ve içeriği onursal başkanımız Sayın Beral Madra tarafından geliştirilmiştir.

Panelistler :

Shulamit Bruckstein

"Cosmopolis Unbent: Artists' Networks, Collective Social Bodies & Their "Diasporic" Creativity"

"Even though it is not openly expressed, it is evident that artists of this region, of Turkey and its neighboring countries, far into the Caucasus, the Middle East, the Mediterranean, Eastern Europe and even Middle Asia, have a common past, a common history shared at times of the Ottoman Empire. The Ottoman Empire was, in a sense, a postmodern culture before it became a modern one. Postmodernism, in this respect, is not the end point of modernism, but is its birth, its permanent birth. (Lyotard)"   

These were introductory words written for the exhibition "Neighbours in Dialogue" conceived by Beral Madra, shown in Istanbul in collaboration with the Ars Aevi Contemporary Art Museum, Sarajevo, in the year 2007.  My presentation investigates the dynamics of contemporary artists' collaboration and its cohesive methods of dissemination. I am interested not only in contemporary, but even medieval or ancient ways in which collective creative bodies disseminate knowledge, and especially in ways how artistic intelligence and resourcefulness operate under conditions of persecution and distress.  The examples I will refer to during my lecture performance include two contemporary artists' networks dedicated to the survival of cosmopolitanism beyond national borders:  House of Taswir in Berlin, and BM Contemporary Art Center in Istanbul.        

Shulamit Bruckstein is a thinker, curator, theory-artist and art critic. She is the author of House of Taswir - Doing and Undoing Things. Notes on Epistemic Architecture(s) (2014), and the founder of Taswir projects, a collaborative platform for artistic research and diasporic thinking (Berlin). She held various professorships in philosophy and cultural theory in Berlin, Jerusalem, and Basel, and authored more than 70 publications in visual theory, post-structuralism, and Jewish thought. In 2010, she curated the Taswir exhibition at Martin-Gropius Bau in Berlin.  Currently Shulamit holds an artists' fellowship at Tarabya, Istanbul, extended by the German Foreign Office. 

Irina Chmyreva

"PPT :personal professional trust for colleagues: in international collaboration"

It is my pleasure to be here. The congress dedicated to topic Collaborative and Collective Impact is very important, every congress of colleagues is a good platform for share the ideas and to build general point of view on the main problems of our days. In time of diversity of political positions of the countries, during the economic troubles The Collective Impact is very important topic, - may be this time the theme is even more significant then to see colleagues. To discuss collective actions for the union impact gives us the chance to continue our collaborative professional activity, to integrate our personal ideas into the international art space.

This Congress is very important for me personally: I am living in Moscow, but one of the main project, where I’m involving during ten years, is an international festival of photography PhotoVisa in Krasnodar, which is just across Black sea from us now (Krasnodar is a capital of the region with the seaside of Russian territories). And I believe, to have the international cultural events around Black Sea means to make collective impact for the integration, dialogue and collective secure for protection of culture in our big region.

I have a double identity: I am working in art world and working in the world of contemporary art photography (which are similar but not the same).

When we exchange letters about my invitation to the congress, the idea to talk about personal experience of international collaboration was proposed by the organizers. I believe it is useful to rejoice the positive experience and also to analyze it being able to protect for the future the succeeded points of our activity.

My positive experience covers activity in both fields, I have quite successful projects with foreign colleagues in museums of contemporary arts, museums of fine arts, in private foundations and archives of arts, also with the art mass media. And I have long time relations with my colleagues from photographic foundations, archives, festivals, educational centers and publishing houses. And I can say, that my way how to build relations with contemporary art colleagues based on my photographic world experience.

What is the most exciting in relations with curators, art critiques, publishers in photo world? – We know each other. And it is not only the knowledge as an observation of the results of activity of a colleague (like to observe the exhibition/catalogue/publication/museum installation after publications of the news), in photographic world we have the knowledge of collective work. I do not mean the collective creation of one project (like a collective co-curatorial activity for one exhibition). I mean the work of many of us simultaneously and at the same place for our own interests and own directions.

