LORA SARIASLAN
Istanbul Modern, Curator, Adt Historian/ Turkey
Given that the title of this session is “After All,” and based on my
experience as a curator at the Istanbul Modern, I thought it would be best to focus
on something slightly different from the other two speakers, that is, the “after life”
of the biennials.
When talking about the origin of the biennials, one must take into account not only
their titles, but also the relationship that these at times of massive exhibitions have
with the cities in which they take place. Not only are we to think about the way that
the cities shape the exhibitions, but also how the biennials, not only bring in tourists,
but also alter the fabric of the city. For instance, in my recent work for the
exhibition, “Time Present, Time Past: Highlights from 20 years of the International
Istanbul Biennial” now at the Istanbul Modern, we sought to pay homage to the
Istanbul Biennial, timing it to coincide with its tenth edition. The exhibition serves as
a retrospective of the past nine editions of the Istanbul Biennial, reflecting how art
and aesthetics have changed over the past two decades, and also presents the rise
in importance of both curators and biennials throughout the world.
The role that the curators played in our exhibition was integral in the sense that in
order to make the display as democratic as possible, we asked each Istanbul
SESSION 1 / 1. OTURUM / LORA SARIASLAN 33
LORA SARIASLAN
‹stanbul Modern, Küratör, Sanat Tarihçi/ Türkiye
Oturumumuzun ad›n›n “Her fieyden Sonra” olmas›ndan ve ‹stanbul
Modern’de küratör olarak edindicurrency1im deneyimden yola ç›karak, dicurrency1er iki
konuflmac›n›nkinden biraz farkl› bir konuya odaklanman›n en iyisi olacacurrency1›n›
düflündüm. Bienallerin “sonraki yaflam”›.
Bienallerin ç›k›fl noktas›ndan söz ederken, insan sadece onlar›n bafll›klar›n› decurrency1il,
ayn› zamanda bu kimi zaman büyük çaptaki sergilerin gerçeklefltikleri kentle
aralar›nda olan iliflkiyi de hesaba katmal›. Yaln›z kentlerin sergileri nas›l
biçimlendirdicurrency1i konusunda decurrency1il, ayn› zamanda bienallerin de turist çekmenin
yan›s›ra kentin dokusunu nas›l decurrency1ifltirdicurrency1i konusunda da düflünmeliyiz. Örnecurrency1in, flu
anda ‹stanbul Modern’de süren “fiimdiki Zaman Geçmifl Zaman: 20 Y›lda
Uluslararas› ‹stanbul Bienali’nden ‹z B›rakanlar” sergisi için yak›n zamanda
gerçeklefltirdicurrency1imiz çal›flmada, serginin zamanlamas›n› 10. Bienal’le çak›flacak
flekilde planlayarak ‹stanbul Bienali’ne sayg› duruflunda bulunmaya çal›flt›k. Sergi,
sanat ve esteticurrency1in geçticurrency1imiz 20 y›l boyunca nas›l bir decurrency1iflime ucurrency1rad›currency1›n› yans›tarak
ve dünyan›n her taraf›nda küratörler ile bienallerin önemindeki art›fl›n› sunarak,
geçticurrency1imiz dokuz ‹stanbul Bienali’nin geriye dönük bir sergisi olma görevini
üstleniyor.
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119