DIVERÇITY / Learning From İstanbul

DIVERÇITY. LEARNING FROM ISTANBUL
video, installations, photography

Artists: Can Altay, Didem Özbek, Osman Bozkurt, Ergin Çavuşoğlu, Orhan Esen, Deniz Gül, Emre Hüner, Ceren Oykut, Bas Princen, Tayfun Serttaş, Ali Taptık, Solmaz Shahbazi

Exhibition opening: 17.09.2010, 6 pm
On view through 07.11.2010
Curators: Kaja Pawełek, Serra Özhan
Exhibition Design: Jakub Szczęsny / Centrala Designer's Task Force
Gallery 1

Emre Hüner’s video Total Realm is presented during the exhibition on the screen VideoBoard on Sezam shopping centre at the corner Świętokrzyska and Marszałkowska Streets, daily at 7 p.m. and at 8 p.m. In the public space in the City of Warsaw are exposed posters by Ceren Oykut.

The exhibition Diverçity. Learning from Istanbul takes the city as a resource of fictive narratives, private (hi)stories, dreams and desires, still in the process of recreations, and speculations. Here, polyphony and fragmentation make one unable to grasp the city in a fixed formula, because, as the exhibition claims, urban and architectural potential is continuously re-constructed by negotiations, by individually-organized temporary systems, by the local adaptations and phenomena of the everyday practices in which innumerous strategies of survival (mostly considered as informal) are created. Beyond any strict urban planning or architectural perspectives, the intension was more to give voice to the inner and more personal artists’ observations and intuitions. What results are the tiny pieces of reality and fiction, recognized, combined, transformed and retold.

Fictive narrations, based upon a long tradition of story telling allow to reveal different, often marginal or hidden, images and voices. That is why a lot of diverse voices can be heard – those of monologues of the inhabitants of a collapsed city district; dialogues of the people brought by daily coincidence to the microcosm of a small grocery; girl questioning and playing with the new rituals of consumerism; photographer’s testimony, who recalls desire of self-staging.

Small gestures and rituals can generate distinctive city locations, which contribute to the vast mechanism of the city, like informal ‘republics’, characterised by alternative visual or performative codes. They create its intensity on the very street level, in the form of spectacle of everyday life shortcuts, ad hoc relations, and coincidental occurrences like quotidian performances.

Contemporary city speeds up, so that the historical architectural layer of the past, taken for granted, becomes somehow a materialized phantom. It returns however, in the internal, individual encounters, memories and phantasies. If we go beyond the economy-based categories such as growth, expansion, or modernisation, what images and stories could be revealed when one imagines the city’s future – and its future inhabitants? The horizon ahead seems less and less predictable, balancing between rising hopes and dystopian disillusions, and the future begins imperceptibly now and can go beyond with our imagination. For some of the artists ‘Imagined now’ goes thousand years ahead in the drawing projections or is documented in the images of the city’s outskirts, where the city expands its borders and changes its shape, shifting from the mass scale to micro scale.

The exhibition spatial setting by Kuba Szczęsny sets areas of high density and open space, by aiming to condense the relations between the art works and the public and to create separated and fragmented intimate perspectives. It suggests chaos resulting from the meeting of different ways of organizing the city, in which the former rules of development are being erased by the new established ones. The effect is intended to be a structure which makes the viewer engage in the search of one’s logic of visiting or rather winding through the rooms. In this context both the space and public would experiment with this potentiality, listen and hear what is hidden behind. Same as the city itself the exhibition can be performed in that sense. It will be an exhaustingly nice walk through the districts of a foreign city.

KAJA PAWEŁEK & SERRA ÖZHAN
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ERGİN ÇAVUŞOĞLU, Downward Straits, 2004, 4-channel video installation 3’, 4-channel sound 13’
This video installation depicts the night skyline of the Bosphorus Strait, with the shadows of oil tankers crossing the waters. An exchange of short messages between the control towers creates the soundtrack for the images of the dark silhouettes of the ships, illuminated by the city lights. The path guides between the video screens and images, positioning the viewer in the space directly in-between, between the shores, with no set direction of movement and the specific details of the characteristic Istanbul skyline rendered unrecognisable. The location is clearly known and at the same time highly obscure, existing rather as an imaginative reconstruction.

OSMAN BOZKURT, Auto-Park, 2003, C-prints
Osman Bozkurt’s photograph series Auto-Park documents a group of inhabitants’ usage of green areas among highways for their leisure; in this case, for picnicking. The choice of these places acts as extension of the notion of public space in general. This surprising type of what may be called unconsciously organized activities can be read as a kind of unspoken resistance towards classical urban decisions regarding usages of space.

