tag:blogger.com,1999:blog-61340992218092718822024-03-05T18:09:28.896-08:00IMMORTALITY sustaining the present, the past, the futureImmortality is sequel to The Lost Moment took place at Tent, Rotterdam as a group exhibition, a film event and a talk in January - March, 2009.Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-6134099221809271882.post-4807247428614321672009-04-20T14:08:00.001-07:002009-04-20T14:08:53.332-07:00On Immortality“In our present time, one feels somewhat embarrassed when speaking or writing of immortality, in particular the immortality of individual. You feel you have to explain how on earth you came up with such an odd – even kitsch- topic. Today the individual’s immortality seems a more appropriate theme for a Hollywood B movie than for a seriously wrought philosophical lecture. This was not always the case. In the past, it wasn’t considered uncomfortable to talk about immortality because people believed that the soul would outlive the body. Therefore, it was considered absolutely appropriate and reasonable to give thought, while still on earth, as to where your soul would end up when you died. But above all, our ancestors would pose the question of which part of the soul is potentially immortal and which mortal.<br />Philosophy, as it was initiated by plato, has been for a long period of history other than an attempt to anticipate the further life of the soul after death. In other words, to carry out a metanoia, that is, a transition from an innerwordly to an otherwordly perspective, from the perspective of the mortal body to that of the eternal soul. Metanoia is namely a necessary starting point from which to become metaphysical, to attain a meta-position in relation to the world and thus to regard and think of the world as a whole.<br />Today though, as modern, post-enlightenment individuals, we hold that God is dead and that the soul cannot outlive the body. Or to be more precise, we dont believe that such a thing as a soul can actually be differentiated from the body, separated – made independent. Correspondingly, we also don’t believe that a change of perspective, a metanoia – that is achievement of a meta-position in relation to the world – is possible. Of anyone who speaks today it is first asked where he is from and from which perspective he speaks. Race, class, and gender serve as coordinates whereby the positioning of every voice is located. The concept of cultural identity, which stands at the centre of today’s Cultural studies, also serves this same initial positioning. Even though the relevant parameters and identities are interpreted as social constructs rather than ‘natural’ determinants , this hardly invalidates their effect. It may perhaps be possible to deconstruct social constructions, but they cannot be abolished or deliberately replaced.”<br />Boris Groys, Immortal BodiesFatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com1tag:blogger.com,1999:blog-6134099221809271882.post-39867937702906385132009-04-20T12:20:00.001-07:002009-04-20T14:45:04.253-07:00presented future on 27.February 2009While developing the idea of immortality I have been influenced by Boris Groys, as well as Zygmund Bauman who has written the book titled 'mortality, immortality and other life strategies'.<br />Immortality as a life strategy is the core of this project, as how such a notion can be strategically reproduced or positioned.<br />Besides the conceptualisation of such a term in social domain I am interested in what art has to do with 'immortality’, how art can interrogate such notion through visual products.<br />Tonight we will be experiencing three different and related expressions:<br /><br />Performance / Lecture by The Museum of Non Participation<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0VGsiZvTBZInFpZ_MSdzhC1ZfmSKULv5UFe03P_8JQD_ipSV-G3OLBiT8Xsu-d9T4s3amWm_FfzMH2fDGpH5asw-55doFsVnT4DgT3zzH2uVpjc3bPO42j_x6BAqpZ8SJRBXzUj5Gbg/s1600-h/DSC03905.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0VGsiZvTBZInFpZ_MSdzhC1ZfmSKULv5UFe03P_8JQD_ipSV-G3OLBiT8Xsu-d9T4s3amWm_FfzMH2fDGpH5asw-55doFsVnT4DgT3zzH2uVpjc3bPO42j_x6BAqpZ8SJRBXzUj5Gbg/s400/DSC03905.JPG" alt="" id="BLOGGER_PHOTO_ID_5326860646759733954" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXIiiyHeM8KkZxPqDYVWsBGpAqxTqDu8dcZnBQZSQqq7jqEg-7dEMJX_Df7K1ja6oW6kKEacno3nxRrn8G-VI39wWzLr2uf_CQzU1TDAdEPiReckNgv-JzdB8cceMr-BojAsn-FwHPoTM/s1600-h/DSC03922.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXIiiyHeM8KkZxPqDYVWsBGpAqxTqDu8dcZnBQZSQqq7jqEg-7dEMJX_Df7K1ja6oW6kKEacno3nxRrn8G-VI39wWzLr2uf_CQzU1TDAdEPiReckNgv-JzdB8cceMr-BojAsn-FwHPoTM/s400/DSC03922.JPG" alt="" id="BLOGGER_PHOTO_ID_5326860647629598722" border="0" /></a><br />The Museum of Non Participation, the project aims to question, challenge and demystify all of our participation in systems which govern the workings of a globalised and struggling world in disparate locations. The Museum of Non-Participation is a timely appraisal of standard forms of representing and experiencing the everyday. In its Karachi context the flexible terms of the project have come to encompass a new way of moving through and looking at the city, in a city with no museums, the city itself becomes the museum. Non participation becomes a form of resistance and questions the choice and consequence of action or inaction. The Museum throws up questions of urbanism, institutionalisation, space, cultural and societal divisions. Mirza and Butler are questioning the concept of the city, and the issues at stake, carrying back to London with them questions which are poignantly relevant to their own sprawling metropolis.<br />The Museum of Non Participation is a commissioned project by Artangel Interaction<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVLff5McNAxKxOvlP1hiHFJNkQKS8s9hZCBkCtXTFUGxx4XTTESQvStY-PAhh0k-IOs39WeNJTx3OsdUa3vTlIwr_EGpQyfEvgGxe6OzqqEpDQ8MpcBWV-xNgawC9JMxiWTGyk1gAcgRM/s1600-h/DSC03920.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVLff5McNAxKxOvlP1hiHFJNkQKS8s9hZCBkCtXTFUGxx4XTTESQvStY-PAhh0k-IOs39WeNJTx3OsdUa3vTlIwr_EGpQyfEvgGxe6OzqqEpDQ8MpcBWV-xNgawC9JMxiWTGyk1gAcgRM/s400/DSC03920.JPG" alt="" id="BLOGGER_PHOTO_ID_5326860644574232050" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinH96AL-7MYsxaPwB2VFOvDkke_2CktpCT4unR4EK7iQ5GGfwFaiHbI0N4k38xdWyJ4eV5GJ_73zr5Z2D_ThNKxMGv9mdxhfJud0tJ9B5w3C2lgFSxhmmDQNUEAVZe0ToffmCL66i5auk/s1600-h/DSC03925.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinH96AL-7MYsxaPwB2VFOvDkke_2CktpCT4unR4EK7iQ5GGfwFaiHbI0N4k38xdWyJ4eV5GJ_73zr5Z2D_ThNKxMGv9mdxhfJud0tJ9B5w3C2lgFSxhmmDQNUEAVZe0ToffmCL66i5auk/s400/DSC03925.JPG" alt="" id="BLOGGER_PHOTO_ID_5326860640236249538" border="0" /></a><br />:mentalKLINIK presentation of recent works and discussion on the equalised state of subject and object on the grounding of their perceptibility as data.<br />:mentalKLINIK, with its “undisciplined” state of mind, finds space of movement within the limits of art. Tags 21st century’s fragments with its own point of view. It designs unidentified spaces, indecisive zones and frozen times. In approaching the immaterial world keeps records of relations with materials. Works on subjects /concepts /states /behaviors. Creates forms of relationships with people in times and spaces defined by itself. Uses processes of creation, design, production and consumption as sources for its works.<br />Thinks over the relations between time and space, subject and object, object and time and produces. Names the objects as interfaces. Shifts its view from the object to the back side of it. There, finds the necessary insipration.<br />:mentalKLINIK, locating itself in the passage between two centuries, wishes, in its own understanding of time and space, to bear holes inbetween the material and the immaterial world, while being nurtured by emergent cultures and the changes between the centuries in forms of production and lifestyles. :mentalKLINIK, with productions where value relations are discussed, with joyful anxities, with works that reflect augmented realities with reduced senses, with exhibitions that offer occupations, :mentalKLINIK creates encounters in its own microclimate and these encounters define the forms of the works. <br />Until 2005, :mentalKLINIK stated prototypes for the understanding art-design-production-consumption with its first projects. In these projects, an idea of total production in which includes the product itself, its context, production process and the relation between product and beholder. Since 2007, :mentalKLINIK focuses on encountering a multiple world with its singular stand, instead of producing multiple looks on a singular state.