Lény Bernay, Laurianne Bixhain & Iris Godbille

/// Eğer Marmoromancy var olsaydı, mermer veya ebru üzerinden geleceği okumaya dayanan bir kâhinlik yöntemi olurdu. Ortak araştırma ve deneylerimizde önemli olan, Ebru'nun barındırdığı formları ve figürleri, sanat pratiğimiz ve ilgi alanlarımızı kullanarak hikâyelendirmek ve kâhinlerin de benzer yöntemler kullanıp kullanmadıklarını sorgulamaktı. Bir dekoratif sanat tekniğiyle (ebruyla), bakılmış olan kahve fallarımızdan tanıdık şekil ve figürleri deneysel bir performans dahilinde bir araya getirirken, bu türden bir yöntemin imkanlarını araştırdık. Bu ortak çalışmayla, eylemlerimizin, ebruyu meydana getiren şekil ve figürleri etkileyip etkilemediklerini; görülen prototipsel ve sembolik figürlerin, ritüelistik müzik ve hareket halindeki bedenden yayılan fiziksel titretişimlere maruz kaldıklarında değişip değişmediklerini sorguladık.

28 Kasım Pazartesi gününden 2 Aralık Cuma gününe kadar Nazlı Moripek ve Selen Solak’ın katılımlarıyla İMÇ 5533 alanını deneylerimizi gerçekleştirmek üzere çalışma alanı olarak kullanıyoruz.

3 Aralık Cumartesi 09:30 - 18:30 saatleri arasında, el yapımı kitapların sunumu ve canlı müzik performansı (16:00) için sizleri bekliyoruz.

/// If Marmoromancy had existed, perhaps it would have been a technique used by a soothsayer to read fortunes from marble stone and marbling paper (Ebru). What was important in our collaborative research and experimentation was to use our respective art practices and interests to ascertain influences on the interpretation of the forms and images sensed within the Ebru and to question whether or not soothsayers could have used similar techniques. Combining a decorative art technique (marbling-Ebru), the forms and figures found from having our fortunes read from coffee grounds with performative experimentation, we aimed to show the possibility of the use of such a method. With this collaboration we questioned whether or not our actions actually influenced the forms and figures that entered into the making of marbled paper, whether or not the archetypal and symbolic figures seen would or would not change when exposed to ritualistic music and physical vibration emitted from the body in motion.

From Monday, November 28 to Friday, December 2, in collaboration with Nazlı Moripek and Selen Solak, we are using the 5533 space in IMÇ as a working studio to make our experiments.

We hope you will join us for the launch of a series of handmade books and a live music performance (16:00) on Saturday, December 3 from the hours of 9:30 and 18:30.

/// Si la Marmoromancie existait, ce serait une technique de divination qui consisterait à lire l’avenir dans du marbre ou dans des marbrures comme celle de l’ebru. Pour en arriver à s’interroger sur l’existence d’une telle technique, il a fallu faire l’effort de véritablement s’interroger sur l’état de nos pratiques et de nos intérêts respectifs. Nous avons donc croisé, en trio, l’influence d’une technique décorative (l’ebru) au recensement des figures d’une technique divinatoire (la cafédomancie) par un geste performatif qui offre la possibilité d’une Marmoromancie. Cette collaboration nous a permis de bouleverser nos enjeux habituels et pose un regard trouble et inédit sur les liens qui existent ou pas entre la fabrication d’un papier décoratif, la récolte de figures archétypales voir symboliques, la mise en musique presque rituelle de ces figures et la vibration physique ou non qui émanerait de corps en mouvement.

Du lundi 28 novembre au vendredi 2 décembre nous utiliserons l’espace de IMÇ 5533 comme un atelier de fabrication et d’expériences, Nazlı Moripek et Selen Solak nous y rejoindront parfois dans la musique ou l’écriture.

Le samedi 3 décembre nous vous invitons de 9h30 à 18h30 à partager le lancement d’une édition et l’expérience d’une dernière performance live à 16h.

