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Posts Tagged ‘salt’

Punching my Timecard

A weekend with Christian Marclay’s ‘The Clock’ in May at SALT Istanbul

The Clock (2010), an exceptional video work by artist Christian Marclay, will be on view May 9 – 25 for 24 hours a day at SALT Beyoğlu.


An exhibition at Salt Istanbul and traces of an intervention by a counter-action taking place in March – adding graffiti’s to the empty spaces on the walls within the show.

The exhibition displays a plethora of documentary material presenting along with restaged elements from specific exhibitions that took place in the past in Turkey, especially the 1. Mayıs Sergisi [First May Exhibition] organized by Görsel Sanatçılar Derneği – GSD [Visual Artists Association]. The project will revisit issues of artists’ rights, involvement and collaborations with workers unions, and the function and positioning of art in public space.

A group of young Turkish artists prepared an intervention on March 15 2013 leaving signs on the walls as a gesture of ‘turnabout’ by an act to “turning expressions of the capitalist system and its media culture against itself”.

Decide yourself… between the paradox of an intervention using the spectacle itself, of displaying unspectacular works of art concerning artists rights and art in public space within the frame of a museum and a video connecting these elements in a well known way of daily motions…

SALT Beyoğlu – Istanbul
JANUARY 31 – APRIL 21, 2013

One last show in 2012

The third performance of “Expeditions in Sound and Music,” a collaborative series between SALT and Undomondo, will feature Nude on Sand. The program will take place in the Walk-in Cinema at SALT Beyoğlu, Istanbul, on Wednesday December 19 at 19.00 and is open to all.

Quite a Way Away

To say that the last few years of Gareth Dickson’s life have been tumultuous would be an understatement. In 2007 he fell in love with a girl from South America, packed up a few essentials from his life in Scotland, and moved to the Argentinian countryside. It didn’t turn all fairy tale at that point, however. While there he was shot at, attacked by dogs, and was involved in a very close call when the passenger plane he took to a little town in the Andes was forced down after an engine caught fire. The bullet missed, the aircraft landed, and the dog bites healed; he survived intact, albeit a little more aware of his own mortality, and a good bit more anxious.

“The bullet in all honesty was never meant to hit” he states calmly, it was a robbery gone wrong and he happened to be in the wrong place at the wrong time. The incident in the aircraft was far more terrifying because there was the agonizing time to think and reflect during the plane’s unintended descent. “It’s interesting to find out how you would react in that situation.” Dickson says. “Faced with the possibility that it’s really time up, I felt an overwhelming sense of this having been destiny, that it was impossible that I had boarded this aircraft by chance.”

These adventures are the reason that in the last 4 years Gareth has not managed to record a new album; the last two releases (Collected Recordings, Drifting Falling, 2009, and The Dance, Sleeping Man, 2010) being old material recorded before the trip. They are also the reason that a feeling of heightened alertness and anxiety pervades this new work. If Collected Recordings was in some way a study in melancholy, Quite A Way Away is a decidedly more anxious affair. “Adrenaline,” the first track on the album, opens with the lines “Distant beat, advancing feet, each of us wound within.” and in “Get Together” there is something of confusion, if not paranoia, in the speaker wondering “Who was here before now, were there only you and I all night?”

Read more at 12K

At SALT – Live performance in the Walk-Cinema at SALT Beyoğlu, October 17, 19.00.

“State Paintings” von Özlem Günyol und Mustafa Kunt

“State Painting” is part of the exhibition “Istanbul Eindhoven Saltvanabbe”, Salt Beyoğlu, 27.01-06.04.2012

Özlem Günyol and Mustafa Kunt are questioning the models of identities being shaped by passports, borders and other formal categorizing symbols. Airports are simulating the illusion of a global identity, while some individuals are limited by borders all the time. Specially the passport is getting a symbol for mobility or stagnation for its carrier.

In the paperwork collection “state paintings” the artists are using items of passport as figures in their graphic works. The stamps for example are getting a decor, a pattern suddenly. They are purified to a simple abstract figure, freed from their originally limiting functions.

Özlem Günyol and Mustafa Kunt were born in Ankara in 1977 und 1978. They studied at the Sculpture Department of Hacetepe University. Since 2001 Özlem Günyol studied at the Städelschule in Frankfurt. Mustafa Kunt was moving to Hessen in Germany as well. He started studying at the Johannes Gutenberg Universiy in Mainz first and continued at the art academy Städelschule in Frankfurt in 2003.They graduated in 2006 and 2008.

“De Technocraat” (2003) vom Atelier van Lieshout



De Technocraat (2003) is a work by the artist community “Atelier van Lieshout” from Rotterdam. It’s exhibited at SALT Beyoğlu as part of the exhibition:



The artist community was founded in 1995. It uses all kinds of artistic tools  -graphics, conceptual works, walk-in- objects….

the human environment – housing, nutrition, reproduction, movement, cleaning and all kinds of bodyfunctions- are a matter of continous artistic questioning for them

the community Atelier van Lieshout founded its own state in the harbour of Rotterdamm in 2001, they call it AVL-Ville, it has its own currency, a self supplying economical structure, its own constitution, its own flag…. AVL-Ville is an alternative draft to the state authorities with its monopolizing power instruments

the work De Technocraat (2003) is showing a closed circle of feeding, alcoholconsumption and the production of excrements and energy

in this system human beings, called burgher,  exist by supplying basic materials to each others; the biogas produced by the excrements of one burgher supplys the other burgher with energy for cooking and for producing alcohol, this basic nutrition keeps burghers going…

the circle is based on four single procedures, which are supplied with instructions  in the art work; everyone can learn how to operate this system easily

Atelier von Lieshout doesn’t follow any ideological utopia, it is operated with market strategies, but it pursuits to deliver as much of freedom to the artists as possible


Sense of Time

Sense of Time is the first interactive module of the Cultural Internet Platform InEnArt.

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