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwXih7b4fOU2lDz_1ceHFnWSyPndBIG-R4TrhQn0xt_cHxpqcIzGo75WYaqJUEj0XDmWZSOVoen3z2IMAv2__cxPeCfkTeU9I7oYVYlyH8ImsBWCkRSXNK0yweRBw7vxQI9PqPGiRmK4/s1600-h/DSC03964.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwXih7b4fOU2lDz_1ceHFnWSyPndBIG-R4TrhQn0xt_cHxpqcIzGo75WYaqJUEj0XDmWZSOVoen3z2IMAv2__cxPeCfkTeU9I7oYVYlyH8ImsBWCkRSXNK0yweRBw7vxQI9PqPGiRmK4/s400/DSC03964.JPG" alt="" id="BLOGGER_PHOTO_ID_5326861989678812258" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYapwbWKRnykQWpO2TG9LKnQ0Co7fyeaYvncWwyzQYC-uSy6a4zb_XkqWrOVm4IafOmNaCPcP7GnbTKcD6OLzcfGICWqYI6QueUKeTV8ZLuLPhpq2Gbr5rnEom6SSF3TdbbUwomeKrfU/s1600-h/DSC03951.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYapwbWKRnykQWpO2TG9LKnQ0Co7fyeaYvncWwyzQYC-uSy6a4zb_XkqWrOVm4IafOmNaCPcP7GnbTKcD6OLzcfGICWqYI6QueUKeTV8ZLuLPhpq2Gbr5rnEom6SSF3TdbbUwomeKrfU/s400/DSC03951.JPG" alt="" id="BLOGGER_PHOTO_ID_5326861986012410226" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_DxKA42JII4YQ0XEEPI-yXJzspxzOB9186omuCDv4XmI-gMF7aUsPRzECVXZva8l79WLogheh_AqZhncke1duFA419h5TI6CpGL5xRaYNOcxilXJoJAtvs5-WC8CnpBpx3Po064wuvo8/s1600-h/DSC03934.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_DxKA42JII4YQ0XEEPI-yXJzspxzOB9186omuCDv4XmI-gMF7aUsPRzECVXZva8l79WLogheh_AqZhncke1duFA419h5TI6CpGL5xRaYNOcxilXJoJAtvs5-WC8CnpBpx3Po064wuvo8/s400/DSC03934.JPG" alt="" id="BLOGGER_PHOTO_ID_5326861980698757794" border="0" /></a><br />Presentation by Z. Tül Akbal Süalp on the condition of the 'subject'.<br />She has been teaching cinema, media and cultural studies in various Universities in Istanbul and gave lectures at Humbold University in Berlin as a visiting Professor last year. She recently has become the faculty member of Cinema and TV Department at Bahcesehir University in Istanbul. She has her BA degree in Psychology and studied Political Science, Cinema Studies and Sociology (Cultural Studies) in New York and Istanbul in MA and PhD levels. She has been writing articles on cultural studies, cinema and critical theory in some journals and the editor of Kültür ve Toplum 1/ Culture and the Society 1, (Hil, 1995), Oyun/ Play (2002) and the author of the book titled ZamanMekan: Kuram ve Sinema/TimeSpace: Theory and Cinema (Ba_lam 2004) and co-author of the short fiction: Wanting Book Odd Notebook. (MudamCamp de Base & :mentalKL_N_K, 2004) and also co-author of the book titled From Liberties To Losses and Afterwards (De-Ki 2008) Her recent research interest includes «space and time in cinema and culture », « urban space and cinema », and « technology culture and public sphere»Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com1tag:blogger.com,1999:blog-6134099221809271882.post-72074815666672612002009-02-26T02:48:00.002-08:002009-04-20T14:06:12.792-07:00PRESENT FUTURE<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5v3VpFaT7fXf7sXP6N8hGQGl3c1PoG1WVe-81mXOslIKaBAjVr6DFy51s_UCG9NC4L4Yi20RxiNf__ie1P-eQQtyGKUt2Lx5gfjpNlacHEhwdbm2UT4wsxsZRyKHxm52rxQgOpXW_l18/s1600-h/TENT-IMMORTALITY-2009-BANNER-PRESENTFUTURE.JPG"><img style="cursor: pointer; width: 400px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5v3VpFaT7fXf7sXP6N8hGQGl3c1PoG1WVe-81mXOslIKaBAjVr6DFy51s_UCG9NC4L4Yi20RxiNf__ie1P-eQQtyGKUt2Lx5gfjpNlacHEhwdbm2UT4wsxsZRyKHxm52rxQgOpXW_l18/s400/TENT-IMMORTALITY-2009-BANNER-PRESENTFUTURE.JPG" alt="" id="BLOGGER_PHOTO_ID_5307056383084671906" border="0" /></a><br /><br />(for English see text below)<br />Present Future<br />Sessie met Museum of Non Participation (Karachi), :mentalKLINIK (Istanbul),<br />Zeynep Tul Sualp Akbal (Istanbul)<br />Vrij. 27.02, 2009 [20.00 u]<br />TENT.Young Curator Fatos Ustek (Londen/Istanbul) leidt op vrijdag 27 februari een sessie met performers, sprekers en publiek. Filmkunstenaars Karen Mirza en Brad Butler (Londen) zullen in een persoonlijke performance onder andere ingaan op hun project Museum of Non Participation dat ze in Karachi, Pakistan uitvoeren voor het Engelse kunstopdrachtenbureau Artangel. Ze onderzoeken in samenwerking met Pakistaanse gemeenschappen in Londen en Karachi hoe politieke structuren zich met geweld in de openbare ruimte manifesteren. <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmKxCc27fmN0xkrxrdCeVDKq3V7219ooNC2Af-VyPrRGyn_FVWCu39hBvfCdAVoobjoWKIwJQdujgdR3FDhN8UJwfJCDwCJ62jJbCz_sxz4Gs51huM6SjPnD4EXmekMZvMtOt_CB3H8_g/s1600-h/DSC_3132.JPG"><img style="cursor: pointer; width: 400px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmKxCc27fmN0xkrxrdCeVDKq3V7219ooNC2Af-VyPrRGyn_FVWCu39hBvfCdAVoobjoWKIwJQdujgdR3FDhN8UJwfJCDwCJ62jJbCz_sxz4Gs51huM6SjPnD4EXmekMZvMtOt_CB3H8_g/s400/DSC_3132.JPG" alt="" id="BLOGGER_PHOTO_ID_5326880697353429682" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIF1LW-PIgzdLZczYvSPqiMEyvuSiyPejTph_LQG7iQml_esZBc_lP0dbIEcS5z_XVuVjoQmWAYWUn7xj_M_XtxZIPYX2_tuVJJZGrxKKmMwolXfhW7sQDFJr7DkM5SpVQRcdZlE2HSgs/s1600-h/DSC_2443.JPG"><img style="cursor: pointer; width: 179px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIF1LW-PIgzdLZczYvSPqiMEyvuSiyPejTph_LQG7iQml_esZBc_lP0dbIEcS5z_XVuVjoQmWAYWUn7xj_M_XtxZIPYX2_tuVJJZGrxKKmMwolXfhW7sQDFJr7DkM5SpVQRcdZlE2HSgs/s400/DSC_2443.JPG" alt="" id="BLOGGER_PHOTO_ID_5326880695336258642" border="0" /></a><br /><br />Het Turkse kunstenaarsduo :mentalKLINIK (Istanbul) zal ingaan op een aantal recente projecten waarin nanotechnologie en virtual reality centraal staan. Yasemin Baydar en Birol Demir richtten hun collectief :mentalKLINIK op vanuit de wens om de relatie tussen mens en object te transformeren, en te proberen aan te tonen dat de relatie subject-object in de toekomst op een andere manier kan worden vormgegeven. Zeynep Tul Sualp Akbal is verbonden aan de Bahcesehir Universiteit van Istanbul. Haar publicaties over film en theorie hebben veel invloed gehad op de bloeiende Turkse filmwereld. In haar betoog ondervraagt ze hedendaagse subjectiveringsstrategiee뮠aan de hand van observaties over sci-fi films en de dynamiek van de huidige westerse maatschappij.<br /><br />[english]<br />Present Future<br />Session with the Museum of Non Participation (Karachi), :mentalKLINIK (Istanbul),<br />Zeynep Tul Sualp Akbal (Istanbul)<br />Fri 27.02, 2009 [20.00 hrs]<br />On Friday 27 February TENT.Young Curator Fatos Ustek (London/Istanbul) will moderate a session with performers, speakers and audience. London-based film artists Karen Mirza and Brad Butler will present a performance. They recently initiated the 'Museum of Non Participation', which they are carrying out in Karachi, Pakistan commissioned by Artangel, London. In this project, they are working with Pakistani communities in Karachi and London to explore how violence inherent in political structures are played out in social spaces.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9wPgUCAd88Txnj7h6EyxbD5YHFXcBVm0Gku-wzSRf3Bil8tUOV2vwe_j1aqEfHIOomLLSZtD_CBENYIQfua5pkGhnfYATARwDWQNPMTEOvj1ryuA83YuwB9rGKUxUcSKXamXq75WUtDo/s1600-h/14.jpg"><img style="cursor: pointer; width: 299px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9wPgUCAd88Txnj7h6EyxbD5YHFXcBVm0Gku-wzSRf3Bil8tUOV2vwe_j1aqEfHIOomLLSZtD_CBENYIQfua5pkGhnfYATARwDWQNPMTEOvj1ryuA83YuwB9rGKUxUcSKXamXq75WUtDo/s400/14.jpg" alt="" id="BLOGGER_PHOTO_ID_5326881829106463506" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDrEle3VkrGdJZuVumzK7535GIx8AnONCynIIweQCdImu4j_7Qy4I1948sb0-DeimR06QRQAjyKi1ZNRMoSQn6WNZy8NSkS2Zz412trsP81crhSydl1AJ8MGqkzRpnm3Hfwd7W_PhUcYI/s1600-h/binary.jpg"><img style="cursor: pointer; width: 301px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDrEle3VkrGdJZuVumzK7535GIx8AnONCynIIweQCdImu4j_7Qy4I1948sb0-DeimR06QRQAjyKi1ZNRMoSQn6WNZy8NSkS2Zz412trsP81crhSydl1AJ8MGqkzRpnm3Hfwd7W_PhUcYI/s400/binary.jpg" alt="" id="BLOGGER_PHOTO_ID_5326881827515948418" border="0" /></a><br /><span style="font-style: italic;">Tag 14, Binary Occupations, :mentalKLINIK</span><br /><br />Istanbul-based artist duo :mentalKLINIK will be speaking about their recent projects which deal with nanotechnology and virtual reality. One of the reasons why Yasemin Baydar and Birol Demir founded their collective :mentalKLINIK is to re-evaluate the human - object relationship and to attempt to prove that the relationship subject-object can be experienced differently in the future. Zeynep Tul Sualp Akbal is working as a scientist at Bahcesehir University of Istanbul. Her publications on film and theory have had a profound impact on the country's flourishing film industry. In her talk, she will question today's subjectifying strategies through observations on sci-fi films and the dynamics of contemporary western society.