Skip to content

Posts from the ‘Eylül Fidan Akıncı’ Category

Abesle “İşgal”: Inhabitant’ın yaratıcıları ile söyleşi

Söyleşi: Eylül Fidan Akıncı

Fotoğraflar: Fırat Kuşçu

 Son yıllarda kent ölçeğinde yaşam alanlarının neoliberal politikalar çerçevesinde müdahale ve şekillendirmeye maruz kalması Türkiye’de de başlı başına inceleme konusu haline geldi. İstanbul’un dört bir yanında hala sürmekte olan mutenalaştırma çalışmaları, 90’lı yılların geri dönen kabusu müteahhit salgını, tecrit topluluklarının şehrin tüm boşluklarını doldurması gibi meselelerin yanı sıra, şehrin sakinlerinin homojenleştirilmesi ve ortalamaya dahil olmayanların çevreye tasfiye edilmesi uzak tahayyüller olmaktan çıkıp gündelik hayatta  etkilerini hep beraber yaşadığımız yakıcı sorunlar halini aldı. Read more

Advertisements

“Occupy [Insert your location here]”: An interview with Inhabitant artists

Interview by Eylül Fidan Akıncı

Photos by Fırat Kuşçu

South African artists Sello Pesa and Vaughn Sadie performed their collaborative work Inhabitant, which focused on the habitation struggles of immigrants in the city of Johannesburg, with a new version designed for Istanbul in the frame of iDANS 05 at Dolapdere. Mirko Winkel, one of the creators of Life and Strive, performed last year centering around gated communities in Istanbul, accompanied the group as facilitator. The performance, featuring artists from Istanbul as well as immigrants from the district, was an interesting example of how a neighborhood can be transformed into a stage. Read more

Deneyimi Paylaşmak – Rudi Laermans’ın Anne Teresa De Keersmaeker ile Söyleşisi–

“Post-Fordist Zamanlarda Sanatçı Olmak” (Being an Artist in Post-Fordist Times) (Nai Publishers, Rotterdam, 2009. pg.  81-95)

çev. Eylül Fidan Akıncı

Kendinizi angaje olmuş bir sanatçı olarak değerlendirir misiniz?

“Angaje olmak”la ne kastediyorsunuz? Kelimeyi kullandığınıza göre bir fikriniz olmalı…

Belki de ekolojiye belirgin bağlılığınızdan başlamamız gerekiyor. Özellikle de son parçalarınızdan Keeping Still’de olduğu gibi eserlerinizde belirgin olan bir konu bu. Ayrıca toplumsal olarak da angaje olmuş bir sanatçısınız: düzenli olarak dilekçeler imzalıyor, zaman zaman siyasi gösterilere de katılıyorsunuz .

Şu an aslında bir insanın sahip olabileceği endişelere değiniyorsunuz, şefkat duygusuna; bu birinin yapıtlarında da ortaya çıkabilir, halka  gösterdiği karakterinde de. Read more

Architecture, Power and Coolness of Inscrutability (Or Just Another Try at Sexy Titles)

Eylül Akıncı

A “dreamscape” created with paravane-like white curtains and ground lighting, with a kneeling woman and a pillow-like stand in it… It is impossible not to be impressed by the stage design of Filiz Sızanlı’s solo work Site. The title of her performance already promises an attentive gaze and inquiry about landscapes, which is also convenient when you think of her professional field, architecture. However the performance in itself seems unable to fulfill this attempt, falling prey to unreadable conceptuality. Read more

Pickable Limbs and Curly Pubic Hair

Two overgrown preteen boys hurling, stepping on, pulling around each other in a mock-fight; or two WWE members wrestling with exaggerated gestures and mimics of pain and victory… At first glance, Pieter Ampe and Guilherme Garrido’s Still Standing You reminds you of such scenes; at second you think that no surprises, you get used to this “chubbies’ violence show”. But instantly you begin to feel that the two dancers’ never ending effort to take each other down, ride on and drag around is totally unrelated to violence or games: it is a restless and compelling quest to find their place and position within/towards one another.

