https://alperturanprojects.com alperturan Wed, 19 Feb 2025 02:59:48 +0000 https://alperturanprojects.com en https://alperturanprojects.com/HOME-copy Wed, 14 Aug 2024 17:10:36 +0000 alperturan https://alperturanprojects.com/HOME-copy ︎Narrative Power Alliance: Exhibition ︎Not Everything is Given ︎Self-Orientations ︎Positive Space︎Alper Turan in conversation w Tannon Reckling ︎Ripping up the Underbelly and Looking at the Folds of a Boundless Skin ︎A Finger for an Eye ︎How does the body take shape under pressure? ︎smoothing (lines into circles) ︎The Bob Dorsey Project ︎Each Queer Death is an AIDS Complication ︎Q is not existent in Turkish ︎When Hate Becomes An Instrument ︎Mood Swings: Dropping Something, Picking It up, and Dropping It Again ︎AIDS means eating too much candy https://alperturanprojects.com/Untitled-Page-2 Thu, 24 Nov 2022 23:19:20 +0000 alperturan https://alperturanprojects.com/Untitled-Page-2 <img width="2264" height="3327" width_o="2264" height_o="3327" data-src="https://freight.cargo.site/t/original/i/e9893df54482e0ed9e96577c66372d921aef3e9621769fca7b5bf0771678e5b1/Alper-Turan--headshot-by-Javier-Alejandro-Cerrada.jpg" data-mid="215067010" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/e9893df54482e0ed9e96577c66372d921aef3e9621769fca7b5bf0771678e5b1/Alper-Turan--headshot-by-Javier-Alejandro-Cerrada.jpg" />&nbsp;&nbsp; Alper Turan (he, they) (b. 1993, Ankara) is a curator and writer currently based in New York, Berlin, and Istanbul. His ongoing practice and research draw from transnational and transtemporal queer strategies, abstractions, archives, and fiction. Turan is a 2023–24 curatorial fellow at the Whitney Museum Independent Study Program, and was awarded a 2023–24 General Idea fellowship from the National Gallery of Canada, Ottawa. Turan is co-founder of&nbsp; STRÜKTÜR, a Berlin-based association dedicated to forming and expanding the support structures for arts &amp; artists from the geography of Turkey. His curatorial work understands the exhibition as an experimental collective site of knowledge production and action generation, and he tests to undo entitlements and expectancies from institutional modes of curatorship. Between 2016-2018, within the curatorial collective Das Art Project, he curated site-responsive projects by making non-accessible, gentrified-to-be urban heritages across Istanbul, including ‘‘Genetically Modified’’ (2017), commissioned for the 13th Sharjah Biennial’s off-site exhibition. In 2018, he curated an exhibition on HIV &amp; AIDS in Turkey as a research-creation project, which considered the exhibition an ethnographic field. In response to escalating anti-queer rhetorics in Turkey and beyond, he experiments with undetectable, uncensorable queer aesthetics. He worked as a curator at Protocinema (2020–24), a cross-cultural contemporary art organization. Turan participated in residency and fellowship programs at the Apartheid Museum, Johannesburg, International Curatorial Intensive in New Orleans; the ARTER Research Program, Istanbul; the Schwules Museum, Berlin; the Camargo Foundation, Cassis; and the Cite des Arts, Paris. His writings appeared in November, Artnet, Text Zur Kunst, C Magazine, On Curating, Metropolis M, Argonotlar.com, and Sanat Dünyamız.&nbsp; CV HERE︎ alper@protocinema.org +49 176 70518587 (calls, telegram, signal) +90 506 8706808 (whatsapp)︎ https://alperturanprojects.com/exhibitions-home-page Sat, 05 Nov 2022 01:35:52 +0000 alperturan https://alperturanprojects.com/exhibitions-home-page EXHIBITIONS <img width="2016" height="3060" width_o="2016" height_o="3060" data-src="https://freight.cargo.site/t/original/i/dfa5be338eaa57ab334fda9953f81c3e7d23e6ab0fe508c7956980f03530d4d7/E.2024.0209a-f.jpg" data-mid="215030759" border="0" src="https://freight.cargo.site/w/1000/i/dfa5be338eaa57ab334fda9953f81c3e7d23e6ab0fe508c7956980f03530d4d7/E.2024.0209a-f.jpg" /> <img width="1696" height="1056" width_o="1696" height_o="1056" data-src="https://freight.cargo.site/t/original/i/4524bafa73573028da1b488c8c4e865d932745ae8497ae25593ea561b807319b/campaign-image-1.png" data-mid="157985932" border="0" src="https://freight.cargo.site/w/1000/i/4524bafa73573028da1b488c8c4e865d932745ae8497ae25593ea561b807319b/campaign-image-1.png" /> <img width="4501" height="5625" width_o="4501" height_o="5625" data-src="https://freight.cargo.site/t/original/i/7b1b49be118d94bef91910553aeba5e30a31145c96414b3e7aaef8af1747049d/A-Finger-for-an-Eye-Gze-Parmak-poster--designed-by-Can-Kck.-jpg-1.jpg" data-mid="157986228" border="0" src="https://freight.cargo.site/w/1000/i/7b1b49be118d94bef91910553aeba5e30a31145c96414b3e7aaef8af1747049d/A-Finger-for-an-Eye-Gze-Parmak-poster--designed-by-Can-Kck.-jpg-1.jpg" /> <img width="836" height="1188" width_o="836" height_o="1188" data-src="https://freight.cargo.site/t/original/i/6f02214c91f314d92d2527b3e381f1ef2a29d5c2a304886754348cee0e83c0f3/Screen-Shot-2022-11-05-at-02.40.47.png" data-mid="157986282" border="0" src="https://freight.cargo.site/w/836/i/6f02214c91f314d92d2527b3e381f1ef2a29d5c2a304886754348cee0e83c0f3/Screen-Shot-2022-11-05-at-02.40.47.png" /> <img width="1211" height="1535" width_o="1211" height_o="1535" data-src="https://freight.cargo.site/t/original/i/6dbb2e94bb954d0ebd87ea0868cb2b5534e8303744a907a0cb756a422e296c4c/positive-space-poster-1.jpg" data-mid="157986269" border="0" src="https://freight.cargo.site/w/1000/i/6dbb2e94bb954d0ebd87ea0868cb2b5534e8303744a907a0cb756a422e296c4c/positive-space-poster-1.jpg" /> <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/aa9cf0c7dd7ff081615380504e98e8854e803f496bdf48d920f525c91d83dfc9/07-22_Protocinema_Instagram-02-1.png" data-mid="160098022" border="0" src="https://freight.cargo.site/w/1000/i/aa9cf0c7dd7ff081615380504e98e8854e803f496bdf48d920f525c91d83dfc9/07-22_Protocinema_Instagram-02-1.png" /> <img width="934" height="1328" width_o="934" height_o="1328" data-src="https://freight.cargo.site/t/original/i/6bd417248bd0084a5de2bd0c49429455da37dc51c561546dc80d3afd55e36329/Screen-Shot-2022-11-03-at-00.32.45.png" data-mid="157985934" border="0" src="https://freight.cargo.site/w/934/i/6bd417248bd0084a5de2bd0c49429455da37dc51c561546dc80d3afd55e36329/Screen-Shot-2022-11-03-at-00.32.45.png" /> <img width="1697" height="1200" width_o="1697" height_o="1200" data-src="https://freight.cargo.site/t/original/i/87f2044159731ea8ffe0b6e24d3e954ff002ffc43928a40019638c6955836a31/EN-YATAY-TARIHLI.jpg" data-mid="160096639" border="0" src="https://freight.cargo.site/w/1000/i/87f2044159731ea8ffe0b6e24d3e954ff002ffc43928a40019638c6955836a31/EN-YATAY-TARIHLI.jpg" /> <img width="907" height="1280" width_o="907" height_o="1280" data-src="https://freight.cargo.site/t/original/i/faf6ac742097f02b296d3442d1974db4097628890a445a4ad89be1d14ff06944/AF.JPG" data-mid="157986281" border="0" src="https://freight.cargo.site/w/907/i/faf6ac742097f02b296d3442d1974db4097628890a445a4ad89be1d14ff06944/AF.JPG" /> <img width="1353" height="1820" width_o="1353" height_o="1820" data-src="https://freight.cargo.site/t/original/i/421c5a124dcd37b2e81c241d7a513ca46bc18462e71ceaa57add04bbbb0d8a2b/hivhikayeleri-yasayan-politikalar-sergisi-aciliyor-1.jpeg" data-mid="160098215" border="0" src="https://freight.cargo.site/w/1000/i/421c5a124dcd37b2e81c241d7a513ca46bc18462e71ceaa57add04bbbb0d8a2b/hivhikayeleri-yasayan-politikalar-sergisi-aciliyor-1.jpeg" /> <img width="1468" height="1040" width_o="1468" height_o="1040" data-src="https://freight.cargo.site/t/original/i/60ad9c56d854796e85b299bbd50f2dfdead943a8cb27d54b1a11a249b5d61303/Screen-Shot-2022-11-04-at-00.50.55.png" data-mid="157986285" border="0" src="https://freight.cargo.site/w/1000/i/60ad9c56d854796e85b299bbd50f2dfdead943a8cb27d54b1a11a249b5d61303/Screen-Shot-2022-11-04-at-00.50.55.png" /> <img width="694" height="1076" width_o="694" height_o="1076" data-src="https://freight.cargo.site/t/original/i/0f870794bbd82a1f6b07c0ac2958fcf62b667e9002910b3ee0b51d93e4daf29b/Screen-Shot-2022-11-04-at-01.57.14.png" 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https://alperturanprojects.com/exhibitions-header Sat, 05 Nov 2022 01:44:46 +0000 alperturan https://alperturanprojects.com/exhibitions-header https://alperturanprojects.com/home-page-narrativ-power-alliance-copy Tue, 18 Feb 2025 02:52:33 +0000 alperturan https://alperturanprojects.com/home-page-narrativ-power-alliance-copy <img width="1081" height="1351" width_o="1081" height_o="1351" data-src="https://freight.cargo.site/t/original/i/6fe4159921e075712e15d953d951ff75eeb480115d6cfc454065551c1013486c/Instagram-Anlat-Gucu-Ittifak_Afis-1350x1080-2.jpg" data-mid="226744477" border="0" alt="Graphic design by Can K&uuml;&ccedil;&uuml;k" data-caption="Graphic design by Can Küçük" src="https://freight.cargo.site/w/1000/i/6fe4159921e075712e15d953d951ff75eeb480115d6cfc454065551c1013486c/Instagram-Anlat-Gucu-Ittifak_Afis-1350x1080-2.jpg" /> &nbsp; &nbsp; NARRATIVE POWER ALLIANCE: EXHIBITION January 9 – February 16, 2025 Venue: Barın Han, IstanbulBoyacı Ahmet St. No:4, 34122 Fatih/Istanbul Artists: Trans Memory Collective, Fatma Belkıs, Gregg Bordowitz, Nejbir Erkol, Kiki ggNash, Marina Papazyan, Zeyno Pekünlü, Belit Sağ, Jilet Sebahat, Üzüm Derin Solak, Serdar Soydan, Furkan Öztekin (with Ceyhan Fırat), Cansu Yıldıran The Alliance of Narrative Power: Research Association for Democracy, Peace and Alternative Politics (DEMOS), Havle Women’s Association, Political Well-Being Platform, Positive Solidarity, KuirGaming, Social Policy, Gender Identity and Sexual Orientation Studies Association (SPoD), Van Star Women AssociationCurators: Onur Karaoğlu &amp; Alper Turan Project Coordinator: Berfin Atlı (SPoD) Initiated as a collective process by the Narrative Power Alliance—an assembly of diverse advocacy groups, platforms, and associations operating across Turkey—this exhibition arises from a shared mission: to understand, analyze, and seek new ways of contending with the rising anti-gender movements in the country. Drawing from the ongoing efforts of these organizations, the exhibition features new productions by Belit Sağ, Cansu Yıldıran, Fatma Belkıs, Furkan Öztekin (with Ceyhan Fırat), Kiki ggNash, Nejbir Erkol, Üzüm Derin Solak, and Zeyno Pekünlü, all aiming to unpack oppressive and homogenizing rhetoric. Through various media—painting, photography, video, publications, and installations—the artists explore the spaces between text, image, and body, reimagining the possibilities of collective subjectivity. In doing so, they construct alternative, liberating narratives and contribute to forming a counter-public. The exhibition also includes new texts by Marina Papazyan and Jilet Sebahat, archival research materials by Serdar Soydan and an existing work by Gregg Bordowitz,&nbsp; a selection from Dön-Dün Bak: The History of the Trans Movement in Turkey,&nbsp;an exhibition that was forcibly shut down by the Turkish government in July, 2024. In the face of potential closure, Narrative Power Alliance: Exhibition calls upon all art spaces in Istanbul to stand ready to host any part of this show. Curated by Onur Karaoğlu and Alper Turan, and coordinated by Berfin Atlı, the exhibition opens on January 9 and can be visited at Barın Han in Istanbul until February 16. Under the weight of state and societal antagonism, public space collapses into a flattened terrain—pressing queer, trans, and feminist bodies out.&nbsp; Conceptually, the exhibition is situated along a tense line between forms of “oppression” (baskı in Turkish, also meaning “print/press”) and printed and pressed materials. The exhibition turns to the very act of pressing and embodying this pressure—a method of inscription and a violent compression of suppressed voices and embodiments subjugated to the surface. The works in this show channel their energy into printed, imprinted, pressing, and pressured matter. On flat surfaces -screens, paper, photographs, canvas, and walls- they carve out layered topographies that resist one-dimensional narratives, reasserting depth through narrative power.&nbsp; Every work in the exhibition acts as a body in a public space, coming together side by side for collective action. Reading Differently, Writing DifferentlyZeyno Pekünlü, Nejbir Erkol, Fatma Belkıs, and Gregg Bordowitz explore where and how out-of-margin narratives can be read and written, and how one can attain the poetics of error, malfunction, trivial, and what lingers at the edge of a page. Zeyno Pekünlü examines the reflections of collective emotions, strategy discussions, and highlighted points in the doodles collected from the Alliance’s meeting notes. Nejbir Erkol spreads the word “malfunction” (arıza) across the space to expose the tension between malfunction and consent (rıza).&nbsp; &nbsp;Fatma Belkıs retreats into the assumedly unread format of a brochure to write a woman’s self-defense story. Gregg Bordowitz brings the ongoing urgency of the AIDS crisis to the surface with a grammatically incorrect banner. Images of We Were Here, We Are Here, We Will Be Here At the core of this exhibition is a desire to visualize, document, and embody our existence while in defiance of censorship and erasure. Cansu Yıldıran, Belit Sağ, and Üzüm Derin Solak reimagine how we see and are seen, and how much we can show, through feminist, trans, Muslim, and Kurdish experiences. In her fragmented portraits created in collaboration with members of the Havle Women’s Association, Cansu Yıldıran discusses the ethics of the visibility of feminist Muslim bodies. With the films she produced with Ruken Ay from the Van Star Women Association and artist Sevil Tunaboylu, Belit Sağ focuses on the image politics of censorship. Üzüm Derin Solak investigates the possibilities of capturing an iconic photo in Istanbul’s public space that is simultaneously both women+ and queer following the withdrawal from the Istanbul Convention. Archives of the SelvesBy painting different versions of herselves, Kiki ggNash creates a self-appointed “family” portrait, embedding inaccessible past versions into visual memory through portraits on burned surfaces. In his installation, Furkan Öztekin revisits the ongoing collaboration with the late Ceyhan Fırat and earlier works derived from Fırat’s archive and corpus, thereby questioning the fluidity and reliability of these narrative constructions. Through archival archeology, Serdar Soydan excavates the personal histories of gender-bending figures like Adnan Pekak, Kudret Şandra, and Zenne Necdet, constructed by media narratives. Marina Papazyan, in their fictional text, questions the impact of late Ottoman ethno-nationalist structures and gender codes on today's queer culture. Returning to Ülker Street, Jilet Sebahat offers a lament and testimony to the past and present of systematic violence against trans existence, thereby creating a contested geography of memory. The Trans Memory Collective presents a compilation of publications from the history of the trans movement in Turkey. Narrative Power Alliance Led by the Social Policy, Gender Identity, and Sexual Orientation Studies Association (SPoD), the Narrative Power Alliance brings together various advocacy groups in Turkey to resist state oppression and fight discrimination against women and LGBTI+ communities. Currently, the Alliance includes the Research Association for Democracy, Peace and Alternative Politics (DEMOS), Political Well-Being Platform, Havle Women’s Association, Positive Solidarity, Van Star Women’s Association, and KuirGaming. SPoD provides legal, psychological, and community support in the fields of gender identity and sexual orientation, while DEMOS questions the effects of state violence on disadvantaged groups and develops alternative democratic policies. Positive Solidarity offers support for individuals living with HIV. Havle Women’s Association advocates for gender equality in Muslim and broader conservative contexts; Van Star Women's Association advances gender equality and inclusivity in rural Kurdish regions. Political Well-Being Platform strives to spread an understanding of care-based organizing in Turkish politics, whereas KuirGaming creates new inclusive spaces for expression and community-building through gaming platforms. Through this collective effort, they form a long-term alliance against authoritarian oppression and build a new narrative power that challenges gender-based discrimination.&nbsp; TÜRKÇE İÇİN TIKLAYIN ︎︎︎VIEW &amp; DOWNLOAD EXHIBITION PUBLICATION HERE&nbsp;︎︎︎Here is the exhibition alliance agreement&nbsp; signed with cultural actors in Istanbul who have agreed to host the Narrative Power Alliance: Exhibition—either in full or in part—in the event of a potential closure.︎︎︎Press:&nbsp;-Monopol Magazine, review&nbsp; by Ingo Arendt&nbsp;-Açık Dergi, Apaçık Radyo, podcast with İlksen Mavituna-Sanatatak, Şık Değil, Kuir Bir Sergi: Anlatı Gücü İttifakı, review by Can Memiş-Artfulliving,&nbsp; Kendimizi Nasıl Yitirir, Nasıl Buluruz?, review by Ömer Uğurluoğlu -Argonotlar.com,&nbsp;Anlatı Gücü İttifakı: İnadına Çatlak Açmanın Yolları, review by Alara Kuşet-Istanbul ETC, newletter by Jennifer Hattam,&nbsp; -Eva Production, video interviews, by Beste Argat Balcı -Rast Magazine, review by Yağmur Ruken Kahraman https://alperturanprojects.com/narrative-power-images-texts Tue, 18 Feb 2025 02:52:46 +0000 alperturan https://alperturanprojects.com/narrative-power-images-texts <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" data-mid="226745239" border="0" alt="Exhibition View with works by Nejbir Erkol and Fatma Belkıs (from left to right). Documentation: Zeynep Fırat&nbsp;" data-caption="Exhibition View with works by Nejbir Erkol and Fatma Belkıs (from left to right). Documentation: Zeynep Fırat&nbsp;" src="https://freight.cargo.site/w/1000/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226745241" border="0" alt="Exhibition View with works by Nejbir Erkol, Fatma Belkıs, Serdar Soydan (from left to right). Documentation: Zeynep Fırat&nbsp;" data-caption="Exhibition View with works by Nejbir Erkol, Fatma Belkıs, Serdar Soydan (from left to right). Documentation: Zeynep Fırat&nbsp;" src="https://freight.cargo.site/w/1000/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226745242" border="0" alt="Exhibition View with works by Nejbir Erkol, and Serdar Soydan (from left to right). Documentation: Zeynep Fırat" data-caption="Exhibition View with works by Nejbir Erkol, and Serdar Soydan (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" data-mid="226745244" border="0" alt="Exhibition View with works by Nejbir Erkol,&nbsp; Serdar Soydan, Furkan &Ouml;ztekin,&nbsp; Cansu Yıldıran (from left to right). Documentation: Zeynep Fırat" data-caption="Exhibition View with works by Nejbir Erkol,&nbsp; Serdar Soydan, Furkan Öztekin,&nbsp; Cansu Yıldıran (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9869b471eceeb8d63dd1a0a98dd4f95ff09f0630e6bbfc4246e6c5f9cddc8251/5-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Gregg-Bordowitz--Kiki-ggNash--Trans-Hafza-Kolektifi--Uzum-Derin-Solak_-Documentation_-Zeynep-Frat.jpg" data-mid="226745243" border="0" alt="Exhibition View with works by Nejbir Erkol, Gregg Bordowitz, Kiki ggNash, Trans Memory Collective&nbsp; and &Uuml;z&uuml;m Derin Solak (from left to right). Documentation: Zeynep Fırat" data-caption="Exhibition View with works by Nejbir Erkol, Gregg Bordowitz, Kiki ggNash, Trans Memory Collective&nbsp; and Üzüm Derin Solak (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/9869b471eceeb8d63dd1a0a98dd4f95ff09f0630e6bbfc4246e6c5f9cddc8251/5-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Gregg-Bordowitz--Kiki-ggNash--Trans-Hafza-Kolektifi--Uzum-Derin-Solak_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7daff491f9262a334ba86aed1139d96caf57ed35183d7c55b38419dd5c4d62ab/11--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Furkan-Oztekin--Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash_-Documentation_-Zeynep-Frat.jpg" data-mid="226745249" border="0" alt="Exhibition View with works by Furkan &Ouml;ztekin,&nbsp;Cansu Yıldıran,&nbsp;Gregg Bordowitz, Kiki ggNash (from left to right). Documentation: Zeynep Fırat" data-caption="Exhibition View with works by Furkan Öztekin,&nbsp;Cansu Yıldıran,&nbsp;Gregg Bordowitz, Kiki ggNash (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/7daff491f9262a334ba86aed1139d96caf57ed35183d7c55b38419dd5c4d62ab/11--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Furkan-Oztekin--Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" data-mid="226745248" border="0" alt="Exhibition View with works by Cansu Yıldıran, Gregg Bordowitz, Kiki ggNash, Trans Memory Collective (from left to right). Documentation: Zeynep Fırat" data-caption="Exhibition View with works by Cansu Yıldıran, Gregg Bordowitz, Kiki ggNash, Trans Memory Collective (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" /> <img width="3009" height="2000" width_o="3009" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e177feeaa4d85e0160d615fe84bb70ca42dcef92b8f39980b7753980b34f3b2d/13-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Trans-Memory-Collective--Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" data-mid="226745251" border="0" alt="Exhibition View with works by Trans Memory Collective, Zeyno Pek&uuml;nl&uuml;, Trans Memory Collective, Nejbir Erkol, Furkan &Ouml;ztekin (from left to right)&nbsp; Documentation: Zeynep Fırat" data-caption="Exhibition View with works by Trans Memory Collective, Zeyno Pekünlü, Trans Memory Collective, Nejbir Erkol, Furkan Öztekin (from left to right)&nbsp; Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/e177feeaa4d85e0160d615fe84bb70ca42dcef92b8f39980b7753980b34f3b2d/13-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Trans-Memory-Collective--Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/045abafe534bfa6f53064c8d4902879db5ac937bb5934fb409ee004b3e61d2b3/8-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" data-mid="226745246" border="0" alt="Exhibition View with works by&nbsp; Zeyno Pek&uuml;nl&uuml;, Trans Memory Collective, Nejbir Erkol&nbsp;(from left to right). Documentation: Zeynep Fırat" data-caption="Exhibition View with works by&nbsp; Zeyno Pekünlü, Trans Memory Collective, Nejbir Erkol&nbsp;(from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/045abafe534bfa6f53064c8d4902879db5ac937bb5934fb409ee004b3e61d2b3/8-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/70e7f5d6c9dc1e1d3048e3b5da35323afebee74d21ca6001cc7e3880fd2c252d/7-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Zeyno-Pekunu--Uzum-Derin-Solak--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" data-mid="226745245" border="0" alt=" Exhibition View with works by Zeyno Pek&uuml;nl&uuml;, &Uuml;z&uuml;m Derin Solak, Trans Memory Collective, Nejbir Erkol, Furkan &Ouml;ztekin (from left to right). Documentation: Zeynep Fırat" data-caption=" Exhibition View with works by Zeyno Pekünlü, Üzüm Derin Solak, Trans Memory Collective, Nejbir Erkol, Furkan Öztekin (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/70e7f5d6c9dc1e1d3048e3b5da35323afebee74d21ca6001cc7e3880fd2c252d/7-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Zeyno-Pekunu--Uzum-Derin-Solak--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2ad52dd55af191be166ba1e1fb1a1934d32e53c42ce8beb59ed58be1a7ac1ef4/12-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective--Zeyno-Pekunlu--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" data-mid="226745250" border="0" alt=" Exhibition View with works by Cansu Yıldıran, Kiki ggNash, Trans Memory Collective, Furkan &Ouml;ztekin,&nbsp; Zeyno Pek&uuml;nl&uuml; (from left to right). Documentation: Zeynep Fırat" data-caption=" Exhibition View with works by Cansu Yıldıran, Kiki ggNash, Trans Memory Collective, Furkan Öztekin,&nbsp; Zeyno Pekünlü (from left to right). Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/2ad52dd55af191be166ba1e1fb1a1934d32e53c42ce8beb59ed58be1a7ac1ef4/12-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective--Zeyno-Pekunlu--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" data-mid="226747802" border="0" alt="Furkan &Ouml;ztekin (with Ceyhan Fırat), Fragmented Landscapes, paper collage on MDF, 17 &times; 24.5 cm, 8 pieces; The Past Withdraws, paper collage on MDF and found object, 20 &times; 29 cm (framed 23 &times; 31.5 cm), 8 pieces, 2025." data-caption="Furkan Öztekin (with Ceyhan Fırat), Fragmented Landscapes, paper collage on MDF, 17 × 24.5 cm, 8 pieces; The Past Withdraws, paper collage on MDF and found object, 20 × 29 cm (framed 23 × 31.5 cm), 8 pieces, 2025." src="https://freight.cargo.site/w/1000/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" /> <img width="1571" height="991" width_o="1571" height_o="991" data-src="https://freight.cargo.site/t/original/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" data-mid="226745258" border="0" alt="Exhibition View of belit sağ, Sevil, 8&rsquo;19&quot;, single-channel video, , 2024. Documentation: Zeynep Fırat" data-caption="Exhibition View of belit sağ, Sevil, 8’19&quot;, single-channel video, , 2024. Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" data-mid="226745260" border="0" alt="Exhibition View of belit sağ, ruken ve bahisdışı kızkardeşler (in production), single-channel video, 10 minutes, 2025.Documentation: Zeynep Fırat" data-caption="Exhibition View of belit sağ, ruken ve bahisdışı kızkardeşler (in production), single-channel video, 10 minutes, 2025.Documentation: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6f6a963fa4d11c33c0c7c984c1f9cdbf9f585b7cdee52339d8b25b9267e791db/Zeyno-Pekunlu--Baglantlar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Olaslklar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Onemler-III-Anlatnn-Gucu-Ittifak-Toplantlar.-Fotograf_-Zeynep-Frat_.jpeg" data-mid="226746341" border="0" src="https://freight.cargo.site/w/1000/i/6f6a963fa4d11c33c0c7c984c1f9cdbf9f585b7cdee52339d8b25b9267e791db/Zeyno-Pekunlu--Baglantlar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Olaslklar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Onemler-III-Anlatnn-Gucu-Ittifak-Toplantlar.-Fotograf_-Zeynep-Frat_.jpeg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/8f48f00a149c863c39a6c8742ed2076933214018725fc0f2a67fe25c6e01d8ba/baglantilar_IV_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226746385" border="0" src="https://freight.cargo.site/w/1000/i/8f48f00a149c863c39a6c8742ed2076933214018725fc0f2a67fe25c6e01d8ba/baglantilar_IV_anlatinin_gucu_ittifaki_toplantilari.jpg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/eb184984f31c09d4b86e5f5c50611b18e70320a85f807152b1d02c2be1d89e45/baglantilar_II_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226746381" border="0" src="https://freight.cargo.site/w/1000/i/eb184984f31c09d4b86e5f5c50611b18e70320a85f807152b1d02c2be1d89e45/baglantilar_II_anlatinin_gucu_ittifaki_toplantilari.jpg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/58a6f55a6bfe0e9ebc02fb48d591626162e8642f88f31f5b01c44bb144b3a0a0/maddeler_I_anlatinin_gucu_ittifaki_toplantilari.jpeg" data-mid="226746621" border="0" src="https://freight.cargo.site/w/1000/i/58a6f55a6bfe0e9ebc02fb48d591626162e8642f88f31f5b01c44bb144b3a0a0/maddeler_I_anlatinin_gucu_ittifaki_toplantilari.jpeg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/7d5bbdfa334ff994aa2f917ea57cf2a799114348fe255f4dd4384d81e2b388a9/onemleri_I_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226746627" border="0" src="https://freight.cargo.site/w/1000/i/7d5bbdfa334ff994aa2f917ea57cf2a799114348fe255f4dd4384d81e2b388a9/onemleri_I_anlatinin_gucu_ittifaki_toplantilari.jpg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/58e5cae844e02fa7862ee0b1060059e7a7e774c692f02b0268f63afafdb082fc/maddeler_II_anlatinin_gucu_ittifaki_toplantilari.jpeg" data-mid="226746622" border="0" src="https://freight.cargo.site/w/1000/i/58e5cae844e02fa7862ee0b1060059e7a7e774c692f02b0268f63afafdb082fc/maddeler_II_anlatinin_gucu_ittifaki_toplantilari.jpeg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/474bd27cbe9fa339b3a681b77584c7e424c194cb8c98924d724e12c859e04b1e/onemleri_II_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226746623" border="0" src="https://freight.cargo.site/w/1000/i/474bd27cbe9fa339b3a681b77584c7e424c194cb8c98924d724e12c859e04b1e/onemleri_II_anlatinin_gucu_ittifaki_toplantilari.jpg" /> Zeyno Pekünlü&nbsp; Connections I–II (Narrative Power Alliance Meetings), Possibilities I–II (Narrative Power Alliance Meetings), Significances I–II (Narrative Power Alliance Meetings), 6 digital prints on matte fibre paper, each 50 × 70 cm Courtesy of the artist and SANATORIUM, Istanbul, 2025. Zeyno Pekünlü examines the reflective residues of collective emotions, strategic discus- sions, and moments of connection through the subconscious doodles extracted from the Alliance’s meeting notes. She collects and archives these marginal patterns, which emerge alongside official meeting documentation, embodying the significance, connections, and articles of deliberation. Pressing against the formal rigidity of record-keeping, Pekünlü reframes these doodles as an alternative lexicon of collective fissures, capturing latent potential. By isolating and amplifying these margins, she proposes a mode of reading and writing on the edge of the paper, where meaning arises in the interstitial spaces between intentional discourse and subconscious articulation. These marks are not merely visual by-products but traces of com- munal thinking and collective imagination. As theorized in Politically Red by Eduardo Cadava and Sara Nadal-Melsió, doodling functions as “fugitive labor,” resisting assimilation into the productivity of writing, delaying inscription, disrupting textual linearity, and introducing aesthetic and political indeterminacy. In Pekün- lü’s practice, this concept takes form as her elevation of doodling transforms these ephemeral marks into autonomous artifacts, resisting structured textual authority and embodying collective interruptions of conventional discourse. Pekünlü mirrors this disruption by elevating doodling from a supplementary activity to a central object of inquiry, transforming it into a sub- versive gesture against the hegemony of structured text and its attendant authority. Her collected doodles embody an expansive, mass-like quality, mapping the crowd of voices shaping collective deliberation, resonating with the text’s assertion that doodling, though often born in distraction, carries a “directionality” tied to the social and political undercurrents of its time. In Pekünlü’s hands, these marks enact a radical reconfiguration of collective authorship, multi- plying rather than resolving meaning. Neither fully writing nor fully image, these marks embody the generative instability of “thinking in other people’s heads”. By framing doodles as a collab- orative archive, Pekünlü transforms the ephemeral into a site of radical potential and marginalia into a new grammar of collective engagement, brimming with transformative potential. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" data-mid="226745239" border="0" src="https://freight.cargo.site/w/1000/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" data-mid="226745244" border="0" src="https://freight.cargo.site/w/1000/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" /> <img width="3108" height="96" width_o="3108" height_o="96" data-src="https://freight.cargo.site/t/original/i/efa1a7556e2181a0ad9875a5565bc606c66e16ae14702d4f31554d05101a73cb/Screenshot-2025-02-18-at-12.18.21.png" data-mid="226809439" border="0" src="https://freight.cargo.site/w/1000/i/efa1a7556e2181a0ad9875a5565bc606c66e16ae14702d4f31554d05101a73cb/Screenshot-2025-02-18-at-12.18.21.png" /> Nejbir Erkol Untitled, text installation on flag fabric, 19 m × 24 cm, 2025.In Arıza, Nejbir Erkol takes one of the most ubiquitous sights in Turkey—the A4 sign reading “ARIZALIDIR” (literally “out of order” or “malfunction”), typically used to mark broken public devices—and transforms it into an immersive spatial intervention. Repeated in a continuous line, the text is no longer a disposable warning of malfunction but a persistent, rhythmic gesture—a ritual of “arıza” that refuses to be ignored. The artist, while conceiving the piece, photographed these signs, realizing that the simple act of labeling a malfunction was itself an everyday performance: a refusal to fully repair what is broken, yet also a practical compromise. &nbsp; A striking linguistic play lies in the tension between arıza (malfunction) and rıza (consent) in Turkish. Phonetically echoing but semantically opposed, this pairing underscores the soci- etal pressure to accept or consent (rıza) to what is broken, while arıza disrupts systems. By repeating “ARIZA” ad infinitum, Erkol emphasizes its refusal to be smoothed over; it stands in for a loop of unresolved malfunctions, an aesthetic protest against quiet acceptance. How does arıza disrupt spaces of forced rıza (e.g., public spaces or societal expectations)? Sara Ahmed’s concept of willfulness as resistance to consent could illuminate arıza as a refusal to submit to the “smooth functioning” of hetero-patriarchal systems. Arıza embodies the willful subject that disrupts normative flows, challenging the coercive structures that demand rıza (consent) to ongoing neglect.&nbsp; In this physical loop, Erkol prompts us to dwell on the error and draws attention to how nonconforming subjects have long embraced the idea of “being erroneous,” finding in failure and misalignment a form of survival and community. The glitch—and by extension, the arıza—can be read as a collective congregation; there is a generative potential of error: failure, breakdown, and nonperformance as routes to new forms of agency. The in-between of arıza provides a homeland for those who cannot or will not consent—a sanctuary of possibility where refusing to function according to the system’s demands becomes an act of self-definition. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" data-mid="226745248" border="0" src="https://freight.cargo.site/w/1000/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" /> <img width="850" height="102" width_o="850" height_o="102" data-src="https://freight.cargo.site/t/original/i/0e316e63712d7888733b672bf7451acc434125b642d8eb78a83a5f613201173f/Gregg_AIDS_300x36cm.jpg" data-mid="226747036" border="0" src="https://freight.cargo.site/w/850/i/0e316e63712d7888733b672bf7451acc434125b642d8eb78a83a5f613201173f/Gregg_AIDS_300x36cm.jpg" /> Gregg Bordowitz&nbsp; AIDS CRISIS IS STILL BEGINING&nbsp; Vinyl, (Exhibition copy in Turkish), 2019 Gregg Bordowitz’s banner declaring “The AIDS Crisis Is Still Beginning” confronts danger- ous narratives of closure and resolution that have emerged, particularly in the United States, around the AIDS epidemic. In contexts where access to life-saving and preventive medicine has significantly reduced transmission rates, AIDS is often relegated to the realm of history, a crisis seemingly overcome. Yet Bordowitz’s statement challenges this temporal framing, emphasizing that HIV/AIDS is not confined to a past crisis but remains a pervasive—and une- ven—reality, one without beginning or end. It is precisely in this gap, between perceived res- olution and persistent crisis, that his banner operates as both a conceptual statement and a form of protest signage. Bordowitz’s insistence on the immediacy of the AIDS crisis reflects his own lived experience. Diagnosed as HIV-positive in 1988, he joined ACT UP (AIDS Coalition to Unleash Power) shortly thereafter, working collaboratively to portray people living with AIDS and to explore what he calls “the daily negotiations of living with a virus” while “grapple(ing) with the impos- sible simultaneity of hope and loss.” In his essay “Picture a Coalition,” Bordowitz elaborates: “(..) art, in the service of activism, must communicate a condition of urgency... We worked with images and texts that refused complicity with indifference. (...)” Translated and reproduced within this exhibition, Bordowitz’s banner underscores an urgent message that resonates sharply with conditions in Turkey—where public access to preventive medication is scarce, and stigma against HIV-positive individuals remains entrenched. State rhetoric often fuels this hostility, as seen in the 2020 sermon by the President of the Directorate of Religious Affairs on the first Friday of Ramadan during the COVID-19 crisis, framing HIV as divine punishment for “illicit” behavior. The consequences of such prejudice are starkly illustrated by the case of M.E., a Syrian trans woman living with HIV who was deported after being doxed online and later killed. Together, these examples reveal a dire reality: systemic discrimination and criminalization intersect with misinformation, leaving the most vulnerable exposed to violence and neglect. The banner functions as both an art object and an activist tool, refusing the illusion of closure and demanding that we confront the epidemic and the conditions that fuel it. The rising anti-gender movements and the state’s encroachment on LGBTQ+ rights in Turkey echo the silencing strategies employed during the first AIDS epidemic in the US. Bordowitz insist on narrative reclamation, through his grammatically “incorrect” banner. It acts as a bridge between the past and present of the ongoing crisis, HIV/AIDS, and queer activism, suggesting that the fight requires continual reinvention of how we bear witness and act in solidarity across borders, experiences, and generations. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226745241" border="0" src="https://freight.cargo.site/w/1000/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="3756" height="2546" width_o="3756" height_o="2546" data-src="https://freight.cargo.site/t/original/i/1ceb80fbf765e8ed7a9f379c01b027f8a34b6906c2c7ec13e2054d80349bac2c/Scan-14.jpeg" data-mid="226747082" border="0" src="https://freight.cargo.site/w/1000/i/1ceb80fbf765e8ed7a9f379c01b027f8a34b6906c2c7ec13e2054d80349bac2c/Scan-14.jpeg" /> Fatma Belkıs&nbsp; Blow A Kiss, Fire A Gun&nbsp; risograph-printed brochures (Narrative Power Alliance: 200 copies printed for the exhibition), 2025.Fatma Belkıs’s Blow A Kiss, Fire A Gun, presented in the unassuming form of a brochure, subverts the medium’s conventional association with disposability and triviality, capable of puncturing the everyday through fleeting interventions, as guerrilla propaganda or unscripted happenings. Knowing that brochures are not to be read, she buried within this form an urgent narrative on public space, fear, self-defense, and legal ambiguity. In the first chapter, Esra’s mundane day veers into a moment when she encounters a threatening presence, capturing the precariousness of everyday life for women in public spaces. The oscillation between external observations of Esra’s actions and her internal monologue creates an interplay of perspectives. Yet “disnarration”—where what remains unsaid or suppressed attains its narrative force—also shapes how her story unfolds. In those silent gaps lies an echo of every woman’s hesitation to define her fear—whether it is justified, whether she has the right to defend herself, whether the law will stand by her. The second chapter disrupts the immersive flow through a reflexive meta-dialogue between lawyers and a writer dissecting Esra’s story. This format lays bare the text’s constructedness, spotlighting the ethical and legal implications of Esra’s actions. It mimics judicial processes, where women’s testimonies are tested against standards that neglect subjective trauma. Such a shift from narrative to meta-narrative shows the story taken apart and reconsidered, reminding us that Esra’s account is no monolith but a patchwork of memory, legal definitions, and emotional truth. A dimension of the work arises from the tension between narrative power and powerlessness. The lawyers’ back-and-forth underscores systemic inadequacies around self-defense and autonomy, as the law relies on evidence that cannot convey the emotional toll of violent encounters. By leaving key facts ambiguous—did Esra kill the man or did he die otherwise?—the text highlights how consequential aspects can remain unprovable. This ambiguity drives readers to reckon with the limits of law and narrative. In a broader sense, it invites reflection on how certain voices—particularly women’s—may be sidelined or discredited, revealing a narrative about personal survival and collective struggles to be heard and believed. <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/e389e459d66035fb8218d7b7216fa1ed190d4ec67ba690736fa20a349dcc6aab/Uzum-Derin-Solak--Save-the-Night-from-Darkness--fine-art-photograph-printed-on-composite-material--73--110-cm--2025.jpg" data-mid="226745271" border="0" src="https://freight.cargo.site/w/1000/i/e389e459d66035fb8218d7b7216fa1ed190d4ec67ba690736fa20a349dcc6aab/Uzum-Derin-Solak--Save-the-Night-from-Darkness--fine-art-photograph-printed-on-composite-material--73--110-cm--2025.jpg" /> Üzüm Derin Solak&nbsp; Save the Night from Darkness&nbsp; fine art photograph printed on composite material,&nbsp; 73 × 110 cm, 2025. Üzüm Derin Solak’s photograph casts two figures—a trans woman and a male-presenting nonbinary individual—against Istanbul’s shimmering waters bridging two continents, also the spectrum of bodies so often erased. This photograph emerges in the wake of Turkey’s withdrawal from the Istanbul Convention, a framework once poised to protect women and LGBTQI+ communities from gender-based violence. By stepping away from its commitments, the state revealed a deeper rift, especially for trans and genderqueer bodies whose lives remained largely unspoken in mainstream discussions of gender violence. This strategical silence—arising from a broader societal tendency to advocate more strongly against femicide than violence targeting trans and queer bodies, with fears that explicitly pronouncing the rights of queer individuals might jeopardize the tenuous recognition and already failed protections afforded to women—spurred Solak—a trans woman herself—to ask how one might continue to photograph Istanbul in the absence of the very protections once associated with the city’s name. Here, between two shores, they rewrite the city’s name, untethered from the old script that failed to uphold them. In liquid reflection, they find a mirror for their ever-shifting bodies, the fluid, living testament of who they have always been. The Bosphorus becomes a site of reclamation, its phosphorescent surface evoking a realm of possibility that transcends the restrictions imposed on land. While formal statutes may deny protections, the water’s expansiveness suggests an alternative space where identities and rights can be renewed. And so the photograph stands as an elegy—not only for Istanbul but for every promise broken. An elegy, yes, but also an invocation of future possibilities: if existing structures fail, there remains, in the uncontainable flow of water and the unbreakable spirit of these figures, an ever-present chance to redefine community and belonging. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/572a1b664bfc4e0d62acadbe103e6ce89f2aae1a3d1cdcbfa6eaf15aac478577/_DSC2811_small.jpeg" data-mid="226747804" border="0" src="https://freight.cargo.site/w/1000/i/572a1b664bfc4e0d62acadbe103e6ce89f2aae1a3d1cdcbfa6eaf15aac478577/_DSC2811_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" data-mid="226747802" border="0" src="https://freight.cargo.site/w/1000/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/56ca76c1ff956f6aa7d09111f75fe78332525d7eab69b87afcb06343047b3951/_DSC2810_small.jpg" data-mid="226747885" border="0" src="https://freight.cargo.site/w/1000/i/56ca76c1ff956f6aa7d09111f75fe78332525d7eab69b87afcb06343047b3951/_DSC2810_small.