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Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Venue: Gropius Bau
Aykan Safoğlu, Artist’s shredded yearbook ’00, 2020, courtesy Aykan Safoğlu
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Aykan Safoğlu, Artist’s biology notebook, 2020 (detail), courtesy Aykan Safoğlu
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), digital print on strips of wallpaper, powder-coated steel structures, Hundsstern steigt ab [Dog Star Descending], video, color, sound, 12’,2020, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, video, color, sound, 12’, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1984 in Istanbul, TR – lives and works in Vienna, AT, and Berlin, DE
Consisting of an animated film and strips of digital prints installed along metal grids, Aykan Safoğlu’s project looks back on his teenage years at the German-Turkish public high school İstanbul Erkek Lisesi, popularly known as Istanbul Boys’ High School—one of the oldest and most renowned in Turkey. While the curriculum advocates westernized notions of emancipation and liberation, its foundation is rooted in the longstanding military and strategic relationship between Turkey and Germany and served to assert German cultural superiority. The school building once housed the headquarters of the Ottoman Public Debt Administration (OPDA), a European-controlled organization established in 1881 to collect, through taxes, the money owed by the Ottoman Empire to European companies.
Critically reflecting on his personal educational trajectory and the school’s history, Safoğlu touches upon repressed family incidents and the German colonial interest in Asia Minor at the turn of the twentieth century, which somehow seem perfectly intertwined. Safoğlu’s work Null-Defizit (in Ablehnung) [Zero Deficit (In Refusal), 2020] examines the emotional landscape of “indebtedness” in relation to questions of German education, artistic formation, and naturalization in Germany. This history and personal biography come together in the imagery used in the video work Hundsstern steigt ab [Dog Star Descending, 2020], which the artist describes as “an imaginative, resistant retrospective vision.” The video takes inspiration from the memory of a trip Safoğlu made with his parents to Imroz, an island in the north of the Aegean Sea (today within Turkish borders). It shows strips of photographs being reassembled and animated on a scanner bed while an inner dialogue with his parents unfolds.
Proposing a visual script for strategies to deal with the shortcomings, but also the potentiality, of this feeling of indebtedness, Safoğlu transposes a Western terminology of queer civic rights—coming out—into an unlikely yet reparative epistemology: “an attentive feeling-seeing.”
Florencia Portocarrero
COVID-19 VIDEOS
Carlos Motta
Video
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
THE MOBILIZATION
Nicolás Cuello
Text
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
Memorial to the Sinti and Roma of Europe murdered under National Socialism, Berlin, photos: Alex Ostojski
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
BLM KOREA ARTS
#BlackLivesMatter #BLMKoreaArts
Young-jun Tak
Statement
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Venue: Gropius Bau
Aykan Safoğlu, Artist’s shredded yearbook ’00, 2020, courtesy Aykan Safoğlu
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Aykan Safoğlu, Artist’s biology notebook, 2020 (detail), courtesy Aykan Safoğlu
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), digital print on strips of wallpaper, powder-coated steel structures, Hundsstern steigt ab [Dog Star Descending], video, color, sound, 12’,2020, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, video, color, sound, 12’, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1984 in Istanbul, TR – lives and works in Vienna, AT, and Berlin, DE
Consisting of an animated film and strips of digital prints installed along metal grids, Aykan Safoğlu’s project looks back on his teenage years at the German-Turkish public high school İstanbul Erkek Lisesi, popularly known as Istanbul Boys’ High School—one of the oldest and most renowned in Turkey. While the curriculum advocates westernized notions of emancipation and liberation, its foundation is rooted in the longstanding military and strategic relationship between Turkey and Germany and served to assert German cultural superiority. The school building once housed the headquarters of the Ottoman Public Debt Administration (OPDA), a European-controlled organization established in 1881 to collect, through taxes, the money owed by the Ottoman Empire to European companies.
Critically reflecting on his personal educational trajectory and the school’s history, Safoğlu touches upon repressed family incidents and the German colonial interest in Asia Minor at the turn of the twentieth century, which somehow seem perfectly intertwined. Safoğlu’s work Null-Defizit (in Ablehnung) [Zero Deficit (In Refusal), 2020] examines the emotional landscape of “indebtedness” in relation to questions of German education, artistic formation, and naturalization in Germany. This history and personal biography come together in the imagery used in the video work Hundsstern steigt ab [Dog Star Descending, 2020], which the artist describes as “an imaginative, resistant retrospective vision.” The video takes inspiration from the memory of a trip Safoğlu made with his parents to Imroz, an island in the north of the Aegean Sea (today within Turkish borders). It shows strips of photographs being reassembled and animated on a scanner bed while an inner dialogue with his parents unfolds.