In photography there is an event named Portfolio Review, the hugest festivals of photography organize portfolio reviews for photographers. Portfolio reviews are one or several days work of several reviewers (our colleagues) in the same place during the same time sessions. We (the reviewers) are looking separately portfolios of many photographers, artists (during last years there are presented more and more portfolios by contemporary artists using photography as a tool). Reviewers have common meals, we are spending evenings together – visiting exhibitions, dance clubs, parties, organized by host organization for the participants. Usually portfolio reviews described as a great opportunity for photographers to promote themselves, to find right contact for future exhibitions, collections, publications etc. But for society of reviewers portfolio reviews are the great opportunity to know each other, to know interests, professional experience, behavior, social interests, even world outlook of colleagues. You see the colleagues in the mirror of artists, you know the colleagues during hours of entertainment and chating at meals, you can observe the groups organized by reviewers (according the interests and fellow feelings) around us and to which we are belong immediately. According human nature men are organizing collectives and belonging to collectives immediately, since the first meeting with new people, - it is part of our social nature and it based on human intuition.

And later these collectives, these groups (of former revieewrs) start to work. It is not only for promoting of the results of portfolio reviews (it is small part of collective activity, because all of us are coming for portfolio review for our personal needs), but for future projects, which might be even not be connected with the artists whom we saw in particular review.

This new collective work based on knowledge between professionals about each other. Such kind of knowledge is hard to get from meeting even like conference where each of us presents the results of work and where everybody tries to show the best sides, the success only. I feel the best is to know the colleagues in working process (portfolio review actually likes that). If you see the person once at the meeting, it is not the same as you meet the colleague in different portfolio reviews around the world and in years two of you have time to talk, to share the home news and to review each other… and then it is going – you became to be able to work together…

Another story, might be closer to our art critiques and human studies background.

For long time I heard from my Russian colleagues, older than mine, about  professional seminars for art historians which was a tradition in 1970-1980s in the Soviet Union. It was a kind of program of residency of group of art historians at the same place at the same period. Art historians (and art critiques) lived in the same estate, each of writer or researcher did his/her own texts but they spend free time and meals all together… it was prolonged exchange of ideas in a very free and joyful atmosphere. And that had also good results for future collaborative projects. Why? - I think one of the most positive factor was the atmosphere without competition – everybody worked for his/her own interests and share results without intention to be better than others.

The emotional comfort of collective projects is very important. Especially it is important for international projects. All of us are very different, the cultural differences, even the expression of ideas, expression of our behavior, intentions are very sensitive… all of you will agree with me, it hard to explain how different we are but it is easy to feel. That is why the trust between colleagues and the understanding of one goal for each side in collective project is so important.

I had experience in my life when I worked with people whom I never met before personally, I started to work with these new people and worked from first steps of project until opening of the exhibition, where we met for the first time… and it was successful. But I felt that experience as a surprisingly good gift, not as a common situation.

I was involved into large international projects when my foreign colleagues and me had the same interests and we worked for the result. And we were able to talk each other during project period very openly even to share our doubts and changing of circumstances of our work and life. And in my experience in such projects we usually had a mediator, person, to whom both sides trusted mostly and the mediator was a kind of judge or keeper of spirit of friendship or ambassador in different situations. Especially for long time projects we need a hand of friend, a stone on which we can lean… and these three main positions:

  • Trust personal and professional;
  • Equal goal for both sides involving into project;
  • Figure of mediator in connections of sides involved into project

help to solve many problems, bureaucratic, financial, social, political – without problems there are no projects.

At the same time, when I am finishing big project, successfully, being tired after the happy end (which is often in a step of fault in last moment) I ask myself: being for over twenty years in international cultural projects, should I have a kind of right protocol (like the protocols in medicine, in air transport, in some kinds of science), which I will follow and will skip many problems from the very beginning? 

When I am checking the process of making project, I see the mistakes in past, which were turning points when the right choice could help avoid further deterioration… and of course in future projects I tries to keep in mind the other choice in similar situations… But what I know absolutely from my experience, each cultural project, successful project, is absolutely unique. And only focus on its resulting realization gave an ability to finish it in a proper way. And of course all collective brain storms and meetings for sharing of experience and meetings to exchange the step results during working process – all these things are very important. But they might be absolutely bureaucratic forceless if you not believe into the result and you and your colleagues will not go through the forest of doubts all together with passion.