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynOH9tiQNoh90soqiV-zWqY494hyphenhyphenZ0yGlVjROaAWKdJnli52-AFf2hVyefYirGqTn-GNpu0xoKdI8qJPpIIyWuhVkE5ynNGQFM4zehRQLaTmD_6ey_W8c_5q49ksMpk-YToXlq9baCac/s1600-h/tag.jpg"><img style="cursor: pointer; width: 398px; height: 307px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynOH9tiQNoh90soqiV-zWqY494hyphenhyphenZ0yGlVjROaAWKdJnli52-AFf2hVyefYirGqTn-GNpu0xoKdI8qJPpIIyWuhVkE5ynNGQFM4zehRQLaTmD_6ey_W8c_5q49ksMpk-YToXlq9baCac/s400/tag.jpg" alt="" id="BLOGGER_PHOTO_ID_5326881823856185794" border="0" /></a><br />Tag, :mentalKLINIK, 2009Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-87884415370958367912009-02-26T02:48:00.001-08:002009-04-20T14:43:31.098-07:00NIGHT OF VAMPIRES<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBOWCES3J-miMz73364-HyXXBbtpMRc59a5MuLVm8sRR7a-4d4lvbReXwwLB1xS0ygvOEWDLtl5EjYT-GNawOLhREccjMGVBgTkQuKE-bAjXtfFtwYxW95NTZWCkfdNsFMVJvz3YHwlX8/s1600-h/IMG_8128.JPG"><img style="cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBOWCES3J-miMz73364-HyXXBbtpMRc59a5MuLVm8sRR7a-4d4lvbReXwwLB1xS0ygvOEWDLtl5EjYT-GNawOLhREccjMGVBgTkQuKE-bAjXtfFtwYxW95NTZWCkfdNsFMVJvz3YHwlX8/s400/IMG_8128.JPG" alt="" id="BLOGGER_PHOTO_ID_5313026618124786418" border="0" /></a><br />I have started my research on vampires while i was involved in working on the concept of immortality. As it is the second leg of the trilogy I am working on, I wanted to have lines of continuation. In the first leg I have organised a zombie night for which zombies were hand in hand with the concept of 'the lost moment'. For immortality what could be the fiction character to be investigated? And the answer was clear and definite: vampires.<br />As they are the undead, the immortal living they are examples of sustaining immortality. Vampires differ from zombies by class and feature. They are the undead who drain the living, who parasitically drains another. Whereas zombies are the living dead they are excessive labor to be abused. Vampires realise themselves through conscious choices whereas zombies destroy whatever and whichever without any conscious involvement. They are bodies acting through space, powerless power structures.<br />Vampires, mostly come from an aristocrat high ruling class, living in castles which oversee the town. They have a certain historicity a family background and high taste.<br />Why are we talking about vampires tonite? Is it the imagery of horror that I am behind and wanting to illustrate to you or is it the features of such creatures?<br />Neither of them. I am interested in vampires as social artefacts, how the idea of vampire has been flourished and became a commonality. A characterisation of such a fictive presence. What are the needs of defining such beings? For me it is related to understanding and evaluating power – the sovereign as an unseen and powerful, fearful and authoritarian. In most vampire novels and films it is recommended not to go by their territories nor get in contact with vampires since there is always something to lose and become a victim of the encounter.<br />I am interested in the victim - victimizer relationship. Which is more than a mere balance of power. The relation is hand in hand with the consent of both sides. The victimizer accepts to take his/her position as long as his/her victim accepts to be under the rule.<br />This liminal space is interesting.<br /><br />//<br />As Michael Foucault famously put it the modern state can be defined by the maxim: it makes live and lets die as opposed to the earlier sovereign state which makes die and lets live. Like vampires and like today's contemporary society based on control and fear.<br /><span style="font-style: italic;">“at the end of the 19th century the Russian philosopher Nikolay Federov developed the project of the ‘common cause’ which called upon the modern state to resurrect and make immortal, through science, all individuals who have ever lived upon the earth”</span><br />After the October revolution many Russian intellectuals and artists were interested in federov’s ideas. Hence they wrote their first manifesto in 1922 as representatives of bio-cosmic immortalist movement. Alexander Svyatogor, one of the protagonists of the movement, considered immortality to be both the aim of and the condition for the future communist society, for he believes that the true social solidarity can be established solely among immortals.<br />Following the theories of immortality Constantin Tsilokovsky developed the idea of petrification of the sky that is to say to colonize the cosmic space by humanity’s soon to be immortal ancestors which lead the research to become a starting point for the soviet space travel.<br />Another bio-political experiment was the institute of blood transfusion which got founded by Alexander Bogdanov in 1920’s. Bogdanov was a close friend of Lenin and the co-founder of the intellectual political wing of the Russian socialist democrat party which led to the emergence of Bolshevism. In 20s Bogdanov got fascinated by the idea of blood transfusion and its possible exciting outcomes such as achieving deceleration in the aging process in a way in which the transfusion between the younger and older would rejuvenate the latter and simultaneously balance out inter-generational solidarity. Bogdanov died during one of these transfusions. Possibly due to the fact that the blood types were not yet found.<br />Although the blood transfusion institute could not achieve what it aimed for it evoked first and foremost well known novel: Drakula by Bram Stoker.<br />For instance in the blood transfusion institute of Bogdonov, a young female students blood was partially exchanged with the blood of an older writer. This anology is by no means coincidental says Boris Groys: the society of vampires – of immortal bodies- described by stoker is the society of a bio-power par excellence.<br />However the novel written in 1897, at the same time as Fedorov developing his project of the ‘common cause’ describes the regime of the total bio-power not as a utopia but rather as an anti-utopia. Blood transfer is not only establishing a balance of solidarity and equal benefit but also a sense of belonging. Belonging to a bigger picture than a mere body. If you want it is the organs without body.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1vrMSC2b0f9VweGbHF8EkxBNeXpnqViOw6pU8Kjsj7KCVwooXs31KMXMYnPXmsOFyCbsBqE3UmKlSDX1fpP7-qiDEeAXwR44OX8WVfIyldPvIamL3tbmkBrcdOumjJBjHYHXdA-z9eO4/s1600-h/IMG_8136.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1vrMSC2b0f9VweGbHF8EkxBNeXpnqViOw6pU8Kjsj7KCVwooXs31KMXMYnPXmsOFyCbsBqE3UmKlSDX1fpP7-qiDEeAXwR44OX8WVfIyldPvIamL3tbmkBrcdOumjJBjHYHXdA-z9eO4/s400/IMG_8136.JPG" alt="" id="BLOGGER_PHOTO_ID_5313026615838111026" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ogGgLZ27ETO5_o5tEN8FhtsRNGMKeF8Hm1z4owXg4HRjxOHUuKDarcR9lQBDwf_ahzUA7rtGjlONEHnvLHU3bl4rER1BJta-CHvoRe7TRRiyYtvCQaEXkVyFtoAoMszKOUH0npo52z0/s1600-h/IMG_8152.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ogGgLZ27ETO5_o5tEN8FhtsRNGMKeF8Hm1z4owXg4HRjxOHUuKDarcR9lQBDwf_ahzUA7rtGjlONEHnvLHU3bl4rER1BJta-CHvoRe7TRRiyYtvCQaEXkVyFtoAoMszKOUH0npo52z0/s400/IMG_8152.JPG" alt="" id="BLOGGER_PHOTO_ID_5313024832250999794" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8k_rsKr1K2SYVR5Lugfc8TDDhAr4tVGdv2KfxqmvndmUowsJdjqBQHBtjQCfhi2QXuum5mimBIDUDNglsNL6B8neID_hrtwrrWeQM2mhOGXLg5aaTns_E3PcXFXZWAAzTN5g28YwxZfc/s1600-h/IMG_8155.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8k_rsKr1K2SYVR5Lugfc8TDDhAr4tVGdv2KfxqmvndmUowsJdjqBQHBtjQCfhi2QXuum5mimBIDUDNglsNL6B8neID_hrtwrrWeQM2mhOGXLg5aaTns_E3PcXFXZWAAzTN5g28YwxZfc/s400/IMG_8155.JPG" alt="" id="BLOGGER_PHOTO_ID_5313024826323895186" border="0" /></a><br />So what are vampires, how to recognize them?<br />- they are absolute powerful with certain fragilities such as sun light, possibly garlic smell, most commonly accepted crucifix (not valid in muslim countries please take a look at Dracula in Istanbul, a film made in 1953) , water in most cases<br />- they have long finger nails (I could not find exact reasons, could be the very fact that they are not interested in cutting finger nails or after the death of the body or the loss of breathing hair and nails continue to grow so nails can be the connection with their once-living states<br />- their eyes and iris changes enormously when they shift to be the hunter: eyes get redder and iris gets smaller<br />- they like necks most than any other part of the body. in recent vampire movies the neck is replaced by the wrist or any body part. I assume that neck is the metaphorical connection between mind and body so that they release the body and the mind from each other by that act.<br />- as a society they have rituals such as they mostly sleep or snooze in coffins. I think it is the connection to mortality. And their empowered state over the mortal so that they can go in and out of the coffin on their will and in relation to food sources of course.