Proposing a visual script for strategies to deal with the shortcomings, but also the potentiality, of this feeling of indebtedness, Safoğlu transposes a Western terminology of queer civic rights—coming out—into an unlikely yet reparative epistemology: “an attentive feeling-seeing.”
Florencia Portocarrero
„Klaus Eckschen: Hörspiel“
Die Remise
Hörspiel
Expresiones de la locura: el arte de los enfermos mentales
Hans Prinzhorn
Monograph
A World Without Bones
Agustín Pérez Rubio
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
#fight4rojava
Graffiti
St Sara Kali George
Delaine Le Bas
Soundscape
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Venue: Gropius Bau
Aykan Safoğlu, Artist’s shredded yearbook ’00, 2020, courtesy Aykan Safoğlu
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Aykan Safoğlu, Artist’s biology notebook, 2020 (detail), courtesy Aykan Safoğlu
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), digital print on strips of wallpaper, powder-coated steel structures, Hundsstern steigt ab [Dog Star Descending], video, color, sound, 12’,2020, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, video, color, sound, 12’, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1984 in Istanbul, TR – lives and works in Vienna, AT, and Berlin, DE
Consisting of an animated film and strips of digital prints installed along metal grids, Aykan Safoğlu’s project looks back on his teenage years at the German-Turkish public high school İstanbul Erkek Lisesi, popularly known as Istanbul Boys’ High School—one of the oldest and most renowned in Turkey. While the curriculum advocates westernized notions of emancipation and liberation, its foundation is rooted in the longstanding military and strategic relationship between Turkey and Germany and served to assert German cultural superiority. The school building once housed the headquarters of the Ottoman Public Debt Administration (OPDA), a European-controlled organization established in 1881 to collect, through taxes, the money owed by the Ottoman Empire to European companies.
Critically reflecting on his personal educational trajectory and the school’s history, Safoğlu touches upon repressed family incidents and the German colonial interest in Asia Minor at the turn of the twentieth century, which somehow seem perfectly intertwined. Safoğlu’s work Null-Defizit (in Ablehnung) [Zero Deficit (In Refusal), 2020] examines the emotional landscape of “indebtedness” in relation to questions of German education, artistic formation, and naturalization in Germany. This history and personal biography come together in the imagery used in the video work Hundsstern steigt ab [Dog Star Descending, 2020], which the artist describes as “an imaginative, resistant retrospective vision.” The video takes inspiration from the memory of a trip Safoğlu made with his parents to Imroz, an island in the north of the Aegean Sea (today within Turkish borders). It shows strips of photographs being reassembled and animated on a scanner bed while an inner dialogue with his parents unfolds.
Proposing a visual script for strategies to deal with the shortcomings, but also the potentiality, of this feeling of indebtedness, Safoğlu transposes a Western terminology of queer civic rights—coming out—into an unlikely yet reparative epistemology: “an attentive feeling-seeing.”
Florencia Portocarrero
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
THE MOBILIZATION
Nicolás Cuello
Text
Flávio de Carvalho wearing the New Look and walking on the streets of São Paulo, Experiência no. 3, 1956, courtesy the heirs of Flávio de Carvalho; Fundo Flávio de Carvalho/CEDAE-UNICAMP, Campinas
New Look
Flávio de Carvalho
Performance
„Klaus Eckschen: Hörspiel“
Die Remise
Hörspiel
Grupo Experimental de Cine en acción
Gabriel Peluffo
Drawing
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Naomi Rincón Gallardo, set photograph of Resiliencia Tlacuache [Opossum Resilience], 2019, HD video, color, sound, 16’01’’, courtesy Naomi Rincón Gallardo, photo: Claudia López Terroso
Teatro da Vertigem, Marcha à ré [Reverse Gear], 2020, performance at Paulista Avenue, São Paulo, BR, photo: Matheus José Maria
El Palomar, Schreber is a Woman, 2020, film poster, courtesy El Palomar
Andrés Fernández, untitled, 2014 , pen on paper, 21 × 30 cm, courtesy Debajo del Sombrero, Madrid
Solvognen (The Sun Chariot) Theater Group, Santas with their Trojan goose in front of City Hall, 1974, photograph of the performance The Santa Claus Army, courtesy Solvognen (The Sun Chariot) Theater Group
Brenda Fajardo, Alaala ni Erol, Bens, Julia, Jake atbp. Maging Matatag, Huwag Sumuko! [Memory of Erol, Bens, Julia, Jake, and Others. Be Courageous, (People who took their lives)], 2018, colored ink on paper, 28.3 × 40 cm, courtesy Brenda V. Fajardo; Tin-aw Art Management, Inc.