That is why the personal trust during this way is so important.   

Irina Chmyreva, PhD., leading researcher, Research Institute of Theory and History of Fine Arts, Russian Academy of Arts (since 2007 -); head guest tutor of photographic programs, High School of Human Studies and Information Technologies (Moscow, private, since 2015 - ); artistic director and co-founder of International festival of photography PhotoVisa in Krasnodar region, Russia (est.2008); curator of photo and contemporary arts exhibitions, writer. Her main book Reviews on the History of Russian Photography (2016), her latest texts were published in The Routledge Companion for Photography and Visual Culture (2018) and The Soviet Century (2018).

Răzvan Ion 

“Edit Your Future"

Bieannials should be seen as an exhaustively independent civil society initiative, consciously distanced to calculating powers of global art scene. Many biennials are realized this days through the ongoing conflicts and crisis and the conceptual, visual and functional knowledge they present will provide us many viewpoints in our quest for an evocative and effectual biennale in any part of the world.

When deciding to make a biennale in the age of Post-truth – which is now the popular term for the description of the global crisis – there is no doubt that the artists, and we the curators believe that contemporary art production and its exhibition is the most crucial means of dealing with sociopolitical-cultural problems and concerns and the most challenging way of communicating with the society of spectacle.

Răzvan Ion is a theoretician, curator and cultural manager. He was an associate professor at University of California, Berkeley; Lisbon University; Central University of New York; University of London; Sofia University; University of Kiev; etc. He has held conferences and lectures at different art institutions like Witte de With, Rotterdam; Kunsthalle Vienna; Art in General, New York; Calouste Gulbenkian, Lisbon; Casa Encedida, Madrid etc. He is the co-founder of Bucharest Biennale, Pavilion Journal and Reforma Photo Days (toghether with Eugen Rădescu). He was a professor at the University of Bucharest where he teached Curatorial Studies and Critical Thinking. Recently he was the curator of Bucharest Biennale 8, together with Beral Madra. He is the coordinator of creart Gallery since 2017.

Rachel Sukman

"Collective, Collaborative and Creative Consciousness Conference Program with Contemporary Art Professionals from Neighbor Countries"

President, AICA Israel. Artistic Director, The Center for Visual Arts in Tel Aviv. Editor in Chief, TERMINAL. Chief Curator, Office in Tel Aviv Gallery.

In the past year I have attended meetings held by officials from the Israeli Ministry of Culture and directors of art-related NPOs (nonprofit organizations). These meetings usually begin with the former urging us to share our major difficulties. The Israeli NPO directors, as you can imagine, are far from shy. They go right ahead and ask directly, with some 'attitude': When will the time come for officials to actually pay a visit to galleries, art institutions and publishers, just to get a glimpse at the conditions in which we work? Perhaps then, they would have a better perspective and understanding of our real budgetary needs.

For some reason, the officials never listen to our hardships. They do refer to the budgetary problems, but only as an opportunity to discuss avenues to create additional sources of income to cover our expenses. They always give us the uncomfortable feeling that it is our problem alone, and that we are the ones to blame for the situation in which they put us to begin with.

NPO directors in Israel must be "creative" in reporting balanced expense and revenue figures, or else they will not receive the desired state funds.

On top of all that, the Ministry of Culture changes the criteria for its budget allocation every couple of years, for the worse. In addition to high rent, municipal taxes, and other demanding expenses, a gallery's budget goes primarily to the production of exhibitions. This year, the Ministry of Culture issued a new regulation (without adding anything to the budget): galleries must pay exhibiting artists a participation fee. It goes without saying, that I wholly support this, and I dream of the day I will be able to pay artists for exhibiting their work, but galleries are already under strain of budget deficit as it is! Now, in 2019, if galleries don't pay artists, the Ministry is going to fine them by reducing their already modest budget.