Read more

“Professor” as the Perfect Drug

 Eylül Akıncı

Professor, based on the three-parts musical “Professor Bad Trip” composed by avant-garde electronic music composer Fausto Romitelli, offers a genuine synesthetic experience, one that brings together the spatial and visual with the aural in a very complex way. Once recorded by the Italian composer between the years 1998 and 2000, the musical gets conducted by Maud Le Pladec, embodied and instrumented by dancers Julien Gallée Ferré, Yoan Demichelis and Tom Pauwels on 25th of October in Istanbul, once again.

The hall is already dim while the audience enters, and gets even darker when the performance begins. Slowly a dancer becomes (hardly) visible, being even more unrecognizable thanks to his all-black suit. He gives the cue for music with the movement of his hands. Then Professor Bad Trip: Lesson 1 starts. The dance has a distinct moving quality focused more on hands and arms; the movement of the body somehow mimics the movement of music in an unconventional and dedicated way. It is not like going with the music but going towards it. After a while, we really begin to feel what has been promised in the flyer: watching the music in its intricacy and hearing the sound of this dynamic dance.

The first part ends with the dark stage and light coming behind the back curtain. The dancer is swallowed by it, and a second later we see him with an electro guitar, pedals, laptop and amplifiers, under single spotlight, contributing live to the record music. The second part starts with another dancer’s jump from the rear side; we see a chase-run, with dancers’ shadows echoing, in the back and front of the back curtain. This is followed by a solo of another dancer, again embodying the music. Then he is accompanied by the other two dancers and we now see their slow motion mimics and gestures, with changing emotions, as if performing a real “bad trip” as three alter egos of the same person. At this point, the performance gains an acting quality in parallelism with the music’s narrative suggestions; in a way, the movement fits itself into the emotional investment of the score. Furthermore, the second part functions as a comic relief for the otherwise quite dark and uncanny performance.

When the stage lights turn from blue to red, a jazzy music plays in between Romitelli’s composition. The three dancers emerge from behind. This is a trio dance, visualizing the music again in an abstract way. One dancer “creates” a sound (which is impossible to name as “note”) and sends it to another for its development and completion. Their dance evolves around this idea. The final part ends with the convergence of three dancers, looking to each other as if falling from the ecstatic experience. They stand still, music dies away and the synesthesia stops.

Romitelli’s score and instrumentalization is very impressive that the choreography might have vanished in it, become unnoticeable, or praised only for the sake of musicality. Yet Le Pladec’s work does more than feeding on the power of the music, it even more enhances it, translates it, fills every corner of its aural space. In turn, it takes the impetus from the score, the ground for this unique kind of movement, the sound system of its language. Thus Maud Le Pladec successfully challenges and matches the intense and sophisticated composition of Romitelli, taking us to a cogent bad trip and back.

Lise’s edit of Eylul’s piece

The hall is already dim while the audience enters, and gets even darker when the performance begins. A dancer very slowly becomes partly visible, being even more unrecognizable thanks to his all-black suit. Professor, based on the three-parts musical “Professor Bad Trip” composed by avant-garde electronic music composer Fausto Romitelli, offers a genuine synesthetic experience, one that brings together the spatial, the visual and the aural in a very complex way.

The dance has a distinct moving quality focused on the hands and arms; the movement of the body mimics the movement of music in an unconventional and dedicated way. After a while, we really begin to feel the flyer’s promise: watching the music in its intricacy and hearing the sound of this dynamic dance.

The first dancer is swallowed by the back curtain, and a second later we see him with an electric guitar under a single spotlight, contributing live to the recorded music. The second part starts with another dancer’s jump from the rear side; we see a chase, a run, with dancers’ shadows echoing, behind and infront of the curtain.

The three male dancers show slow motion mimics and gestures, with changing emotions, as if performing a real “bad trip” as three alter-egos of the same person. At this point, the performance acts in parallel with the music’s narrative suggestions. This second part functions as a comic relief for an otherwise quite dark and uncanny performance.The final part ends with the convergence of the three, looking to each other as if falling from the ecstatic experience. They stand still, the music dies away and the synesthesia stops.

Romitelli’s score and instrumentalization is so impressive that the choreography might have vanished in it, become unnoticeable, or been praised only for the sake of musicality. Yet Le Pladec’s work does more than feeding on the power of the music. It enhances it, translates it, and fills every corner of its aural space. Thus Maud Le Pladec successfully challenges and matches the intense and sophisticated composition of Romitelli, taking us to a cogent ‘bad trip’ and back.

Posted by LiseS at 10/26/2010 03:28:00