Francisco Copello, Madhouse, no date, collage, photography, magazine sheet, paper on cardboard, 51 × 38 cm, courtesy Collection Family Copello Norero; Die Ecke, Santiago, CL
La rara troupe, La humana perfecta (The perfect human), 2018, video, b/w, sound 13’07’’, courtesy LAAV_ MUSAC, León
Noor Abuarafeh, Am I the ageless object at the museum?, 2018, video, color, sound, 15’08’’, courtesy Noor Abuarafeh
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Shuvinai Ashoona, Salt Bones, 2016, ink and colored pencil on paper, 121.9 × 165.1 cm, courtesy Shuvinai Ashoona; Collection Peter Ross
Dana Michel and Tracy Maurice, Lay them all down, 2020 , video footage of the video and live performance Jams do Jams at the Musée d’art contemporain de Montréal, 23.10.–3.11.2018, courtesy Dana Michel and Tracy Maurice
Pedro Moraleida Bernardes, Enfim, Ganhei a Dádiva Divina [At Last, I Have Gained the Divine Gift], from the series Deleuze: Corpo Sem Órgãos [Deleuze: Body without Organs], 1998, acrylic, colored pencil and collage on paper, 78 × 108 cm, framed, courtesy Instituto Pedro Moraleida Bernardes, photo: Click Karlão
Sara Sejin Chang (Sara van der Heide), Four Months, Four Million Light Years, 2020 (detail), watercolor on paper, courtesy Sara Sejin Chang (Sara van der Heide)
Galli, Turbasky, 1987, mixed technique on cardboard, 122.5 × 86 cm, copyright: VG Bild-Kunst, Bonn 2020, photo: Mark Mattingly
Cansu Çakar, Circumcision Feast, from the series Labyrinth to Kybele, 2020, watercolor, gouache, and gold on paper, 70 × 100 cm, courtesy Cansu Çakar, photo: İlyas Hayta
Emma Howes and Justin Kennedy, Alive, 2019, performance view at Palácio Ateneu Comercial do Porto, courtesy Emma Howes, Justin Kennedy, photo: Duda Affonso
Edgar Calel in collaboration with Fernando Pereira dos Santos, Sueño de Obsidiana [Obsidian Dream], 2020, HD video, color, sound stereo, ca. 13’, © Sendero Filmes, courtesy Edgar Calel and Fernando Pereira dos Santos, photo: Chico Bahia
Young-jun Tak, Chained, 2020, installation composed of resin, fiberglass, paper, glue, courtesy Young-jun Tak, photo: Elmar Vestner
Mapa Teatro – Laboratorio de Artistas, Index #3: Socratea Exorrhiza (The Walking Palm), 2020, animated landscape: palm automaton, 2 videos, color, sound, 18’, courtesy Mapa Teatro – Laboratorio de Artistas, camera: Javier Hernández
Bartolina Xixa, Ramita Seca, La Colonialidad Permanente [Dry Twig, The Permanent Coloniality], 2019, HD video, color, sound, 5’07’’, courtesy Bartolina Xixa
Paula Baeza Pailamilla, Kurü Mapu [Black Land], 2018, documentation, Plaza de Armas, Santiago de Chile, courtesy Paula Baeza Pailamilla, photo: Lorna Remmele Riedel
Marwa Arsanios, Who is Afraid of Ideology? (Part 3) – Microresistances, 2020, video, color, sound, ca. 30’, courtesy Marwa Arsanios; mor Charpentier, Paris
Virginia Borges, Gil DuOdé, and Virginia de Medeiros, Ìyá Agbára [Strength of Mothers], 2020, 16mm film transferred to HD, color, sound, 11’32’’, courtesy Virginia Borges, Gil DuOdé, and Virginia de Medeiros
Francisco Huichaqueo, Ilwen. Entuadpeyüm [The earth smells of father], 2013–15, super 8 transferred to HD, color, sound, 7’42’’, courtesy Francisco Huichaqueo
Kiri Dalena, Alunsina, 2020, video, color, sound, 45’, courtesy Kiri Dalena, camera: Denesse Victoria
Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017, 4K video, color, sound (loop), courtesy Katarina Zdjelar; SpazioA, Pistoia
Aline Baiana, Decommissioned gold mine, Minas Gerais – Brazil, January 2020, research image, courtesy Aline Baiana
Carlos Motta, Libera Me (featuring Ernesto Tomasini), 2016, video, b/w, sound, 2’30’’, part of REQUIEM, 2016, 3 channel video installation, courtesy Carlos Motta; mor charpentier, Paris
Florencia Rodriguez Giles, Biodelica (part of diptych), 2018, pencil on paper mounted on canvas, 220 × 150 cm, courtesy Florencia Rodriguez Giles; Ruth Benzacar Galería de Arte, Buenos Aires, photo: Ignacio Iasparra
Ubirajara Ferreira Braga, A procissão [The Procession], 1995, gouache on paper, 47.8 × 65.7 cm, courtesy Complexo Hospitalardo Juquery – São Paulo State Government and Prefeitura de Franco da Rocha, BR