OSMAN BOZKURT, Night Park, 2008, lightbox
Similar to the Auto-Park photographic series, these photographs document citizens engaged in leisure activities, this time at night and in random parks in Istanbul. However, spaces not originally intended to be public spaces are turned into exactly that, in this case, the places in use are clearly identifiable as public spaces. In this context too it is possible to talk about a “public creativity” in an uncanny darkness, which makes one wonder whether these scenes are real or fictive.

SOLMAZ SHAHBAZI, Perfectly Suited for You, 2005, 2-channel video installation: projection, 15’, TV screen, 13’
Gated communities in Istanbul are part of a fashion in suburbanization responding to the wishes of urban elites for social and physical privatisation. Beginning in the 1990s, an increasing number of gated communities started to provide not only residences but also places for leisure activities, and then later schools for kids within those secluded lands which are thought to be secure and peaceful.
Solmaz Shahbazi’s video work Perfectly Suited for You begins by documenting some of those gated communities, like Bahçeşehir and Kemer Country, and in this way she inspires us to ponder the notions of home, private/communal, and inside/outside. Next to this sterile documentation Shahbazi poses questions to Turkish academics about the development of these gated communities as such.

DENİZ GÜL, Zeytinburnu Monologues, 2007-2008, fictive documentary, slides and sound installation; monologues read by: Marta Wardyńska, Afrodyta Weselak, Jacek Beler, Sebastian Dudala, Adam Fidusiewicz, 2010 During the time that artist Deniz Gül began studying Zeytinburnu, sixty percent of the buildings in the district had been condemned to be demolished, not only because they were illegal (lack of zone permits), but because, especially due to the effects of the 1999 Marmara Earthquake, they were in such poor condition that they were nearly on the verge of collapse. The photographs show collapsed, emptied, ruined, or demolished buildings while accompanying monologues give voice to different subjective narrations. The more you hear the monologues, the more the sense of real space and time lose their meanings, which thus turns the documentary work into a fictive narration. Once the urban renovation has been completed, the present situation will be an untold story, forgotten and manipulated again by urban speculators, the municipalities, etc. The fictive qualities of the narration portray the essence of the space accordingly.

CAN ALTAY, Dogs of an Island, 2010, installation: table with mirror flap, 2 chairs, 81 color slides
This work begins with two stories of the stray dogs of Istanbul. It combines a collection of contemporary photographs from the streets of the city with a set of illustrations from the book Dogs of Istanbul by Catherine Pinguet (2008/9), which discusses the expulsion of stray dogs to one of the nearby islands as part of the Westernization of the Ottoman Empire, and its reception by the media, neighborhood residents, and westerners. The mainly historical photographs, etchings, and caricatures of the time depicting the street dogs and their eviction are interspersed amongst snapshots of today’s dogs, whose colored earrings indicate that they are monitored for health and are allowed to stay on the streets of Istanbul.
The set of 81 slides starts as projected images, transforming day by day back into the object form. Slides continuously accumulated on the table surface give rise yet again to the basic questions surrounding representation, image, and source, as well as the process of objectification.

DİDEM ÖZBEK & OSMAN BOZKURT, Napoli, 2009, 3-channel video installation, 19’
The 3-channel video installation Napoli takes its name and its subjects from a grocery shop in Pangaltı, which was opened by an Italian man in the 1950s before later being taken over by Turkish owners, and which has remained in the same location and retained its original name to the present day. Pangalti, a district of Istanbul, is where a large number of Europeans were settled in the mid-19th century, the time of Ottoman Empire, due to the Terms of Surrender. The video in the middle shows the daily practices in the grocery shop while the video on the left captures the shop from outside so that both the inside and the outside routines at the shop are visible. In addition to these views, the video on the right shows a photo of the shop from the 1960s, slowly turning into the image of the shop in today. The installation as a whole depicts certain personal (since the artists live themselves in the district) and collective histories by means of daily conversations and happenings in and around the grocery.

OSMAN BOZKURT, Tape Republic, 2009, mixed media installation: video, 4’, photographs
The district of Laleli, which is located close to the Grand Bazaar, is perhaps the best known textile and ready-cloth distribution area of Istanbul. It contains over 50,000 shops selling a wide variety of goods, from bags and shoes to jeans and furs, as well as other ready-made textile products, predominantly to the ex-Soviet countries, but to locals as well. Osman Bozkurt’s work Tape Republic captures the symbols of this well-organized, mostly undocumented industry of production and circulation of the aforementioned goods, including how the packages are prepared for shipping: man-sized packages all packed tightly using brown packing tape.