Book Launch: PUBLIC IDEA - Artistic Approaches to the Urban Sphere of Istanbul

Photocollage: City Wall, Katinka Theis, 2010

Book Launch:

PUBLIC IDEA - Artistic Approaches to the Urban Sphere of Istanbul, Revolver Publishing, Berlin, 2011

Saturday / Cumartesi, October 8 Ekim, 15:00–18:30

With texts and images by:
Yeni Anıt (Istanbul), Volkan Aslan / Nancy Atakan (Istanbul), Irena Eden / Stijn Lernout (Vienna), Antje Feger / Benjamin F. Stumpf (Kiel/Hamburg), Mark Henley (Auckland/Istanbul), Matthias Krause (Berlin/Istanbul), Matteo Locci (Rome)/ Merve Yücel (Istanbul), Gümüş Özdeş (Istanbul), Iz Öztat (Istanbul), Nadin Reschke (Berlin), Katinka Theis (Berlin), Mehmet Vanlıoğlu (Istanbul), Hagen Verleger (Kiel)

To engage in Istanbul implies dealing with many open questions. One example is the difficulty of defining public space due to complex historical conditioning and diversity. Different life forms and opposites exist in parallel; the historical and the contemporary city, tradition and modernity, periphery and centre. PUBLIC IDEA is linked to preliminary discussions concerning urbanism and transformation processes in a metropolis. The main focus is placed on the artists' perspectives and personal approaches towards the city.

Each project illuminates a different aspect of urban development and reveals a further understanding of the multiple identity of Istanbul. The different approaches are influenced by architectural, societal as well as historical and cultural aspects, exploring the city as a space of possibility.

The project PUBLIC IDEA was supported by / Hazırlayan:
Istanbul 2010 – European Capital of Culture, Muthesius Academy of Fine Arts and Design Kiel, Kadirga Art Production Center, Ministerium für Bildung und Kultur des Landes Schleswig-Holstein, Kulturstiftung des Landes Schleswig-Holstein

GET A DESK: 25.09.-02.10. "Tages Kraut"/ "Daily Herbal Drawing"

Daily Herbal Drawing
Drawing Installation
September 25- October 2, 2011

Per Schumann drew impressions, images and ideas from his stay in Istanbul on a large piece of paper attached to the wall of 5533. This work grew on a daily basis to serve as a means of achieving a deeper more subtle level of perception about the immediate surroundings and of discovering the mysterious and interesting elements of everyday life. It also acted as an extension of his Gartenstudio concept that symbolizes the search for a niche or gap in the tightly-woven fabric of modern urban life.

GET A DESK: 26./27.09. Finding my way

“Finding my way”
Performance by Rebecca Weeks
September 26-27

This work is a response to Istanbul, to the experience of trying to move around the city and create routes and pathways between destinations. It is also an expression of anxiety about getting physically and emotionally lost and an attempt to integrate this fear. Within the performance there are actions made as allegories to ongoing attempts to create an idiosyncratic system, an individual map as a safeguard and as a comfort. Laying wooden planks around the exterior space of 5533 created a meditative path and the regular demarcation of every second pillar through placing a protective evil eye reflects the mental, emotional and physical work that it requires to operate in a strange place. The carrying of the high heels represents the disintegration of an appearance, of a cultural construct of femininity, which fails to translate across cultures. Slowly with care and patience a new way of operating can be discovered.

GET A DESK: 18.09.-25.09. "Boy´s Room" / "Erkek Odası"

“Boy’s Room”
Installation and performance by Doreen Maloney
September 19-25, 2011

Doreen Maloney began her research for a project about male identity as represented in male dolls in the U.S. From her local discount mega store Walmart, she purchased the seductive “Captain America” doll that plays the words, “let’s take them down” and a boy’s t-shirt that echoed the toy’s aggressive quality with the slogan, “Crush, Destroy, Win.” In Maloney’s opinion, “the martial quality of these boy’s toys and clothing is a disturbing reminder of the U.S. global imperialism project, which has bankrupted our country and is fought most often by the poor who have no other alternatives but to enlist in the army to get a college education or to have a job. I find the irony of loving our children and wanting to keep them safe, juxtaposed with the toys we ‘can’ buy for them that encourages aggression and war to be obviously incongruent.” In Istanbul she continued her research by exploring the neighborhood next to 5533 where wholesale inexpensive toys were being sold for distribution to toy stores all over Istanbul. To her surprise, she found no Turkish made military toys, with the exception of a child like doll dressed in military uniform doing a belly dance to Turkish music. Since all the military toys sold in Istanbul, were printed in English and often with U.S. flags, Maloney concluded that this further underscored how the United States is packaged as an ‘aggressor’. Continuing her project on site and using both U.S. and Turkish military images and toys, she transformed the 5533 store window into a “Boy’s Room”. Workers from the shops next to 5533, only responded to the Turkish images and toys used in the window decoration, ignoring the “Captain American” toys, but at the same time, showing pleasure that the artist had made a project against warfare and aggression that encircles the world at this time.