<br />- they are conscious of overruling they can contact telepathically to their victims or to the ones whom they have influenced by a bite or a physical contact and victims with weak will get the hook easier than others,<br />- sucking blood is their sexual encounter with the other. if we think of the importance of blood and blood circulation in the sexual encounter it is not hard to imagine an orgasmic relation for the vampire and its victim.<br />- they belong to an aristocrat class- mostly from transilvania<br />- the myth of vampires was not popularised until the early 18th century, after an influx of vampire superstition into Western Europe from areas where vampire legends were frequent, such as the Balkans and Eastern Europe,<br />- their clothing changes throughout two decades. They were supposed to wear black and heavy clothing in the 18th and 19th century and with the breakdown of modernity they might look like snicker wearing kids.<br />- they have no mirror reflection in a way it is a sign of totality they are in the picture without a face without a difference. they lack nothing that is why they don’t have a reflection. they are pure power and pure presence. They are present at the moment whereas for humans it is not possible we always live with the past and idea of future at the moment of the now.<br />- they don’t dream. Their victim feels as if he is dreaming about the encounter with the vampire, the victim becomes the phantom that nothing happens, as they mostly promise their loved ones that 'nothing will happen to them in their journey' which is not possible unless they become phantoms.<br />- they can be destroyed only with a sharpened plinth of wood - stick- that is pinned to their heart. I have been searching for the cause and effect of such a ritual but nothing is yet clear than a mere middle aged ritual of claiming over the centre of live – the blood centre of the vampire where they are only on blood. No air no water but blood which makes them different from humans.<br />- they belong to a certain hierarchy. So that they also have a master that affects them both and in most of the narratives when the master is destroyed the other followers also get destroyed. (It is like revolution.)<br />- they don’t have a god and they are the enemies of god since they claim immortality through evil. That is why they are effected by the cross as stated in most of the sources I could find.<br />- Virgin blood is the most valuable blood for the fact that it has not experienced any sexual jouissance, and vampires mostly prefer female virgins. Although we can talk about male virginity.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfLK_jMXdccew7Y6BVvS1SJtuXvn37Q3DysKecmEbee8vnHyqSA2osUw32wsNQRyJUhagi5bXqFxHvsLM2y0Isqy2TClDwGGmckcXsaxTOv6THDCTbpNWC6T_ZRk1zlKILP6lbm7w-X5Q/s1600-h/IMG_8175.JPG"><img style="cursor: pointer; width: 231px; height: 173px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfLK_jMXdccew7Y6BVvS1SJtuXvn37Q3DysKecmEbee8vnHyqSA2osUw32wsNQRyJUhagi5bXqFxHvsLM2y0Isqy2TClDwGGmckcXsaxTOv6THDCTbpNWC6T_ZRk1zlKILP6lbm7w-X5Q/s400/IMG_8175.JPG" alt="" id="BLOGGER_PHOTO_ID_5313024824482877346" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZDGv7muMWhFwldkk6CJCnw09dCewTWecl_h6bgug5xJVpxvaaj4RdUv220LN9qlKqRKOM5sVE3tjUjn5-dcvi9OUhgGgaMvTOD_QkRu5ri6FgMAW6CGCvTsbSWz8NX7T15PjBTi9DeIQ/s1600-h/IMG_8120.JPG"><img style="cursor: pointer; width: 232px; height: 173px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZDGv7muMWhFwldkk6CJCnw09dCewTWecl_h6bgug5xJVpxvaaj4RdUv220LN9qlKqRKOM5sVE3tjUjn5-dcvi9OUhgGgaMvTOD_QkRu5ri6FgMAW6CGCvTsbSWz8NX7T15PjBTi9DeIQ/s400/IMG_8120.JPG" alt="" id="BLOGGER_PHOTO_ID_5318306371375793698" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmLNZSsSCEPG9zLd8fgSiAAN4x79QwNJuZo1IHURP3Olg-Mj24EDU6ezOL0xeqVd0KX_fmZGijk3zbePoOl8urws85i2ZmLHqcqi2vOZb5pgu93G3jC23akWZtnClqIk9wCD0UGlUUEd0/s1600-h/IMG_8139.JPG"><img style="cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmLNZSsSCEPG9zLd8fgSiAAN4x79QwNJuZo1IHURP3Olg-Mj24EDU6ezOL0xeqVd0KX_fmZGijk3zbePoOl8urws85i2ZmLHqcqi2vOZb5pgu93G3jC23akWZtnClqIk9wCD0UGlUUEd0/s400/IMG_8139.JPG" alt="" id="BLOGGER_PHOTO_ID_5318306385083504914" border="0" /></a>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com1tag:blogger.com,1999:blog-6134099221809271882.post-67617237904143371002009-02-12T14:46:00.000-08:002009-04-20T14:32:04.081-07:00VAMPIRE EMPIRE FROM DUSK TILL DAWN<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPP0U6_fxUrGAz1Ix_Qi-2NL8yePzaj1XpspF5auibUYb0gZzUi8yQkLMTpBYcji316a2CjZvYW-8KGvCBwpfJLYeTpGKnTsmn9l8p0Om_NXB7WdyjEd03XxgpAur6hpmxBDCN2NkwJhI/s1600-h/TENT-IMMORTALITY-2009-BANNER-VAMPIRE.jpg"><img style="cursor: pointer; width: 400px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPP0U6_fxUrGAz1Ix_Qi-2NL8yePzaj1XpspF5auibUYb0gZzUi8yQkLMTpBYcji316a2CjZvYW-8KGvCBwpfJLYeTpGKnTsmn9l8p0Om_NXB7WdyjEd03XxgpAur6hpmxBDCN2NkwJhI/s400/TENT-IMMORTALITY-2009-BANNER-VAMPIRE.jpg" alt="" id="BLOGGER_PHOTO_ID_5302046598938501570" border="0" /></a><br /><br />(for English see text below)<br />Vampire Empire from Dusk till Dawn<br />Filmscreening met inleiding van Fatos Üstek<br />Vrij. 13.02, 2009 [20.00 u]<br /><br />Op vrijdag 13 februari organiseert TENT.Young Curator Fatos Üstek een filmscreening en inleiding over de vampier als een belangrijke inspiratiebron voor kunstenaars. <span style="font-weight: bold;">Blood for Dracula (1973)</span> van Andy Warhol en <span style="font-weight: bold;">Paul Morrissey</span> is een artistieke verwerking van het klassieke horrorverhaal over Graaf Dracula. Warhol nam de film deels in Italië op met medewerking van o.a. Joe Dallessandro en Roman Polanski. Oorspronkelijk werd de film slechts in kleine kring gedistribueerd wegens de gewelddadige en seksuele scènes. In de horrorfilm <span style="font-weight: bold;">Nadja (1995) </span>van cultregisseur David Lynch en <span style="font-weight: bold;">Michael Almereyda</span> zoekt een vampiertweeling naar een mogelijkheid om aan hun monsterlijke erfenis te ontsnappen. De film is volledig in zwart-wit geschoten en heeft een sfeerversterkende soundtrack. In de hilarische horrorfilm <span style="font-weight: bold;">The Lost Boys (1987) van Joel Schumacher</span> scheuren jonge vampiers op motoren rond en terroriseren een Californische kustplaats. The Lost Boys is een bonte mix van genres, met hoofdrollen voor de hipste tienersterren van toen, en daarmee een ultieme eightiesfilm.<br /><br />[English]<br />Vampire Empire from Dusk till Dawn<br />Film screening introduced by Fatos Üstek<br />Fri. 13.02, 2009 [20.00 h]<br /><br />On 13 February, TENT. Young curator Fatos Üstek organizes a film screening and introduction on the vampire as an important source of inspiration for artists.<br /><span style="font-weight: bold;">Blood for Dracula (1973)</span> by Andy Warhol and <span style="font-weight: bold;">Paul Morrissey</span> is an artistic adaptation of the classic horror story of Count Dracula. Warhol shot part of the film in Italy in cooperation with Joe Dallessandro and Roman Polanski among others. Originally the film was only distributed in small circles due to its violent and sexual scenes.<br />In the horror film <span style="font-weight: bold;">Nadja (1995)</span> by cult director David Lynch and <span style="font-weight: bold;">Michael Almereyda</span>, vampire twins seek to escape from their monstrous legacy. The film is shot entirely in black-and-white and has a highly atmospheric soundtrack.<br />In the hilarious horror film The <span style="font-weight: bold;">Lost Boys (1987) by Joel Schumacher</span>, young vampires tear around on motorcycles and terrorise a Californian coastal town. The Lost Boys is a colourful mix of genres, with leading roles for the hottest teenage stars of the day, making it an ultimate eighties film.Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com1tag:blogger.com,1999:blog-6134099221809271882.post-74723657792226728182009-02-02T13:29:00.000-08:002009-02-12T14:46:37.229-08:00OPENING<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1JNv3afNOkmatyF5lVrX5bRJTajVcebF2kgQQLE6kSjmTqf4pSj-7T3Dkoa-FFZavufrmiB7u_HlI30R5iYOoMm5UP6dDP1BDFy6yEAggayQA_Odfhp8MU19wkDI3b6Yu406IKWW6P64/s1600-h/090122-FE104.jpg"><img style="cursor:pointer; cursor:hand;width: 284px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1JNv3afNOkmatyF5lVrX5bRJTajVcebF2kgQQLE6kSjmTqf4pSj-7T3Dkoa-FFZavufrmiB7u_HlI30R5iYOoMm5UP6dDP1BDFy6yEAggayQA_Odfhp8MU19wkDI3b6Yu406IKWW6P64/s400/090122-FE104.