ALI TAPTIK, Kaza ve Kader, 2004-2008; Nothing Surprising, 2008-2010, 3-channel photo projection
Ali Taptık combines images from two photo series, both developing highly individual narrations about life and settings and all the connections between them, be it familiar and strange people, social relations, diverse urban locations, ephemeral accidents, or everyday encounters. The photos create an ongoing story, constructed from captured details, everyday phenomena, cityscapes during different time of the day, and various perspectives. The individual vision filters the city, picking up details, fragments, temporary emotions. Rather then being self-enclosed entities the photographs keep on moving, leading from one to the next, creating semi-cinematic flows of images, ever expending the frame.

DENIZ GÜL, Crisis, 2009, video documentation, 8’
The video is a scene set in a public space, with the artist, Deniz Gül, performing as a street seller exhibiting a bunch of shopping bags on the ground of a pedestrian road. The place is Caddebostan, Istanbul—one of the city’s most popular shopping districts where millions of people pass by and stop to shop at the stores.
The artist questions the relationship between the production of public space socially and the symbolic meanings of consumers’ unspoken choices within that social space. While people might ask “Could this be real?”, they also know that this could be a part of the cults of such a social space.

ERGİN ÇAVUŞOĞLU, Tahtakale, 2004, 4-channel video installation, 4-channel sound, 8’,
soundtrack: Kekragario - Stichira (Voicing - Verses) from Byzantine Music of the Greek Orthodox Church by Costas Zorbas Tahtakale is a black market for currency traders, located in the historical center of Istanbul, where real fiscal trade is taking place. A narrow street filled with crowds of men functions as a stage and ephemeral location, being created in the performative process of traders’ activities: an on-going international communication, tension connected to the business transactions underway, and an invisible and abstract flux of currency. Similar to the official stock exchange, it has its own dynamics and inner communication system, hardly understandable from the outside. This historical place, self-organized by the men, turns into a fragment of the global financial system.

ALI TAPIK, White Lies, 2006-2010, C-prints
In these photos it is not difficult to observe that the youngsters pictured, dressed either fully or partially in school uniforms, are students. And they are ditching school, hanging out in parks of Istanbul—parks which are normally defined as public spaces for socializing, but which act more as hidden, isolated spaces for the students in these photos. The situation depicted is a common one, as nearly everyone has had the same experience, of playing hooky instead of going to school, at least on one chosen day. And here the term “white lies” not only refers to the potential typical lies told at home to parents, but it is mainly used to define the students’ poses for the artist’s camera: very much of staged power roles among female and male students.

EMRE HÜNER, Boumont, 2006, video, 14’
The video follows a young man on his lone trip through postindustrial areas, without a specified location, nor clear time indicators. In the postapocalyptic, dystopian scenery outside of place and time, he seems to struggle for survive. This image, both familiar and unfamiliar at the same time, gives one the uncanny feeling of being lost between future and past, after some kind of catastrophe, which has erased memory, identity, and the world as we know it, leaving only remnants of spatial structures, emotions, and relations which cannot be put together any more. One can read that imaginary fragmentation as the vision of a potential scenario for the “risk society” (Ulrich Beck), facing ecological problems, poverty, and human-nature conflicts. On the other hand, it creates an imaginary double-life of the city, based on fictitious narrations and myths.

TAYFUN SERTTAŞ, Mother Deniz, 2010, 5-channel video installation, 56’
Mother Deniz, who ran away from home when still a child, leaving the provinces to come to Istanbul, is the sole protagonist of this video installation shot by Tayfun Serttaş. Apart from the fact that Mother Deniz, who is in her late 70s, takes us on a trip through the archaeology of sexuality as an important surviving witness, the artist finds Mother Deniz’s extreme loss of memory to be a very crucial element within what is filmed. This situation adds a psychoanalytic aspect to the video and serves to show how impossible it truly is to reach that subjective area called “memory.” And this loss of memory can be visible in the same way within the context of Istanbul’s history. In a way, minor heroes, like Mother Deniz, hidden in the city and in its social layers, give birth to each other from the inside. There is some kind of a contract between them and Istanbul. In this respect, it is not possible for the protagonist to find any alternative life outside Istanbul. It is the background of this great contract that the artist also strives to reach.