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1552457cb08683e96ab55dc9247ee7a8b0a9c2101dc89d1669cab17ba13788ba/_DSC2800_small.jpeg" data-mid="226747801" border="0" src="https://freight.cargo.site/w/1000/i/1552457cb08683e96ab55dc9247ee7a8b0a9c2101dc89d1669cab17ba13788ba/_DSC2800_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b12382db4733074a469fe5f2ab3a37fd31cebfbb031ffd752aac2129697aefe1/_DSC2809_small.jpeg" data-mid="226747803" border="0" src="https://freight.cargo.site/w/1000/i/b12382db4733074a469fe5f2ab3a37fd31cebfbb031ffd752aac2129697aefe1/_DSC2809_small.jpeg" /> Furkan Öztekin (with Ceyhan Fırat)&nbsp; Fragmented Landscapes&nbsp; paper collage on MDF, 17 × 24.5 cm, 8 pieces, 2025&nbsp; The Past Withdraws&nbsp; paper collage on MDF and found object, 20 × 29 cm (framed 23 × 31.5 cm), 8 pieces, 2025&nbsp; Interventions, Notes, Traces&nbsp; installation (digital photographs, wire mesh, painting, found object), variable dimensions, 2025. Furkan Öztekin’s ongoing engagement with the late trans-poet-activist Ceyhan Fırat’s archive demonstrates how narrative-making is always evolving, resisting a single coherent storyline. Since 2019, beginning when Ceyhan was still alive, Öztekin has collaborated with her by collecting, reconfiguring, and responding to texts, photos, and found objects from Fırat's corpus and archive, while also incorporating elements from his own archive, which includes photographs of Ülker Sokak and deeply personal items such as his journals. Fırat’s declaration, “This is not my archive; it is our archive,” became a guiding ethos for their collaboration, emphasizing shared ownership. Each work—from fictional texts they co-wrote to Öztekin’s reproduction of a crown Ceyhan used to wear, his attempts to capture sites from her life in Ülker Sokak today, and the color hue (“pejmürde pembe”) she described in her poems—becomes an intertemporal, interpersonal assemblage, embodying “horizontal and vertical intersections of memory.” Since Ceyhan’s passing, the archive has taken on an even more elusive quality: it continues to speak, yet its storyteller is no longer present to clarify contradictions or fill in the gaps. By embedding these evolving relationships within his work, Öztekin expands upon Fırat’s legacy, crafting poetic assemblages that are as much about absence and disjunction as they are about connection and continuity. In a recent interview for writer/researcher Çağla Özbek’s book Unreliable Narrator, Öztekin discusses the slippery nature of Ceyhan’s story—a biography shaped by multiple voices and contested truths. This dialogue prompted him to revisit his methods and more explicitly explore the concept of the “unreliable narrator” in his new 34 35 body of work. What emerges is not a fixed chronology but a fluid assemblage of recollections, omissions, and fictional elements. Öztekin performs a meta-critique of his practice—collaboration, inspiration, and appropriation— by presenting photographs mounted on MDF, wire mesh, ink drawings on paper, and found objects. These materials are arranged in frames, yet they also slip beyond them, hinting at a narrative that refuses containment. Meanwhile, wire mesh snakes through the installation— sometimes contained within frames, sometimes sprawling across the assemblage—tying disparate scenes together, even as it underscores the archive’s inherent contradictions. Within this assemblage, a burned portrait of Fırat, its edges charred and curling, becomes a visceral reminder of erasure and survival. A luminous sheet of yellow fabric, suspended against a dark, expansive landscape, hovers as a spectral presence, resisting dissolution. Strands of woven wire, looping, twisting, and threading through the compositions, anchor these works in a shared material and symbolic language. This wire—repurposed from Öztekin’s recreation of Fırat’s crown—enacts a poetics of continuity and reconfiguration, weaving together fragmented narratives and temporalities. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/35a1b1f6293d722471533e376a5c73ba3e9095f87c9a01ab0ff962faad8551c1/Kiki-ggNash--Gullum-Fair--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226745267" border="0" src="https://freight.cargo.site/w/1000/i/35a1b1f6293d722471533e376a5c73ba3e9095f87c9a01ab0ff962faad8551c1/Kiki-ggNash--Gullum-Fair--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a76b2e9a32d8677aad7f6452fda21f55d9741af4d4534fb03d76fe2668a8846f/Kiki-ggNash--Gullum-Fair-detail--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226745266" border="0" src="https://freight.cargo.site/w/1000/i/a76b2e9a32d8677aad7f6452fda21f55d9741af4d4534fb03d76fe2668a8846f/Kiki-ggNash--Gullum-Fair-detail--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" /> Kiki ggNash&nbsp; Gullüm Perisi&nbsp; oil on two canvases, 150 × 170 cm and 20 × 20 cm, 2025. Kiki ggNash’s painting, conceived as a “family portrait” of her selves, conjures child, adolescent, adult, pre-transition, and post-transition identities on a single visual plane, taking the place of familial photographs she never had or that were withheld. Multiple temporalities tangle here, reflecting that the trans body is in a constant state of negotiation between what was and what is becoming. Revisiting fractured and inaccessible pasts—especially from before she ran away from her birth ‘family’ and never returned—Kiki asks, “How can someone with no photographs or artifacts truly exist in memory?” And if memory serves her right? She adds another layer to the composition by burning the portrayed versions of herself that she cannot or does not wish to associate with anymore, creating what functions as a “counter-archive” in the absence of institutional or familial records. Kiki’s personal story underscores the precarious relationship trans subjectivity often has with inherited genealogies, favoring new frameworks for belonging. By painting these fractured “family” portraits, she situates herself among her ghosts, standing in for an absent or unsupportive archive that refused to keep her record, culminating in a layered canvas that is at once refuge and battlefield. This act of burning becomes a ritual of both destruction and reconstruction—an attempt to grapple with memory’s erasures while making space for a new collective self-image. Burning the canvas is an ongoing technique Kiki employs; in a previous work Show the Uncles Your Gender (2023), she inscribed transphobic slurs onto the surface, then burned those texts away, leaving painterly gestures as living scars. Through paint and flame, she continues to forge her identity on her own terms, refusing to let erasure define her story. <img width="1827" height="1514" width_o="1827" height_o="1514" data-src="https://freight.cargo.site/t/original/i/8e500d53b312b2fdeaa2bf1debd926736a7b73c35f88e169693ea67a3b431d15/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpeg" data-mid="226795964" border="0" src="https://freight.cargo.site/w/1000/i/8e500d53b312b2fdeaa2bf1debd926736a7b73c35f88e169693ea67a3b431d15/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0011a060cf2e1b80473b04298c5f85abf3e74874441c6078040b6765cd21b37c/_DSC2812_small.jpg" data-mid="226823512" border="0" src="https://freight.cargo.site/w/1000/i/0011a060cf2e1b80473b04298c5f85abf3e74874441c6078040b6765cd21b37c/_DSC2812_small.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ddc40dfa31a3b6fee72d7de173d90e37b2aa705ccebd51f94a7a15b4439a5e04/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" data-mid="226745262" border="0" src="https://freight.cargo.site/w/1000/i/ddc40dfa31a3b6fee72d7de173d90e37b2aa705ccebd51f94a7a15b4439a5e04/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e42ba08356639052016917cb6a41a5169308e11124d407708575e9f2408b1710/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226745261" border="0" src="https://freight.cargo.site/w/1000/i/e42ba08356639052016917cb6a41a5169308e11124d407708575e9f2408b1710/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/30d2171e2b3fdad383f343c6fe57e4a903c18380b13b64c3cdb640eb06e33386/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" data-mid="226745264" border="0" src="https://freight.cargo.site/w/1000/i/30d2171e2b3fdad383f343c6fe57e4a903c18380b13b64c3cdb640eb06e33386/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2fe35f5d8ef1aa583a7126b47ccc2808400c04167cf5cf62d716924f0aa1f044/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--20251.jpg" data-mid="226745263" border="0" src="https://freight.cargo.site/w/1000/i/2fe35f5d8ef1aa583a7126b47ccc2808400c04167cf5cf62d716924f0aa1f044/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--20251.jpg" /> Cansu Yıldıran and Havle Women’s Association (Havle Kadın Derneği)&nbsp; The Fluidity of (Non)Covering&nbsp; photographic installation, 350 photographs (each 21 × 14 cm), 2025. Cansu Yıldıran’s practice, undertaken with the Havle Women’s Association, engenders a re-visioning of Muslim women’s visibility by fragmenting and reassembling corporeal and sartorial signifiers. Drawing on Havle’s slogan “the headscarf is fluid,” Yıldıran and members of Havle, through strategically suspending photographs of hijab prints, skin, and bodily details— eyes, hands, hair—destabilize fixed gazes by situating veiling practices within broader contexts of agency and relationality. They resist reductive binaries of veiled/unveiled, pushing beyond Orientalist tropes that construe Muslim women as either oppressed, without agency, or exotic, hidden, and in need of discovery. By fracturing images, the installation foregrounds crucial questions: how do the bodies of Muslim women enter public debate? Gender, religion, race, class, and sexual orientation intersect to shape how Muslim women experience and negotiate visibility, often confronting multiple forms of discrimination—Islamophobia, sexism, racism, and homophobia. Suspended, fluid, fragmented photos underscore that visibility is neither strictly present nor absent but an ongoing negotiation of what is disclosed and what remains concealed. This perspective parallels ethical frameworks that uphold women’s rights to self-determination in public and private spaces. Wearing the headscarf can make Muslim women hyper-visible in societies where the hijab is construed as “other” or symbolic of political tension. At the same time, it can function as a deliberate mode of modesty and boundary-drawing, asserting a woman’s choice to control how her body is seen (or consumed) by external gazes.&nbsp; The fragmented aesthetic thus reveals the multi-layered identities of the Havle community— spanning diverse backgrounds, experiences, and modes of piety—while challenging spectators to unlearn habitual ways of looking. By juxtaposing glimpses of hair alongside textiles traditionally associated with concealment, the installation both queers and pluralizes the iconography of Muslim femininity. In so doing, Yıldıran and Havle collectively reject cultural scripts that either hypersexualize or invisibilize them, offering a counter-testimony with embodied narratives. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" data-mid="226745260" border="0" src="https://freight.cargo.site/w/1000/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/49cda181c2b6e49e943da20ab0c3e6e382b76b7af5403132b31b305233fcdfc1/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226745259" border="0" src="https://freight.cargo.site/w/1000/i/49cda181c2b6e49e943da20ab0c3e6e382b76b7af5403132b31b305233fcdfc1/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat.jpg" /> <img width="1571" height="991" width_o="1571" height_o="991" data-src="https://freight.cargo.site/t/original/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" data-mid="226745258" border="0" src="https://freight.cargo.site/w/1000/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" /> <img width="3024" height="1718" width_o="3024" height_o="1718" data-src="https://freight.cargo.site/t/original/i/20206e51900941bce1c8afada46b37515dfff3c7e14e8febc06aefbdfa952c7c/belit-sag---Sevil-videostill--single-channel-video--819--2024-adl-dosyann-kopyas-adl-dosyann-kopyas.png" data-mid="226745257" border="0" src="https://freight.cargo.site/w/1000/i/20206e51900941bce1c8afada46b37515dfff3c7e14e8febc06aefbdfa952c7c/belit-sag---Sevil-videostill--single-channel-video--819--2024-adl-dosyann-kopyas-adl-dosyann-kopyas.png" /> belit sağ&nbsp; ruken ve bahisdışı kızkardeşler (in production)&nbsp; single-channel video, 10 minutes, 2025; Sevil&nbsp; single-channel video, 8′19″, 2024. Belit Sağ’s two video works juxtapose the accounts of artist Sevil Tunaboylu and activist/ researcher Ruken Ay from Van Star Women Organisation, offering a layered portrait of censorship and self-censorship. Tunaboylu recounts how her painting was slashed at an exhibition. Though devastating in itself, the act of vandalism was compounded by her subsequent anxieties about re-exhibiting the damaged work or reproducing its image in a publication. Even after the physical assault ended, Tunaboylu grappled with the lingering pressure to conceal her creation, repeatedly questioning whether showing it might invite further harm. Her story exposes how external violence morphs into internalized fear, fueling a cycle of guilt, shame, and reluctant acquiescence. In parallel, Rüken Ay shares the obstacles she faced while attempting to build a digital memory museum. She found local and state archives sealed off or uncooperative, heard repeated warnings that her subject was “dangerous,” and even confronted subtle patriarchal refusals from within her community. Shrouded in a climate of suspicion, her project teetered between the urgency of bearing witness and the trepidation of transgressing unspoken, undocumented, unrecognized state violence. Like Tunaboylu, she wrestles with a form of enforced silence, wondering if her commitment to representing Kurdish women’s histories might imperil herself or others. Desktop recordings capture Sevil Tunaboylu and Rüken Ay telling their stories with all the hesitations, stutters, and confessional tones that come from talking to a camera (and an artist) at a distance. The screens become a visual metaphor for the tenuous boundary between what is “public” and “private,” revealing just how quickly a protected dialogue might morph into a risky exchange. Their bodily presence on screen becomes a double gesture—asserting their right to speak, yet never entirely liberated from the watchful eyes of those who would silence them. Sağ is orchestrating the conditions under which these two women’s narratives can be shared and re-archived, assuming a position akin to a “vulnerable observer”—someone who documents the fragile, precarious nature of the testimony, but also shapes its presentation. Sağ becomes the connector between two parallel stories of Kurdish women’s erasure, using the logic of screen capture to map a broader political terrain. Despite all obstacles, these stories must exist somewhere—on a hard drive, in a conversation, in a desktop film. Acts of memory-making, bearing witness, and feminist solidarity break through the frame of what official histories would rather keep outside the screen. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6e014aefc61bddec094f7231d9fae2b481be7ee7ecfb506bd9b902afb3672c30/Serdar-Soydan--Archival-research-materials-on-Adnan-Pekak--Kudret-Sandra--Zenne-Necdet--2025_.jpg" data-mid="226745269" border="0" src="https://freight.cargo.site/w/1000/i/6e014aefc61bddec094f7231d9fae2b481be7ee7ecfb506bd9b902afb3672c30/Serdar-Soydan--Archival-research-materials-on-Adnan-Pekak--Kudret-Sandra--Zenne-Necdet--2025_.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226745242" border="0" src="https://freight.cargo.site/w/1000/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="2151" height="1857" width_o="2151" height_o="1857" data-src="https://freight.cargo.site/t/original/i/af10364a7717fcc7c1fbd3b15600d2618a4df1148ea0677dfb6487fdf44f6cc8/IMG_6135-1.JPG" data-mid="226824287" border="0" src="https://freight.cargo.site/w/1000/i/af10364a7717fcc7c1fbd3b15600d2618a4df1148ea0677dfb6487fdf44f6cc8/IMG_6135-1.JPG" /> <img width="1241" height="2987" width_o="1241" height_o="2987" data-src="https://freight.cargo.site/t/original/i/a3c2a83d4a78a3d9afdb92e3cec3ee1e91ab7f7c557becce5134d6426fee3cb4/Necdet3.png" data-mid="226791542" border="0" src="https://freight.cargo.site/w/1000/i/a3c2a83d4a78a3d9afdb92e3cec3ee1e91ab7f7c557becce5134d6426fee3cb4/Necdet3.png" /> <img width="2282" height="4355" width_o="2282" height_o="4355" data-src="https://freight.cargo.site/t/original/i/44cc4c8fea90673980e4a670702d3fe02afa7bfc2b86e7c63424fb1a6e65b2a1/IMG_20190314_114502.jpg" data-mid="226791529" border="0" src="https://freight.cargo.site/w/1000/i/44cc4c8fea90673980e4a670702d3fe02afa7bfc2b86e7c63424fb1a6e65b2a1/IMG_20190314_114502.jpg" /> <img width="2584" height="3732" width_o="2584" height_o="3732" data-src="https://freight.cargo.site/t/original/i/f83d2bdb4f5a956d90192bdd5067d0b0bcfe998ba5ae77dbec83e32883c4ac2d/IMG20240301113614-1.jpg" data-mid="226791539" border="0" src="https://freight.cargo.site/w/1000/i/f83d2bdb4f5a956d90192bdd5067d0b0bcfe998ba5ae77dbec83e32883c4ac2d/IMG20240301113614-1.jpg" /> <img width="3468" height="4624" width_o="3468" height_o="4624" data-src="https://freight.cargo.site/t/original/i/adcdae2d44d9e41b652409ec1903202d138acf2aa7226d4cb7eb95c0620554ce/IMG20221208141734-1.jpg" data-mid="226824290" border="0" 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data-src="https://freight.cargo.site/t/original/i/82529a0f745b6d9431a5eb8d4b0c38ba7848c430754dad084d4417a9b342d152/Archival-material-from-Serdar-Soydan_--Zenne-Necdet-in-the-film-of-Hurriyet-Sarks-1951_.jpg" data-mid="226745252" border="0" src="https://freight.cargo.site/w/1000/i/82529a0f745b6d9431a5eb8d4b0c38ba7848c430754dad084d4417a9b342d152/Archival-material-from-Serdar-Soydan_--Zenne-Necdet-in-the-film-of-Hurriyet-Sarks-1951_.jpg" /> <img width="1389" height="2232" width_o="1389" height_o="2232" data-src="https://freight.cargo.site/t/original/i/dcfd6c4255a7fd2fe1abcfc7b494bb4c0a7ae5470e27742611d8c16ab232dc20/Archival-material-from-Serdar-Soydan_-a-portrait-of-Kudret-Sandra-from-60s_.jpg" data-mid="226745253" border="0" src="https://freight.cargo.site/w/1000/i/dcfd6c4255a7fd2fe1abcfc7b494bb4c0a7ae5470e27742611d8c16ab232dc20/Archival-material-from-Serdar-Soydan_-a-portrait-of-Kudret-Sandra-from-60s_.jpg" /> <img width="1194" height="1834" width_o="1194" height_o="1834" data-src="https://freight.cargo.site/t/original/i/aef3e2c5b9915cc8ce31d2d9301fa19afc0af054d6fa9dc9fef5c6a4ca4f9e67/Archival-material-from-Serdar-Soydan_-Portrait-of-singer-Adnan-Pekak-from-a-newspaper-from-60s.png" data-mid="226745256" border="0" src="https://freight.cargo.site/w/1000/i/aef3e2c5b9915cc8ce31d2d9301fa19afc0af054d6fa9dc9fef5c6a4ca4f9e67/Archival-material-from-Serdar-Soydan_-Portrait-of-singer-Adnan-Pekak-from-a-newspaper-from-60s.png" /> <img width="4260" height="5632" width_o="4260" height_o="5632" data-src="https://freight.cargo.site/t/original/i/8b09e6ee2eb8ebab3ee250bd35f2cbcd1ad181433ed55f505405e477bb9ebb9b/Necdet-Ince-Ses-Tiyatrosu-nda-1.jpg" data-mid="226791541" border="0" src="https://freight.cargo.site/w/1000/i/8b09e6ee2eb8ebab3ee250bd35f2cbcd1ad181433ed55f505405e477bb9ebb9b/Necdet-Ince-Ses-Tiyatrosu-nda-1.jpg" /> Serdar Soydan Archival research materials on Adnan Pekak, Kudret Şandra, Zenne Necdet&nbsp; 2025 Serdar Soydan’s archival exploration positions Adnan Pekak, a gifted singer overshadowed by Zeki Müren who passed away in anonymity; Zenne Necdet, a pioneering stage artist renowned for portraying female roles on stage; and Kudret Şandra, a daring dancer who eventually embraced spirituality, as vibrant yet overshadowed gender-bender performers of Turkish popular culture from the recent past. Soydan foregrounds the resourcefulness of these performers, who navigated strict censorship, moral codes, and shifting public tastes. By weaving together fragments of personal testimony, film stills, press clippings, and promotional posters, Soydan’s work questions what gets remembered. Soydan’s approach unearths the complex interplay between personal authenticity and a sensationalist media culture that often framed them with ridicule or censure. Rather than merely collecting stray press clippings, lurid headlines, and promotional materials, Soydan confronts the adversarial tones and sweeping generalizations of these sources by placing his own carefully researched biographies side by side with the very narratives that sought to trivialize or marginalize these figures. In doing so, he not only recovers their legacies but also reveals how the narratives of media tropes, censorship, and social stigmas have persistently shaped—or distorted—public perceptions of queer lives. Each panel that Soydan constructs can be seen as both a meticulous collage of ephemera and a political act of reclamation, inviting viewers to encounter the layered interplay between individual mythmaking, social aspiration, and systemic silencing. Soydan functions as a media archaeologist who excavates the fleeting realities of entertainment culture in mid-twentieth- century Turkey, reminding us that memory itself is often the first battleground for collective liberation.Read biographical texts on&nbsp;Adnan Pekak, Kudret Şandra, Zenne Necdet written by Serdar Soydan&nbsp; here <img width="1696" height="938" width_o="1696" height_o="938" data-src="https://freight.cargo.site/t/original/i/77a366eac67b7723f2619d9437cf8c10cdf67ecd7a7628cb1416070ec487ce47/Screenshot-2025-02-18-at-01.18.47.png" data-mid="226747642" border="0" src="https://freight.cargo.site/w/1000/i/77a366eac67b7723f2619d9437cf8c10cdf67ecd7a7628cb1416070ec487ce47/Screenshot-2025-02-18-at-01.18.47.png" /> <img width="2532" height="1438" width_o="2532" height_o="1438" data-src="https://freight.cargo.site/t/original/i/cb2663cfb1a12b6c6d28871234b914a0264dfd87a5e49d7e768522c4e6bb105b/Screenshot-2025-02-18-at-01.20.31.png" data-mid="226747641" border="0" src="https://freight.cargo.site/w/1000/i/cb2663cfb1a12b6c6d28871234b914a0264dfd87a5e49d7e768522c4e6bb105b/Screenshot-2025-02-18-at-01.20.31.