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5298551163420505234" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga93fp4cXb8AR-PgDd2rfhzDGPIb7H-LRX-VyrdrOpkX5W7h3IkavtF_2GiGoADO0GtBI3ua_AYe-8iLcvcULcpIq2AV6XB0m0emshgk5HQ5rDEpdvnPpO6XAb0EJBdcrIifZGKDaLe14/s1600-h/090122-FE448.jpg"><img style="cursor:pointer; 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cursor:hand;width: 400px; height: 261px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHhg_ZoTYm0d7N8pBJMwAvHPSfjR4Dr4J7FIK8eo3F3vI7v0p2TcGgAJfK_bLpsrO5Obn4UV7Zy711T2NT0OIY1Dn2Au1pdZ0gOSaKFy0HQs0Fz4bwpquSIXyCQGNx389dy5cx-JreEvE/s400/090122-FE029.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5298316990305825538" /></a>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-27663890578387216732009-02-02T07:31:00.001-08:002009-03-28T12:41:01.479-07:00EXHIBITION<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEQ2_rgE-xysqBhsNs0BiZbdKq28lemm_dC38AoWRm0Li1HuW9yMIXzOmRQt37pv-XA_N_NtNn0YNI59sHdzr0_4ydFsDYlbBxOS5uwTBugr6Uh1P7deTRFcKcT1SbrEsgLyOoTkdOvM/s1600-h/Frank+Hanswijk_Immortality18.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEQ2_rgE-xysqBhsNs0BiZbdKq28lemm_dC38AoWRm0Li1HuW9yMIXzOmRQt37pv-XA_N_NtNn0YNI59sHdzr0_4ydFsDYlbBxOS5uwTBugr6Uh1P7deTRFcKcT1SbrEsgLyOoTkdOvM/s400/Frank+Hanswijk_Immortality18.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318309981788087474" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZz8G0Ya9qLy3Yv-ORO9igrYjcZDYmqbyfgfPFk5ygn0hNw5PzMWI8Xo-_3TP6xjNKazGCtGMdR7H7yl4qM_1MTCsv-As2ceWZr6-V1Y19F807BeTbSaZsZjZCB3UdEHOsJSdiYxP6yM/s1600-h/Frank+Hanswijk_Immortality24.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZz8G0Ya9qLy3Yv-ORO9igrYjcZDYmqbyfgfPFk5ygn0hNw5PzMWI8Xo-_3TP6xjNKazGCtGMdR7H7yl4qM_1MTCsv-As2ceWZr6-V1Y19F807BeTbSaZsZjZCB3UdEHOsJSdiYxP6yM/s400/Frank+Hanswijk_Immortality24.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318321420928598978" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisn3oSPJar414fDUSiNT79PYOvLYxfEagSz5f14H2PfbdGrU-PJLOVcEDxB6eHM801axtGUQ-PQ0CFNOWd5HGV0yJNT4DjmGVsW2eVFQVPt68ZolDxIEl10SoU4O4lnPI6M8xMc7t8Axs/s1600-h/Frank+Hanswijk_Immortality21.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisn3oSPJar414fDUSiNT79PYOvLYxfEagSz5f14H2PfbdGrU-PJLOVcEDxB6eHM801axtGUQ-PQ0CFNOWd5HGV0yJNT4DjmGVsW2eVFQVPt68ZolDxIEl10SoU4O4lnPI6M8xMc7t8Axs/s400/Frank+Hanswijk_Immortality21.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318315055512243090" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg73O6cfKVF0ZPSZbXBAEGz5ggO3_G8V6VPbhxUnmdJlSWq3aBguMrg9GdykL5qoPIMDQi5zAHiWKXDGeRZSHgkHndGljB990XSeLsJyjriCUL4mzguj789auxosW1cCTSybYFU89RMPYs/s1600-h/Frank+Hanswijk_Immortality26.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg73O6cfKVF0ZPSZbXBAEGz5ggO3_G8V6VPbhxUnmdJlSWq3aBguMrg9GdykL5qoPIMDQi5zAHiWKXDGeRZSHgkHndGljB990XSeLsJyjriCUL4mzguj789auxosW1cCTSybYFU89RMPYs/s400/Frank+Hanswijk_Immortality26.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318321426172784658" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuMkbYzMX38vsJuQu4EbpqW1PzHyBoVw9Vjp1Q1NzHZN7UuEBh1BsTUZAio1lZjP1U4cnnz4tER5L7dWYzdfaLHp2ygeFiTVMCWK9HbDAHHGy0TRvGYKoh7f3atlXuO8CZZraeDUinnYc/s1600-h/Frank+Hanswijk_Immortality19.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuMkbYzMX38vsJuQu4EbpqW1PzHyBoVw9Vjp1Q1NzHZN7UuEBh1BsTUZAio1lZjP1U4cnnz4tER5L7dWYzdfaLHp2ygeFiTVMCWK9HbDAHHGy0TRvGYKoh7f3atlXuO8CZZraeDUinnYc/s400/Frank+Hanswijk_Immortality19.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318315052141788402" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XOaeO0HTs_6XoZKs7DXzuhNXyYkrm2FYuJg8Fm-jOc9Z4JVJVUL-iL-99orpBkWGtjCvVaU-YL1lPYHViFpJwV515PZSuP4jOdyXdXIpucUJY0BNhI-GcjTFOcX6srDqrPl_y8IwSNQ/s1600-h/Frank+Hanswijk_Immortality.JPG"><img style="cursor:pointer; cursor:hand;width: 274px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XOaeO0HTs_6XoZKs7DXzuhNXyYkrm2FYuJg8Fm-jOc9Z4JVJVUL-iL-99orpBkWGtjCvVaU-YL1lPYHViFpJwV515PZSuP4jOdyXdXIpucUJY0BNhI-GcjTFOcX6srDqrPl_y8IwSNQ/s400/Frank+Hanswijk_Immortality.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318309034860676370" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIaXlkxylYQTO2ZlaQbFxgNoaGMUsgfbKYUg12YjDn_AQMO_um_t2GOEDExhRfPTFhMaQfLDPMAf7B2zWeES95Sm4vQjNne3QSxw-ysoPDKRgIWVhV5XN8pLSWKTEidgvWXn03tJpLpA/s1600-h/Frank+Hanswijk_Immortality16.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIaXlkxylYQTO2ZlaQbFxgNoaGMUsgfbKYUg12YjDn_AQMO_um_t2GOEDExhRfPTFhMaQfLDPMAf7B2zWeES95Sm4vQjNne3QSxw-ysoPDKRgIWVhV5XN8pLSWKTEidgvWXn03tJpLpA/s400/Frank+Hanswijk_Immortality16.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318309977061740946" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4FpUKpiYx5CVBQO9av_kDKNfg7jv42Gbgpy7nUhFjLR0SHlmretfDZu1FpZkcGSWfMye7G_S74hyphenhyphengButAHjb4h-Q1sqG4235ZZEtP56uVfyE6ZHFEoyylJfqxMYrB7-4yAQansy7cAYw/s1600-h/Frank+Hanswijk_Immortality9.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4FpUKpiYx5CVBQO9av_kDKNfg7jv42Gbgpy7nUhFjLR0SHlmretfDZu1FpZkcGSWfMye7G_S74hyphenhyphengButAHjb4h-Q1sqG4235ZZEtP56uVfyE6ZHFEoyylJfqxMYrB7-4yAQansy7cAYw/s400/Frank+Hanswijk_Immortality9.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318309036277684066" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuPxwuTtiydIPwADoHiR9ttqROhgC9VtfZebqJBTt87leErHtSQEgIkzrr4V-5OHhYf9KmdwQLx44yXHQrLuYl_LJBCno6DE0suoyZ5Ubllgh1M5c_7bQvv9GfzHo5wV9NAeDrOIyZ7pM/s1600-h/Frank+Hanswijk_Immortality12.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 274px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuPxwuTtiydIPwADoHiR9ttqROhgC9VtfZebqJBTt87leErHtSQEgIkzrr4V-5OHhYf9KmdwQLx44yXHQrLuYl_LJBCno6DE0suoyZ5Ubllgh1M5c_7bQvv9GfzHo5wV9NAeDrOIyZ7pM/s400/Frank+Hanswijk_Immortality12.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318309969421013586" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTqhN3sqjPzwN1w8H1ttSeuEbAtb85y4Ickek2Rbtbmji7LlFyH7z9D752i1zLcDEmCENOiqs0ciCajYStYENrwAALX3unqVFufWtE6Ouy6TtPnk5wMDmZ1O8pVZQXv3NIXzBAr05dvb0/s1600-h/Frank+Hanswijk_Immortality10.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTqhN3sqjPzwN1w8H1ttSeuEbAtb85y4Ickek2Rbtbmji7LlFyH7z9D752i1zLcDEmCENOiqs0ciCajYStYENrwAALX3unqVFufWtE6Ouy6TtPnk5wMDmZ1O8pVZQXv3NIXzBAr05dvb0/s400/Frank+Hanswijk_Immortality10.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5318309044228101890" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8p7C_LzcCVhRbzk6JI-QckdhBxl1J-YFKiqhGoweBrjZmYs4kC1WGyuwYrm-z3CnzGyJvO6RcX92euFxr2pCmEM8ZRGp9QlMFwRI3Jk-l2HfbMScXkuRWX9yvJCr5iGkeGVAphEwxFLE/s1600-h/DSC03784.JPG"><img style="cursor:pointer; cursor:hand;width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8p7C_LzcCVhRbzk6JI-QckdhBxl1J-YFKiqhGoweBrjZmYs4kC1WGyuwYrm-z3CnzGyJvO6RcX92euFxr2pCmEM8ZRGp9QlMFwRI3Jk-l2HfbMScXkuRWX9yvJCr5iGkeGVAphEwxFLE/s400/DSC03784.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5298226242940084418" /></a>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-76342076617003036652009-02-02T07:25:00.000-08:002009-02-02T07:31:35.051-08:00INSTALLATION<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvnhHa_4ntV8bAKIsjZlukjUCv7G6LH1RaA_PeO4bgBimyR70Q0pvLpprf6r24Z6QOBv7GNPpGfuqU3RM3Lru2m30bz-Or88OS6veBQMLj8YBVIbK2LQGvtGbkL0sq_EI1SPqeFIAeMbs/s1600-h/DSC03794.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvnhHa_4ntV8bAKIsjZlukjUCv7G6LH1RaA_PeO4bgBimyR70Q0pvLpprf6r24Z6QOBv7GNPpGfuqU3RM3Lru2m30bz-Or88OS6veBQMLj8YBVIbK2LQGvtGbkL0sq_EI1SPqeFIAeMbs/s400/DSC03794.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5298222980572545682" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOhsh543e0AXoJ1Qfp4p9ge17lHFEY_9ORuf_G50S8G2ThuxUsJOR6KLpJ6B-9aVOohw5Y2wgv-OF7hp4PrKuLf1thA-QHGXTsPXe2Rfs0_6Jaeby5Si06wB039LUR1tJzOVm4XkQUVqU/s1600-h/DSC03800.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOhsh543e0AXoJ1Qfp4p9ge17lHFEY_9ORuf_G50S8G2ThuxUsJOR6KLpJ6B-9aVOohw5Y2wgv-OF7hp4PrKuLf1thA-QHGXTsPXe2Rfs0_6Jaeby5Si06wB039LUR1tJzOVm4XkQUVqU/s400/DSC03800.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5298222838852183314" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEithyphenhyphenHE09end4DPuwg3zvihydLCXQmoguYJCQU8Fmh2B8LWSXGUBCpkOxOx1Vnco0jCraXU8PBl_GzRylvGX87Th4Sz3cmsuBlt2b4rzga7J3lqCNcuRzRS7UbHxjnkbItF5jcfRxVbLeM/s1600-h/DSC03810.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEithyphenhyphenHE09end4DPuwg3zvihydLCXQmoguYJCQU8Fmh2B8LWSXGUBCpkOxOx1Vnco0jCraXU8PBl_GzRylvGX87Th4Sz3cmsuBlt2b4rzga7J3lqCNcuRzRS7UbHxjnkbItF5jcfRxVbLeM/s400/DSC03810.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5298222296677215810" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilbxKOizi3w2FdDBX4HuKBgrzf3KEwjTL1o1wJFWWO7mvm28elGUovbUQsJIp3GL3UmGD1Quv0GTkYKGPNTnJ66iEwzdigAYG3Fjm_Q0rW698kSdS9ic85eI7hFeIvJgVLZ2ANJJxP1bw/s1600-h/DSC03808.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilbxKOizi3w2FdDBX4HuKBgrzf3KEwjTL1o1wJFWWO7mvm28elGUovbUQsJIp3GL3UmGD1Quv0GTkYKGPNTnJ66iEwzdigAYG3Fjm_Q0rW698kSdS9ic85eI7hFeIvJgVLZ2ANJJxP1bw/s400/DSC03808.