TAYFUN SERTTAŞ, Osep Minasoğlu Recalls, 2008, wideo, 156’; Studio Osep 70s, 2010, duratrans prints. Courtesy of Vehbi Koç Foundation
The project Tayfun Serttaş prepared on the life story and career of 80 year-old Osep Minasoğlu, one of Istanbul’s oldest living studio and set photographers is the outcome of the artist’s work of 10 years on the biography and archive of Osep Minasoğlu. It problematizes continuing relationships of representation of various social positionings where the past can be challenged from individual points of view.
The video entitled Osep Minasoğlu Recalls is an outcome of years of oral history work and interviews carried out by Serttaş, while Studio Osep 70s consists of fourteen re-edited photographs of a photo novel series selected from the six thousand documents which have survived from Minasoğlu’s archive.

CAN ALTAY, Another Empty Pedestal: after similar skids from recent pasts, 2010 plywood and wood, setting with a lotus leaf and wooden fish sculpture from the former Buddhist temple at the Vietnamese Culture Centre in Warsaw. Can Altay’s documentation, video, and installation works take the viewer on tours of the city, examining spatial and social phenomena developed within the urban environment. The artist documents everyday practices on the edge of urban society, (un)usual use of architectural and urban space, and the existence of individually created and shaped areas of freedom in public space. The installation was developed during Can Altay’s residency in Warsaw in the summer of 2010. It is based on the artist’s “directed gaze” investigations into the cityscape of Warsaw and the tours he has undertaken with local guides, focused on diverse perspectives and readings of contemporary urban life and its transformation. One of those routes led to the intensively redeveloped area around the X-Anniversary Stadium and focused on the impact of this process on the life of the Vietnamese community in the city. The traces of this narration are physically present in the installation. The lotus leaf (originally sheltering the Buddha statue on a pedestal) and the wooden fish sculpture come from the recently abandoned and destroyed Vietnamese worship center in Port Praski (Praga Harbor), located next to the stadium area, which is currently a construction site for the national stadium project, developed for the Euro 2012 football championship.

AUTOR NIEZNANY / ANONYMOUS, Bosphorus View Year 3010, 2010, drawings, digital print on transparent foil, edition of 5 posters – citylights in Warsaw public space, courtesy of Museum of World Artifacts. Ceren Oykut, who is known as an artist who depicts contemporary Istanbul in her drawings, for the first time distances herself from contemporaneity and shows her drawings done in the year 3010 by the courtesy of Museum of World Artifacts. Today when we look at historical artifacts, we try to “imagine” the specific city at the specific given time, from which the artifact hails. However, here Oykut aims to inspire us not to imagine but to look to the future through the symbols in her drawings, which lack any futuristic elements and are rather depictions of an archaic situation, based on artist’s memories. In addition to all of this, the transparency of the surface upon which the drawings are placed aims to break the concreteness of sayings about the future of a city and to guide the imagination of the artist to fade in and fade out in the eyes of the viewers.

BAS PRINCEN, City Edge, Former Gecekondu Hillside, Former Gecekondu Hillside II, Satellite City, Satellite City II, 2009, C-prints, courtesy of Van Kranendonk Gallery the Hague. Bas Princen depicts the “new landscape,” freshly formed urban structures, mostly located in the city outskirts, where the megacity is constantly expanding beyond its actual borders. Many of the buildings look like autonomous fragments of the city, disconnected from the center and urban infrastructure. It is not clear whether they belong to the future or the past, located as they are between the status of a ruin and a prototype. The documentary character of the photographs shifts between reality and fiction, with the architectural still life pushed to its limits. Even though the new buildings seem to be isolated islands created from scratch in the futuristic, brave new world, their existence is nonetheless deeply rooted in the current global processes and ideology.

CAN ALTAY, Untitled , 2010
15 convex mirrors

EMRE HÜNER , Total Realm, 2008, video, 9’, video screening on the Videoboard on Sezam shopping center (corner Marszalkowska Str./ Swietokrzyska Str.), daily at 7 p.m. and at 8 p.m.
Total Realm is a video installation created especially for the city outdoor video screens. It brings together fragments which evoke the well-known elements of totalitarian iconography: repetitive structures and utopias, or rather dystopias of the political and military systems. The detailed artistic process and animation create simultaneously formal attraction and an estrangement effect. The location of the screening adds another site-specific meaning, directly in the neighborhood of the icon of socialist architecture – the Palace of Culture and Science in the centre of Warsaw.

