22 June Sunday Visiting Hours: 12:00 - 18:00
The relationship between fluidity, coincidence and intervention, which we frequently encounter in Samih Rifat's work, allows for both an experimental connection with the material and the creation of a personal interpretive space in the workshop. Participants have the chance to reproduce the layered and sensuous surface effects observed in Rifat's works with their own experiences by applying ink to different surfaces through methods such as spraying, dripping and printing.
In the workshop, participants combine their creativity to create a unique 16-page magazine. Many steps, such as visual and textual production, magazine design, pagination, and concept development, are carried out collectively. The magazine, which consists of the works of all participants, is professionally digitized and shared with the participants at the end of the workshop.
This unique documentary by Pierre Levie reveals life on land and underwater at the Great Barrier Reef. Filmed during an expedition lasting over five months, it captures not only the rich oceanic flora and fauna but also the technical equipment used to record these rare, now-vanished images.
Set in 1990s Chicago, Go Fish stands out as a 16mm guerrilla-style film made on a very limited budget during the height of the New Queer Cinema movement. Directed by Rose Troche and co-written with lead actor Guinevere Turner, the film tells a story about the search for love. Max, a college student stuck in a romantic rut, spends her days discussing relationships and sexuality with her roommate Kia—until she meets Ely
The catalogue accompanying the exhibition includes a curatorial text by Alistair Hicks titled “Bughouse Chess: Bughouse Truth”, delving into Marcel Dzama’s visual language and influences, an insightful interview with the artist conducted by Ulya Soley at his studio in Brooklyn, New York enriched by photographs taken by Civan Özkanoğlu, as well as a comprehensive text by Ezgi Bakçay titled “I Dreamed I Woke Up”
The catalogue accompanying the exhibition includes Serhan Ada’s curatorial text titled “Much is to be done, alas, time!” and Esra Özdoğan’s text offering a thorough look at Samih Rifat’s photographs titled “Samih Rifat: Before the Death of the Author”, Enis Batur’s commentaries on his poems “Bard of Overlooked Poems”, “In Pursuit of Lost Beauties” by Celal Üster on Samih Rifat’s translations, as well as texts by Orçun Türkay,
The publication accompanying the exhibition features Kinga Rózsa Hamvai's curatorial text and Kerem Ozan Bayraktar's essay, "I Love Order but I Can't Stand It," which takes its title from Vera Molnár's words. Bayraktar's text explores Molnár's practice alongside the historical context of algorithmic art.
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