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5298222172508205826" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiojOV53EI3_6tVv_Hq93bGVNCA4GUsJwL-i_e6iY8_7YM5Tt9j5DPO8BkH-msY8BxoVI5WIWzyJfgMBO_x7LFXpF2DG0IWytol4r6S1b3-aGW0g96cBCM8h7WTvc8WN9jyUPTRzB5dQa0/s1600-h/DSC03786.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiojOV53EI3_6tVv_Hq93bGVNCA4GUsJwL-i_e6iY8_7YM5Tt9j5DPO8BkH-msY8BxoVI5WIWzyJfgMBO_x7LFXpF2DG0IWytol4r6S1b3-aGW0g96cBCM8h7WTvc8WN9jyUPTRzB5dQa0/s400/DSC03786.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5298221980115274002" /></a>Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-90413281466878569832009-01-27T02:53:00.000-08:002009-01-27T03:01:45.311-08:00INVITATION<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM4FQIp9p-N1qwSEd6L9RsMTRC0P_jpNWKjA-j6a02itANP2PFOjeioxZaHn4Hybz_TRAdlVeU7GQc2lUDFUWKNA58fqDo0qW6onKYkdoYVRnHoElq1bYLbYopZhMWFZhkYJrQdknSeNk/s1600-h/clip_image001.jpg"><img style="cursor:pointer; cursor:hand;width: 400px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM4FQIp9p-N1qwSEd6L9RsMTRC0P_jpNWKjA-j6a02itANP2PFOjeioxZaHn4Hybz_TRAdlVeU7GQc2lUDFUWKNA58fqDo0qW6onKYkdoYVRnHoElq1bYLbYopZhMWFZhkYJrQdknSeNk/s400/clip_image001.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5295925931757220130" /></a><br /><br />On Thursday 22 January at 18.00 hrs TENT. opens two exhibitions: Aspect Ratio, as part of the International <br />Film Festival Rotterdam and Immortality by guest curator Fatos Üstek <br /><br />Immortality <br />Sustaining the Past, the Present, the Future <br />22.01.2009 - 08.03.2009<br />Carla Ahlander, Iddo Drevijn, Antje Peters, Bettina Pousttchi, Elian Somers<br /><br />The exhibition Immortality is curated by Fatos Üstek (1980, Ankara, lives and works in London). <br />She is TENT. Young Curator from January through March 2009. Immortality deals with the continuation of ideas, <br />and how notions about ourselves and others are invariably passed on and influence our daily lives. Our body may be mortal, <br />but our ideas are not. With photographic works by Elian Somers (Rotterdam), Antje Peters (Rotterdam) and <br />Carla Ahlander (Berlin), an installation by Bettina Pousttchi (Berlin) and a textual piece by Iddo Drevijn (Rotterdam). <br /><br />Events:<br />Fri 13.02, 20.00 u: Vampire Empire from Dusk till Dawn<br />Fri 27.02, 20.00 u: Present Future with :mentalKLINIK, Prof. DR. Zeynep Tul Sualp Akbal, Museum of Non Participation moderated by Fatos Ustek<br /><br />During the International Film Festival Rotterdam TENT. is open daily from 11.00 - 18.00 hrs<br /><br />/////<br /><br />Immortality <br />Sustaining the Past, the Present, the Future <br />22.01.2009 - 08.03.2009<br />Carla Ahlander, Iddo Drevijn, Antje Peters, Bettina Pousttchi, Elian Somers<br /><br />De tentoonstelling Immortality is samengesteld door Fatos Üstek (198o, Ankara, woont en werkt in Londen). <br />Zij is TENT.Young Curator van januari t/m maart 2009. Immortality betrekt zich op het voortleven van gedachtegoed <br />en hoe opvattingen over onszelf en anderen onveranderlijk worden doorgegeven en ons dagelijks leven beïnvloeden. <br />Ons lichaam is misschien sterfelijk, onze ideeën zijn dat niet. Met fotografische werken van Elian Somers (Rotterdam), <br />Antje Peters (Rotterdam) en Carla Ahlander (Berlijn), een installatie van Bettina Pousttchi (Berlijn) en een tekstwerk <br />van Iddo Drevijn (Rotterdam). <br /><br />Events:<br />Vrij 13.02, 20.00 u: Vampire Empire from Dusk till Dawn<br />Vrij 27.02, 20.00 u: Present Future with :mentalKLINIK, Prof. DR. Zeynep Tul Sualp Akbal, Museum of Non Participation moderated by Fatos Ustek<br /><br />Gedurende het International Film Festival Rotterdam is TENT. dagelijks geopend van 11.00 - 18.00 uur<br /><br />TENT. Rotterdam Center for Visual Arts > Witte de Withstraat 50 > Ground Floor> 3012 BR Rotterdam <br />Netherlands > +31 (0) 10 4135498 > www.tentrotterdam.nlFatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-62713641194125990212009-01-27T02:51:00.000-08:002009-01-27T02:53:36.104-08:00PRESS RELEASE/////SCROLL DOWN FOR DUTCH//////<br /><br /><br />Immortality<br />22 January – 8 March 2009<br />Opening: Thursday 22 January 2009 at 18.00 hrs<br /><br />Carla Åhlander, Iddo Drevijn, Antje Peters, Bettina Pousttchi, Elian Somers<br />The exhibition Immortality is curated by Fatos Üstek (1980, Ankara, lives and works in London). She is TENT. Young Curator from January through March 2009. Immortality deals with the continuation of ideas, and how notions about ourselves and others are invariably passed on, becoming a collective body of thought and influencing our daily lives. With photographic works by Elian Somers (Rotterdam), Antje Peters (Rotterdam) and Carla Åhlander (Berlin), an installation by Bettina Pousttchi (Berlin) and a textual piece by Iddo Drevijn (Rotterdam). <br /><br />Carla Åhlander shows a photo series depicting waiting rooms in the council offices in Berlin. Initially the rooms present themselves as neutral, the power is discreet. There are no people in the waiting rooms, only the possibility of their presence. In addition to the photo series she is showing a new work, Symbolic Capital. A line of people stand in the public space in front of the Employment Office in Berlin waiting for the office to open.<br /><br />Iddo Drevijn graduated from the Willem de Kooning Academie in the summer of 2008 with a text piece and a series of performances. His wall text Your Mind is My Revolution is essentially an optimistic piece. We don’t know the subject, but it sets itself up as the protagonist of a change, and claims the mental legacy of an imaginary public in order to spark a revolution.<br /><br />Bettina Pousttchi works with installations, video and photography. In the exhibition she is showing Blackout, a sculpture made of crush barriers. The twisted steel standards could well be the result of a demonstration turned violent, but also have an elegance that puts their regulating function into perspective. The video piece Line (2005) is a registration of a protest march. The demonstration is peaceful, if only because the presence of police leads to the desired behaviour.<br /><br />Urban utopias such as Brasilia, the Cité Modelé in Brussels and Kleipolder in Rotterdam are the subjects of recent photo series by Elian Somers. She is interested in the way in which the idea of progress that lay behind the construction of these residential areas becomes visible in photography. In her recent project on the city Kaliningrad, she examines the traces of the various ideologies that defined the history of the city.<br /><br />Antje Peters made the photo series Collection on commission for a publication on the house style of the Dutch ministries by Studio Dumbar. The photos show office material and promotional gifts with the logos of the various ministries and departments. In 2008 the State decided to adopt a single logo (designed by Studio Dumbar) and these identity bearers became redundant.<br /><br />Editor’s note, not for publication:<br />For visual material and press-related enquiries, you can contact com.tent@cbk.rotterdam.nl, +31 (0)10 4135498.<br /><br />//////////////////<br /><br />Immortality<br />22 januari t/m 8 maart 2009<br />Opening donderdag 22 januari om 18.00 uur<br /><br />Carla Åhlander, Iddo Drevijn, Antje Peters, Bettina Pousttchi, Elian Somers<br />De tentoonstelling Immortality is samengesteld door Fatos Üstek (1980, Ankara, woont en werkt in Londen). Zij is TENT.Young Curator van januari t/m maart 2009. Immortality betrekt zich op het voortleven van ideeën, en hoe opvattingen over onszelf en anderen onveranderlijk worden doorgegeven, tot collectief gedachtegoed verworden en ons dagelijks leven beïnvloeden. Met fotografische werken van Elian Somers (Rotterdam), Antje Peters (Rotterdam) en Carla Ahlander (Berlijn), een installatie van Bettina Pousttchi (Berlijn) en een tekstwerk van Iddo Drevijn (Rotterdam). <br /><br />Carla Åhlander toont een fotoserie van wachtkamers in de stadskantoren van Berlijn. In eerste instantie presenteren de ruimtes zich neutraal, de macht is discreet. In de wachtkamers zien we geen mensen, alleen de mogelijkheid van hun aanwezigheid. Naast deze fotoserie toont ze een nieuw werk, Symbolic Capital. In de openbare ruimte voor het arbeidsbureau van Berlijn staat een rij mensen te wachten tot het bureau open gaat.