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7734aaabf97c7af3237cadb6cb67a43541e277bb37d629b9936e5a4b96e150f8/_DSC2856_small.jpeg" data-mid="226747645" border="0" src="https://freight.cargo.site/w/1000/i/7734aaabf97c7af3237cadb6cb67a43541e277bb37d629b9936e5a4b96e150f8/_DSC2856_small.jpeg" /> <img width="2530" height="1426" width_o="2530" height_o="1426" data-src="https://freight.cargo.site/t/original/i/429b088ef4733ffb2b49cf77c2f4b5ffd631945568bd8c7effc65fc809b1dab4/Screenshot-2025-02-18-at-01.17.24.png" data-mid="226747644" border="0" src="https://freight.cargo.site/w/1000/i/429b088ef4733ffb2b49cf77c2f4b5ffd631945568bd8c7effc65fc809b1dab4/Screenshot-2025-02-18-at-01.17.24.png" /> <img width="1684" height="952" width_o="1684" height_o="952" data-src="https://freight.cargo.site/t/original/i/9a6c843cff92daea2fc54dc7cef99893fa7c6a78dcbbc1407f850d4b5f82f406/Screenshot-2025-02-18-at-01.18.02.png" data-mid="226747643" border="0" src="https://freight.cargo.site/w/1000/i/9a6c843cff92daea2fc54dc7cef99893fa7c6a78dcbbc1407f850d4b5f82f406/Screenshot-2025-02-18-at-01.18.02.png" /> <img width="1027" height="983" width_o="1027" height_o="983" data-src="https://freight.cargo.site/t/original/i/1fb4e2b04181cbdf01d9872e5d39eadd82724142ce03c932d14c6f00dea2bf11/unnamed-1.jpeg" data-mid="226747635" border="0" src="https://freight.cargo.site/w/1000/i/1fb4e2b04181cbdf01d9872e5d39eadd82724142ce03c932d14c6f00dea2bf11/unnamed-1.jpeg" /> Trans Memory Collective Action videos from the Turkish trans movement (1987 March Against Battering; 2010 and 2014 Trans Pride Marches; 2003–2022 May 1 trans contingents in Antakya, Antalya, Ankara, Istanbul, Kocaeli, Mersin; 2016 Çağla Joker; 2016 and 2017 Hande Kader&nbsp; “Trans Murders Are Political”&nbsp; Marches, Istanbul), 2025. Publications from the Turkish trans movement: issues of Gacı, Dönme, Lubunya magazines; Do You Remember? Oral History Study Video, 30′40″, 2024. The exhibition also includes a selection from “Dön-Dün Bak: The History of the Trans Movement in Turkey,” curated by the Trans Pride Committee. Originally developed for Trans Pride Week—first held in 2010 and marking its tenth edition this year under the theme “the perpetrator is the state.”—it was a pioneering showcase of trans experiences and activism, featuring archival materials, personal testimonies, and historic artifacts. In July 2024, however, the Turkish government forcibly shut down this influential exhibition. In response, members of the Trans Pride Committee formed the Trans Memory Collective, determined to preserve and re-present key elements from the closed show. They have gathered pivotal trans publications— Gacı, Lubunya, and Dönme—which offer insight into the shifting debates that have shaped the trans movement over the years. Central to this reimagined display are videos in continuous loop, drawn from various Trans Pride gatherings and public demonstrations— from the 1987 women’s marches against violence, to trans contingents in 1st May marches, to Trans Pride footage from the past decade. These short clips and raw recordings depict chanting, speeches, and public performances, capturing a broad array of participants—activists, allies, and curious passersby. Moments of direct confrontation with authorities are juxtaposed with collective joy and mutual care, illustrating the resilience and determination that continue to define those demonstrations. <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/5ed8342747e3189fbdc4912b0db88099c125ed42466d0b6fc7e3efd3b0354f30/IMG_4418.jpeg" data-mid="226833955" border="0" src="https://freight.cargo.site/w/1000/i/5ed8342747e3189fbdc4912b0db88099c125ed42466d0b6fc7e3efd3b0354f30/IMG_4418.jpeg" /> <img width="1179" height="1006" width_o="1179" height_o="1006" data-src="https://freight.cargo.site/t/original/i/7cea3b7a58cd013ea78f63ede20ad0a59b10361785a84e1cd5d9393a69c1d428/IMG_5701.jpg" data-mid="226825011" border="0" src="https://freight.cargo.site/w/1000/i/7cea3b7a58cd013ea78f63ede20ad0a59b10361785a84e1cd5d9393a69c1d428/IMG_5701.jpg" /> <img width="4284" height="5712" width_o="4284" height_o="5712" 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data-src="https://freight.cargo.site/t/original/i/0623c279c42e4dbf22170e67e8878c33236bfc0bd1882896a352c71195422f81/IMG_5968.jpg" data-mid="226826304" border="0" src="https://freight.cargo.site/w/1000/i/0623c279c42e4dbf22170e67e8878c33236bfc0bd1882896a352c71195422f81/IMG_5968.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/2bb74e0835ba11c64e0d09b5fccb057a1ddaae2f77c27490ef6d8c155552ceb8/IMG_4419.JPG" data-mid="226825600" border="0" src="https://freight.cargo.site/w/1000/i/2bb74e0835ba11c64e0d09b5fccb057a1ddaae2f77c27490ef6d8c155552ceb8/IMG_4419.JPG" /> <img width="1179" height="1027" width_o="1179" height_o="1027" data-src="https://freight.cargo.site/t/original/i/afb7a2fee1fa516bce7a7e49716f8e79501e9bcfb742538ac30a929011775921/IMG_5969.jpg" data-mid="226826305" border="0" src="https://freight.cargo.site/w/1000/i/afb7a2fee1fa516bce7a7e49716f8e79501e9bcfb742538ac30a929011775921/IMG_5969.jpg" /> <img width="3024" 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data-src="https://freight.cargo.site/t/original/i/497285ff73cc05e2609d41b41bcce52d393bbeb608ac25a6c4d577fb73415da6/IMG_5970.jpg" data-mid="226826307" border="0" src="https://freight.cargo.site/w/1000/i/497285ff73cc05e2609d41b41bcce52d393bbeb608ac25a6c4d577fb73415da6/IMG_5970.jpg" /> <img width="1179" height="971" width_o="1179" height_o="971" data-src="https://freight.cargo.site/t/original/i/13688f9628c9afd3f4f7cb1052118eb8262178db4abf47ec805b682aee7e2722/IMG_5971.jpg" data-mid="226826309" border="0" src="https://freight.cargo.site/w/1000/i/13688f9628c9afd3f4f7cb1052118eb8262178db4abf47ec805b682aee7e2722/IMG_5971.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/8360541c9d6be835fc4f442b1f1c4b4d4f876371a381a858b05b2edfbd2f06eb/IMG_4501.jpeg" data-mid="226826310" border="0" src="https://freight.cargo.site/w/1000/i/8360541c9d6be835fc4f442b1f1c4b4d4f876371a381a858b05b2edfbd2f06eb/IMG_4501.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/eb96b433f421210df1c55b24c1291845216b1f480660a2fa507338c25201f721/Narrative-Power-Alliance_-Exhibition-Publication--design-by-Can-Kucuk.-Photo_-Zeynep-Frat-adl-dosyann-kopyas.jpg" data-mid="226829042" border="0" src="https://freight.cargo.site/w/1000/i/eb96b433f421210df1c55b24c1291845216b1f480660a2fa507338c25201f721/Narrative-Power-Alliance_-Exhibition-Publication--design-by-Can-Kucuk.-Photo_-Zeynep-Frat-adl-dosyann-kopyas.jpg" />. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/074f6a096b352e35139610f6f311842e933f61d7e55f5d0c0ea20a796cc89d4a/Anlat-Gucu-Ittifak_-Sergi-Yayn--Tasarm_-Can-Kucuk--Fotograf_-Zeynep-Frat-.jpg" data-mid="226829099" border="0" src="https://freight.cargo.site/w/1000/i/074f6a096b352e35139610f6f311842e933f61d7e55f5d0c0ea20a796cc89d4a/Anlat-Gucu-Ittifak_-Sergi-Yayn--Tasarm_-Can-Kucuk--Fotograf_-Zeynep-Frat-.jpg" /> <img width="1318" height="1858" width_o="1318" height_o="1858" data-src="https://freight.cargo.site/t/original/i/483bd1f794c587c9e877b5cc609c84de48105bf2dbf5100cccbfd5df8d6c452c/Screenshot-2025-02-18-at-20.18.07.png" data-mid="226833687" border="0" src="https://freight.cargo.site/w/1000/i/483bd1f794c587c9e877b5cc609c84de48105bf2dbf5100cccbfd5df8d6c452c/Screenshot-2025-02-18-at-20.18.07.png" /> https://alperturanprojects.com/turkce-anlati-gucu-ittifaki-home Wed, 19 Feb 2025 02:59:39 +0000 alperturan https://alperturanprojects.com/turkce-anlati-gucu-ittifaki-home <img width="1081" height="1351" width_o="1081" height_o="1351" data-src="https://freight.cargo.site/t/original/i/6fe4159921e075712e15d953d951ff75eeb480115d6cfc454065551c1013486c/Instagram-Anlat-Gucu-Ittifak_Afis-1350x1080-2.jpg" data-mid="226837783" border="0" alt="Grafik Tasarım: Can K&uuml;&ccedil;&uuml;k" data-caption="Grafik Tasarım: Can Küçük" src="https://freight.cargo.site/w/1000/i/6fe4159921e075712e15d953d951ff75eeb480115d6cfc454065551c1013486c/Instagram-Anlat-Gucu-Ittifak_Afis-1350x1080-2.jpg" /> &nbsp; &nbsp; ANLATI GÜCÜ İTTİFAKI: SERGİ&nbsp;9 Ocak – 16 Şubat , 2025 Mekan: Barın Han, IstanbulBoyacı Ahmet St. No:4, 34122 Fatih/Istanbul Sanatçılar: Trans Hafıza Kolektifi, Fatma Belkıs, Gregg Bordowitz, Nejbir Erkol, Kiki ggNash, Marina Papazyan, Zeyno Pekünlü, Belit Sağ, Jilet Sebahat, Üzüm Derin Solak, Serdar Soydan, Furkan Öztekin (Ceyhan Fırat ile), Cansu Yıldıran Anlatı Gücü İttifakı: Demokrasi, Barış ve Alternatif Politikalar Araştırma Derneği (DEMOS), Havle Kadın Derneği, Politikada İyilik Hali, Pozitif Dayanışma, KuirGaming, Sosyal Politika, Cinsiyet Kimliği ve Cinsel Yönelim Çalışmaları Derneği (SPoD), Van Star Kadın Derneği.Küratörler: Onur Karaoğlu &amp; Alper Turan Proje Kordinatörü: Berfin Atlı (SPoD) Türkiye genelinde faaliyet gösteren birbirinden farklı hak savunucuları, platform ve derneklerden oluşan Anlatı Gücü İttifakı tarafından kolektif bir süreç olarak başlatılan bu sergi, ülkede yükselen toplumsal cinsiyet karşıtı (anti-gender) hareketleri anlamaya, analiz etmeye ve bunlarla baş etmek adına yeni yollar kurmaya odaklanan ortak bir misyondan doğuyor. Bu kuruluşlarla birlikte ve onların devam eden çabalarından beslenerek hayata geçirilen sergide; Belit Sağ, Cansu Yıldıran, Fatma Belkıs, Furkan Öztekin (Ceyhan Fırat ile), Kiki ggNash, Nejbir Erkol, Üzüm Derin Solak ve Zeyno Pekünlü, baskıcı ve tektipleştirici retorikleri çözümlemeyi amaçlayan yeni üretimler sunuyor. Resim, fotoğraf, video, yayın ve yerleştirme gibi farklı mecralar aracılığıyla metin, imge ve beden arasındaki alanları inceleyen sanatçılar, kolektif öznellik imkânlarını yeniden tahayyül ederek daha özgürleştirici hikâyeler anlatıyor ve karşıt-toplulukların oluşumuna katkıda bulunuyorlar. Sergi ayrıca, Marina Papazyan ve Jilet Sebahat’ın yeni metinlerini, Serdar Soydan’ın arşiv araştırmasından çıktılar ve Gregg Bordowitz’in mevcut bir işini ve Temmuz 2024’te Kaymakamlık tarafından kapatılan Dön-Dün Bak: Türkiye’de Trans Hareketinin Tarihi sergisinden bir seçkiyi de içerecek. Olası bir kapatma tehdidine karşı Anlatı Gücü Koalisyonu: Sergi,&nbsp;İstanbul’daki tüm sanat mekânlarını serginin bir bölümünü veya tamamını 2025 programlarına dahil ederek sahiplenmeye çağırıyor.Onur Karaoğlu ve Alper Turan küratörlüğünde, Berfin Atlı koordinatörlüğünde hazırlanan sergi, 9 Ocak’ta açılacak ve 16 Şubat’a kadar Barın Han, İstanbul’da görülebilecek. İktidarın ve toplumun baskısı altında kamusal alan yassı bir zemine dönüşüyor; kuir, trans ve feminist bedenler dışarıda bırakılıyor. Sergi, kavramsal zemini, “baskı” biçimleri ve ‘‘basılı’’ materyaller arasındaki gerilimli hatta yerleştiriyor; seslerin bastırıldığı, bedenlerin yüzeye hapsedildiği&nbsp; bir sıkıştırma yöntemi olarak bedeni ve sanat işlerini nasıl şekillendirdiği ile ilgileniyor.&nbsp; Sergideki yeni üretimler, enerjilerini basılmış, bastırılmış, baskı altında şekil alan materyallere aktarıyor. Düzleştirilmiş yüzeylerde—ekranlarda, kâğıtlarda, fotoğraflarda, tuvallerde ve duvarlarda—tek boyutlu anlatılara direnen katmanlı topoğraflar oluşturuyor, derinliği anlatı gücüyle sahipleniyorlar. Sergideki her iş bir kamusal alanda bir bedeni temsil ediyor, ortak bir eylem için yan yana geliyorlar. Farklı Okumak, Farklı Yazmak Zeyno Pekünlü, Nejbir Erkol, Fatma Belkıs ve Gregg Bordowitz, marj-dışı anlatıların nerede nasıl okunabileceğini; hatanın, arızanın, suçun ve sayfasın ucunda kalanın poetikasına ulaşıyor. Zeyno Pekünlü İttifak’ın toplantı notlarından topladığı karalamalarda kolektif duyguların, strateji tartışmalarının, altı çizilenlerin yansımalarına bakıyor. &nbsp;Nejbir Erkol “arıza” kelimesini mekâna yayarak rıza ile arasındaki gerilimi ifşa ediyor. Fatma Belkıs zaten okunmayacağı varsayılan broşür formatına sığınıp bir kadının öz savunma hikayesini yazıyor. Gregg Bordowitz ise dilbilgisel hatalı pankartıyla AIDS krizinin bitmeyen aciliyetini yüzeye çıkarıyor. Vardık, Varız, Varolacağız İmajları Sansür ve silinmeye karşı varlığımızı görselleştirmek, kaydetmek ve ona vücut buldurmak arzusuyla; Cansu Yıldıran, Belit Sağ ve Üzüm Derin Solak; nasıl gördüğümüzü ve görüldüğümüzü, neyi ne kadar gösterebildiğimizi feminist, trans, Müslüman, Kürt deneyimler aracılığıyla yeniden kurguluyorlar. Cansu Yıldıran, Havle Kadın Derneği üyeleriyle çektiği parçalı portrelerde, Müslüman feminist bedenlerin görünürlük etiğini tartışıyor. Belit Sağ, Van Star derneğinden Ruken Ay ve sanatçı Sevil Tunaboylu ile yaptığı filmlerle sansürün imaj siyasetine odaklanıyor. Üzüm Derin Solak, İstanbul Sözleşmesi’nden çekilmenin ardından İstanbul’un kamusal alanında hem kadın+ hem kuir ikonik bir fotoğraf yakalamanın imkânlarını araştırıyor.Kendilik ArşivleriKiki GgNash geçmişteki farklı hallerini resmettiği kendinden menkul bir “aile” portresi yaratarak yakılmış yüzeylerdeki otoportreleriyle erişilemeyen geçmiş benliklerini görsel hafızaya kazıyor. Furkan Öztekin (Ceyhan Fırat ile) merhum Ceyhan Fırat’ın arşiv ve külliyatından hareketle yaptığı işlere geri dönüp kendi anlatı üretiminin akışkanlığını ve güvenilirliğini sorguluyor. Serdar Soydan arşivsel arkeolojiyle Adnan Pekak, Kudret Şandra ve Zenne Necdet gibi cinsiyet-bükücü figürlerin medya anlatılarıyla inşa edilen kişisel tarihlerini kazıyor. Marina Papazyan kurmaca metninde geç Osmanlı döneminin etnokratik yapıları ve cinsiyet kodlarının bugünün kuir kültürüne etkilerini sorguluyor. Jilet Sebahat ise Ülker Sokak’a dönüyor; trans varoluşa karşı sistematik şiddetin dününe ve bugününe ağıt ve tanıklık sunuyor, böylece tartışmalı bir bellek coğrafyası yaratıyor. Trans Hafıza Kolektifi, Türkiye'deki trans hareketin tarihinden yayınları içeren bir derlemeyi sunuyorlar. Anlatı Gücü İttifakı Sosyal Politika, Cinsiyet Kimliği ve Cinsel Yönelim Çalışmaları Derneği (SPoD) öncülüğünde kurulan Anlatı Gücü İttifakı, Türkiye’de baskıya direnmek ve kadınlara ve LGBTİ+lara yönelik ayrımcılıkla mücadele etmek üzere farklı savunucu grupları bir araya getiriyor. Halihazırda İttifak, Demokrasi, Barış ve Alternatif Politikalar Araştırma Derneği (DEMOS), Politikada İyilik Hali, Havle Kadın Derneği, Pozitif Dayanışma, Van Star Kadın Derneği ve KuirGaming’i içeriyor. SPoD, cinsiyet kimliği ve cinsel yönelim alanında hukuki, psikolojik ve topluluk desteği sağlarken; DEMOS, dezavantajlı gruplara yönelik devlet şiddetinin etkilerini sorgulayarak alternatif demokratik politikalar geliştiriyor. Pozitif Dayanışma, HIV ile yaşayanlara destek sunuyor. Havle Kadın Derneği, Müslüman ve daha geniş muhafazakâr bağlamlarda toplumsal cinsiyet eşitliğini savunurken; Van Star Kadın Derneği, kırsal Kürt bölgelerinde toplumsal cinsiyet eşitliği ve kapsayıcılığını yaygınlaştırıyor. Politikada İyilik Hali, Türkiye’de politik iyilik halini ve bakım temelli örgütlenme anlayışını yaygınlaştırmaya çalışırken; KuirGaming ise oyun platformlarını kuir aktivizm için kullanarak ifadenin ve topluluk oluşturmanın yeni, kapsayıcı alanlarını yaratıyor. Bu ortak çaba sayesinde, otoriter baskıya karşı uzun vadeli bir ittifak kuruyor ve toplumsal cinsiyet temelli ayrımcılığa meydan okuyan yeni bir anlatı gücü inşa ediyorlar. ︎︎︎SERGİ YAYINI OKUMAK VE İNDİRMEK İÇİN︎︎︎Here is the exhibition alliance agreement&nbsp; signed with cultural actors in Istanbul who have agreed to host the Narrative Power Alliance: Exhibition—either in full or in part—in the event of a potential closure.︎︎︎Basın:&nbsp;-Monopol Magazine,&nbsp;LGBTQI+-Ausstellung in Istanbul Rette die Nacht vor der Dunkelheit, izlenim yazısı,&nbsp;Ingo Arendt-Açık Dergi, Apaçık Radyo, podcast&nbsp; İlksen Mavituna-Sanatatak, Şık Değil, Kuir Bir Sergi: Anlatı Gücü İttifakı,&nbsp; izlenim yazısı, Can Memiş-Artfulliving,&nbsp; Kendimizi Nasıl Yitirir, Nasıl Buluruz?, izlenim yazısı, Ömer Uğurluoğlu -Argonotlar.com,&nbsp;&nbsp;Anlatı Gücü İttifakı: İnadına Çatlak Açmanın Yolları, izlenim yazısı,&nbsp; Alara Kuşet-Istanbul ETC, newsletter,&nbsp; Jennifer Hattam&nbsp; -Eva Production, video röportaj,&nbsp; Beste Argat Balcı ile -Rast Magazine, Baskıya karşı ısrarın panoraması: Anlatı Gücü İttifakıizlenim yazısı,&nbsp; Yağmur Ruken Kahraman https://alperturanprojects.com/narrative-power-images-texts-copy Wed, 19 Feb 2025 02:59:48 +0000 alperturan https://alperturanprojects.com/narrative-power-images-texts-copy <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" data-mid="226837788" border="0" alt="Nejbir Erkol ve Fatma Belkıs işleriyle Sergi G&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat&nbsp;" data-caption="Nejbir Erkol ve Fatma Belkıs işleriyle Sergi Görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat&nbsp;" src="https://freight.cargo.site/w/1000/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226837789" border="0" alt="Nejbir Erkol, Fatma Belkıs ve Serdar Soydan işleriyle Sergi G&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat&nbsp;" data-caption="Nejbir Erkol, Fatma Belkıs ve Serdar Soydan işleriyle Sergi Görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat&nbsp;" src="https://freight.cargo.site/w/1000/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226837790" border="0" alt="Nejbir Erkol ve Serdar Soydan işleriyle sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat&nbsp;" data-caption="Nejbir Erkol ve Serdar Soydan işleriyle sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat&nbsp;" src="https://freight.cargo.site/w/1000/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" data-mid="226837792" border="0" alt="Nejbir Erkol,&nbsp; Serdar Soydan, Furkan &Ouml;ztekin,&nbsp;Cansu Yıldıran işleri ile sergi g&ouml;r&uuml;nt&uuml;s&uuml;(soldan sağa). Fotoğraf: Zeynep Fırat" data-caption="Nejbir Erkol,&nbsp; Serdar Soydan, Furkan Öztekin,&nbsp;Cansu Yıldıran işleri ile sergi görüntüsü(soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9869b471eceeb8d63dd1a0a98dd4f95ff09f0630e6bbfc4246e6c5f9cddc8251/5-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Gregg-Bordowitz--Kiki-ggNash--Trans-Hafza-Kolektifi--Uzum-Derin-Solak_-Documentation_-Zeynep-Frat.jpg" data-mid="226837791" border="0" alt="Nejbir Erkol, Gregg Bordowitz, Kiki ggNash, Trans Hafıza Kolektifi&nbsp; ve &Uuml;z&uuml;m Derin Solak işleri ile sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat" data-caption="Nejbir Erkol, Gregg Bordowitz, Kiki ggNash, Trans Hafıza Kolektifi&nbsp; ve Üzüm Derin Solak işleri ile sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/9869b471eceeb8d63dd1a0a98dd4f95ff09f0630e6bbfc4246e6c5f9cddc8251/5-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Gregg-Bordowitz--Kiki-ggNash--Trans-Hafza-Kolektifi--Uzum-Derin-Solak_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7daff491f9262a334ba86aed1139d96caf57ed35183d7c55b38419dd5c4d62ab/11--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Furkan-Oztekin--Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash_-Documentation_-Zeynep-Frat.jpg" data-mid="226837797" border="0" alt="Furkan &Ouml;ztekin,&nbsp;Cansu Yıldıran,&nbsp;Gregg Bordowitz, Kiki ggNash işleri ile sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat" data-caption="Furkan Öztekin,&nbsp;Cansu Yıldıran,&nbsp;Gregg Bordowitz, Kiki ggNash işleri ile sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/7daff491f9262a334ba86aed1139d96caf57ed35183d7c55b38419dd5c4d62ab/11--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Furkan-Oztekin--Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" data-mid="226837796" border="0" alt="Cansu Yıldıran, Gregg Bordowitz, Kiki ggNash, Trans Hafıza Kolektifi işleriyle sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat" data-caption="Cansu Yıldıran, Gregg Bordowitz, Kiki ggNash, Trans Hafıza Kolektifi işleriyle sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" /> <img width="3009" height="2000" width_o="3009" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e177feeaa4d85e0160d615fe84bb70ca42dcef92b8f39980b7753980b34f3b2d/13-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Trans-Memory-Collective--Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" data-mid="226837799" border="0" alt="Trans Hafıza Kolektifi, Zeyno Pek&uuml;nl&uuml;, Trans Hafıza Kolektfi, Nejbir Erkol, Furkan &Ouml;ztekin işleri ile sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa)&nbsp; Fotoğraf: Zeynep Fırat " data-caption="Trans Hafıza Kolektifi, Zeyno Pekünlü, Trans Hafıza Kolektfi, Nejbir Erkol, Furkan Öztekin işleri ile sergi görüntüsü (soldan sağa)&nbsp; Fotoğraf: Zeynep Fırat " src="https://freight.cargo.site/w/1000/i/e177feeaa4d85e0160d615fe84bb70ca42dcef92b8f39980b7753980b34f3b2d/13-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Trans-Memory-Collective--Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/045abafe534bfa6f53064c8d4902879db5ac937bb5934fb409ee004b3e61d2b3/8-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" data-mid="226837794" border="0" alt="Zeyno Pek&uuml;nl&uuml;, Trans Hafıza Kolektifi, Nejbir Erkol&nbsp;işleri ile sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat" data-caption="Zeyno Pekünlü, Trans Hafıza Kolektifi, Nejbir Erkol&nbsp;işleri ile sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/045abafe534bfa6f53064c8d4902879db5ac937bb5934fb409ee004b3e61d2b3/8-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Zeyno-Pekunlu--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/70e7f5d6c9dc1e1d3048e3b5da35323afebee74d21ca6001cc7e3880fd2c252d/7-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Zeyno-Pekunu--Uzum-Derin-Solak--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" data-mid="226837793" border="0" alt="Zeyno Pek&uuml;nl&uuml;, &Uuml;z&uuml;m Derin Solak, Trans Hafıza Kolektif, Nejbir Erkol, Furkan &Ouml;ztekin ile sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat" data-caption="Zeyno Pekünlü, Üzüm Derin Solak, Trans Hafıza Kolektif, Nejbir Erkol, Furkan Öztekin ile sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/70e7f5d6c9dc1e1d3048e3b5da35323afebee74d21ca6001cc7e3880fd2c252d/7-Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Zeyno-Pekunu--Uzum-Derin-Solak--Trans-Memory-Collective--Nejbir-Erkol_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" data-mid="226837848" border="0" alt="Furkan &Ouml;ztekin (Ceyhan Fırat ile), Par&ccedil;alı Manzaralar, MDF &uuml;zerine k&acirc;ğıt kolaj, 17 &times; 24,5 cm, 8 par&ccedil;a; Ge&ccedil;miş Geri &Ccedil;ekilir, MDF &uuml;zerine k&acirc;ğıt kolaj ve buluntu nesne, 20 &times; 29 cm (&ccedil;er&ccedil;eveli 23 &times; 31,5 cm), 8 par&ccedil;a, 2025" data-caption="Furkan Öztekin (Ceyhan Fırat ile), Parçalı Manzaralar, MDF üzerine kâğıt kolaj, 17 × 24,5 cm, 8 parça; Geçmiş Geri Çekilir, MDF üzerine kâğıt kolaj ve buluntu nesne, 20 × 29 cm (çerçeveli 23 × 31,5 cm), 8 parça, 2025" src="https://freight.cargo.site/w/1000/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2ad52dd55af191be166ba1e1fb1a1934d32e53c42ce8beb59ed58be1a7ac1ef4/12-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective--Zeyno-Pekunlu--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" data-mid="226837798" border="0" alt=" Cansu Yıldıran, Kiki ggNash, Trans Hafıza Kolektifi, Furkan &Ouml;ztekin,&nbsp;Zeyno Pek&uuml;nl&uuml; işleri ile sergi g&ouml;r&uuml;nt&uuml;s&uuml; (soldan sağa). Fotoğraf: Zeynep Fırat" data-caption=" Cansu Yıldıran, Kiki ggNash, Trans Hafıza Kolektifi, Furkan Öztekin,&nbsp;Zeyno Pekünlü işleri ile sergi görüntüsü (soldan sağa). Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/2ad52dd55af191be166ba1e1fb1a1934d32e53c42ce8beb59ed58be1a7ac1ef4/12-Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective--Zeyno-Pekunlu--Furkan-Oztekin_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" data-mid="226837808" border="0" alt="Yerleştirme G&ouml;r&uuml;nt&uuml;s&uuml;: belit sağ, ruken ve bahisdışı kızkardeşler (yapım aşamasında), tek kanallı video, 10 dakika, 2025. Fotoğraf: Zeynep Fırat" data-caption="Yerleştirme Görüntüsü: belit sağ, ruken ve bahisdışı kızkardeşler (yapım aşamasında), tek kanallı video, 10 dakika, 2025. Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" /> <img width="1571" height="991" width_o="1571" height_o="991" data-src="https://freight.cargo.site/t/original/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" data-mid="226837806" border="0" alt="Yerleştirme G&ouml;r&uuml;nt&uuml;s&uuml;: belit sağ, Sevil, 8&rsquo;19&quot;, tek kanallı video, 2024. Fotoğraf: Zeynep Fırat" data-caption="Yerleştirme Görüntüsü: belit sağ, Sevil, 8’19&quot;, tek kanallı video, 2024. Fotoğraf: Zeynep Fırat" src="https://freight.cargo.site/w/1000/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6f6a963fa4d11c33c0c7c984c1f9cdbf9f585b7cdee52339d8b25b9267e791db/Zeyno-Pekunlu--Baglantlar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Olaslklar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Onemler-III-Anlatnn-Gucu-Ittifak-Toplantlar.-Fotograf_-Zeynep-Frat_.jpeg" data-mid="226837821" border="0" src="https://freight.cargo.site/w/1000/i/6f6a963fa4d11c33c0c7c984c1f9cdbf9f585b7cdee52339d8b25b9267e791db/Zeyno-Pekunlu--Baglantlar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Olaslklar-III-Anlatnn-Gucu-Ittifak-Toplantlar--Onemler-III-Anlatnn-Gucu-Ittifak-Toplantlar.-Fotograf_-Zeynep-Frat_.jpeg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/8f48f00a149c863c39a6c8742ed2076933214018725fc0f2a67fe25c6e01d8ba/baglantilar_IV_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226837825" border="0" src="https://freight.cargo.site/w/1000/i/8f48f00a149c863c39a6c8742ed2076933214018725fc0f2a67fe25c6e01d8ba/baglantilar_IV_anlatinin_gucu_ittifaki_toplantilari.jpg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/eb184984f31c09d4b86e5f5c50611b18e70320a85f807152b1d02c2be1d89e45/baglantilar_II_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226837823" border="0" src="https://freight.cargo.site/w/1000/i/eb184984f31c09d4b86e5f5c50611b18e70320a85f807152b1d02c2be1d89e45/baglantilar_II_anlatinin_gucu_ittifaki_toplantilari.jpg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/58a6f55a6bfe0e9ebc02fb48d591626162e8642f88f31f5b01c44bb144b3a0a0/maddeler_I_anlatinin_gucu_ittifaki_toplantilari.jpeg" data-mid="226837833" border="0" src="https://freight.cargo.site/w/1000/i/58a6f55a6bfe0e9ebc02fb48d591626162e8642f88f31f5b01c44bb144b3a0a0/maddeler_I_anlatinin_gucu_ittifaki_toplantilari.jpeg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/7d5bbdfa334ff994aa2f917ea57cf2a799114348fe255f4dd4384d81e2b388a9/onemleri_I_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226837836" border="0" src="https://freight.cargo.site/w/1000/i/7d5bbdfa334ff994aa2f917ea57cf2a799114348fe255f4dd4384d81e2b388a9/onemleri_I_anlatinin_gucu_ittifaki_toplantilari.jpg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/58e5cae844e02fa7862ee0b1060059e7a7e774c692f02b0268f63afafdb082fc/maddeler_II_anlatinin_gucu_ittifaki_toplantilari.jpeg" data-mid="226837834" border="0" src="https://freight.cargo.site/w/1000/i/58e5cae844e02fa7862ee0b1060059e7a7e774c692f02b0268f63afafdb082fc/maddeler_II_anlatinin_gucu_ittifaki_toplantilari.jpeg" /> <img width="5906" height="8268" width_o="5906" height_o="8268" data-src="https://freight.cargo.site/t/original/i/474bd27cbe9fa339b3a681b77584c7e424c194cb8c98924d724e12c859e04b1e/onemleri_II_anlatinin_gucu_ittifaki_toplantilari.jpg" data-mid="226837835" border="0" src="https://freight.cargo.site/w/1000/i/474bd27cbe9fa339b3a681b77584c7e424c194cb8c98924d724e12c859e04b1e/onemleri_II_anlatinin_gucu_ittifaki_toplantilari.jpg" /> Zeyno Pekünlü&nbsp; Bağlantılar I–II (Anlatının Gücü İttifakı Toplantıları), Olasılıklar I–II (Anlatının Gücü İttifakı Toplantıları), Önemler I–II (Anlatının Gücü İttifakı Toplantıları), 6 adet dijital baskı (mat fiber kâğıt), her biri 50 × 70 cm (Sanatçı ve SANATORIUM, İstanbul izniyle), 2025. Zeyno Pekünlü, kolektif duyguların, stratejik tartışmaların ve bağlantı anlarının yansımalarını; İttifak’ın toplantı notlarından ayıkladığı bilinçaltı karalamalar üzerinden inceler. Resmî toplantı tutanaklarında oluşan bu işaret ve karalamaları toplayıp arşivler; karar süreçlerinin önem sıralarının, bağlarının ve maddelerinin nasıl bedenleştiklerini sunar. Pekünlü, kayda geçirme pratiklerinin katı resmiyetine karşı bu karalamaları öne çıkarır ve kolektif çatlakları ifade eden bir alternatif sözlük olarak konumlar. Bu kenar çizimlerini yalıtıp vurgulayarak, anlamın kasıtlı söylem ve bilinçdışı ifade arasındaki geçiş alanlarında yeşerdiği kâğıdın kıyısında okunup yazılabilecek bir yöntemi önerir. Bu izler, sadece görsel yan ürünler değil, aynı zamanda kolektif düşünce ve hayal gücünün izleridir. Eduardo Cadava ve Sara Nadal-Melsió’nun Politically Red metninde kuramsallaştırıldığı üzere, karalama eylemi “kaçak emek” (fugitive labor) işlevi görerek yazının verimlilik rejimine dâhil olmayı reddeder, kaydı geciktirir, metinsel akışı kesintiye uğratır; estetik ve politik belirsizliğin kapısını aralar. Pekünlü’nün pratiğinde bu kavram, karalamanın o gelip geçici izlerini özerk nesnelere dönüştürme eylemiyle vücut bulur. Karalamayı tamamlayıcı bir faaliyetten çıkartıp ana nesneye dönüştüren Pekünlü, onu yapılandırılmış metnin iktidarına karşı yıkıcı bir jest hâline getirir. Pekünlü’nün topladığı karalamalar kitle benzeri, genişleyebilen bir nitelik taşır; kolektif istişareyi şekillendiren sesler korosunu haritalayarak, karalamanın dikkat dağıtıcı hâllerde doğsa bile kendi zamanının toplumsal ve politik dip dalgalarına bağlı bir “yönlülük” taşıdığı fikrine dayanır. Pekünlü’nün ellerinde bu izler, kolektif yazarlığı radikal biçimde yeniden düzenleyerek anlamı çoğaltır, tek bir hükme bağlamaz. Ne tam olarak yazı ne de tam olarak imge olan bu izler, “başkalarının kafasında düşünmek” olarak betimlenebilecek üretken bir istikrarsızlığı içinde barındırır. Karalamaları kolektif bir arşiv olur; geçicilik radikal bir potansiyel alanına dönüşür. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" data-mid="226837788" border="0" src="https://freight.cargo.site/w/1000/i/f8fa3c16cccd394e86103f65b5cda399ad37fae3c1d3587a0c28baa9238caee6/1----Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks_-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" data-mid="226837792" border="0" src="https://freight.cargo.site/w/1000/i/8d6f2ab7481304672c98f76bb875373760633ac8ea01b750a3e0f630e229886c/6--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by-Nejbir-Erkol--Serdar-Soydan--Furkan-Oztekin--Cansu-Yldran_-Documentation_-Zeynep-Frat.jpg" /> <img width="3108" height="96" width_o="3108" height_o="96" data-src="https://freight.cargo.site/t/original/i/efa1a7556e2181a0ad9875a5565bc606c66e16ae14702d4f31554d05101a73cb/Screenshot-2025-02-18-at-12.18.21.png" data-mid="226837862" border="0" src="https://freight.cargo.site/w/1000/i/efa1a7556e2181a0ad9875a5565bc606c66e16ae14702d4f31554d05101a73cb/Screenshot-2025-02-18-at-12.18.21.png" /> Nejbir Erkol İsimsiz, bayrak kumaşına yazı yerleştirmesi,&nbsp; 19 m × 24 cm, 2025.Nejbir Erkol, Türkiye’nin en yaygın görsel unsurlarından biri olan ve kamunun kullanımına açık nesnelerin ve alanların üzerine asılan “ARIZALIDIR” yazılı A4 kâğıdını alıp, onu mekâna yayılan bir yerleştirmeye dönüştürür. Bir çizgi hâlinde kesintisiz biçimde tekrar eden bu metin, tek seferlik bir arıza uyarısı olmaktan çıkar; ritmik ve ısrarlı bir jest hâline gelir—dikkate alınması talep edilen bir “arıza” ritüeline dönüşür. Sanatçı, üretim sürecinde bu “ARIZA” yazılı kâğıtları fotoğraflarken, arızayı belirtmenin başlı başına bir performans olduğunu fark eder: Tamir etmeden yaşamak, aynı zamanda bir tür pratik uzlaşmadır. Türkçedeki arıza ile rıza sözcükleri arasındaki fonetik yakınlık ve anlamsal zıtlık, tam da toplumsal düzende kırık olana rıza göstermeye (ya da razı olmaya) dair baskıyı düşündürür. Erkol’un, “ARIZA”yı durmaksızın tekrarlayarak üstü kapatılmaya dirençli bir hâle getirmesi, çözümlenmemiş arızaların döngüsünü görselleştirir ve sessizce kabullenmeye karşı bir estetik protesto oluşturur. Peki, arıza zorunlu rıza talep edilen kamusal mekânlar veya toplumsal normları nasıl kesintiye uğratır? Sara Ahmed’in irade gösterme (willfulness) kavramı, arızayı, hetero-patriyarkal düzenin “aksaklık olmaksızın işleme” talebine boyun eğmeyi reddetme şeklinde yorumlayabilir. Arıza, normatif akışları sekteye uğratan “inatçı” özneyi somutlaştırır, rıza vermeye zorlanan yapılara meydan okur.&nbsp; Erkol’un fiziksel döngüsü, bizi hataya/bozukluğa yakından bakmaya davet eder ve “yanlış” olma hâlini sahiplenen öznelere, yani tamir edilmemiş hâlde kalmayı seçenlerin dayanışmasına dikkat çeker. “Arıza” kolektif bir toplanma alanı olarak okunabilir; başarısızlık, çökme ve ifa edememe hâllerinin, yeni öznelik biçimlerine kapı araladığı bir potansiyel vardır. Arıza hâlinin ara alanı, sistemin taleplerine uymayan—ya da uymayı istemeyen—kişiler için bir tür yurt olur ve işlevselliğin dayatıldığı yapılara <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" data-mid="226837796" border="0" src="https://freight.cargo.site/w/1000/i/adcf09da2431b7750bcc78df2eee9497fa14c254930fcdaf6de5d43312623fad/10--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Cansu-Yldran--Gregg-Bordowitz--Kiki-ggNash--Trans-Memory-Collective_-Documentation_-Zeynep-Frat.jpg" /> <img width="850" height="102" width_o="850" height_o="102" data-src="https://freight.cargo.site/t/original/i/0e316e63712d7888733b672bf7451acc434125b642d8eb78a83a5f613201173f/Gregg_AIDS_300x36cm.jpg" data-mid="226837837" border="0" src="https://freight.cargo.site/w/850/i/0e316e63712d7888733b672bf7451acc434125b642d8eb78a83a5f613201173f/Gregg_AIDS_300x36cm.jpg" /> Gregg Bordowitz&nbsp; AIDS CRISIS IS STILL BEGINING, Vinil, (Exhibition copy in Turkish / Türkçe Sergi Kopyası), 2019 Gregg Bordowitz’in AIDS Krizi Hâlâ Başlıyor (The AIDS Crisis Is Still Beginning) pankartı, özellikle ABD’de ilk AIDS salgını etrafında üretilmiş tehlikeli anlatılara karşı çıkar. Hayat kurtarıcı ve önleyici ilaçlara erişimin büyük ölçüde arttığı ve bulaş oranlarının önemli oranda azaldığı bağlamlarda, AIDS çoğu zaman tarihe gömülmüş, sözde aşılmış bir kriz olarak görülür. Ancak Bordowitz’in ifadesi, HIV/AIDS’in geçmiş bir felaketten ibaret olmadığını, sonu gelmemiş ve zamanla sınırlandırılamayan, eşitsiz biçimde süren bir gerçeklik olduğunu vurgular. Tam da bu algılanan nihayete erme ile ısrarla devam eden kriz arasındaki boşlukta, Bordowitz’in pankartı hem kavramsal bir beyan hem de bir protesto aracı olarak işlev görür. Bordowitz’in AIDS krizinin aciliyetine yaptığı vurgu, kendi kişisel deneyiminden beslenir. 1988 yılında HIV-pozitif teşhisi konduktan sonra ACT UP (AIDS Coalition to Unleash Power) hareketine katılmış, burada HIV’le yaşayan insanları görünür kılmak ve “bir virüsle yaşamanın günlük pazarlıkları” ile “umut ve kaybın aynı anda yaşanmasının imkânsızlığı” üzerinde birlikte düşünmek için çalışmalar yürütmüştür. “Picture a Coalition” (Bir Koalisyon Hayal Et) başlıklı yazısında Bordowitz, “(…) aktivizmin hizmetindeki sanat, aciliyet hâlini duyurmak zorundadır… Kayıtsızlığa ortak olmayı reddeden imajlar ve metinlerle çalıştık. (…)” diye açıklar. Bu sergide yeniden üretilip Türkçeye çevrilen pankart, Türkiye bağlamında da keskin bir aciliyet taşıyan bir mesajı öne çıkarır: Türkiye’de önleyici ilaçlara (PrEP) erişim onu almaya gücü yetenlerle kısıtlı, HIV-pozitif bireylere karşı damgalama hâlâ çok güçlü. Devlet söylemi çoğu zaman bu nefreti beslemekte; 2020 yılında Diyanet İşleri Başkanı’nın COVID-19 salgını döneminde, Ramazan’ın ilk cuma hutbesinde HIV’i “gayrimeşru davranışın” ilahi cezası olarak tanımlaması buna bir örnektir. Bu nefretin sonuçları M.E. vakasında trajik biçimde ortaya çıkar: HIV-pozitif bir Suriyeli trans kadın olan M.E., geçtiğimiz yaz kimliği internet üzerinden ifşa edilerek sınır dışı edilmiş ve sonrasında öldürülmüştür. Bu örnekler, sistematik ayrımcılığın ve kriminalizasyonun, yanlış bilgilendirmeyle iç içe geçerek en savunmasız kişileri nasıl şiddet ve ihmalle baş başa bıraktığını gösterir. Bordowitz’in pankartı, hem bir sanat nesnesi hem de bir aktivizm aracı olarak işler; nihayete ermiş gibi sunulan bir yanılsamayı reddeder ve bizi halen süren salgınla ve onu besleyen koşullarla yüzleşmeye zorlar. Türkiye’de yükselen toplumsal cinsiyet karşıtı hareketler ve devletin LGBTİ+ haklarına yönelik müdahaleleri, ABD’deki ilk AIDS salgını döneminde uygulanan susturma stratejilerine akraba politkalardır. Bordowitz’in dilbilgisel olarak “hatalı” sayılabilecek pankartında ısrarla vurguladığı anlatıyı geri kazanma talebidir. Bu, HIV/AIDS ve kuir aktivizmin devam eden tarihinde geçmişle bugünün arasına bir köprü kurarak, sınırları, deneyimleri ve kuşakları aşan bir tanıklık ve dayanışma pratiğinin her daim yeniden icat edilmesi gerektiğine işaret eder. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226837789" border="0" src="https://freight.cargo.site/w/1000/i/2e12edb693074955f220d5af63776b1ead7bea50c655c671323733c1c14fe462/3--Narrative-Power-Alliance_-Exhibition--Exhibition-View-w-works-by--Nejbir-Erkol--Fatma-Belks--Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="3756" height="2546" width_o="3756" height_o="2546" data-src="https://freight.cargo.site/t/original/i/1ceb80fbf765e8ed7a9f379c01b027f8a34b6906c2c7ec13e2054d80349bac2c/Scan-14.jpeg" data-mid="226837838" border="0" src="https://freight.cargo.site/w/1000/i/1ceb80fbf765e8ed7a9f379c01b027f8a34b6906c2c7ec13e2054d80349bac2c/Scan-14.jpeg" /> Fatma Belkıs&nbsp; Sarılıp Yılana, risograf baskı broşürler (Anlatı Gücü İttifakı: Sergi için 200 kopya basıldı), 2025. Fatma Belkıs’ın Sarılıp Yılana adlı işi, önemsiz ya da gelip geçici olarak görülen bir mecra olan broşür formunda sunulur; ancak tıpkı el ilanları gibi gerilla propagandalar veya spontane eylemler için kullanılabilir, gündelik yaşantıya hızla sızarak vurucu bir etki yaratabilecek potansiyele sahiptir. Broşürlerin aslında okunmayacağını bilerek, Belkıs, bu formun içine kamusal alan, korku, nefsi müdafaa ve hukuki muğlaklık üzerine acil bir anlatı gizlemiştir. İlk bölümde Esra’nın sıradan günü, tehditkâr bir varlıkla karşılaştığı anda rayından çıkar ve kamusal alanda kadın olmanın getirdiği kırılganlık sahnelenir. Esra’nın dışarıdan gözlemlenen hâlleriyle, iç monoloğundaki gelgitler iç içe geçer. Buna rağmen “disnarasyon” (anlatılmayanın, bastırılanın anlatıya hükmetmesi) tekniği, Esra’nın hikâyesini şekillendirir. Bu suskunluk anlarında, kadının kendi korkusunu tanımlamakta tereddüt yaşamasının yankısı hissedilir—korkusu geçerli mi, kendini savunma hakkı var mı, yasa ona arka çıkacak mı gibi sorular. Metnin ikinci bölümünde avukatlar ve yazar arasında geçen refleksif bir meta-diyalog, hikâyenin akışını kesintiye uğratarak, metnin kurgu olduğunu açığa çıkarır ve Esra’nın eylemlerinin etik ve hukuki boyutunu vurgular. Bu kurgu, yargılama süreçlerini taklit eder; kadınların yaşadığı şiddete dair anlatıların öznel travma boyutunu gözetmeyen ölçütlere tabi tutulduğunu hatırlatır. Hikâyenin metin-metinüstü geçişleri, Esra’nın anlatısının durağan bir bütün değil; hafıza, hukuki tanımlar ve duygusal gerçeklikten oluşan bir yamalı bohça olduğunu ifşa eder. Burada metnin temel dinamiği, anlatının gücü ile güçsüzlüğü arasındaki gerilimde yatar. Avukatların tartışması, nefsi müdafaa ve özerklik konusundaki hukuki yetersizlikleri gösterir; şiddet içeren karşılaşmaların duygusal yükünü hiçbir delilin tam yansıtamayacağını gözler önüne serer. Metin, kilit noktalarda belirsiz bırakılarak—örneğin Esra’nın adamı öldürüp öldürmediği ya da adamın başka şekilde mi öldüğü—okuru yasanın ve anlatının sınırlarıyla yüzleşmeye zorlar. Bu muğlaklık, yasaların ve toplumsal normların belli sesleri—özellikle kadınları—nasıl sessize alabileceğine dair bir gerçeği açığa çıkarır: Kişisel hayatta kalma mücadelesi, kolektif olarak duyulma ve ciddiye alınma mücadelesiyle iç içedir. <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/e389e459d66035fb8218d7b7216fa1ed190d4ec67ba690736fa20a349dcc6aab/Uzum-Derin-Solak--Save-the-Night-from-Darkness--fine-art-photograph-printed-on-composite-material--73--110-cm--2025.jpg" data-mid="226837820" border="0" src="https://freight.cargo.site/w/1000/i/e389e459d66035fb8218d7b7216fa1ed190d4ec67ba690736fa20a349dcc6aab/Uzum-Derin-Solak--Save-the-Night-from-Darkness--fine-art-photograph-printed-on-composite-material--73--110-cm--2025.jpg" /> Üzüm Derin Solak&nbsp; Geceyi Karanlıktan Kurtar&nbsp; kompozit malzeme üzerine fine art baskı fotoğraf, 73 × 110 cm, 2025. Üzüm Derin Solak’ın fotoğrafında, İstanbul hem iki kıtayı hem de sık yok sayılan bedenleri birbirine bağlar; iki figür—biri trans kadın, diğeri nonbinary—parıltılı sularının önünde konumlanır. Bu fotoğraf, Türkiye’nin kadınları ve LGBTİ+ topluluklarını toplumsal cinsiyet temelli şiddetten korumayı amaçlayan İstanbul Sözleşmesi’nden çekilmesi üzerine doğar; sözleşmeyi reddeden devlet, özellikle trans ve genderqueer (cinsiyet kimliği ikili normlarla uyuşmayan) bedenlerin neredeyse hiç gündeme taşınmadığı ana akım cinsiyet şiddeti tartışmalarında derin bir uçurum olduğunu daha da belirginleştirir. Geniş toplumsal eğilimin kadın cinayetleri konusuna odaklanıp trans ve kuir bedenlere yönelen şiddete karşı daha az ses çıkarmasından, trans ve kuir bedenlerin haklarını açıkça telaffuz etmenin kadınların kırılgan da olsa elde ettiği tanınma ve hali hazırda yetersiz kalan korumaları tehlikeye atabileceği korkusundan beslenen sessizlik stratejisi—trans bir kadın olan Solak’ı, şehrin adıyla anılan koruma mekanizmalarının yokluğunda İstanbul’u nasıl fotoğraflayabileceğimizi sorgulamaya iter. Bu fotoğrafta, iki yaka arasında, şehrin adı yeni baştan yazılır; eskimiş ve onları koruyamayan anlatıya artık bağlı kalmazlar. Suyun akışkan yansımasında, sürekli dönüşen bedenlerinin bir yansımasını buluyorlar—her zaman oldukları hâlin kanıtını. Boğaz, bir geri kazanım alanına dönüşüyor; ışıldayan yüzeyi, karada dayatılan kısıtlamaları aşan bir olasılıklar âlemini çağrıştırıyor. Mevzuatlar koruma sağlamayı reddedebilir ama suyun enginliği, iki yaka arasındaki kimliklerin ve hakların yeniden var edilebileceği alternatif bir mekânı imliyor. Böylece fotoğraf, yalnızca İstanbul’a değil, tutulmamış her bir söze de bir ağıt niteliği kazanıyor. Ağıt ama aynı zamanda geleceğe dair olasılıkları da çağırıyor: Mevcut yapılar iflas ettiğinde, bu iki figürün kırılmaz ruhunda ve akıntıya sığmayan sularda, topluluk ve aidiyeti yeniden tanımlama şansı hep var. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/572a1b664bfc4e0d62acadbe103e6ce89f2aae1a3d1cdcbfa6eaf15aac478577/_DSC2811_small.jpeg" data-mid="226837850" border="0" src="https://freight.cargo.site/w/1000/i/572a1b664bfc4e0d62acadbe103e6ce89f2aae1a3d1cdcbfa6eaf15aac478577/_DSC2811_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" data-mid="226837848" border="0" src="https://freight.cargo.site/w/1000/i/17ac8eafb4146abcf7baca8c26037b8af717964229b8673208bf234269957a05/_DSC2807_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/56ca76c1ff956f6aa7d09111f75fe78332525d7eab69b87afcb06343047b3951/_DSC2810_small.jpg" data-mid="226837851" border="0" src="https://freight.cargo.site/w/1000/i/56ca76c1ff956f6aa7d09111f75fe78332525d7eab69b87afcb06343047b3951/_DSC2810_small.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1552457cb08683e96ab55dc9247ee7a8b0a9c2101dc89d1669cab17ba13788ba/_DSC2800_small.jpeg" data-mid="226837847" border="0" src="https://freight.cargo.site/w/1000/i/1552457cb08683e96ab55dc9247ee7a8b0a9c2101dc89d1669cab17ba13788ba/_DSC2800_small.