Exhibition is accompanied by a series of lectures presented by art and urbanism theoreticians from Istanbul:
Orhan Esen: 28th September (Tuesday), 7 p.m.
Pelin Derviş: 11th October (Monday), 7 p.m., and Max Cegielski.
Publication of the OBIEG magazine special edition will appear in the end of September 2010.

Partners: European Capital of Culture Istanbul 2010, City of Warsaw / European Capital of Culture 2016 Office, British Council Program My City
Project realized in the frame of the Warsaw City preparations to the title of European Capital of Culture 2016

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DIVERÇITY. LEARNING FROM ISTANBUL
wideo, instalacje, fotografie

Artyści: Can Altay, Didem Özbek, Osman Bozkurt, Ergin Çavuşoğlu, Orhan Esen, Deniz Gül, Emre Hüner, Ceren Oykut, Bas Princen, Tayfun Serttaş, Ali Taptik, Solmaz Shahbazi

Otwarcie wystawy: 17.09.2010, godz. 18.00
Wystawa czynna do 07.11.2010
Kuratorki: Kaja Pawełek, Serra Özhan
Architektura wystawy: Jakub Szczęsny / Grupa Projektowa Centrala

Praca Emre Hünera Total Realm prezentowana będzie podczas trwania wystawy na ekranie wielkoformatowym VideoBoard na skrzyżowaniu ulic Świętokrzyskiej i Marszałkowskiej.
W przestrzeni miasta pojawią się autorskie plakaty autorstwa Ceren Oykut.

Wystawa Diverçity. Learning from Istanbul wykorzystuje koncepcję miasta jako przestrzennego, społecznego, politycznego i ekonomicznego terytorium, tworzącego tło dla codziennych praktyk i strategii, jednocześnie będąc niewyczerpanym zasobem fikcyjnych narracji, prywatnych historii, marzeń i pragnień. Jego energia i ciągłe zmiany opisują i determinują życie mieszkańców. Jednocześnie indywidualne, ręczne zawłaszczanie przestrzeni i otoczenia kształtuje miasto. Mocno osadzone w historii, współczesne miasto przyspiesza, a jego, brana za oczywistą, historyczna architektoniczna warstwa przeszłości, staje się mimowolnie zmaterializowanym fantomem. Powraca jednak w wewnętrznych, indywidualnych spotkaniach, wspomnieniach i wyobrażeniach. Opowiadanie historii zwykle odnosi się do przeszłości, co jednak z przepowiadaniem, opowiadaniem o przyszłości? Jeżeli wykroczyć poza uwarunkowane ekonomicznie kategorie takie jak wzrost, ekspansja lub modernizacja, jakie obrazy i historie mogą się ukazać, kiedy wyobrażamy sobie przyszłośc miasta – i jego mieszkańców? Od czasów późnego modernizmu nie istnieje jedna spójna ideologia i estetyka przyszłości, nie powstają wizje nowego wspaniałego świata. Horyzont przed nami wydaje się coraz mniej przewidywalny, balansując pomiędzy wskrzeszanymi nadziejami i dystopijnymi iluzjami, a przyszłość nieuchronnie zaczyna się teraz.

Jak każda megametropolia, Stambuł stanowi pole gry dla miejskich mechanizmów, gier o władzę, zróżnicowanej społeczenej koegzystencji, negocjacji sfery publicznej, nieustannie ruchomych granic pomiędzy sferą prywatną i publiczną oraz ich redefiniowania. Zaskakująco, jego decydujące momenty i pierwotna energia zazwyczaj mają źródło w bardzo małych jednostkach – czy to fragmentach miejskiej scenerii, detalach, gestach, dźwiękach czy zapachach. Wszystkie one składają się na ogromny miejski mechanizm miasta i jego metanarracji, ale w rzeczywistości kreują jego intensywność na bardzo podstawowym, ulicznym poziomie, w formie spektaklu życia codziennego i przypadkowych wydarzeń niczym codziennych performances.

Celem wyboru różnych prac, które w pewien sposób odnoszą się do Stambułu bądź mogłyby zostać z nim połączone, nie jest stworzenie określonej reprezentacji miasta, ale raczej próba znalezienia odpowiednika wielości fenomenów, które tworzą to, co nazywamy miastem, ale są niemożliwe do uchwycenia w jednym uogólnionym obrazie. Miasto oparte jest na niespodziance, tymczasowych relacjach, skrótach i zmiennych nastrojach. Jest również oparte na prawie i regulacjach, oficjalnych mapach i reprezentacjach, globalnych dążeniach, sprzecznych wizjach i ideologiach. Koncepcja wystawy zakłada połączenie dwóch z reguły oddzielnych perspektyw: urbanistyczno-architektonicznej, związanej z fizycznym mapowaniem miasta, rozwojem i społeczno-ekonomicznymi procesami z bardziej efemeryczną, imaginacyjną wizją tworzoną w obrębie sztuk wizualnych.