<br /><br />Iddo Drevijn studeerde zomer 2008 af aan de Willem de Kooning Academie met een tekstwerk en serie performances. Zijn wandtekst Your Mind is My Revolution is in essentie een optimistisch werk. We kennen het subject niet, maar het stelt zich op als de protagonist van een verandering, en claimt het gedachtegoed van een imaginair publiek om een revolutie te ontketenen. <br /><br />Bettina Pousttchi werkt met installaties, video en fotografie. In de tentoonstelling toont ze Blackout, een sculptuur van dranghekken. De verwrongen stalen staanders zouden goed het gevolg van een gewelddadig verlopen demonstratie kunnen zijn, maar hebben ook een elegantie die hun regulerende functie relativeert. Het videowerk Line (2005), is een registratie van een protestdemonstratie. De demonstatie verloopt rustig, alleen al de aanwezigheid van politie leidt tot gewenst gedrag.<br /><br />De recente fotoseries van Elian Somers hebben stedelijke utopieën als Brasilia, de Cité Modelé in Brussel en Kleinpolder in Rotterdam tot onderwerp. Ze is geïnteresseerd in de wijze waarop de vooruitgangsgedachte die achter de opzet van deze woongebieden schuilt zichtbaar wordt in fotografie. In haar recente project over de stad Kaliningrad onderzoekt ze de sporen van de diverse ideologieën die de geschiedenis van de stad hebben bepaald.<br /><br />Antje Peters fotografeerde de serie Collection in opdracht van een publicatie over de huisstijl van Nederlandse ministeries door Studio Dumbar. De foto’s tonen kantoormateriaal en relatiegeschenken met het logo van de diverse ministeries en afdelingen. In 2008 besloot het Rijk één logo te gaan hanteren (ontworpen door Studio Dumbar) en werden deze identiteitsdragers overbodig. <br /><br />Het TENT.Young Curator programma biedt jonge tentoonstellingsmakers de gelegenheid om kennis te maken met de Rotterdamse kunstwereld.Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-9720272737775090132008-11-06T08:42:00.003-08:002009-01-27T07:49:15.545-08:00CONCEPTImmortality, sustaining the future the present the past, is the second part of the trilogy of projects, which have started in 2007. The first project, The Lost Moment, has been realised in Berlin with four outcomes: a group exhibition, sessions, film excursions and a book. Immortality has three components, a group exhibition, a film event and a talk. The third part of the trilogy will be on the concept of surfaces. <br /><br />Immortality is often associated either with the soul, as that which is everlasting, or with the human body that decays in nature for all eternity after the death of its ‘subject’. This project deals with neither.<br />The immortality of the mind is composed through continuous production of the subjective truths. It is sustained through experiencing of participation in social domains, which unfolds being effective on and under influence of things, realisation of understandings and frameworks. The real is constructed through gathering of subjective truths in a collective consciousness. <br />‘Everyday’ hosts continuous production of definitions on how to relate to the other in various circumstances: work-related, friendship-related, and casual encounters. The patterns of repetition mostly designate the content of the interactions. That is to say, the way people are exercised in thinking, in being in the doing and making things effect how they connect themselves to the others and to their surrounding. <br /><br />Today, we can talk about the normalisation of production because of the existence of a tendency to single out the variety of subjective truths. In other words, we can talk about tendencies of rigid control and a priori acceptances in the contemporary society of today. The aspects of ideology and fanaticism in relation to social discourses gain importance. In other words, the subjective truths are becoming around certain strong commonalities of understanding the world around us. It is the clash that fanaticism of any sort, resulting in segregation of ideas, societies and living.<br /><br />The project looks on the definitions of ‘everyday’: How the everyday is influenced by fixed and enduring ideas. And how societies use these to create the rationale of their own existence. The exhibition displays the aesthetics of sustaining immortality, whereas the talk contextualises its relation to current socio-political states, or the film event is a bridging of a fantasy with real.<br /><br />The project is not a mapping of patterns that are tooled in the acts of sustaining the time trilogy: past, present, future; but a gathering of statements, observations, and proposals on various levels. It is looking at the existing, planned, fictionalised factuality of social discourse. It aims to draw attention to the claims over the future, the present, the past. In other words, how future, present and past are being reproduced under the light of mainstreaming projections and their related social encounters.Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-6134099221809271882.post-59568441435350501132008-11-06T08:42:00.001-08:002009-01-27T02:50:09.184-08:00ARTISTS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju_aj0JuWqO0Gzn_Nb5jrxAQdXQRDQSjvS56j3Dx1uInOYKN_sxllSZJDV-JQogaOtRqN4bF95pqCRXI2oAiqsZVxAfvQM_8m6NK8JYBoF7bZTEoPkfSqYbdhTSGU-2u_r-cwYXum0YQs/s1600-h/carla03.jpg"><img style="cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju_aj0JuWqO0Gzn_Nb5jrxAQdXQRDQSjvS56j3Dx1uInOYKN_sxllSZJDV-JQogaOtRqN4bF95pqCRXI2oAiqsZVxAfvQM_8m6NK8JYBoF7bZTEoPkfSqYbdhTSGU-2u_r-cwYXum0YQs/s400/carla03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5295922883945495682" /></a><br />Untitled, 2005<br /><br /><strong>Carla Ahlander</strong> works with photography and documents scenes, positions, conditions, states of social sphere. Ahlander’s practice lies within figuring, restating, displaying and discussing of certain structures of power. The relational aesthetics of power is dispersed into every element in its surrounding. When power structures are taken into consideration, they do not only address the centers of power or apparatuses of governance in macro scales, but also their patterns of experience in micro levels. That is to say: the micro conditions that are composed of the immersed state of power in the production of the everyday. Ahlander, is a photographer of a tradition, commits her time and thinking before, during and after the act of photographing. She visits or attends to situations and observes and waits for the indulgence of content. Her series of waiting rooms are of 12 images, taken in the registration offices in Berlin. The rooms, at first sight display an intention of neutral design aesthetics, although through the positioning of facilities and functioning, they display the discreet empowerment of the subjectivities, which are supposed to inform the system they live in. The architecture has been formed in consideration with centralisation of power and powerlessness. The individuality is at stake during the encounters of governance and being governed by. Hence, Ranciere’s positioning of participation is demodified. <br />In the waiting room series, contrastingly we do not see any person in any condition. The space is not occupied with bodies but with the void of their possible presences. We experience a narrative on various levels, where the protagonists are not mapped with appearance or movement.<br />Ahlander’s photographs not only map the regulative modes but also point out the structures within which participation is redefined through a single channel of adjustment. The photographs implement more than they show: The series are not a mere collection of rooms but also imply of how acknowledgement of power and a priori acceptances of movement and individuality are designated to be experienced. Ahlander says: “I’m interested in the systems of organisation which we live in; by the creation of power structures and how we become part of them, yet I’m also fascinated by the fact that they only exist if we participate in them.”<br />Additional to her series ‘Untitled’, Ahlander exhibits a new piece Symbolic Capital, Part I, which has been shot in front of Employment Center in Berlin at dawn. The people queuing cannot be recognized but their presence in front of a not-yet-open building shows that they are in the placement of stand-by to get in, to receive acceptance and activate their presence in the society.<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswhsGlh_g_E-wyRYenCbmU8GmeuP7KDl9jTqY5P-sfqAAdY7aOXfuez2vV-G4vIBx6QrkbmQwhsYbxjy6JhbNqZYzna7KUPgf-ymPmtjq3IFas1p05lXqQHF9FlHtyLzuoshdoXcPLEU/s1600-h/03.THE_ASSOCIATION_IS_A_RELATION.JPG"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswhsGlh_g_E-wyRYenCbmU8GmeuP7KDl9jTqY5P-sfqAAdY7aOXfuez2vV-G4vIBx6QrkbmQwhsYbxjy6JhbNqZYzna7KUPgf-ymPmtjq3IFas1p05lXqQHF9FlHtyLzuoshdoXcPLEU/s400/03.THE_ASSOCIATION_IS_A_RELATION.