Óscar Fernando Morales Martínez, Santa Luisita Angelica, 26.11.2019, felt-tip marker on paper, 53.5 × 37.5 cm, courtesy Óscar Fernando Morales Martínez; private collection, photo: Jule Felice Frommelt
Delaine Le Bas, St Sara Kali George (detail), 2020, mixed media, embroidery on fabric, courtesy Delaine Le Bas; Lincoln Cato & Yamamoto; Keiko Rochaix London, photo: Lincoln Cato
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
Sandra Gamarra Heshiki, The Museum of Ostracism (detail), 2018, installation view, courtesy Sandra Gamarra Heshiki, galería 80m2, Lima, PE, photo: Juan Pablo Murrugarra
View entrance corner tower, ExRotaprint (Gottschedstraße/Bornemannstraße), Berlin, 2019, photo: Daniela Brahm
Venue: Gropius Bau
Aykan Safoğlu, Artist’s shredded yearbook ’00, 2020, courtesy Aykan Safoğlu
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, single-channel video installation, color, sound, 12’, courtesy Aykan Safoğlu
Aykan Safoğlu, Artist’s biology notebook, 2020 (detail), courtesy Aykan Safoğlu
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), digital print on strips of wallpaper, powder-coated steel structures, Hundsstern steigt ab [Dog Star Descending], video, color, sound, 12’,2020, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Zero Deficit (in Refusal), 2020, digital print on strips of wallpaper, powder-coated steel structures, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Aykan Safoğlu, Hundsstern steigt ab [Dog Star Descending], 2020, video, color, sound, 12’, installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1984 in Istanbul, TR – lives and works in Vienna, AT, and Berlin, DE
Consisting of an animated film and strips of digital prints installed along metal grids, Aykan Safoğlu’s project looks back on his teenage years at the German-Turkish public high school İstanbul Erkek Lisesi, popularly known as Istanbul Boys’ High School—one of the oldest and most renowned in Turkey. While the curriculum advocates westernized notions of emancipation and liberation, its foundation is rooted in the longstanding military and strategic relationship between Turkey and Germany and served to assert German cultural superiority. The school building once housed the headquarters of the Ottoman Public Debt Administration (OPDA), a European-controlled organization established in 1881 to collect, through taxes, the money owed by the Ottoman Empire to European companies.
Critically reflecting on his personal educational trajectory and the school’s history, Safoğlu touches upon repressed family incidents and the German colonial interest in Asia Minor at the turn of the twentieth century, which somehow seem perfectly intertwined. Safoğlu’s work Null-Defizit (in Ablehnung) [Zero Deficit (In Refusal), 2020] examines the emotional landscape of “indebtedness” in relation to questions of German education, artistic formation, and naturalization in Germany. This history and personal biography come together in the imagery used in the video work Hundsstern steigt ab [Dog Star Descending, 2020], which the artist describes as “an imaginative, resistant retrospective vision.” The video takes inspiration from the memory of a trip Safoğlu made with his parents to Imroz, an island in the north of the Aegean Sea (today within Turkish borders). It shows strips of photographs being reassembled and animated on a scanner bed while an inner dialogue with his parents unfolds.
Proposing a visual script for strategies to deal with the shortcomings, but also the potentiality, of this feeling of indebtedness, Safoğlu transposes a Western terminology of queer civic rights—coming out—into an unlikely yet reparative epistemology: “an attentive feeling-seeing.”
Florencia Portocarrero
Maternidades subversivas
María Llopis
Monograph
Umbilical Cord Amulet
McCord Museum
Object
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Feminist Health Care Research Group
Web archive
Expresiones de la locura: el arte de los enfermos mentales
Hans Prinzhorn
Monograph
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.