Urbanistyczny i architektoniczny potencjał ciągle jest re-konstruowany poprzez negocjacje, indywidualnie zorganizowane systemy, poprzez lokalne narracje i fenomeny codziennych praktyk, w obrębie których istnieje niezliczona ilość taktyk przetrwania (z reguły uznawanych za nieformalne poprzez sam system). Ów potencjał jest wzmacniany poprzez długą tradycję opowiadania, w której wykorzystanie fikcyjnych narracji odgrywa istotną rolę. Fragmentaryczne, tymczasowe mapowanie Stambułu tworzy się poprzez wychwytywanie pojedynczych fenomenów, które uznać można za uniwersalne, kiedy myśli się o indywidualnym doświadczeniu relacji z jakimkowliek miastem i przestrzenią.

Istotnym kontekstem dla prezentacji jest Warszawa, w której “postkomunistyczna kondycja” wciąż w dużym stopniu wpływa na kształtowanie przestrzeni publicznej, a bardzo często zmiana i publiczne zawłaszczenie przestrzeni dokonuje się indywidualnie, bądź jako wynik nieoficjalnej inicjatwy. Z jednej strony, dawne strategie przetrwania w mieście, formy handlu czy komunikacji szybko znikają. Jedną z kluczowych kwestii pozostaje pytanie, w jaki sposób ludzi spotykają się w mieście i mogą zachować twórczy społeczny potencjał. W jaki sposób wyobrażają sobie przyszłość i o czym marzą. W tym sensie, sformułowanie ucząc się od (learning from) działa w obydwie strony, ponieważ obydwa miasta uczą się ze swojej przeszłości, ale także najnowszych transformacji. W tym znaczeniu obydwa są potencjalnie otwartymi miastami, wciąż w procesie tworzenia na nowo i redefiniowania, jako fascynujące studia przypadku dla przyszłosci.

Wystawa prezentuje prace odnoszące się do różnych przykładów indywidualnych praktyk, eksperymentów w grze z miejskim potencjałem miasta, różnymi narracjami, dokumentacjami, na poły fikcyjnymi, marginalnymi wydarzeniami, publicznymi interwencjami i próbami stworzenia miasta przyszłości.

Do udziału w wystawie zaproszeni zostali artyści najmłodszej generacji z Turcji oraz innych krajów. Nie chodziło tym samym o „narodową reprezentację”, będącą często ograniczeniem i etykietyzacją artystów danego kraju, lecz o prezentację różnorodności środowiska skupionego w Stambule, bądź z nim związanego, ukazanie zarówno nowatorskiej sztuki jak i zmiennego, niejednoznacznego obrazu i tożsamości miasta.

Wydany równolegle z wystawą specjalny numer magazynu o sztuce „Obieg” stanowić będzie rozszerzenie perspektywy wystawy i jej uzupełnienie, jednocześnie tworząc także kolejny, niezależny punkt wyjścia, umożliwiający jednoczesne czytanie obydwu przestrzeni prezentacji – tej zawartej w magazynie i tej w galeriach CSW. Dodatkowo zaproszeni specjalnie goście ze Stambułu i Warszawy - teoretycy, dziennikarze urbaniści dołączą do tego fragmentarycznego i wielogłosowego przekazu kolejne, tym razem bezpośrednie i performatywne narracje.

Publikacja w formie specjalnej edycji magazynu sztuki OBIEG, która ukaże się pod koniec września 2010.

Wystawie towarzyszyć będą wykłady teoretyków sztuki i urbanistyki ze Stambułu:
Orhan Esen: 28 września (wtorek), godz. 19.00
Pelin Derviş: 11 października (poniedziałek), godz.19.00
oraz Maxa Cegielskiego.

Partnerzy: Europejska Stolica Kultury Istanbul 2010, Miasto st. Warszawa / Biuro Europejskiej Stolicy Kultury 2016, program British Council My City
Projekt realizowany jest w ramach przygotowań Warszawy do tytułu Europejskiej Stolicy Kultury 2016