As an additional source of income, I think we should look into combining tourism with art and explore possibilities of cooperation between neighboring countries in this respect, such as inviting editors and curators from neighboring countries to engage in collaborative art initiatives. We must turn to the Ministry of Tourism and initiate a conference, which will be organized by both ministries—Tourism and Culture—to be held at a historical site or in a city which the Ministry of Tourism wishes to market as an attractive spot for tourists from neighboring countries. This can be a meeting of artists from several countries or a conference centered on curatorial issues or one focused on a specific museum or art center to be covered in the art magazines of the countries from which conference participants hail. It is a win-win situation in which both ministries receive positive exposure, and the NPOs receive additional funds.

TERMINAL art magazine

As part of the NPO I head, in the past 24 years I have edited and published a bilingual (Hebrew-English) art review, covering exhibitions and art projects in Israel and worldwide.

Syrago Tsiara

"Resilient Curatorship. Working together in order to re-design Thessaloniki Biennale of Contemporary Art"

Syrago Tsiara, Art Historian – Director of Thessaloniki Biennale – MOMus.

The State Museum of Contemporary Art –now MOMus- initiated the Thessaloniki Biennale in 2007. Inspired by the thought of Michel Foucault, its first edition was entitled ‘Heterotopias’ and took the initiative to:

-Incorporate invisible areas of art production and distribution

-Enhance the visibility of contemporary art in urban life

-Support Greek artists specifically in an international globalized context and make their presence meaningful internationally

-Support groups of artists who work interdisciplinary in the public space

- Address grey zones of memory and create a holistic vision of art for the city of Thessaloniki, trying to address different historical and anthropological layers and negotiate contemporary art with historical heritage, ancient, byzantine and modern history of the city.

Ten years separate ‘Heterotopias’ from 2017 ‘Imagined Homes’. The particular thematic focus has been decided by a group of 10 curators, art historians and educators who worked collectively in order to design the whole program, strategy and artistic choices. Home, as an imagined construct, constituted the thematic core of the 6th Thessaloniki Biennale. The terms ‘hearth’ (hestía)’ and ‘home’, here refer to notions not only of residence, but also of community and homeland, a place where one feels safe and accepted, has one's roots, and develops the core of one's social and family relationships. Since for much of the world the above notions are uncertain, with thousands of people obliged to leave their homelands for other, hopefully safer, places, these notions therefore exist only within the imaginary, as constructs, projections and expectations.

Main topics: the contemporary diaspora; identities; the emerging feelings of familiarity; new practices of assimilation, acceptance, and co-existence that correspond to alternative understandings of gender, religion, family, and community in the widest sense possible.

The first choice was to start from scratch and not take anything for granted in the way we make a biennale. Innovations include:

-Re-design the curatorial team. Museum educators participated from the beginning equally with art historians – curators, each one offering their own experience. Learning together through art experience became part of the concept and creative process of the Biennale.

-Investment of the cultural capital of the city and the museum’s existing networks.

-Establishing collaboration with the Biennale of Çanakkale based on common concepts and experiences from working in the periphery. Part of its 5th cancelled edition was incorporated in the main program of “Imagined Homes”.

-Launching an open call for artists.

Moderatörler:

Beral Madra

Artcritic and Curator. She coordinated the 1st (1987) and the 2nd (1989) Istanbul Biennale, curated exhibitions of Turkish artists in 43rd, 45th, 49th, 50th and 51st Venice Biennale, co-curated the exhibition Modernities and Memories-Recent Works from the Islamic World in 47th Venice Biennale.Since 1984 she has organized more than 250 local and international artists in her art centres and in other official art spaces in Istanbul. She curated and co-curated over 50 international group shows. She is the writer numerous books and articles. She is the founding member and honorary president of AICA, Turkey (established 2003). 

