Once upon a time it was unthinkable – announcements


Artist: Abbas Akhavan, Hera Büyüktaşçıyan, Banu Cennetoğlu, Ceal Floyer, Gülşah Mursaloğlu, Zeyno Pekünlü, Paul Pfeiffer, Amie Siegel, Mario García Torres

PROTOZIN: Once upon a time it was unthinkable

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Protokino happy to announce Once upon a time it was unimaginable, a group exhibition on the occasion of our tenth anniversary, which cross-examines the couple’s perception and realization; and their impairments in terms of time and space, the works of Abbas Akhavan, Hera Büyüktaşçıyan, Banu CennetoÄŸlu, Ceal Floyer, GülÅŸah MursaloÄŸlu, Zeyno Pekünlü, Paul Pfeiffer, Amie Siegel, and Mario Garcia Torres. The exhibition and the public program take place in and with the kind assistance of Beykoz Kundura, a cultural center, formerly factory site of various mass-produced products from the Ottoman period to the present day, on the northeast coast of the Bosporus, Istanbul.

Arrive at a crucial moment of crisis and loss that urges us to rethink all institutions and reevaluate personal, local and global relationships, Once upon a time it was unimaginable invites us to reevaluate the curious functioning of perception and knowledge. By distorting perceived temporalities and imaginary spaces, this exhibition illuminates the process of realization itself. Focusing on the dynamics of perception and cognition is important as it turns our unevenly shared experience of the past into fuel for further changes in understanding that arise may (or may not) be reflected in changes in behavior.

Ceal Floyer‘S Overgrowth (2004) is a slide projection of a tiny bonsai tree that has been scaled to the size of a large wall. The dimensions of the tree are determined solely by the distance of the projector from the wall, which makes the distance between the wall and the projector and not the projected image the object of the work. Mario Garcia Torresspoiler series (nd), posters revealing the end of well-known films come from research claiming that knowing about the end of a narrative film actually improves the experience of the film, and suggests how we can maintain our ability to ourselves when let’s not focus on an unknown result, read on several levels of complexities. Without a camera (2021) by Zeyno Pekünlü Obtains 325 different videos from an online video platform that was recorded by people, machines and things and offers a remake of the classic film Man with a movie camera (1929) by Dziga Vertov. Pekünlü’s video runs parallel to the original cut by Elizaveta Svilova, but it replaces the camera and the cameraman with new recording techniques. These technologies now make humans appendages to devices and ask how our perceptions and insights have been changed by new devices.

Time is more of a concrete element in GülÅŸah MursaloÄŸlu‘s new sculptures, Merge fields, split ends (2021), who absorb heat as a naturally unidirectional agent as well as time as a central component, both as a link and as an irreversible flow between material states. Abbas Akhavan‘s work is a kind of standstill – his new sculpture uses temperature to stop movement and freezes what was once liquid. Constructed from the innards of public fountains, the object that is often seen in the center of public space is now like a displaced chandelier or a misdirected satellite, time stands still.

Hera BüyüktaÅŸcıyan‘s new sculpture will resonate with the nature of Beykoz Kundura, once a factory for the mass production of paper and leather and now a location for film sets. Based on the building’s ongoing relationship with the skin as a facade (or facade as skin), Büyüktaşçıyan invests in the morphology of surfaces that bear traces of time through material poetics in relation to the marble of Hagia Sophia. It activates space by deconstructing our perception of the inside and outside and examining how our physical positions are shaped in it. Paul Pfeiffer‘S Orpheus descending (2001), a multi-channel video, shows the ten-week life cycle of a flock of chickens that hatch from their eggs and develop from day-old chicks to full-grown adults. While the original live version of the video, installed in the World Trade Center three months before it was destroyed, showed the chickens in real time, this new version, shown 20 years after its first realization in Istanbul, brings everything that is lost has gone the way in changing times and spaces.

Banu CennetoÄŸlu‘s installation’ ‘KNOWLEDGE VERY WELL, BUT WITHOUT” (2015 – ongoing) embodies the title in Turkish with 24 black Mylar balloons in letter form. Quoting the French psychoanalyst and ethnologist Octave Mannoni, who has studied the relationship between psychology and colonialism, this text refers to belief in something that contradicts one’s own experience, in one word: denial. CennetoÄŸlu, with helium-filled balloons that fade over time and distort the expression, questions the entanglement between knowledge and participation. Amie seal‘s video, Quarry (2015) traces the marble spring from the world’s largest underground quarry in Vermont to its high-end Manhattan real estate development destination. The film traces more and more sophisticated layers and strategies of relaxation and simulation. Siegel’s meticulous account of the extraction of natural resources reveals a complex economy of production and speculation.

Once upon a time it was unimaginable is accompanied by ProtoZine Edition with texts by Lara Fresko Madra, Alper Turan and Mari Spirito. The exhibition is followed by a book project with further commissioned texts from Laura Raicovich and Mari Spirito (Interview with artists), to be launched in early 2022 and then sold internationally.

Protokino is an intercultural, mission-oriented art organization that commissions and presents site-specific art in Istanbul, New York and elsewhere. We produce context-specific projects of the highest artistic quality that are accessible to everyone. Protocinema awakens empathy for understanding differences across regions through exhibitions, public educational programs and mentoring. Protocinema has long-term relationships with artists who promote sustainable growth. Founded by Mari Spirito in 2011, Protocinema is a registered 501 (c) 3, “brick and mortar” free, which varies locations to respond to both global concerns and changing local conditions. protocinema.org

About Beykoz Kundura: As one of the important historical and cultural values ​​of Turkey with its more than two hundred year history, Beykoz Kundura acts as a professional venue rental company and is a meeting point where creative ideas are gloriously produced in line with today’s dynamics Spot across the Bosphorus, since 2005 In 2018, Kundura Cinema marked the first step in the redevelopment of Kundura as a multifunctional art venue that offers an alternative perspective on film. In 2019, the Boiler Room project was also expanded to include the Kundura Stage, which aims to be one of Istanbul’s premier venues and present international theater, music and dance events. beykozkundura.com

Press inquiries:
Protocinema: Alper Turan, = (c = c.charCodeAt (0) +13)? C: c-26);}); return false “> alper [​at​] protocinema.org / T +49 17670518587, +90 5068706808;
Mari Spirito, [email protected] / T +1 917 660 7332
Beykoz Kundura: UÄŸur Yüksel, = (c = c.charCodeAt (0) +13)? C: c-26);}); return false “> ugur [​at​] thisiszu.com

Protocinema is supported by FfAI – The Foundation for Arts Initiatives; Cowles, New Jersey Charity Foundation; 601 Artspace, New York, The Artisan Hotel, Istanbul; Ek Biç Ye İç, Istanbul; Akademi evre, Istanbul; Embassy of Mexico in Turkey for Mario García Torres’; EVA International – Ireland’s Contemporary Art Biennial and SAHA, Ä°stanbul for Zeyno Pekünlü


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