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b12382db4733074a469fe5f2ab3a37fd31cebfbb031ffd752aac2129697aefe1/_DSC2809_small.jpeg" data-mid="226837849" border="0" src="https://freight.cargo.site/w/1000/i/b12382db4733074a469fe5f2ab3a37fd31cebfbb031ffd752aac2129697aefe1/_DSC2809_small.jpeg" /> Furkan Öztekin (with Ceyhan Fırat)&nbsp; Parçalı Manzaralar, MDF üzerine kâğıt kolaj, 17 × 24,5 cm, 8 parça, 2025&nbsp; Geçmiş Geri Çekilir, MDF üzerine kâğıt kolaj ve buluntu nesne, 20 × 29 cm (çerçeveli 23 × 31,5 cm), 8 parça, 2025&nbsp; Müdahaleler, Notlar, İzler, yerleştirme (dijital fotoğraf, örgü tel, resim, buluntu nesne), değişken boyutlar, 2025. Furkan Öztekin’in, merhum trans-şair-aktivist Ceyhan Fırat’ın arşiviyle sürdürdüğü diyalog, anlatı kurgusunun her zaman evrildiğini ve tek bir tutarlı hikâyeye direnç gösterdiğini ortaya koyar. 2019’dan bu yana—Ceyhan hâlâ hayattayken—Öztekin, Fırat’ın metinlerini, fotoğraflarını ve buluntu nesnelerini toplar, yeniden kurgular, onlara yanıt niteliğinde işler üretir. Aynı zamanda kendi arşivinden—Ülker Sokak fotoğrafları ve kişisel günlükler gibi—öğeleri de bu sürece dâhil eder. Fırat’ın “Bu benim arşivim değil; bizim arşivimiz” beyanı, paylaşılan mülkiyeti vurgulayarak ortak çalışmalarına kılavuzluk eder. Birlikte yazdıkları kurmaca metinlerden, Fırat’ın taktığıı tacın Öztekin tarafından yeniden üretilmesine; Fırat’ın Ülker Sokak’taki yaşam alanlarını bugün fotoğraflama girişiminden, Fırat’ın şiirlerinde tarif ettiği “pejmürde pembe” tonunu şehirde yakalama isteğine kadar her parça, “hatıranın yatay ve dikey kesişimleri”ni barındıran zamansal ve kişiler arası bir kolaj oluşturur. Ceyhan’ın hayatını kaybetmesinden sonra bu arşiv, daha da muğlak bir karakter kazanır: Hâlâ konuşur, ama artık anlatıcısı çelişkileri açığa kavuşturmaya ya da boşlukları doldurmaya muktedir değildir. Öztekin, bu gelişen ilişkileri işlerinin içine yerleştirerek, Fırat’ın mirasını genişletir ve kopukluk kadar bağlantının da belirgin olduğu şiirsel bütünlemeler yaratır. Geçtiğimiz yıl yazar/araştırmacı Çağla Özbek’in Güvenilmez Anlatıcı adlı kitabı için verdiği röportajda Öztekin, Ceyhan’ın öyküsünün kaygan doğasından— çok sesli ve tartışmalı gerçekler tarafından biçimlenen bir yaşamöyküsünden—bahseder. Bu diyalog, Öztekin’i yöntemlerini yeniden gözden geçirmeye ve yeni işlerinde “güvenilmez anlatıcı” fikrini daha açık biçimde keşfetmeye yönlendirir. Ortaya çıkan şey, sabit bir kronolojiden ziyade, hatırlananlar, unutulanlar ve kurmaca unsurlardan oluşan akışkan bir bütünlüktür. Öztekin, pratiğinin—işbirliği, esinlenme ve sahiplenme/benimseme (appropriation)—metaeleştirisini yaparken, MDF zemin üzerine yerleştirilmiş fotoğraflar, örülmüş tel, kâğıt üzerine mürekkep çizimler ve buluntu nesneler kullanır. Bu malzemeler çerçeveler içinde sunulur, ancak aynı zamanda onların dışına taşar; hikâyenin sınırlamalara teslim olmayacağını anımsatan bir ipucu niteliği taşır. Öte yandan tel örgü, bazen çerçevelerin içinde, bazen de çerçevelerin ötesine uzanarak işlerin arasından geçer; arşivin içsel çelişkilerini vurgularken farklı sahneleri birbirine bağlar. Bu bütünleştirmede, kenarları yanmış bir Fırat portresi, silinme ve hayatta kalmanın sarsıcı bir hatırlatıcısıdır. Karanlık, sınırsız bir manzaranın önünde asılı duruyormuşçasına parlayan sarı bir kumaş parçası, silinmeye direnen hayaletimsi bir varlık gibi durur. Örülmüş tel parçaları, bu kompozisyonlar boyunca dolanıp düğümlenerek ortak bir maddi ve sembolik dil oluşturur. Daha önce Fırat’ın tacını yeniden üretmek için kullanılan bu tel, süreklilik ve yeniden kurgulama şiirselliğini somutlaştırarak parçalanmış anlatı ve zaman katmanlarını&nbsp;birbirine örer. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/35a1b1f6293d722471533e376a5c73ba3e9095f87c9a01ab0ff962faad8551c1/Kiki-ggNash--Gullum-Fair--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226837816" border="0" src="https://freight.cargo.site/w/1000/i/35a1b1f6293d722471533e376a5c73ba3e9095f87c9a01ab0ff962faad8551c1/Kiki-ggNash--Gullum-Fair--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a76b2e9a32d8677aad7f6452fda21f55d9741af4d4534fb03d76fe2668a8846f/Kiki-ggNash--Gullum-Fair-detail--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226837815" border="0" src="https://freight.cargo.site/w/1000/i/a76b2e9a32d8677aad7f6452fda21f55d9741af4d4534fb03d76fe2668a8846f/Kiki-ggNash--Gullum-Fair-detail--oil-on-two-canvases--150--170-cm-and-20--20-cm--2025.-Documentation_-Zeynep-Frat.jpg" /> Kiki ggNash&nbsp; Gullüm Perisi&nbsp; iki parça tuval üzerine yağlı boya, 150 × 170 cm ve 20 × 20 cm, 2025. Kiki GgNash’ın resmi, kendi “benliklerini” bir “aile portresi” olarak tasarlar; çocukluk, ergenlik, yetişkinlik, geçiş öncesi ve sonrası kimlikleri tek bir görsel düzlemde bir araya getirerek hiç sahip olamadığı ya da kendisinden esirgenen aile fotoğraflarının yerini alır. Burada çoklu zaman katmanları iç içe geçer; trans bedeni, her daim “olan” ile “olmakta olan” arasında müzakere hâlindedir. Kiki, özellikle “aile”sinden kaçıp bir daha geri dönmediği döneme ait kırık dökük, ulaşılamaz geçmişlerini anımsarken sorar: “Hiç fotoğrafı ya da hatıra nesnesi olmayan birinin bellekte gerçekten var olması mümkün mü?” Bir yandan da kompozisyona, artık hatırlamadığı, kendini bağdaştıramadığı ya da bağdaştırmak istemediği benlik tasvirlerini yakarak yeni bir katman ekler. Bu eylem, kurumların veya ailelerin tutmadığı kayıtların yokluğunda bir “karşı- arşiv” işlevi görür. Kiki’nin kişisel öyküsü, trans öznelik ile miras alınmış soy geçmişlerinin belirsiz ilişkisini gözler önüne sererek yeni aidiyet çerçevelerine yönelme eğilimini de vurgular. Sanatçı, parçalanmış bu “aile” portrelerini resmederek bir yandan kendi “hayaletlerinin” arasına yerleşir, bir yandan da kaydını tutmayı reddeden, varlığına sahip çıkmayan arşivinin boşluğunu doldurur. Ortaya çıkan katmanlı tuval, hem sığınak hem de savaş alanıdır. Yakma eylemi, aynı anda hem yıkım hem de yeniden inşa ritüelidir—hafızanın silinmelerine karşı koymanın ve yepyeni bir kolektif öz-imgeye yer açmanın bir yoludur. Kiki’nin ateşle çalışması daha önce kullandığı bir tekniktir; önceki işlerinden birinde, Göster Amcalara Cinsiyetini (2023), tuvalin yüzeyine maruz kaldığı transfobik ibareleri kazımış, ardından bu sözcükleri yakarak tuvalde yaşayan yaralar bırakmıştır. Boya ve alev aracılığıyla, silinmenin kendi hikâyesini tanımlamasına izin vermeden, kimliğini kendi terimleriyle inşa etmeyi sürdürür. <img width="1827" height="1514" width_o="1827" height_o="1514" data-src="https://freight.cargo.site/t/original/i/8e500d53b312b2fdeaa2bf1debd926736a7b73c35f88e169693ea67a3b431d15/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpeg" data-mid="226837861" border="0" src="https://freight.cargo.site/w/1000/i/8e500d53b312b2fdeaa2bf1debd926736a7b73c35f88e169693ea67a3b431d15/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpeg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0011a060cf2e1b80473b04298c5f85abf3e74874441c6078040b6765cd21b37c/_DSC2812_small.jpg" data-mid="226837863" border="0" src="https://freight.cargo.site/w/1000/i/0011a060cf2e1b80473b04298c5f85abf3e74874441c6078040b6765cd21b37c/_DSC2812_small.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ddc40dfa31a3b6fee72d7de173d90e37b2aa705ccebd51f94a7a15b4439a5e04/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" data-mid="226837810" border="0" src="https://freight.cargo.site/w/1000/i/ddc40dfa31a3b6fee72d7de173d90e37b2aa705ccebd51f94a7a15b4439a5e04/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e42ba08356639052016917cb6a41a5169308e11124d407708575e9f2408b1710/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226837809" border="0" src="https://freight.cargo.site/w/1000/i/e42ba08356639052016917cb6a41a5169308e11124d407708575e9f2408b1710/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--2025.-Documentation_-Zeynep-Frat.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/30d2171e2b3fdad383f343c6fe57e4a903c18380b13b64c3cdb640eb06e33386/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" data-mid="226837812" border="0" src="https://freight.cargo.site/w/1000/i/30d2171e2b3fdad383f343c6fe57e4a903c18380b13b64c3cdb640eb06e33386/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering--photographic-installation--350-photographs-each-21--14-cm--2025.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2fe35f5d8ef1aa583a7126b47ccc2808400c04167cf5cf62d716924f0aa1f044/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--20251.jpg" data-mid="226837811" border="0" src="https://freight.cargo.site/w/1000/i/2fe35f5d8ef1aa583a7126b47ccc2808400c04167cf5cf62d716924f0aa1f044/Cansu-Yldran-and-Havle-Womens-Association-Havle-Kadn-Dernegi--The-Fluidity-of-NonCovering-detail--photographic-installation--350-photographs-each-21--14-cm--20251.jpg" /> Cansu Yıldıran and Havle Women’s Association (Havle Kadın Derneği)&nbsp; Örtünme(me)nin Akışkanlığı&nbsp; fotoğraf yerleştirmesi, 350 fotoğraf (her biri 21 × 14 cm), 2025. Cansu Yıldıran’ın, Havle Kadın Derneği ile birlikte gerçekleştirdiği işi, Müslüman kadınların görünürlüğünü bedensel ve giyime dair göstergeleri parçalayıp yeniden birleştirerek kurguluyor. Havle’nin “başörtüsü akışkandır” sloganından yola çıkan Yıldıran ve Havle üyeleri, başörtüsü desenleri, ten ve bedensel detaylar—gözler, eller, saçlar—içeren fotoğrafları stratejik olarak askıya alarak sabit bakışları sarsıyor, örtünme pratiklerini çok daha geniş bir özerklik ve ilişkisellik çerçevesine yerleştiriyor. Müslüman kadınları ya “ezilmiş, iradesiz” ya da “egzotik, keşfedilmeye muhtaç” görmek isteyen Oryantalist kalıplar ve indirgemeci örtülü/açık ikiliğini reddediyorlar. Görüntülerin parçalanması, şu hayati soruları öne çıkarıyor: Müslüman kadınların bedenleri kamusal tartışmaya nasıl dâhil ediliyor? Cinsiyet, din, ırk, sınıf ve cinsel yönelim kesişerek Müslüman kadınların kamusal görünürlük deneyimlerini şekillendiriyor; pek çok farklı ayrımcılık biçimine—İslamofobi, cinsiyetçilik, ırkçılık ve homofobi—aynı anda maruz kalabiliyorlar. Askıya alınmış, akışkan ve parçalı fotoğraflar, görünürlüğün mutlak bir varlık ya da yokluk olmadığını; neyin ifşa edildiği ve neyin saklı tutulduğunun sürekli bir pazarlık konusu olduğunu vurguluyor. Bu bakış açısı, kadınların kamusal ve özel alanlarda kendi kaderini tayin hakkını öngören etik yaklaşımlarla da kesişiyor. Başörtüsü, Müslüman kadınları, başörtüsünün “öteki” ya da siyasi gerilimin sembolü olarak algılandığı toplumlarda, aşırı görünür kılabiliyor. Aynı anda, bir kadının bedeninin dış bakışlar tarafından nasıl görüleceğini (veya tüketileceğini) kontrol edebilmesinin bilinçli bir yolu, bir tür sınır belirleme beyanı da olabiliyor. Bu parçalı estetik, Havle topluluğunun pek çok katmanlı kimliğini—farklı arka planlar, deneyimler ve dindarlık biçimlerini—gün yüzüne çıkarırken, izleyiciyi de bakış alışkanlıklarını sorgulamaya davet ediyor. Saç tellerini, genellikle örtünmeyle ilişkilendirilen kumaş parçalarıyla yan yana koyan bu yerleştirme, Müslüman kadınlık ikonografisini hem kuirleştiriyor hem de çeşitlendiriyor. Böylece Yıldıran ve Havle, ya aşırı cinselleştirilen ya da görünmez kılınan kültürel metinleri reddederek, bedenleşmiş anlatılarıyla bir karşı-tanıklık sunuyor. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" data-mid="226837808" border="0" src="https://freight.cargo.site/w/1000/i/9ad54797fa8b06205dbd2ee46a6a2fc10d2fcf3fb13f900fc80e60c31d9a5ef0/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat1.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/49cda181c2b6e49e943da20ab0c3e6e382b76b7af5403132b31b305233fcdfc1/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat.jpg" data-mid="226837807" border="0" src="https://freight.cargo.site/w/1000/i/49cda181c2b6e49e943da20ab0c3e6e382b76b7af5403132b31b305233fcdfc1/belit-sag--Ruken-and-sisters-outsider-in-production--single-channel-video--10-minutes--2025.-Documentation_-Zeynep-Frat.jpg" /> <img width="1571" height="991" width_o="1571" height_o="991" data-src="https://freight.cargo.site/t/original/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" data-mid="226837806" border="0" src="https://freight.cargo.site/w/1000/i/e3edc8d2daa2a7e5be7df6ac8ec0c1ff474424299b8910faa828bee1555065b2/belit-sag---Sevil--single-channel-video--819--2024.-Documentation_-Zeynep-Frat.jpg" /> <img width="3024" height="1718" width_o="3024" height_o="1718" data-src="https://freight.cargo.site/t/original/i/20206e51900941bce1c8afada46b37515dfff3c7e14e8febc06aefbdfa952c7c/belit-sag---Sevil-videostill--single-channel-video--819--2024-adl-dosyann-kopyas-adl-dosyann-kopyas.png" data-mid="226837805" border="0" src="https://freight.cargo.site/w/1000/i/20206e51900941bce1c8afada46b37515dfff3c7e14e8febc06aefbdfa952c7c/belit-sag---Sevil-videostill--single-channel-video--819--2024-adl-dosyann-kopyas-adl-dosyann-kopyas.png" /> belit sağ&nbsp; Ruken ve Bahisdışı Kızkardeşler (yapım aşamasında), tek kanallı video, 10 dakika, 2025&nbsp; Sevil, tek kanallı video, 8’19", 2024 Belit Sağ’ın iki video çalışması, sanatçı Sevil Tunaboylu ve Van Star Kadın Derneği’nden aktivist/ araştırmacı Ruken Ay’ın anlatılarını yan yana geçirerek sansür ve otosansürün katmanlı bir portresini çiziyor. Tunaboylu, bir sergide gösterilen tablosunun kesilerek tahrip edilişini anlatıyor. Eseri fiziksel olarak yok etme girişimi tek başına sarsıcıyken, asıl çarpıcı olan, Tunaboylu’nun hasar gören bu çalışmayı yeniden sergileme veya bir yayında görselini kullanma konusunda duyduğu kaygının devam etmesi. Dışsal şiddet eylemi bitmiş olsa da Tunaboylu, yapıtını göstererek yeni bir saldırıya davetiye çıkarıp çıkarmayacağını sürekli sorgulayarak, korku, suçluluk ve sessiz rıza döngüsüne kapılıyor. Buna paralel olarak, Ruken Ay, bir dijital bellek müzesi kurmaya çalışırken karşılaştığı zorlukları paylaşıyor: Yerel ve devlet arşivleri kapalı ya da işbirliğine yanaşmıyor, kendisine ısrarla konusunun “tehlikeli” olduğu söyleniyor, kendi topluluğu içinden de ataerkil direnişle karşılaşıyor. Şüphe iklimine gömülü projesi, tanıklık etme aciliyeti ile belgelenmemiş, tanınmamış şiddeti ifşa etmenin tedirginliği arasında gidip geliyor. Tunaboylu gibi Ay da, susturucu bir baskı biçimiyle boğuşarak, Kürt kadınlarının tarihini görünür kılma çabalarının kendini veya başkalarını tehlikeye atabileceğinden endişe ediyor. Masaüstü ekran kayıtları, Sevil Tunaboylu ve Ruken Ay’ın hikâyelerini tereddütler, kekelemeler ve uzak bir kameraya (ve sanatçıya) konuşmanın getirdiği itirafvari tonlar eşliğinde aktardıkları anları gözler önüne seriyor. Bu ekranlar, “kamusal” ile “özel” olan arasındaki belirsiz sınırın görsel bir metaforuna dönüşerek, korunaklı bir diyalogun nasıl hızla tehlikeli bir paylaşım hâline gelebileceğini ifşa ediyor. Ekrandaki bedensel varlıkları, konuşma haklarını öne sürmekle birlikte, onların üzerinde tahakküm kurmaya hazır gözlerden tamamen azade olmadıklarını da gösteren çifte bir jest oluşturuyor. Sağ, bu iki kadının anlatılarının paylaşılıp yeniden arşivlenmesini mümkün kılan koşulları düzenleyerek, “incinebilir gözlemci” (vulnerable observer) konumuna benzer bir yer tutuyor—tanıklığın kırılgan ve tehlikeli tabiatını kayıt altına alırken, aynı zamanda bu sunumu biçimlendiriyor. Ekran kaydının mantığını kullanarak iki paralel hikâye arasında bağ kuruyor ve daha geniş bir politik coğrafyayı haritalıyor. Kürt mücadelesinin karşısındaki tüm engellere rağmen bu anlatıların bir yerlerde—bir hard diskte, bir konuşmada, bir masaüstü filminde—var olmaları gerekiyor. Bellek oluşturma, tanıklık ve feminist dayanışma eylemleri, resmî tarihin ekran dışına itmek istediği çerçeveyi kırarak ses buluyor. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6e014aefc61bddec094f7231d9fae2b481be7ee7ecfb506bd9b902afb3672c30/Serdar-Soydan--Archival-research-materials-on-Adnan-Pekak--Kudret-Sandra--Zenne-Necdet--2025_.jpg" data-mid="226837818" border="0" src="https://freight.cargo.site/w/1000/i/6e014aefc61bddec094f7231d9fae2b481be7ee7ecfb506bd9b902afb3672c30/Serdar-Soydan--Archival-research-materials-on-Adnan-Pekak--Kudret-Sandra--Zenne-Necdet--2025_.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" data-mid="226837790" border="0" src="https://freight.cargo.site/w/1000/i/e64cb8211966b8499328429591e86a570f4695229fd2ac383138a737d78263e2/4--Narrative-Power-Alliance_-Exhibition--Exhibition-View--w-works-by-Nejbir-Erkol-ve-Serdar-Soydan_-Documentation_-Zeynep-Frat.jpg" /> <img width="2151" height="1857" width_o="2151" height_o="1857" data-src="https://freight.cargo.site/t/original/i/af10364a7717fcc7c1fbd3b15600d2618a4df1148ea0677dfb6487fdf44f6cc8/IMG_6135-1.JPG" data-mid="226837865" border="0" src="https://freight.cargo.site/w/1000/i/af10364a7717fcc7c1fbd3b15600d2618a4df1148ea0677dfb6487fdf44f6cc8/IMG_6135-1.JPG" /> <img width="1241" height="2987" width_o="1241" height_o="2987" data-src="https://freight.cargo.site/t/original/i/a3c2a83d4a78a3d9afdb92e3cec3ee1e91ab7f7c557becce5134d6426fee3cb4/Necdet3.png" data-mid="226837859" border="0" src="https://freight.cargo.site/w/1000/i/a3c2a83d4a78a3d9afdb92e3cec3ee1e91ab7f7c557becce5134d6426fee3cb4/Necdet3.png" /> <img width="2282" height="4355" width_o="2282" height_o="4355" data-src="https://freight.cargo.site/t/original/i/44cc4c8fea90673980e4a670702d3fe02afa7bfc2b86e7c63424fb1a6e65b2a1/IMG_20190314_114502.jpg" data-mid="226837854" border="0" src="https://freight.cargo.site/w/1000/i/44cc4c8fea90673980e4a670702d3fe02afa7bfc2b86e7c63424fb1a6e65b2a1/IMG_20190314_114502.jpg" /> <img width="2584" height="3732" width_o="2584" height_o="3732" data-src="https://freight.cargo.site/t/original/i/f83d2bdb4f5a956d90192bdd5067d0b0bcfe998ba5ae77dbec83e32883c4ac2d/IMG20240301113614-1.jpg" data-mid="226837856" border="0" src="https://freight.cargo.site/w/1000/i/f83d2bdb4f5a956d90192bdd5067d0b0bcfe998ba5ae77dbec83e32883c4ac2d/IMG20240301113614-1.jpg" /> <img width="3468" height="4624" width_o="3468" height_o="4624" data-src="https://freight.cargo.site/t/original/i/adcdae2d44d9e41b652409ec1903202d138acf2aa7226d4cb7eb95c0620554ce/IMG20221208141734-1.jpg" data-mid="226837866" border="0" src="https://freight.cargo.site/w/1000/i/adcdae2d44d9e41b652409ec1903202d138acf2aa7226d4cb7eb95c0620554ce/IMG20221208141734-1.jpg" /> <img width="2174" height="4348" width_o="2174" height_o="4348" data-src="https://freight.cargo.site/t/original/i/aabe727e1910d7fbf74a9fd33112544f9e9942fcbac7def981cccb36dadcc2f8/IMG20230818080957.jpg" data-mid="226837855" border="0" src="https://freight.cargo.site/w/1000/i/aabe727e1910d7fbf74a9fd33112544f9e9942fcbac7def981cccb36dadcc2f8/IMG20230818080957.jpg" /> <img width="2704" height="4133" width_o="2704" height_o="4133" data-src="https://freight.cargo.site/t/original/i/e392bb416bc8c054a9997510ca7db7f5bc94d18c17fa9670a0a73b33bd4bac74/IMG20240301120229-1.jpg" data-mid="226837857" border="0" src="https://freight.cargo.site/w/1000/i/e392bb416bc8c054a9997510ca7db7f5bc94d18c17fa9670a0a73b33bd4bac74/IMG20240301120229-1.jpg" /> <img width="2767" height="4209" width_o="2767" height_o="4209" data-src="https://freight.cargo.site/t/original/i/82529a0f745b6d9431a5eb8d4b0c38ba7848c430754dad084d4417a9b342d152/Archival-material-from-Serdar-Soydan_--Zenne-Necdet-in-the-film-of-Hurriyet-Sarks-1951_.jpg" data-mid="226837800" border="0" src="https://freight.cargo.site/w/1000/i/82529a0f745b6d9431a5eb8d4b0c38ba7848c430754dad084d4417a9b342d152/Archival-material-from-Serdar-Soydan_--Zenne-Necdet-in-the-film-of-Hurriyet-Sarks-1951_.jpg" /> <img width="1389" height="2232" width_o="1389" height_o="2232" data-src="https://freight.cargo.site/t/original/i/dcfd6c4255a7fd2fe1abcfc7b494bb4c0a7ae5470e27742611d8c16ab232dc20/Archival-material-from-Serdar-Soydan_-a-portrait-of-Kudret-Sandra-from-60s_.jpg" data-mid="226837801" border="0" src="https://freight.cargo.site/w/1000/i/dcfd6c4255a7fd2fe1abcfc7b494bb4c0a7ae5470e27742611d8c16ab232dc20/Archival-material-from-Serdar-Soydan_-a-portrait-of-Kudret-Sandra-from-60s_.jpg" /> <img width="1194" height="1834" width_o="1194" height_o="1834" data-src="https://freight.cargo.site/t/original/i/aef3e2c5b9915cc8ce31d2d9301fa19afc0af054d6fa9dc9fef5c6a4ca4f9e67/Archival-material-from-Serdar-Soydan_-Portrait-of-singer-Adnan-Pekak-from-a-newspaper-from-60s.png" data-mid="226837804" border="0" src="https://freight.cargo.site/w/1000/i/aef3e2c5b9915cc8ce31d2d9301fa19afc0af054d6fa9dc9fef5c6a4ca4f9e67/Archival-material-from-Serdar-Soydan_-Portrait-of-singer-Adnan-Pekak-from-a-newspaper-from-60s.png" /> <img width="4260" height="5632" width_o="4260" height_o="5632" data-src="https://freight.cargo.site/t/original/i/8b09e6ee2eb8ebab3ee250bd35f2cbcd1ad181433ed55f505405e477bb9ebb9b/Necdet-Ince-Ses-Tiyatrosu-nda-1.jpg" data-mid="226837858" border="0" src="https://freight.cargo.site/w/1000/i/8b09e6ee2eb8ebab3ee250bd35f2cbcd1ad181433ed55f505405e477bb9ebb9b/Necdet-Ince-Ses-Tiyatrosu-nda-1.jpg" /> Serdar Soydan Adnan Pekak, Kudret Şandra, Zenne Necdet üzerine arşivsel araştırma materyalleri 2025 Serdar Soydan’ın arşivsel araştırması, Zeki Müren’in gölgesinde kalmış, sonrasında kimsenin adını bilmediği yetenekli şarkıcı Adnan Pekak’ı; sahnede kadın karakterlere hayat vererek çığır açmış bir sanatçı olan Zenne Necdet’i ve nihayetinde maneviyata yönelen cesur dansçı Kudret Şandrayı, yakın geçmişte Türk popüler kültüründe görünmez kalmış ancak cinsiyet rollerini tersyüz eden performans figürleri olarak mercek altına alır, katı sansür, ahlaki kodlar ve değişken kitle beğenileri içinde manevra yapmak zorunda kalan bu performansçıların becerikliliklerini görünür kılar. Soydan, kişisel tanıklıklardan film karelerine, gazete kupürlerinden afişlere uzanan kırıntıları bir araya getirerek bellekte nelerin kaldığını sorgular. Onun yaklaşımı, bu figürlerin öznel gerçekliği ile çoğu zaman onları alay veya ahlaki kınama ekseninde konumlandıran sansasyonel medya kültürü arasındaki çelişkili etkileşimi gözler önüne serer. Soydan, yalnızca dağınık gazete kupürlerini, sansasyonel başlıkları ve tanıtım malzemelerini toplamakla kalmaz; aynı zamanda titizlikle hazırladığı biyografileri, bu malzemelerin yanına koyarak onların bu kişileri nasıl küçümsediğini ya da marjinalleştirdiğini ifşa eder. Böylece, geçmişe mal olan önyargı ve sansür mekanizmalarının, kuir yaşamların toplumsal algıda nasıl şekillendirdiğini gözler önüne serer. Soydan’ın her bir paneli, bir yandan efemera koleksiyonundan özenle oluşan kolaj, öte yandan da politik bir iade-i itibar eylemi olarak okunabilir; izleyiciyi bireysel efsane yaratımı, toplumsal yükselme arzusu ve sistematik sessizleştirme arasındaki katmanlı ilişkiyi görmeye davet eder. Soydan, 20. yüzyılın ortalarında Türkiye’de eğlence kültürünün uçucu gerçekliğini kazıyarak açığa çıkaran bir medya arkeoloğu rolü üstlenir, ortak kurtuluş için belleğin çoğu zaman ilk mücadele alanı olduğunu hatırlatır.Adnan Pekak, Kudret Şandra, Zenne Necdet hakkında Serdar Soydan tarafından kaleme alınmış biyografik metinleri buradan okuyabilirsiniz. <img width="1696" height="938" width_o="1696" height_o="938" data-src="https://freight.cargo.site/t/original/i/77a366eac67b7723f2619d9437cf8c10cdf67ecd7a7628cb1416070ec487ce47/Screenshot-2025-02-18-at-01.18.47.png" data-mid="226837843" border="0" src="https://freight.cargo.site/w/1000/i/77a366eac67b7723f2619d9437cf8c10cdf67ecd7a7628cb1416070ec487ce47/Screenshot-2025-02-18-at-01.18.47.png" /> <img width="2532" height="1438" width_o="2532" height_o="1438" data-src="https://freight.cargo.site/t/original/i/cb2663cfb1a12b6c6d28871234b914a0264dfd87a5e49d7e768522c4e6bb105b/Screenshot-2025-02-18-at-01.20.31.png" data-mid="226837842" border="0" src="https://freight.cargo.site/w/1000/i/cb2663cfb1a12b6c6d28871234b914a0264dfd87a5e49d7e768522c4e6bb105b/Screenshot-2025-02-18-at-01.20.31.