Fırat Arapoğlu

Fırat Arapoğlu is an art historian (PhD)/art critic & independent curator; lives and works in İstanbul.   He has been working in Economic, Administrative and Social Sciences Faculty, Department of Social Sciences, Altinbas University as an Assistant Professor. He curated exhibitions such as  “Memory” (2008, Bar Association, Edirne) “Body & Space” (2010, Olbia Art Gallery, Akdeniz University, Antalya), “IDs Please” (2010, Cer Modern Cultural Center, Ankara), “Re-De/Generation” (2011, Sanatorium, İstanbul), “For the Public, In Spite of Public” (2011, Kargart, İstanbul), “Other Bodies” (2011, Academicians Art Center, İstanbul), “Asphyxiating Culture (with reference to Jean Dubuffet)” (2011, Battalgazi Caravansarai, Malatya), “Berlin und Tell Me” (2011, Mica Moca Project, Berlin), “Democracy and Conflict” (2012, Kargart, İstanbul), “Museum inside a Museum” (2012, Elgiz Museum, İstanbul), “Distance and Contact” (2012, Baksı Museum, Bayburt), “I Know A Place Where We Can Go” (2013, Bergsen & Bergsen Gallery, İstanbul), “Homo Homini Lupus or Forgetting about Tomorrow” (2014, M1886 Gallery, Ankara), “Crossing Axis” (2015, M1886 Gallery, Ankara), “Marx 2.0” (2015, Adahan Gallery, İstanbul), “The Only Place Where You Can Dream” (2017, TUYAP Art Fair, İstanbul), “Feel Like I’ve Been Here Before” (2018, Bilsart Video-Art Space, İstanbul), “Spider’s Web” (2018, IKUSAG, İstanbul), “The Infinite and the Image” (2018, Evin Art Gallery, İstanbul), “Alchemy” (2018, Summart Art Space, İstanbul) and co-curated 3rd International Canakkale Biennale and 3rd and 4th International Mardin Biennale. He has written articles in national and international art magazines such as Gençsanat, Art-İst Modern & Actual, ICE, ARTAM, Art Unlimited, Critical Culture, RH+, İstanbul Art News and Flash Art. He has also written articles in national newspapers called Birgün, Cumhuriyet and SOL. He has also written national and international symposium proceedings about art and art education. He is the 2018-2020 President of AICA - Turkey (International Association of Art Critics-Turkey).

     

Panelistler :

Shulamit Bruckstein

“Kozmopolit Çözülüm: Sanatçı Ağları, Kolektif Toplumsal Bedenler ve "Diasporik" Yaratıcılık”

“Açıkça ifade edilmese de bu bölge sanatçılarının, Türkiye ve komşu ülkelerinin, Kafkasya, Orta Doğu, Akdeniz, Doğu Avrupa ve hatta Orta Asya'ya kadar, Osmanlı İmparatorluğu zamanında ortak bir tarih ve geçmişi paylaştıkları aşikardır. Osmanlı İmparatorluğu, bir anlamda, modern hale gelmeden önce postmodern bir kültürdü. Postmodernizm, bu bakımdan değerlendirildiğinde modernizmin son noktası değil, modernizmin doğumu, onun daimî doğumudur  (Lyotard).”

Bu sözler, 2007 yılında Saraybosna'da Ars Aevi Çağdaş Sanat Müzesi işbirliğiyle İstanbul'da sergilenen ve Beral Madra tarafından tasarlanan "Komşular Söyleşiyor" sergisinin tanıtım cümleleriydi. Sunumumda, çağdaş sanatçılar arasındaki dinamiklerin yayılımı, işbirliği ve bütünleştirici yöntemlerini inceliyorum.

Sadece güncel yöntemler değil, aynı zamanda Ortaçağ’a özgü ya da eski usullerle kolektif yaratıcı organların bilgiyi yayma şekilleriyle, özellikle sanatsal zeka ve becerikliliğin işkence ve zor koşullar altında nasıl işlediğiyle de ilgileniyorum.

Konferans esnasında atıfta bulunacağım örnekler, kendini kozmopolitanizmin ulusal sınırların ötesinde hayatta kalmasına adamış iki çağdaş sanatçı ağını içeriyor: Berlin'deki Taswir Evi ve İstanbul'daki BM Çağdaş Sanat Merkezi.

Shulamit Bruckstein bir düşünür, küratör, teorisyen-sanatçı ve sanat eleştirmenidir. Taswir Evi: Yapmak ve Yıkmak. Epistemik Mimari Üzerine Notlar (House of Taswir: Doing and Undoing Things. Notes on Epistemic Architecture(s) 2014) kitabının yazarı ve sanatsal araştırma ve diasporik düşünce için ortak bir platform olan Taswir Projects'in (Berlin) kurucusudur.

