First Solo exhibition in Italy by Devrim Kadirbeyoğlu
curated by Giusy Checola
With a live performance purposely created by
Gianluca De Rubertis and Alberto Piccinni (music)
Luca Coclite (video)
from 09.24.2011 through 11.30.2011 / on appointment
Opening: 24 September 2011, from 7:30 pm, performance 8:30 pm / live music performance from 10:00 pm
Archiviazioni project space and Laboratory of Art and Architecture, Lecce (Apulia, Italy)
Co-produced by Archiviazioni and Ramdom Association
Within the OFF program of DEFAULT Masterclass in Residence: Art, City and Regeneration
Devrim Kadirbeyoğlu, Who Draws the Line?, 2011. Site specific installation with white soil from Canale del Fano (Puglia, Italy) and performance by the Perosi chorus from Matino on music by Gianluca De Rubertis and Alberto Piccinni. Photos: Alessia Rollo.
D-Day at Archiviazioni and Laboratory of Art and Architecture of Lecce
The word “mobility” refers to the cultural, social and political differences that is still a matter which we feel the need to talk about, despite the processes of integration among European and the neighbouring countries, and despite the huge participation – as individuals and collectives – to the action nets and the artistic/social networks. Otherwise the hypermobility characterized the most recent wave of the globalization and has definitively changed our way to live and work.
Who Draws the Line? is the title of the first solo exhibition in Italy by the Turkish artist Devrim Kadirbeyoğlu, co-produced by Archiviazioni and Ramdom Association, presented on the occasion of D-Day party, main event of the DEFAULT Masterclass in Residence OFF Program and Artlab 2011 closing day.
The exhibition, composed by an installation and a performance, born as an inner necessity of the artist to represent and communicate the human, financial and social extent problems concerning the Schengen visa requirement for Turkish citizens, through a site specific installation which paradoxically becomes itself a mobile project: after having travelled in the Northeast of Italy in search for a context of where to be discussed and presented, subjected to several conceptual and aesthetical elaborations, finds home at the spaces of Archiviazioni and the Laboratory of Art and Architecture in Lecce, the Southern part of Italy, which is widely known as land of emigration.
The texts which compose the installation are from the Visa Hotline Project, implemented by Economic Development Foundation (IKV) with the cooperation of Union of Chambers and Commodity Exchanges of Turkey (TOBB) and Brussels-based European Citizen Action Service (ECAS), which for the first time gave voice to Turkish citizens’ complaints and their individual stories regarding visa procedures, and collected more than 1,000 letters in a short period of 2 months.
The task of the transmission of the contents from the Turkish letters to the Italian audience, as collective action and re-action – is assigned to the chorus Lorenzo Perosi from Matino, a village of Salento, which play a performance in the exhibition space, directed by Sergio Barone, with the music by Gianluca De Rubertis and Alberto Piccinni.
For the exhibition the soil composes the medium of these complaints, the element that in Italy, represents the never solved “Southern matter” and its enormous fluxes of emigration, but also a kind of dynamism which the Southern people are historically used to, before that the cultural nomadism became a peculiar aspect of the contemporary time.
The soil used by Devrim Kadirbeyoğlu comes from Canale del Fano (Fano’s Canal), the Southern part of Salento, which is one of the first inhabited land, occupied by Greeks, Byzantines and Normans, where in the 1990s a group of Australian archaeologists discovered the so called “West Gate”.
It’s the soil of tophus, which in the ancient time was transported and spread by the water along the all territory, composed by geological sedimentation of volcano’s fragments and seashells, and largely used for the construction of the typical buildings of Salento.
To the natural flux corresponds the one of the visitors, which, by visiting the exhibition, becomes the performer and dissolves the phsycological border created by nationalism, localism and prejudice, through their action on the soil. An action particularly meaningful as it’s performed in a land where collective memory still remembers the massacre of Otranto by the Ottomans in 1480.
Who Draws the Line? foresees the trespassing of different artistic languages, through the interaction with the work of the musicians Gianluca De Rubertis and Alberto Piccinni, through the live performance purposely made on the exhibition by Gianluca De Rubertis and Alberto Piccinni with the video by Luca Coclite, which creates a dialogue between the inside and outside spaces of the Archiviazioni venue.
The musicians and the artist works on two main aspects of the concept of “mobility”: the dicotomy inside-outside and the systems of control.
Following the opening a video installation of the project and the live performance will substitute the former installation, and the last traces of soil spread in the exhibition space will be returned to Canale Del Fano, through a ritual action performed by the artist.
Who draws the line? has been made possible thanks to the support at Archiviazioni project by Masseria Torre Coccaro within MAP Masseria Art Project, and thanks to the precious collaboration of Lucie Mičíková and Roberto Urso, and the one of Invitattwo active agricultural organizations of Salento: Campolisio Sarruni and Agricoltura Bene Comune, which work in order to promote the eco-sustainable agriculture as contemporary main richness of the territory, on which is based its financial, social and cultural development.
Devrim Kadirbeyoğlu was born in 1978 and raised in Istanbul, Turkey. She earned her MFA in Studio For Interrelated Media at Massachusetts College of Art in Boston, USA after studying at Mimar Sinan University, Fine Arts Faculty in Istanbul, Turkey.
Devrim Kadirbeyoğlu’s work manifests often with an ironic vocabulary in order to explore the construction of institutions, society and identities, in their complex and contradictionary systems.
Her work strives to capture life’s struggle where she turns her obsessions, triggered by the threads of her personal experiences, into arrangements using multiples and repetitions.