GET A DESK: 16.09.-23.09. ReVisited

“Paradise Remade Revisited”
Installation by Roberly Bell
September 16-23, 2011

Desiring to incorporate a feminine and warm expression and communication into masculine cosmopolitan city life, at 5533, Roberly Bell continued her “The Other Landscape” project that she had previously conducted in Russia and another venue in Istanbul.

With this communicative project, she invited her audience to participate by taking potted plants from the gallery space out into the city. In exchange for this gift of a potted flower, she asked recipients to send her photographs of the flowers in their new environments.

GET A DESK: 11.09.-16.09. "Space for a Woman: Walking through the city"

"Harem", "Eminonu Mosque"

Space for a Woman: Walking through the city
Victoria Rance
September 11-16, 2011

The purpose of Victoria Rance’s research trip was to subjectively experience personal and shared spaces in the city, in particular she searched for ambivalence about spaces for women. She wanted to experience how they are negotiated and demarcated in comparison to those in London. Her quest began at the Harem in Topkapi Palace, a historical designated space for women that has played an important role in the western imagination. She found the harem quieter, cooler, and more pleasant than the rest of the palace filled with noisy tourists. Similarly, in the mosques, the areas designed for women were sheltered from the noisy hustle and bustle of everyday life. In the Eminönü mosque, she witnessed children playing, chasing, and learning to walk in the shared prayer space. She learned that the demarcation of spaces is more complex than a westerner might suppose. For example, when walking to 5533 she became aware of the impact felt from the different perceptions from different routes. When arriving from the front over the Atatürk Bridge, the building felt very modern and dislocated from the small market streets behind, but when approached from the back, where children play between small local shops and a bath house, the building acts as a barrier separating the market from the busy motorway.

GET A DESK: 11.09.-18.09. MIND THE GAP

Multi-media project
September 13-15, 2011

MIND THE GAP is a multi-media, multi-platform arts initiative that was headquartered at IMC 5533 art space September 13-15, 2011. Created by Alexia Mellor and co-organized with Michelle Dunn, MIND THE GAP presented performative and new media work by emerging artists from around the globe addressing gaps and borders of all kinds: geographic and social borders, and technological and spatial gaps. IMC5533 served as a central location for visitors from the community to view video works, participate in interactive works, and get information on the site-specific pieces. With site-specific performances in public spaces around Istanbul, daily guided boat tours on the Bosphorus that offered a new perspective on orientation and the sea, and a virtual interactive mapping project, MIND THE GAP created unique and participatory experiences to revision the ways we experience art.

“Our experience of presenting MIND THE GAP at IMC5533 was a fabulous one that allowed us to see another aspect of the fabric of Istanbul,” says Mellor. “I wanted MIND THE GAP to serve as an alternative means of experiencing art, and the location of IMC5533 allowed us to take these pieces and insert them into a part of the community that really does not interact with tourists, does not typically speak English, and does not frequent the ‘art institution’. It was exactly the type of experience I had hoped to have. We are grateful to the participating artists for being open to this multi-platform presentation format and were excited to see how pleased everyone was with it!”

“We would like to give special thanks to Nancy Atakan and Hannah Sieben for all their support in making this cross-Atlantic project a success,” says organizer Michelle Dunn. “We hope to have the opportunity to work with IMC5533 again in the future.”

In an effort to bridge gaps in location, MIND THE GAP has made all of the included artist projects available online so that they can be accessed from around the world. Although the exhibition at IMC5533 took place September 13-15, the virtual mapping project, Map the Gap, continues. Participants are asked to consider “gaps” of all kinds: gaps in relationships, gaps in space, gaps in time, and photograph them, write about them, create an audio file. Email your documentation (jpg, mp3, pdf) to and selected files will be displayed on the tumblr page.!/mindthegap4


From the beginning of June until the end of October, 2011, our off space, 5533, begins a new activity, a Working Table Program, for artists, curators, writers, students and others. 5533 provides a working space for visitors to conduct their work and research. This activity continues to support networking and dialogue - concepts that 5533 has emphasized since its founding. As a part of the Working Table Program guests will rent a desk in the space. As a result of daily interaction and exchange among the guests, an atmosphere for dialogue and networking will be encouraged. In addition to conducting their individual research and materializing their projects, the guests who desire may organize presentations, talks, meeting and workshops. To support their research or to help them complete their projects, 5533 will offer assistance and information about opportunities to be found in the city, access to the 5533’s artist, curator, and institution archives as well as a connection to free Internet. Desks can be rented daily, weekly or monthly.