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5295922155382665730" /></a><br />The association is a relation, 2008<br /><br /><strong>Iddo Drevijn</strong> works with text, installation and photography. For the exhibition Drevijn is bringing together two mediums such as text and light in an installation piece. Drevijn’s piece has a strong and subtle presence in its content. His piece reading ‘Your Mind is My Revolution’ manoeuvres between statement and dominance. The subject of the sentence is absent, rather its reader is directed under the light of having a potential for an unknown subject or a large group of people that he/she is part of. The piece as a statement is a positive proposal for a change through influence. The subject, who claims over the minds of his/her unseen crowd, positions himself/herself as the protagonist of a change. Hence, the artist becomes / positions himself as the provider of influence on the society, as he/she takes the responsibility of. As the piece resets the relation of revolution and mind, it becomes an observation of structures of change. That is to say, change is possible through interaction and dialogue between subjectivities. Additionally, it is an optimistic piece, where the artist proposes to share the shift with others. He proposes to get involved as the piece reflects back on itself via anonymity of the spokesman and his followers. Hence the artist’s mind can be the place of revolution for any other subject. <br />Drevijn’s piece displays the very simple aspect of social encounter, how societies evolve, and transform into what they are: influence over the other. The patterns of repetition become the reclaiming of subjective truths. As the light falls on, the piece governs and is governed by the presence of the audience.<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9Qvg6wNuCENW5FZr4Hk6hxZaeLgxttm6iO-e-oADIDIBa3LyYAXnkLknQ4lxCPcYnGcCk3LLTan7VETW5B_nlNRnpHd8yEcd-PsleS4tXNi5kXRCFc0caP5LhXqVymneM-qOOIOblFY/s1600-h/AntjePeters+misc.jpg"><img style="cursor:pointer; cursor:hand;width: 400px; height: 312px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9Qvg6wNuCENW5FZr4Hk6hxZaeLgxttm6iO-e-oADIDIBa3LyYAXnkLknQ4lxCPcYnGcCk3LLTan7VETW5B_nlNRnpHd8yEcd-PsleS4tXNi5kXRCFc0caP5LhXqVymneM-qOOIOblFY/s400/AntjePeters+misc.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5295921895613592146" /></a><br />06. Collection, 2009<br /><br /><strong>Antje Peters </strong>works with photography and as a professional studio photographer. Her series ‘Collection, 2008’ is composed of images of items that have been used by the employees of the Dutch Government, but also given as gifts for relations through the last 10 years. The items vary from ties to watches or from clocks to scarves. Each item carries a logo that has been used by a ministry in Netherlands. By 2008, with a new regulation, all Ministries are asked to use the same logo for their bureaucratic artefacts. Hence all the logos, displayed in the series will belong to a certain past, and will no longer carry a contemporaneity. The images are constructed in relation to ordinary aesthetics of displaying goods in buyers’ magazines. They are placed in a certain feeling of appeal and asking for a choice beneath.<br />The series, not only display a gathering of items but also a stance of a governing body. The objects with logos are no longer mere objects but objects with identity and position. The items are displayers of materialisation of ideologies, sense of belonging and states of support.<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbDLJf_QTNHLt_KMs2Yhkc2lejobCDxaup8S9ASk7zTegkMlMxAOYaJMO0pm1wUBu1qT7Uwpy4YupuhR-10SD17czfTG4FR0hnHZEiWYHzeds7bY2-4x7s0BCw1c5eV9lpd-p5aw3d5i8/s1600-h/Blackout+II.jpg"><img style="cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbDLJf_QTNHLt_KMs2Yhkc2lejobCDxaup8S9ASk7zTegkMlMxAOYaJMO0pm1wUBu1qT7Uwpy4YupuhR-10SD17czfTG4FR0hnHZEiWYHzeds7bY2-4x7s0BCw1c5eV9lpd-p5aw3d5i8/s400/Blackout+II.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5295921703869986994" /></a><br />Blackout II, 2008<br /><br /><strong>Bettina Poutschi</strong> works with video, photography and installation. In the exhibition she produces a site-located installation with video element and displays one of her sculptures from the series of Blackout, which are reformulated lattices. <br />Line 2005 is a documentary video, Pousttchi has made during a protest. In contrast to immediate expectations, the piece does not display a protest or a conflicting togetherness of different groups in one place. There is a slow movement of control, in and under control. The police passing by walk through straight lines, without being directed. The embedded situation of power is deciphered, discreetly through the visibility of the mapped intuition.<br />Blackout series are composed of manipulated and redefined crowd barriers. The series oscillate along the line of ‘as if’: the pieces can very well be found on the street in an aftermath of a destructive protest and can be carried to the exhibition space as ready-mades. The pieces claim more than presence in the space, they challenge through their common and uncommon nature, through their size and outlook. <br />Barriers are common aspects of organically territorializing function and facility in social space. In any immediate situation of empowerment, power can be regained through regulating experience. Barriers in this sense are handy tools of sustaining the status quo. In this respect, Blackout’s are the polarisation of barriers, which shift the regulative mode into a critical encounter.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuebRvUln5B7QBGwt_oL_A7-D-dzt1TQF04lbp3czYp4rOy0mYLAHLvtuclYPyiimIxnJ1lgS00rtYocyiXzD2qg55m5mJ0voSbv42565gGfawXcLziKqzasHbzQkPjc-ZzYxX99C-P9M/s1600-h/Droom+Brasilia+03.jpg"><img style="cursor:pointer; cursor:hand;width: 400px; height: 312px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuebRvUln5B7QBGwt_oL_A7-D-dzt1TQF04lbp3czYp4rOy0mYLAHLvtuclYPyiimIxnJ1lgS00rtYocyiXzD2qg55m5mJ0voSbv42565gGfawXcLziKqzasHbzQkPjc-ZzYxX99C-P9M/s400/Droom+Brasilia+03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5295923577589001762" /></a><br />Dream as there ever was one, Brazil, 2007<br /><br /><strong>Elian Somers</strong> works on architecture, structures, and city scapes. Somers has been involved in a series of projects where she has visited variety of places and documented their status quo’s. Her interest in documenting the contemporary states of civilisation lies beneath her research on the particularity of definition of social space in relation to definer ideologies. Somer’s is specifically interested in the notion of utopia. She investigates the togetherness of architecture and imagined societies. Somers explains her work: “Over the last few years, I have focussed on ideologies in architecture and urbanism; and the way these are linked in time. I call them utopian cityscapes; realized dreams invented as a different and better world than the existing one. Utopia both attracts and deters. It attracts by representing a critical attitude and a will to change the world; it deters because of the failures and perversions the utopian project has left behind over the years.”<br />Somer’s has been formulating archives on cities with a background of hosting variety of positions, scales, facilities. She works with the relationship between utopia and its embodiment in concrete forms and at the same time its failure through practice. In the exhibition, Somer’s is presenting selection of photographs she has produced in Kaliningrad, from the series Border Theories. Through her visit in Kaliningrad, Somers has been exploring the traces of time. Kaliningrad has been continuously in consideration to be planned and built: First under the influence of socialist architecture and since the collapse of the USSR, under the influence of capitalist entrepreneurship. Somer’s piece is completed with a text detailing the aspects of an island-like place under continuous mental and physical transformation.<br />Somer’s other archive project is titled Alzijdigen (All-sided), to which she has started since 2008. Alzijdige #1 (2008), on the invitation card, displays a state of in-between, where dualities emerge. It is hard to grasp if it is a depiction of a place under construction or destruction, if it is a stage or a private place. The factuality of the image as taken from Maranatha Church, which was built in Rotterdam in 1953 and used for other purposes and is planned to be demolished towards the end of 2009, do not necessarily undermine the obscurity of the narrative.Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0