Profesör olarak Berlin, Kudüs ve Basel'de felsefe ve kültürel teori üzerine çalıştı ve görsel teori, post-yapısalcılık ve Yahudi felsefesi üzerine 70'den fazla yayın yaptı. 2010 yılında, Berlin'deki Martin Gropius Bau'daki Taswir sergisinin küratörlüğünü yaptı. Shulamit Bruckstein, halihazırda, Alman Dışişleri Bakanlığı tarafından verilen sanatçılara açık burs çağrısı çerçevesinde, İstanbul Tarabya Kültür Akademisi'nde konuk sanatçı olarak kalmaya hak kazanan sanatçılar arasındadır.

Irina Chmyreva

“KPG: Uluslararası İş Birliklerinde Meslektaşlar İçin Kişisel Profesyonel Güven”

Burada bulunmak büyük bir mutluluk. İş Birliği ve Kolektif Etki temasına adanan bu kongre çok önemli; meslektaşlarımla olan her kongre, düşünce paylaşmak ve günümüzün temel sorunlarına dair genel bir bakış açısı inşa etmek için verimli birer platform. Ekonomik problemlere koşut olarak ülkelerin siyasal konumlarındaki farklılaşma zamanında, Kolektif Etki çok önemli bir konu – belki şu an bu konu meslektaşlarımla bir araya gelmekten çok daha da önemli. Birlik olma etkisi adına kolektif eylemleri tartışmak, iş birliğine dayalı profesyonel edimlerimizin devamını sağlama, kişisel düşüncelerimizi uluslararası sanat alanına entegre etme adına bize bir olanak yaratabilir.

Bu kongre kişisel bağlamda benim için çok önemli: Moskova’da yaşıyorum, fakat yaklaşık on yıldır içinde bulunduğum temel projelerden birisi, şu an bize göre Karadeniz’in karşı kıyısında bulunan Krasnodar’daki PhotoVisa Uluslararası Fotoğraf Festivali – Krasnodar, Rusya kıyı şeridindeki önemli yönetim merkezlerinden birisi. Ve şuna inanıyorum ki; Karadeniz Bölgesi’nde uluslararası etkinliklere sahip olmak, bu büyük bölgedeki kültürü koruma bağlamında entegrasyon, diyalog ve kolektif korunaklılık için kolektif bir etki yaratma anlamına geliyor.

İkili bir kimliğe sahibim: Sanat dünyasında ve çağdaş fotoğraf dünyasında çalışmaktayım (birbirlerine benzerler, ama aynı değiller).

Kongreye davet edilmem hususunda organizasyonla aramızda yazıştığımızda, organizatörler tarafından uluslararası işbirliğine dayalı projelerdeki kişisel deneyimlerim hakkında konuşma yapmam önerildi. Pozitif deneyimlerin mutluluk vereceğine ve aynı zamanda bu deneyimleri analiz etmenin edimlerimizin başarılı noktalarını gelecekte korumak adına önemli olduğuna inanıyorum.

Pozitif deneyimlerim, her iki alandaki aktiviteleri kapsamakta; yabancı meslektaşlarımla çağdaş sanat müzelerinde, güzel sanatlar müzelerinde, özel kurumlarda ve sanat arşivlerinde ve ayrıca sanat medyasında oldukça iyi projeler gerçekleştirdim. Ve fotoğraf vakıflarından, arşivlerden, festivallerden, eğitim merkezlerinden ve yayın evlerinden meslektaşlarımla uzun süreli arkadaşlıklara sahibim. Ve şunu söyleyebilirim ki, çağdaş sanat alanındaki meslektaşlarımla ilişkiler kurma yöntemim, fotoğrafik dünya deneyimime dayanmaktadır.