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7734aaabf97c7af3237cadb6cb67a43541e277bb37d629b9936e5a4b96e150f8/_DSC2856_small.jpeg" data-mid="226837846" border="0" src="https://freight.cargo.site/w/1000/i/7734aaabf97c7af3237cadb6cb67a43541e277bb37d629b9936e5a4b96e150f8/_DSC2856_small.jpeg" /> <img width="2530" height="1426" width_o="2530" height_o="1426" data-src="https://freight.cargo.site/t/original/i/429b088ef4733ffb2b49cf77c2f4b5ffd631945568bd8c7effc65fc809b1dab4/Screenshot-2025-02-18-at-01.17.24.png" data-mid="226837845" border="0" src="https://freight.cargo.site/w/1000/i/429b088ef4733ffb2b49cf77c2f4b5ffd631945568bd8c7effc65fc809b1dab4/Screenshot-2025-02-18-at-01.17.24.png" /> <img width="1684" height="952" width_o="1684" height_o="952" data-src="https://freight.cargo.site/t/original/i/9a6c843cff92daea2fc54dc7cef99893fa7c6a78dcbbc1407f850d4b5f82f406/Screenshot-2025-02-18-at-01.18.02.png" data-mid="226837844" border="0" src="https://freight.cargo.site/w/1000/i/9a6c843cff92daea2fc54dc7cef99893fa7c6a78dcbbc1407f850d4b5f82f406/Screenshot-2025-02-18-at-01.18.02.png" /> <img width="1027" height="983" width_o="1027" height_o="983" data-src="https://freight.cargo.site/t/original/i/1fb4e2b04181cbdf01d9872e5d39eadd82724142ce03c932d14c6f00dea2bf11/unnamed-1.jpeg" data-mid="226837840" border="0" src="https://freight.cargo.site/w/1000/i/1fb4e2b04181cbdf01d9872e5d39eadd82724142ce03c932d14c6f00dea2bf11/unnamed-1.jpeg" /> Trans Hafıza Kolektifi&nbsp; Türkiye trans hareketinden eylem videoları (1987 Dayağa Karşı Yürüyüş, 2010 ve 2014 Trans Onur Yürüyüşleri, 2003–2022 Antakya, Antalya, Ankara, İstanbul, Kocaeli, Mersin 1 Mayıs Trans Kortejleri, 2016 Çağla Joker; 2016, 2017 Hande Kader Trans Cinayetleri Politiktir Yürüyüşleri, İstanbul) Türkiye trans hareketinden yayımlar: Gacı, Dönme, Lubunya dergilerinden sayılar; Hatırlıyor musun? Sözlü Tarih Çalışması Videosu, 30’40’’, 2024. Sergide, ayrıca Trans Onur Haftası Komitesi tarafından küratörlüğü yapılan Dön-Dün Bak: Türkiye’de Trans Hareketi Tarihi sergisinden de bir seçki yer alıyor. İlk kez 2010’da düzenlenen ve 2024 yılındal onuncu defa “Fail Devlet” temasıyla gerçekleşen Trans Onur Haftası kapsamında geliştirilen bu sergi, trans deneyimlere ve aktivizme dair arşiv materyalleri, kişisel tanıklıklar ve tarihî eserler sunan öncü bir çalışma niteliğindeydi. Ne var ki Temmuz 2024’te, Türkiye devleti bu etkili sergiyi zorla kapattı. Buna yanıt olarak, sergiyi düzenleyen ekibin üyeleri Trans Hafıza Kolektifi’ni kurdu ve kapatılan sergiden temel parçaları korumaya ve yeniden kamusallaştırmaya girişti. Kolektif, yıllar boyunca trans hareketini şekillendiren tartışmalara ışık tutan Gacı, Lubunya ve Dönme gibi önemli trans yayınlarını derledi. Yeniden düzenlenen bu sunumun merkezinde, farklı Trans Onur yürüyüşlerinden ve kamusal gösterilerden kesintisiz dönen videolae yer alıyor—1987’deki kadınların şiddet karşıtı yürüyüşlerinden, 1 Mayıs kortejlerinde yer alan trans bloklara ve son on yıldaki Trans Onur yürüyüşü görüntülerine uzanan bir yelpazeyi kapsıyor. Bu kısa klipler ve ham kayıtlar, slogan atan, konuşmalar yapan, kamusal performanslar sergileyen aktivistleri, müttefikleri ve meraklı izleyicileri gösteriyor. Devlet güçleriyle doğrudan yüzleşme anları, kolektif coşku ve birbirine sahip çıkma görüntüleriyle yan yana gelerek, bu gösterileri tanımlayan direngenlik ve kararlılığı bir kez daha ortaya koyuyor. <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/5ed8342747e3189fbdc4912b0db88099c125ed42466d0b6fc7e3efd3b0354f30/IMG_4418.jpeg" data-mid="226837900" border="0" src="https://freight.cargo.site/w/1000/i/5ed8342747e3189fbdc4912b0db88099c125ed42466d0b6fc7e3efd3b0354f30/IMG_4418.jpeg" /> <img width="1179" height="1006" width_o="1179" height_o="1006" data-src="https://freight.cargo.site/t/original/i/7cea3b7a58cd013ea78f63ede20ad0a59b10361785a84e1cd5d9393a69c1d428/IMG_5701.jpg" data-mid="226837876" border="0" src="https://freight.cargo.site/w/1000/i/7cea3b7a58cd013ea78f63ede20ad0a59b10361785a84e1cd5d9393a69c1d428/IMG_5701.jpg" /> <img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/c66e41e299f56f6ccc6c10279dd376b4f3acfee6efce8811ccb171db97458b31/IMG_1217.jpeg" data-mid="226837869" border="0" src="https://freight.cargo.site/w/1000/i/c66e41e299f56f6ccc6c10279dd376b4f3acfee6efce8811ccb171db97458b31/IMG_1217.jpeg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/9137433ea37db6722c029e66c8addb692d0cf7e20a712cde189a2ae9a1ebe3b7/IMG_4444.JPG" data-mid="226837870" border="0" src="https://freight.cargo.site/w/1000/i/9137433ea37db6722c029e66c8addb692d0cf7e20a712cde189a2ae9a1ebe3b7/IMG_4444.JPG" /> <img width="1179" height="1014" width_o="1179" height_o="1014" data-src="https://freight.cargo.site/t/original/i/75a3cd871e69c3da86c82c774a8c830cbb830d7a804ce20c97902ea7224c2217/IMG_5705.jpg" data-mid="226837877" border="0" src="https://freight.cargo.site/w/1000/i/75a3cd871e69c3da86c82c774a8c830cbb830d7a804ce20c97902ea7224c2217/IMG_5705.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b8b0088174ea38974c1c4d82bcc181eb47d4b2ef105a53b5f32597bdccbfb904/IMG_1253.jpeg" data-mid="226837878" border="0" src="https://freight.cargo.site/w/1000/i/b8b0088174ea38974c1c4d82bcc181eb47d4b2ef105a53b5f32597bdccbfb904/IMG_1253.jpeg" /> <img width="1179" height="1008" width_o="1179" height_o="1008" data-src="https://freight.cargo.site/t/original/i/da08c2dbb5fd161e5367b95f3661bfff61b9ec371bfa3405f0d1dd0246102b76/IMG_5708.jpg" data-mid="226837873" border="0" src="https://freight.cargo.site/w/1000/i/da08c2dbb5fd161e5367b95f3661bfff61b9ec371bfa3405f0d1dd0246102b76/IMG_5708.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/dd9f42ae97f2bb4f137051e0a42f3d0a7c9e1d41d5c53d2a78c50c9ea88ee889/IMG_1171.jpeg" data-mid="226837890" border="0" src="https://freight.cargo.site/w/1000/i/dd9f42ae97f2bb4f137051e0a42f3d0a7c9e1d41d5c53d2a78c50c9ea88ee889/IMG_1171.jpeg" /> <img width="5120" height="3840" width_o="5120" height_o="3840" data-src="https://freight.cargo.site/t/original/i/3b5bb4a6c45c1f43d042d52e732fe1923471f8d1c941fdf337a991e4db7b4fbf/8b71752a-639b-4166-832b-b9ee454783a2.JPG" data-mid="226837882" border="0" src="https://freight.cargo.site/w/1000/i/3b5bb4a6c45c1f43d042d52e732fe1923471f8d1c941fdf337a991e4db7b4fbf/8b71752a-639b-4166-832b-b9ee454783a2.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b942137a9dcba5fa14524f63787eb9525cff899a3b52348eed23939946b04ae1/IMG_4500.JPG" data-mid="226837888" border="0" src="https://freight.cargo.site/w/1000/i/b942137a9dcba5fa14524f63787eb9525cff899a3b52348eed23939946b04ae1/IMG_4500.JPG" /> <img width="1179" height="993" width_o="1179" height_o="993" data-src="https://freight.cargo.site/t/original/i/0623c279c42e4dbf22170e67e8878c33236bfc0bd1882896a352c71195422f81/IMG_5968.jpg" data-mid="226837892" border="0" src="https://freight.cargo.site/w/1000/i/0623c279c42e4dbf22170e67e8878c33236bfc0bd1882896a352c71195422f81/IMG_5968.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/2bb74e0835ba11c64e0d09b5fccb057a1ddaae2f77c27490ef6d8c155552ceb8/IMG_4419.JPG" data-mid="226837879" border="0" src="https://freight.cargo.site/w/1000/i/2bb74e0835ba11c64e0d09b5fccb057a1ddaae2f77c27490ef6d8c155552ceb8/IMG_4419.JPG" /> <img width="1179" height="1027" width_o="1179" height_o="1027" data-src="https://freight.cargo.site/t/original/i/afb7a2fee1fa516bce7a7e49716f8e79501e9bcfb742538ac30a929011775921/IMG_5969.jpg" data-mid="226837893" border="0" src="https://freight.cargo.site/w/1000/i/afb7a2fee1fa516bce7a7e49716f8e79501e9bcfb742538ac30a929011775921/IMG_5969.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e38bad52a88696c604ef2b091adf1cd2e8f5e056a2bdffa6b2ed60f0879cd362/IMG_1337.jpeg" data-mid="226837883" border="0" src="https://freight.cargo.site/w/1000/i/e38bad52a88696c604ef2b091adf1cd2e8f5e056a2bdffa6b2ed60f0879cd362/IMG_1337.jpeg" /> <img width="5712" height="4284" width_o="5712" height_o="4284" data-src="https://freight.cargo.site/t/original/i/3d192763306b40004e4b3d779cb35bc50226433aa9d869b92de68a8248f913d7/IMG_5343.jpg" data-mid="226837891" border="0" src="https://freight.cargo.site/w/1000/i/3d192763306b40004e4b3d779cb35bc50226433aa9d869b92de68a8248f913d7/IMG_5343.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/39a20bba32b87f6fd43053f2feace139f39bc4a9cede05d6029f3106edc6f275/IMG_4429.JPG" data-mid="226837880" border="0" src="https://freight.cargo.site/w/1000/i/39a20bba32b87f6fd43053f2feace139f39bc4a9cede05d6029f3106edc6f275/IMG_4429.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/05d3e9dcf0ef5bfe49525eafde4b586e28298e65f9c6700d6533c61ecf3ea5aa/81d1fe5a-dd38-4402-86cb-8e293b3dc72c.JPG" data-mid="226837889" border="0" src="https://freight.cargo.site/w/1000/i/05d3e9dcf0ef5bfe49525eafde4b586e28298e65f9c6700d6533c61ecf3ea5aa/81d1fe5a-dd38-4402-86cb-8e293b3dc72c.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/d233e98d8ce1480c32914acf5d1cf7fcf9fbb1c7f3931e07bb7cb972df24137d/IMG_4481-1.JPG" data-mid="226837886" border="0" src="https://freight.cargo.site/w/1000/i/d233e98d8ce1480c32914acf5d1cf7fcf9fbb1c7f3931e07bb7cb972df24137d/IMG_4481-1.JPG" /> <img width="1179" height="1030" width_o="1179" height_o="1030" data-src="https://freight.cargo.site/t/original/i/497285ff73cc05e2609d41b41bcce52d393bbeb608ac25a6c4d577fb73415da6/IMG_5970.jpg" data-mid="226837894" border="0" src="https://freight.cargo.site/w/1000/i/497285ff73cc05e2609d41b41bcce52d393bbeb608ac25a6c4d577fb73415da6/IMG_5970.jpg" /> <img width="1179" height="971" width_o="1179" height_o="971" data-src="https://freight.cargo.site/t/original/i/13688f9628c9afd3f4f7cb1052118eb8262178db4abf47ec805b682aee7e2722/IMG_5971.jpg" data-mid="226837895" border="0" src="https://freight.cargo.site/w/1000/i/13688f9628c9afd3f4f7cb1052118eb8262178db4abf47ec805b682aee7e2722/IMG_5971.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/8360541c9d6be835fc4f442b1f1c4b4d4f876371a381a858b05b2edfbd2f06eb/IMG_4501.jpeg" data-mid="226837896" border="0" src="https://freight.cargo.site/w/1000/i/8360541c9d6be835fc4f442b1f1c4b4d4f876371a381a858b05b2edfbd2f06eb/IMG_4501.jpeg" /> . &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/074f6a096b352e35139610f6f311842e933f61d7e55f5d0c0ea20a796cc89d4a/Anlat-Gucu-Ittifak_-Sergi-Yayn--Tasarm_-Can-Kucuk--Fotograf_-Zeynep-Frat-.jpg" data-mid="226837898" border="0" src="https://freight.cargo.site/w/1000/i/074f6a096b352e35139610f6f311842e933f61d7e55f5d0c0ea20a796cc89d4a/Anlat-Gucu-Ittifak_-Sergi-Yayn--Tasarm_-Can-Kucuk--Fotograf_-Zeynep-Frat-.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/eb96b433f421210df1c55b24c1291845216b1f480660a2fa507338c25201f721/Narrative-Power-Alliance_-Exhibition-Publication--design-by-Can-Kucuk.-Photo_-Zeynep-Frat-adl-dosyann-kopyas.jpg" data-mid="226837897" border="0" src="https://freight.cargo.site/w/1000/i/eb96b433f421210df1c55b24c1291845216b1f480660a2fa507338c25201f721/Narrative-Power-Alliance_-Exhibition-Publication--design-by-Can-Kucuk.-Photo_-Zeynep-Frat-adl-dosyann-kopyas.jpg" /> <img width="1174" height="1446" width_o="1174" height_o="1446" data-src="https://freight.cargo.site/t/original/i/e94ca845cb0b9438ffeeda92da02709040e6db496c3e1c55f0ad7d8bb1967d67/Screenshot-2025-02-18-at-23.37.17.png" data-mid="226839520" border="0" src="https://freight.cargo.site/w/1000/i/e94ca845cb0b9438ffeeda92da02709040e6db496c3e1c55f0ad7d8bb1967d67/Screenshot-2025-02-18-at-23.37.17.png" /> https://alperturanprojects.com/home-page-ISP Mon, 22 Jul 2024 16:58:35 +0000 alperturan https://alperturanprojects.com/home-page-ISP NOT EVERYTHING IS GIVEN <img width="2016" height="3060" width_o="2016" height_o="3060" data-src="https://freight.cargo.site/t/original/i/dfa5be338eaa57ab334fda9953f81c3e7d23e6ab0fe508c7956980f03530d4d7/E.2024.0209a-f.jpg" data-mid="215076046" border="0" data-scale="28" src="https://freight.cargo.site/w/1000/i/dfa5be338eaa57ab334fda9953f81c3e7d23e6ab0fe508c7956980f03530d4d7/E.2024.0209a-f.jpg" /> Zişan, Felaket (Catastrophe), 1923. Reproduction of an original work of ink on paper. Courtesy of the İz Öztat and Zilberman Gallery, Istanbul. Exhibition May 9, 2024–May 24, 2024 2024 Whitney Independent Study Program&nbsp; Curatorial Exhibition ISP, 745 Washington Street (former studio of Roy Lichtenstein) Noor Abed, Laakuluk Williamson Bathory, Niloufar Emamifa, Naomi Rincón Gallardo, Aziz Hazara, Joyce Joumaa, BAÇOY KOOP, Diyar Mayil, Shala Miller, İz Öztat, Taqralik Partridge, Kameelah Janan Rasheed, Cameron Rowlan, Ebun Sodipo, Oraib Toukan, Charisse Pearlina Weston, Zişan Whitney Independent Study Program Helena Rubinstein Curatorial Fellows:Ella den Elzen, Gervais Marsh, Carlota Ortiz Monasterio, Alper Turan The aspirations of language often leave words skirting around the edges of emotions, grasping at their depth. What fuels the demand to decipher as a measure of value or the foundation of understanding? This exhibition disturbs the expectations from artworks and artists to “demonstrate,” “elucidate,” or ‘’bear witness’’ to the fraught conditions of our world. Amid multiple ways of knowing and forms of communication, not everything has to be given or shared. The artists gathered here circumvent and interrogate the expectations placed on them by overdetermined categories (race, sexuality, gender, ethnicity, geography), reorienting towards the self and those with shared experiences. In doing so, they complicate histories of past and present genocide, logics of anti-Blackness and settler colonialism, and gesture to concealed structures of control, including those imposed by the State, the law, and the archive. Through practices of withholding and self-articulation, they interrupt linear narratives using forms of coded communication, experimenting with strategies of obscurity and material form while affirming the poetics of mythmaking and fiction and underscoring the fragility of subjecthood. As curators, we reckon with the urge to respond to the pervasive and gratuitous violence that is foundational to the world we live in and extends to the history of exhibition-making. Holding these tensions, we suspend the need to comprehend to consider alternative social and political modes. https://alperturanprojects.com/ISP-IMAGES-1 Fri, 19 Jul 2024 21:39:11 +0000 alperturan https://alperturanprojects.com/ISP-IMAGES-1 <img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/06e4eeebfb2cb0def987b2601bcfeb2fabec8f41530094b3d50d436c08445c1e/Kameelah-Janan-Rasheed---they-feed-on-the-altitude-of-our-afterlife-detail--2024.--View-of-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.-6.jpg" data-mid="214949222" border="0" src="https://freight.cargo.site/w/1000/i/06e4eeebfb2cb0def987b2601bcfeb2fabec8f41530094b3d50d436c08445c1e/Kameelah-Janan-Rasheed---they-feed-on-the-altitude-of-our-afterlife-detail--2024.--View-of-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.-6.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ec633dad11b417964f5e6a6c598207b7062960db092979a23d96256886b04fcf/Installation-view-of-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.-Kameelah-Janan-Rasheed---they-feed-on-the-altitude-of-our-afterlife--2024.-Photograph-by-Filip-Wolak2.jpg" data-mid="214949215" border="0" src="https://freight.cargo.site/w/1000/i/ec633dad11b417964f5e6a6c598207b7062960db092979a23d96256886b04fcf/Installation-view-of-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.-Kameelah-Janan-Rasheed---they-feed-on-the-altitude-of-our-afterlife--2024.-Photograph-by-Filip-Wolak2.jpg" /> <img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/96e210ed00a071fa572753052d3c3437c09efbe4d09a0f833087a4be9844a626/Kameelah-Janan-Rasheed---they-feed-on-the-altitude-of-our-afterlife-detail--2024.--View-of-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.-9.jpg" data-mid="214949225" border="0" src="https://freight.cargo.site/w/1000/i/96e210ed00a071fa572753052d3c3437c09efbe4d09a0f833087a4be9844a626/Kameelah-Janan-Rasheed---they-feed-on-the-altitude-of-our-afterlife-detail--2024.--View-of-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.-9.jpg" /> <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/d5e890f59ab7d0f5d76432073dccc9a8f49aa2bee8bc74186499a5646199dfa0/RS80656_ISP-NotEverything_6179_full.jpg" data-mid="214949109" border="0" src="https://freight.cargo.site/w/1000/i/d5e890f59ab7d0f5d76432073dccc9a8f49aa2bee8bc74186499a5646199dfa0/RS80656_ISP-NotEverything_6179_full.jpg" /> <img width="12000" height="6600" width_o="12000" height_o="6600" data-src="https://freight.cargo.site/t/original/i/9e354760e24f4998e2c9b520e5becfdd06fdbfce42b895feeaadd0ccf50296e9/E.2024.0200.png" data-mid="215091972" border="0" src="https://freight.cargo.site/w/1000/i/9e354760e24f4998e2c9b520e5becfdd06fdbfce42b895feeaadd0ccf50296e9/E.2024.0200.png" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). Kameelah Janan Rasheed, ,they feed on the altitude of our afterlife., 2024. Photograph by Filip Wolak Kameelah Janan Rasheed, ,they feed on the altitude of our afterlife., 2024 Vinyl Courtesy of the artist and Nome Gallery, Berlin. ,they feed on the altitude of our afterlife. combines hand-drawn mathematical notation, a poem obscured using Photoshop’s content-aware function, and scans of Xeroxes. Arranged along the staircase, In combination with this larger vinyl work, small vinyl pieces of text have escaped the frame or spilled out of the confines of a sentence. This work considers the questions posed by Fred Moten in conversation with Renee Gladman’s work in the text One Long Black Sentence: “Is there refuge in the sentence? Is there an underground railroad in the sentence?” --K.J.R <img width="1386" height="1804" width_o="1386" height_o="1804" data-src="https://freight.cargo.site/t/original/i/1247bd75babfbfd37d9b6b63ad4f820a91d911baf95cf79af496c3a1abcecde0/Screenshot-2024-07-21-at-22.31.57.png" data-mid="215023607" border="0" src="https://freight.cargo.site/w/1000/i/1247bd75babfbfd37d9b6b63ad4f820a91d911baf95cf79af496c3a1abcecde0/Screenshot-2024-07-21-at-22.31.57.png" /> <img width="688" height="976" width_o="688" height_o="976" data-src="https://freight.cargo.site/t/original/i/56d0d999bb072a08c99af361840093f16dec5187d7795390588ec42b6721770f/Screenshot-2024-07-21-at-22.56.32.png" data-mid="215023961" border="0" src="https://freight.cargo.site/w/688/i/56d0d999bb072a08c99af361840093f16dec5187d7795390588ec42b6721770f/Screenshot-2024-07-21-at-22.56.32.png" /> <img width="2158" height="1370" width_o="2158" height_o="1370" data-src="https://freight.cargo.site/t/original/i/208b05404bb8effa36909770b507d925dee4dda9a2c434f8ca06417b9a4995de/BACOY-KOOP--Birding--Mimeograph-printed-flyers-2016-Courtesy-of-the-artists-and-Zilberman-Gallery--Istanbul.-Within-Not-Everything-is-Given-exhibition_.png" data-mid="214948869" border="0" src="https://freight.cargo.site/w/1000/i/208b05404bb8effa36909770b507d925dee4dda9a2c434f8ca06417b9a4995de/BACOY-KOOP--Birding--Mimeograph-printed-flyers-2016-Courtesy-of-the-artists-and-Zilberman-Gallery--Istanbul.-Within-Not-Everything-is-Given-exhibition_.png" /> BAÇOY KOOP, Birding, 2016Reproduction of mimeograph printed flyersCourtesy of the artistsThe work by BAÇOY-KOOP (Printing, Duplication and Distribution Cooperative) is named after the clandestine printing and distribution method originally used by Kurdish guerrillas, which involves the production of dissident content using non-electric mimeographs and the anonymous dissemination of flyers by scattering them from mountaintops down into villages. Created in 2016 amid heightened tensions from failed peace negotiations and increased state violence against Kurdish communities, Birding responds through coded visual and gestural language using symbols of Kurdish life and resistance. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/0611d0e632822e3b579c27200098f27a2066ac3c9b886bc4241cf5474153701e/RS80658_ISP-NotEverything_6211_full.jpg" data-mid="215023504" border="0" src="https://freight.cargo.site/w/1000/i/0611d0e632822e3b579c27200098f27a2066ac3c9b886bc4241cf5474153701e/RS80658_ISP-NotEverything_6211_full.jpg" /> <img width="4096" height="2304" width_o="4096" height_o="2304" data-src="https://freight.cargo.site/t/original/i/850185720029d7748c1663310809ccb11295fa827395bdb1957cc168e5336fbf/Videostill_Oraib-Toukain--Offing.-Video-still-from-single-channel-video---2021.-Courtesy-of-the-artist.-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.png" data-mid="214948874" border="0" src="https://freight.cargo.site/w/1000/i/850185720029d7748c1663310809ccb11295fa827395bdb1957cc168e5336fbf/Videostill_Oraib-Toukain--Offing.-Video-still-from-single-channel-video---2021.-Courtesy-of-the-artist.-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--May-9-May-24--2024.png" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). From left to right: Zişan, Felaket (Catastrophe), 1923; Oraib Toukain, Offing, 2021. Photograph by Filip Wolak Oraib Toukain, Offing, 2021Single-channel video, 28 mins and 15 secsCourtesy of the artist "Offing" (2021) emerges from the summer 2021 war on Gaza and a Zoom conversation between Berlin and Gaza with artist Salman Nawati, whose spoken words against Toukan's footage from outside Gaza narrate both the hardships and the mundane realities of daily life under the conditions of war. Exploring how to project images onto others’ accounts of suffering, pondering the space where speech and imagination meet, Offing is part of Toukan’s engagement with ‘cruel images’ that frame certain subjects within stifled narratives. Through close-ups, lush visuals, and manipulations of time such as reversing or changing the speed of footage, "Offing" attempts to rewrite horrific events. <img width="1308" height="2295" width_o="1308" height_o="2295" data-src="https://freight.cargo.site/t/original/i/ba9cfbca64b0d874e11887bffe23a6cc07a650b3ce6aa5e029d0e1f48d24f945/1E13365D-BC91-4414-B578-6718B7B8A84C-2.jpg" data-mid="215063984" border="0" src="https://freight.cargo.site/w/1000/i/ba9cfbca64b0d874e11887bffe23a6cc07a650b3ce6aa5e029d0e1f48d24f945/1E13365D-BC91-4414-B578-6718B7B8A84C-2.jpg" /> Zişan, Felaket (Catastrophe), 1923Reproduction of an original work of ink on paper Courtesy of the İz Öztat and Zilberman Gallery, Istanbul In her ongoing body of work, İz Öztat constructs the (auto)biography of Zişan (1894-1970), who appears to her as a historical figure, a ghost, and an alter ego. She adopts Zişan’s work to create a complex temporality that allows the suppressed past to intervene in the increasingly authoritarian present. Fleeing Istanbul with her father in 1915 to escape the Armenian Genocide and meandering through the canon of avant-garde art without being noticed, Zişan disseminated her work anonymously. Here, she attempts to represent the unrepresentable, unrecognized genocidal violence through geometrical abstraction and text that reads "Catastrophe." <img width="2402" height="2012" width_o="2402" height_o="2012" data-src="https://freight.cargo.site/t/original/i/d21732b3a2e036feb719f6b0c16ba0739102071656d44ea3abec0807469a8777/Videostill__Noor-Abed---our-songs-were-ready-for-all-wars-to-come--videostill-from--Single-channel-video--2021---Courtesy-of-the-artist.-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--.png" data-mid="214948890" border="0" src="https://freight.cargo.site/w/1000/i/d21732b3a2e036feb719f6b0c16ba0739102071656d44ea3abec0807469a8777/Videostill__Noor-Abed---our-songs-were-ready-for-all-wars-to-come--videostill-from--Single-channel-video--2021---Courtesy-of-the-artist.-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--.png" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/68d9cd028c8e836e8b9e61896c3aaf44b2383835693d366ca2f01d318093e88f/IMG_1547.JPG" data-mid="215023594" border="0" src="https://freight.cargo.site/w/1000/i/68d9cd028c8e836e8b9e61896c3aaf44b2383835693d366ca2f01d318093e88f/IMG_1547.JPG" /> Noor Abed, our songs were ready for all wars to come, 2021 Single-channel video, 19 mins 50 secs Courtesy of the artist our songs were ready for all wars to come stems from Abed's interest in folklore and social choreography and the way political ideologies are enacted through everyday movements. With a tone between magical realism and archival footage, the film, set in dialogue with a specific location in Palestine and shot together with family members and friends, features choreographed scenes inspired by Palestinian folktales associated with water wells, which are central to communal rituals of disappearance, mourning, and death. Through a narrative delivered entirely in song, with lyrics colleaged from these folktales, Abed explores how myths and movements can serve as tools to challenge dominant discourses, reclaim the narratives, and reshape the realities. <img width="3984" height="2656" width_o="3984" height_o="2656" data-src="https://freight.cargo.site/t/original/i/4b0c1d09f11507ac3adf23d75e2f30d7a2284d77582559b29672090351380dc7/E.2024.0222.JPG" data-mid="214949257" border="0" src="https://freight.cargo.site/w/1000/i/4b0c1d09f11507ac3adf23d75e2f30d7a2284d77582559b29672090351380dc7/E.2024.0222.JPG" /> Naomi Rincón Gallardo, Resiliencia Tlacuache (Opossum Resilience),&nbsp;2019 Single-channel HD video, 16 mins 01 secs Courtesy of the artist and Parallel Oaxaca, Oaxaca Set in the hills of Oaxaca, Mexico, and inspired by encounters with local land defenders, this fabulation by Naomi Rincón Gallardo traces an unlikely relation between four figures: a Hill, an Agave, an Opossum, and the Mixtec deity Lady Reed. With her characteristic use of humor, speculative fiction, vernacular crafts, and theatrical techniques, the artist deliberately “bastardizes” Mesoamerican myths with elements of contemporary popular culture, disturbing the demands placed on Indigenous knowledge and challenging the discourses and policies that relegate Indigenous cultures in Mexico to the ancient past and fail to recognize these groups’ rights. <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/2cf5ac48d17f625135a7d15662ffc09a524abb89c730496cc994f31e062b8dd1/ISP-NotEverything_6416_4K.jpg" data-mid="214948327" border="0" src="https://freight.cargo.site/w/1000/i/2cf5ac48d17f625135a7d15662ffc09a524abb89c730496cc994f31e062b8dd1/ISP-NotEverything_6416_4K.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/923c9c228ddd50799a8a79578c06e7af34700170b34fbb00276af9109338d8a3/Joyce-Joumaa--Hallab-Bldg.-Inkjet-on-archival-vellum-paper--breaker-box--stainless-steel--computerized-timer--light--2024--Courtesy-of-the-artist-and-Galerie-Eli-Kerr--Montreal.-Within-the-exhibition-Not-Everything-is-Given-exhibition.jpg" data-mid="214949210" border="0" src="https://freight.cargo.site/w/1000/i/923c9c228ddd50799a8a79578c06e7af34700170b34fbb00276af9109338d8a3/Joyce-Joumaa--Hallab-Bldg.-Inkjet-on-archival-vellum-paper--breaker-box--stainless-steel--computerized-timer--light--2024--Courtesy-of-the-artist-and-Galerie-Eli-Kerr--Montreal.-Within-the-exhibition-Not-Everything-is-Given-exhibition.jpg" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). From left to right: Diyar Mayil, Mop, 2022; Joyce Joumaa, Hallab Bldg, 2024; Joyce Joumaa, Mafra’ Baladiye, 2024. Photograph by Filip Wolak Joyce Joumaa, Hallab Bldg &amp;&nbsp;Mafra' Baladiye,&nbsp;2024 Inkjet on archival vellum paper, breaker box, stainless steel, computerized timer, light Courtesy of Musée d’art contemporain de Montréal and Galerie Eli Kerr, Montreal Hallab Bldg and Mafra Baladiye speak to the contemporary energy crisis in Lebanon, a result of state economic mismanagement. The work consists of a breaker box that has been repurposed as a lightbox for a backlit photograph, an image of the interior of a Tripoli apartment. Set on a timer, the work becomes illuminated at the same time that the residents of this apartment have electricity. Most people experience blackouts throughout the day, and neighbors have created schedules to determine when to share power. &nbsp;&nbsp; <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/eb60e598373d2a11c3bfbb3f22d80d605a77cb79d32d6b9f16287125b91012aa/RS80654_ISP-NotEverything_6412_full.jpg" data-mid="214949108" border="0" src="https://freight.cargo.site/w/1000/i/eb60e598373d2a11c3bfbb3f22d80d605a77cb79d32d6b9f16287125b91012aa/RS80654_ISP-NotEverything_6412_full.jpg" /> <img width="1288" height="1724" width_o="1288" height_o="1724" data-src="https://freight.cargo.site/t/original/i/a7d6fd99515e9aba1972622269532506f0e962ce0040effdaab63103107878e0/Screenshot-2024-07-21-at-22.34.16.png" data-mid="215023613" border="0" src="https://freight.cargo.site/w/1000/i/a7d6fd99515e9aba1972622269532506f0e962ce0040effdaab63103107878e0/Screenshot-2024-07-21-at-22.34.16.png" /> &nbsp;Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). Diyar Mayil, Mop, 2022. and Sitting Through, 2019. Photograph by Filip Wolak Diyar Mayil Mop,&nbsp;2022 Glass, metal Courtesy of the artist Sitting Through, 2019 Silicone, ceramic, wood, salt Courtesy of the artist Working through themes of alienation and foreignness, Mayil’s sculptures of domestic objects contend with the positionality of being both host and a guest within nations. Quotidian household furnishings, such as a table, and mop, are made materially unfamiliar. Alluding to conceptualizations of visibility and invisibility, comfort and discomfort, Mayil’s works contemplate the contradictions of what it means to be simultaneously stateless and at home, and how the body holds these tensions. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/2e6b0752277a79ee7832a4a66c3381fb2e90f9733d5c301948a24c03b834bd84/RS80655_ISP-NotEverything_6333_full_optimized_10000.jpg" data-mid="215023427" border="0" src="https://freight.cargo.site/w/1000/i/2e6b0752277a79ee7832a4a66c3381fb2e90f9733d5c301948a24c03b834bd84/RS80655_ISP-NotEverything_6333_full_optimized_10000.jpg" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). Taqralik Partridge and Laakkuluk Williamson Bathory, Inissaliortut: Making Room, 2022. Photograph by Filip Wolak Taqralik Partridge and Laakkuluk Williamson Bathory, Inissaliortut: Making Room,&nbsp;2022 Two-channel video, 19 mins; plywood panels Commissioned by the CCA for the exhibition ᐊᖏᕐᕋᒧᑦ / Ruovttu Guvlui / Vers chez soi / Towards Home © Laakkuluk Williamson Bathory In this video, Taqralik Partridge and Laakkuluk Williamson Bathory directly address one another, as friends, co-conspirators, and mothers—acknowledging and affirming each others’ knowledge as Inuit women. Through their dialogue, they point to how the colonization of the Arctic has been enacted through government policy while attending to the everyday experiences and familiar places inhabited by Inuit communities. Larger than human scale, they are in conversation first and foremost with one another. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/0971dc2044bf10b4549e6d70458c597a21c8f5a96c9734146c47d45f044e3c44/ISP-NotEverything_6384_full.jpg" data-mid="214949107" border="0" src="https://freight.cargo.site/w/1000/i/0971dc2044bf10b4549e6d70458c597a21c8f5a96c9734146c47d45f044e3c44/ISP-NotEverything_6384_full.jpg" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). From left to right: Cameron Rowland, 0D20612, 2014; Niloufar Emamifar, Three Inches And A Half, 2018; Charisse Pearlina Weston, diaphanous envelop of the object side, 2024; Diyar Mayil, Sitting Through, 2019; Niloufar Emamifar, Three Inches And A Half, 2018; Shala Miller, The Makings of a Supervillain, 2023; Charisse Pearlina Weston, that old saying is true: you’ve got to weep what you sow, 2017. Photograph by Filip Wolak <img width="1150" height="1550" width_o="1150" height_o="1550" data-src="https://freight.cargo.site/t/original/i/6550416b5ecef1f5d9b26d83ff7cda9d8a09c9773096ef7e76f462d5fc651c7c/Screenshot-2024-07-21-at-22.38.46.png" data-mid="215023654" border="0" src="https://freight.cargo.site/w/1000/i/6550416b5ecef1f5d9b26d83ff7cda9d8a09c9773096ef7e76f462d5fc651c7c/Screenshot-2024-07-21-at-22.38.46.png" /> <img width="1356" height="1848" width_o="1356" height_o="1848" data-src="https://freight.cargo.site/t/original/i/76f2e369e576ce3c75aa71dc4a098c541fef9e548da52b3fdb14ac1dda551e57/Screenshot-2024-07-20-at-01.52.59.png" data-mid="215023143" border="0" src="https://freight.cargo.site/w/1000/i/76f2e369e576ce3c75aa71dc4a098c541fef9e548da52b3fdb14ac1dda551e57/Screenshot-2024-07-20-at-01.52.59.png" /> Charisse Pearlina Weston that old saying is true: you’ve got to weep what you sow, 2017 Inkjet print on Hahnemuhle canvas etched with replacement frame glass from collapse, glass, canvas, glass shards Courtesy of the artist; PATRON Gallery, Chicago; and Jack Shainman Gallery, New York diaphanous envelop of the object side, 2024 Slumped and etched mirropane, lead, and concrete Courtesy of the artist; PATRON Gallery, Chicago; and Jack Shainman Gallery Charisse Pearlina Weston engages practices of concealment, repetition, and enfoldment to consider the complexities and generative potential of Black interior life as sites of resistance. Diaphonous envelop of the object side draws on the material dimensions of the mirropane, thinking critically about structures of surveillance and opacity, with Weston’s poetic gestures interwoven throughout the piece.&nbsp; <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/55b238df077dc1cfb3dc0fb65cbd8d1fe939b52ef0eb5c60093abf50f410c861/RS81268_ISP-NotEverything_6387_4K.jpg" data-mid="214947912" border="0" src="https://freight.cargo.site/w/1000/i/55b238df077dc1cfb3dc0fb65cbd8d1fe939b52ef0eb5c60093abf50f410c861/RS81268_ISP-NotEverything_6387_4K.jpg" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). From left to right: Charisse Pearlina Weston, diaphanous envelop of the object side, 2024; Niloufar Emamifar, Three Inches And A Half, 2018; Shala Miller, The Makings of a Supervillain, 2023; Diyar Mayil, Sitting Through, 2019; Charisse Pearlina Weston, that old saying is true: you’ve got to weep what you sow, 2017. Photograph by Filip Wolak <img width="2628" height="1434" width_o="2628" height_o="1434" data-src="https://freight.cargo.site/t/original/i/0cb7b383498a4561f46422fce4347198576e8baef8dc382ca93d7cc38859b1b1/Shala-Miller--The-Makings-of-a-Supervillain.-Archival-pigment-print-on-William-Turner-paper--hand-engraving-on-plexiglass--2023.-Courtesy-of-the-artist.-Within-Not-Everything-is-Given-exhibition.png" data-mid="214948870" border="0" src="https://freight.cargo.site/w/1000/i/0cb7b383498a4561f46422fce4347198576e8baef8dc382ca93d7cc38859b1b1/Shala-Miller--The-Makings-of-a-Supervillain.-Archival-pigment-print-on-William-Turner-paper--hand-engraving-on-plexiglass--2023.-Courtesy-of-the-artist.-Within-Not-Everything-is-Given-exhibition.png" /> Shala Miller, The Makings of a Supervillain, 2023 Archival pigment print on William Turner paper, hand engraving on plexiglassCourtesy of the artist Shala Miller’s practice meditates on the conjunction of desire, mourning, pain, and pleasure, and under the moniker of Freddie June, explores the voice as material. The Makings of a Supervillain leans into fiction, constructing narratives of the character Obsidian to consider the convergence of rage, resistance, and desire within Black femme life. <img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/cad1bb5370e2fa4e85419b5bb874874dd2b767e8c673d09c5c008c1d477884b4/RS81269_ISP-NotEverything_6393_4K.jpg" data-mid="214947920" border="0" src="https://freight.cargo.site/w/1000/i/cad1bb5370e2fa4e85419b5bb874874dd2b767e8c673d09c5c008c1d477884b4/RS81269_ISP-NotEverything_6393_4K.jpg" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). From left to right: Niloufar Emamifar, Three Inches And A Half, 2018; Charisse Pearlina Weston, diaphanous envelop of the object side, 2024; Niloufar Emamifar, Three Inches And A Half, 2018. Photograph by Filip Wolak Niloufar Emamifar Niloufar Emamifar, Three Inches And A Half,&nbsp;2018 Pigmented hard plastic, paint, clay, dirt Collection of Gabriel Catone, New York This work consists of two parts, cast in situ between a Palestinian-owned mechanic shop and a former mechanic shop (also previously owned by the family) in Los Angeles' Koreatown. Capturing the vertical space between the two properties, the work delineates parcels of property subject to agreements between private and public sectors.&nbsp; In urban legal terminology, this agreement demarcates these spaces as abstracted lines on zoning maps, devoid of specific dimensions or tangible attributes, and thus, value.&nbsp; In drawing our attention to these overlooked sites, this work troubles notion of property ownership in the United States and the “unsubstantiality” of these spaces, which, in their very existence, reinforce conceptualizations of value, language, and the law. <img width="1162" height="1486" width_o="1162" height_o="1486" data-src="https://freight.cargo.site/t/original/i/b844be14ae7b3a15623976134cb83fa6be18d346880fbf297f23075d15933d3b/Screenshot-2024-07-20-at-01.52.15.png" data-mid="215023144" border="0" src="https://freight.cargo.site/w/1000/i/b844be14ae7b3a15623976134cb83fa6be18d346880fbf297f23075d15933d3b/Screenshot-2024-07-20-at-01.52.15.png" /> Three Inches And A Ha Cameron Rowland, 0D20706,&nbsp;2014 Lojack transmitter, car battery Courtesy of the artist and Maxwell Graham Gallery, New York. LoJack is only available aftermarket. When installed, the transmitter serial number and the VIN are registered in a database at the National Crime Information Center, directly linked to enforcement. LoJack receivers in police cars search the serial number of the transmitter based on the VIN of the missing vehicle. This is an unused, unregistered transmitter, powered, which operates for 200 milliseconds every 10 seconds at 173.075 MHz. The frequency 173.075 MHz is available for stolen vehicle recovery systems on a shared basis with the Federal Government. C.R. <img width="8086" height="5391" width_o="8086" height_o="5391" data-src="https://freight.cargo.site/t/original/i/640e49d947c8759d7b23b464ddc18c25fd595f9e20853b12b1de307d583e2e06/RS82553_ISP-NotEverything_6396_full-2.jpg" data-mid="215092012" border="0" src="https://freight.cargo.site/w/1000/i/640e49d947c8759d7b23b464ddc18c25fd595f9e20853b12b1de307d583e2e06/RS82553_ISP-NotEverything_6396_full-2.jpg" /> Installation view of Not Everything is Given: Whitney ISP 23/24 Curatorial Exhibition (Independent Study Program, New York, May 9-May 24, 2024). From left to right: Charisse Pearlina Weston, that old saying is true: you’ve got to weep what you sow, 2017; Ebun Sopido, Prosthesis for freedom - Mary Jones’ piece of cow leather pierced and opened like a woman’s womb’, 2022; Aziz Hazara, Takbir, 2021. Photograph by Filip Wolak <img width="1315" height="741" width_o="1315" height_o="741" data-src="https://freight.cargo.site/t/original/i/1c2517a5aeb467c5e762aae7b9e558c1ea123030aa10632090fbb3261aa58a86/Videostill___Aziz-Hazara--Takbir--videostill-from-single-channel-video--5-mins--2021-Courtesy-of-the-artist-and-Experimenter--Kolkata.-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--Ma.jpg" data-mid="214948891" border="0" src="https://freight.cargo.site/w/1000/i/1c2517a5aeb467c5e762aae7b9e558c1ea123030aa10632090fbb3261aa58a86/Videostill___Aziz-Hazara--Takbir--videostill-from-single-channel-video--5-mins--2021-Courtesy-of-the-artist-and-Experimenter--Kolkata.-Not-Everything-is-Given_-Whitney-ISP-23_24-Curatorial-Exhibition-Independent-Study-Program--New-York--Ma.jpg" /> Aziz Hazara, Takbir, 2021Single-channel video, 5 mins Courtesy of the artist and Experimenter, Kolkata Takbir (2021) presents a scene where a young man beats his chest while staring intensely into the camera. This act echoes the collective mourning rituals during Ashura, symbolizing resistance against injustice. Hazara uses this solitary act to explore how individual acts of mourning can challenge collective historical narratives and how sound contours subjectivity. The repetitive thud of flesh highlights the body's mortality, vulnerability, and agency, underscoring the physical effects of enduring injustice while questioning how mourning sounds in the absence of a shared language for grief. <img width="1402" height="1842" width_o="1402" height_o="1842" data-src="https://freight.cargo.site/t/original/i/05a66077f56ca86b34472fbec85b156a1f02c49eb5f7e6bd4fb6255871ef85a8/Screenshot-2024-07-22-at-17.32.59.png" data-mid="215064464" border="0" src="https://freight.cargo.site/w/1000/i/05a66077f56ca86b34472fbec85b156a1f02c49eb5f7e6bd4fb6255871ef85a8/Screenshot-2024-07-22-at-17.32.59.png" /> <img width="1284" height="848" width_o="1284" height_o="848" data-src="https://freight.cargo.site/t/original/i/79c8f4c96b742a4bcc1fff9cf93d3d03fbe776403202d79a189c81ade7173115/Ebun-Sopido--Prosthesis-for-freedom---Mary-Jones_-piece-of-cow-leather-pierced-and-opened-like-a-woman_s-womb_-Piece-of-cow-leather-pierced-and-opened-like-a-woman_s-womb--2022.-Courtesy-of-the-artist.-Within-Not-Everything-is-Given-exhibition.png" data-mid="214949209" border="0" src="https://freight.cargo.site/w/1000/i/79c8f4c96b742a4bcc1fff9cf93d3d03fbe776403202d79a189c81ade7173115/Ebun-Sopido--Prosthesis-for-freedom---Mary-Jones_-piece-of-cow-leather-pierced-and-opened-like-a-woman_s-womb_-Piece-of-cow-leather-pierced-and-opened-like-a-woman_s-womb--2022.-Courtesy-of-the-artist.-Within-Not-Everything-is-Given-exhibition.png" /> Ebun Sopido, Prosthesis for freedom - Mary Jones' piece of cow leather pierced and opened like a woman's womb', 2022 Piece of cow leather pierced and opened like a woman's womb Courtesy of the artist Ebun Sodipo makes work for black trans people of the future, guided by black feminist study, with a methodology of collage and fabulation. Prosthesis for freedom-Mary Jones is a prosthetic vulva that gestures to the strategies of living employed by Mary Jones, a transgender woman who was a U.S. soldier and sex worker in the 19th century.