Nazlı Gürlek ve Ali Kazma konuşması

Nazlı Gürlek ve Ali Kazma konuşması, 5533, 14 Mayıs 2011 Cumartesi, 15:00
5533 5. Blok İMÇ, Unkapanı, İstanbul

Ali Kazma'nın video işleri, tıp, sanayi, sanat ve zanaat alanlarında çalışan birey ve grupları, tekstil fabrikası, tamir ve tasarım atölyeleri, mezbaha, ameliyathane ve dans stüdyosu gibi üretim ve onarım mekanlarını kapsayan iş ortamlarında çalışırken gösterir. Kazma'nın konularına yaklaşımı, zamanla, insan aktivitesini gözlemleyerek ilişkiye geçen arkeolojik yöntemle yakınlık gösterir. Her ikisi de zamanla benzer yöntemlerle ilişki kurmaya çalışır, ancak farklı şekilde, arkeoloji insanoğlunun geçmiş yaşantı ve kültürlerini anlamaya çalışırken, Kazma'nın video işleri, günümüzün artefaktlarının üretim biçimleri üstünden şimdiyi, bugünü, bu anı kazır, inceler, derler, belgeler.
Ali Kazma, şu anda, önceki işlerinde izlediğinden farklı bir yaklaşımla, geçmiş ve şimdiyi bir arada düşünen bir ''kitap projesi'' üstünde çalışıyor. İsviçreli Editions Take 5 yayınevi tarafından yayınlanacak olan bu sanatçı kitabında, kitap yapımını ve saklanmasını belgeleyen fotoğraflar yer alacak: İsviçre ve Fransa'daki yayınevleri, offset ve arkaik teknikleri kullanan matbaalar, ciltciler, modern grafik tasarımcılar, ulusal kütüphanelerde saklanan ender eserlerden Shakespeare'in yayınlanmış ilk toplu eserlerinden, Kuran'lara, 2000 yıllık Antik Yunan eserlerinden Borges'in elyazmalarından e-kitaplara kadar kitaplar üstüne herşeyi belgeleyen yüzlerce fotoğraftan oluşan geniş bir görsel arşiv.
5533 Ali Kazma'yı bu projesi üstünde konuşmaya davet etti. Konuşma, sanatçıya ve çevresindekilere, sürmekte olan projeyle ilgili fikirleri paylaşma, beraber düşünme ve deneme için bir alan açacak.
Nazlı Gürlek ve Ali Kazma konuşması 14 Mayıs Cumartesi saat 15:00'da.

Nazlı Gürlek in conversation with Ali Kazma, 5533, Saturday 14th May 2011, 3 pm
5533 5. Blok İMÇ, Unkapanı, İstanbul

Ali Kazma's video works show individuals and groups of people performing routine tasks relevant to their professions in medicine, industry, art and crafts. The filmed spaces include a textile factory, repair and design workshops, a slaughterhouse, an operating room and a dance studio. Kazma's approach to his subjects resemble archeology in that it relates to time by means of tracing the human activity. While archeology explores the past lives and cultures of the human beings, Kazma's video work inscibes, studies, collects and documents now, today, the present moment through modes of production of today's artifacts.
Ali Kazma is now working, with a slightly different approach, on a ''book project'' which simultaneously reflects upon the past and present. Being prepared for publication by the Swiss publishing house Editions Take 5, this artist's book includes a selection of photographs taken by Kazma that document the production and conservation processes of books: a large archive of work made at publishers in Switzerland and France, inside the shops that work with both offset and arcaic printing and binding methods and techniques, modern graphic designers, as well as documentation of rare books preserved at various national libraries that range from the first collected works of Shakespeare, to Qurans, from 2000-year-old Greek pieces, to Borges' manuscripts and to e-books.
5533 invites Ali Kazma to talk and expand on his work in progress. The talk will offer the artist and the people around him the possibility to view, reflect upon and try out ideas in relation to this project.
Nazlı Gürlek will be in conversation with Ali Kazma on Saturday 14th May 2011, 3 pm.