Fotoğraf dünyasında küratörler, sanat eleştirmenleri, yayıncılarla olan ilişkilerde en heyecan verici olan şey nedir? - Birbirimizi bilmemiz. Ve bu sadece bir meslektaşın ediminin sonuçlarını gözlemeye dayalı bir bilgi olması değil (haberin yayını sonrası sergiyi/kataloğu/yayını/müze yerleştirmesini gözlemlemek gibi), fotoğrafik dünyada kolektif işlerin bilgisine de sahibiz. Bir sergi için eş-küratöryel kolektif bir eylem gibi, bir projenin kolektif olarak yaratılmasından bahsetmiyorum. Her birimizin simultane bir şekilde, aynı mekânda kendi ilgi alanımız ve kendi yönelimlerimizde çalışmasını kastediyorum.

Fotoğraf alanında Portfolyo Değerlendirmesi adı verilen bir etkinlik var, büyük fotoğraf festivalleri fotoğrafçılar için portfolyo değerlendirmeleri organize eder. Portfolyo değerlendirmeleri, aynı zaman aralıklarında, aynı mekanda eleştirmenlerin (meslektaşlarımızın) bir ya da birkaç günlük çalışma temposudur. Bizler (eleştirmenler) birçok fotoğrafçının, sanatçının portfolyolarına ayrı ayrı bakarız (son yıllarda fotoğrafı bir araç olarak kullanan çağdaş sanatçılardan çok sayıda portfolyo sunulmaktadır). Eleştirmenler olarak aynı yemeği yemekte, akşamları birlikte vakit geçirmekteyiz – ev sahibi organizasyonun katılımcılar için organize ettiği sergileri, dans kulüplerini ve partileri gezmek gibi. Genellikle portfolyo değerlendirmeleri fotoğrafçılar için kendilerini tanıtmak, olası gelecekteki sergileri, koleksiyonlar, yayınlar vs. için doğru iletişimleri bulmak için önemli bir şans olarak tanımlanır. Fakat eleştirmenler topluluğu için portfolyo değerlendirmeleri, birbirini tanımak ilgi alanlarını, profesyonel deneyim, davranış ve toplumsal ilgilerini ve hatta dünya görüşlerini öğrenilebilecekleri önemli bir şans yaratır. Meslektaşlarınızı sanatçıların aynasından görürsünüz, meslektaşlarınızı yemeklerde saatlerce süren eğlence ve sohbetlerde tanırsınız, etrafımızda ve ait olduğumuz çevrede eleştirmenler tarafından organize edilen grupları anlık olarak gözlemleyebilirsiniz (ilgi alanları ve yoldaşça hislere bağlı olarak). İnsan doğasına bağlı olarak, insanlar yeni insanlarla tanıştıklarında, kolektifler organize eder ve anında kolektiflere ait olurlar – bu toplumsal doğamızın bir parçasıdır ve insan sezgisine dayalıdır.

Ve sonra bu kolektifler, bu gruplar (önceki eleştirmenler) çalışmaya başlarlar. Bu sadece portfolyo değerlendirmelerinin sonuçlarını sunmak için değildir (bu kolektif aktivitenin küçük bir parçası, çünkü hepimiz potrfolyo değerlendirmesine kendi kişisel ihtiyaçlarımız için gelmekteyiz), fakat belirli bir değerlendirmede gördüğüm, daha önce iletişimde olmayabileceğim sanatçılarla olacak, olası gelecek projeler içindir.

Bu yeni kolektif çalışma, profesyonellerin birbiri hakkındaki bilgilerine dayalıdır. Böyle bir bilginin, her birimizin çalışma sonuçlarını sunduğu ve herkesin en iyi taraflarını, sadece başarıyı göstermeye çalıştıkları toplantılarda ve hatta konferanslardan edinilmesi oldukça zordur. Meslektaşları tanıma adına en iyisinin, çalışma sürecinde beraber olmak olduğunu hissediyorum (portfolyo değerlendirmeleri aslında bunun gibidir). Eğer bir kişiyi bir toplantıda görürseniz, bu meslektaşınızı dünyanın dört bir yanında farklı portfolyo değerlendirmelerinde gördüğünüz gibi olmayacaktır. Bu değerlendirmelerde yıllar içinde konuşacak, ulusal haberleri paylaşacak ve birbirinizi değerlendirecek vaktiniz olacaktır…ve ardından böyle devam edecektir – yani, birlikte çalışabilecek hale geleceksinizdir.  

Sanırım diğer bir hikâye, sanat eleştirmenlerimize ve b