Evoked by social, cultural and psychological circumstances, her installations resonate as a theatrical extension of daily life, where the viewers interact and dialogue with the work.
In 2009 her work was part of Seriously Ironic: Positions in Turkish Contemporary Art Scene exhibition held at the museum Le CentrePasquArt, in Bielle, Switzerland. The same year she was represented by Emmanuel Fremin Gallery at the Bridge Art Fair in New York and completed her Residency Program at the Platform Garanti Contemporary Art Center in Istanbul. On 2010 she had a solo show at Barraca in Den Haag, Netherlands, and another one at ALANistanbul, in Turkey. In the same year her work was part of group exhibitions in Europe and the United States of America, like the New new at EAST/WEST Project in Berlin; her video work Visa Applicants was screened at UNDERDOX in Munich and in a large exhibition held in video-dumbo in New York, U.S.A.; she participated at Gratis, Et Amore Artis curated by Antonello Tolve in Salerno, Italy; at Macka Sanat, Kasa Galeri and Manzara Perspectives in Istanbul.
Gianluca De Rubertis was not born in Lecce (Italy) and he is not a musician. He does not live in Milan, city in which he has not created, with Alessandra Contini, the electro popular band Il Genio. He does not cooperate with several Italian indie scene’s artists, artists that, indeed, are not important to quote here. He does not have a wide range of interests: from classic music to Destructuralism or Righeira’ pop music. He is not one founding member of Studiodavoli, the psychedelic band not set up in 2000 with his sister. He has not already released five albums, and his is not recording the sixth: first solo album under the pseudonym Ivan Davoli almost not ready.
Gianluca De Rubertis is not the author of these non-sense and laughable lines.
http://www.myspace.com/ilgenio – http://it.wikipedia.org/wiki/Il_Genio
Alberto Piccinni aka IBN KALB was born in Capo di Leuca (LE, Italy) and graduated at the University of Bologna.
He participated in several artistic and international cooperation projects in Italy, France, Portugal, Argentina, Algeria, Egypt and Germany.
He played and collaborated with: muzAk, Hysm?, The Snail Knows & R.Sawake, Duassemicolcheiasinvertidas, Luca Coclite, Astragali Teatro, Dead by Chocolate, PassaPa European Orchestra, Josè Marino Malagnino, Gronge, Javier Alear Velez (Coso), Marco Montanaro, Fabio Magistrali, Lepers Produtcions, Carlo Michele Schirinzi, Francesco Giannico, Vazca, Giorgio Albanese, Anna Lisa Lazoi, CBMR Europe (Center of Black Music Research). He founded the indipendent record label Another Shame and he organizes concerts and tours for artists orbiting around his circuit. His music and sound performances are on the threshhold between didactics and experimentation, from rock to noise and non-idiomatic improvisation. He creates Strumenteeni (unconventional musical instruments made of waste materials) aimed for labs with children, educators, disabled people as well as for music performances and readings.
http://www.youtube.com/watch?v=IXV95yoJnCY – http://hysmduo.bandcamp.com/
MAP Masseria Art Project is a contemporary art project promoted by Masseria Torre Coccaro and Masseria Torre Maizza, based in Savelletri di Fasano in the region of Apulia (Italy).
MAP Masseria Art Project involves national and international artists, curators and theoricians, in order to interact with the cultural identity of the territory, with its traditions and its social and cultural dynamics, through the realization of site specific artistic projects, inside and outside door, and with two residency programs: Porta d’Oriente, directed by Giusy Checola and Luigi Presicce, curators of Archiviazioni in Lecce, at the Masseria Torre Coccaro; and Level One, curated by the gallery Cardi Black Box of Milan at the Masseria Torre Maizza. The outcome of the residency projects is the production of site specific works, which merge into the permanent collection set up at the external and the interior spaces of the two venues. Surrounded by the typical Mediterranean vegetation, the Masseria Torre Coccaro and Masseria Torre Maizza are two historical farms, built in the thirteenth century and afterwards transformed in luxury resorts and farmlands, based on the respect of their cultural identity, nowadays internationally recognized as places of excellence of Apulia, a region at the South of Italy which since the ancient times has been a land of crossroads and welcoming of different cultures.
MAP Masseria Art Project aims to communicate the current process of artistic and cultural growth of the region, trough P.s., a platform on line and a newsletter which collects and spreads information about the activities and the places of the contemporary art in Apulia and the surrounded territories.
CAMPOLISIO Group Campolisio is a family-run organic farm using methods of production which have a low enviromental impact. Our aim is to maintain traditions, cultivating plants and breeding animals that are typical of the area to strengthen our cultural identity. Roberto, assunta, Flavio, Dario, Stefania and friends look forward to your company to share experiences and happy times. Sarruni is where agritourism activities are carried out, like catering, camping, accomodation, events and cultural and recreational activities.
Agricoltura Bene Comune is a group of action which aims to defend and support peasant agriculture, because the land is an economic, social and environmental resource, and therefore it is guarantee employment, relations and biodiversity.
Agriculture is a commons as water and air.
A social ecology has to start from peasant agriculture, supporting biodiversity and including among its goals also the natural landscape and its preservation.
A balanced development of peasant agriculture, tourism and culture is the key for enhancing territories instead of their impoverishment, caused by monocultures, irresponsible tourism and degradation.
In order to defend small-sized peasant, in order to find alternative solutions to all the contradictions that all we live daily and in order to impollinate new economic, social and environmental practices, Agricolture as Commons involved students, unemployed, researchers, migrants, professionals, activists, artists and consumers, in order to establish a positive circuit between production and consumption.