İpek Çankaya

 Seçili akademik çalışma özetleri / Selected academic work abstracts

EXPERIENCING BIRD’S-EYE VIEW

From Physical to Online Events in an Age of Pandemic

TURBA Volume 1, Issue 2, Fall 2022: 80–108 ISSN 2693-0129 (Print), ISSN 2693-0137 (Online) DOI: https://doi.org/10.3167/turba.2022.010206

Abstract:

The paper is an enquiry on how the changing conditions in the age of the Covid-19 pandemic affect the sharing of art projects. The case study is the actualised performance “Bird’s-Eye View” the latest edition to a series of collaborative performances by Artship Initiatives-San Francisco and halka sanat projesi-Istanbul.

Since 2012, halka and Artship have been regularly working in sharing art events in Istanbul and San Francisco in different times of the year. The intimate performances with musicians, dancers, and storytellers have been one of the core events for nine years until the global pandemic of 2020 combined with other imperatives forced us to update the ways of working and coming together.

This paper aims to bring forward details of this learning and adjusting process of live arts curation from the perspectives of some involved participants and reflect upon the ambiguities and challenges of organisational resilience in digital communication.

Keywords: art management, curatorship, online art event, performance, storytelling

ŞİİR VE GÖRSEL SANATLAR ARASINDA KÜRATORYAL KÖPRÜLER: ‘ÇEKİM MERKEZİ OLARAK ŞİİR’ SERGİSİ ÖRNEĞİ

ESSA 1. Uluslararası Avrasya Sosyal Bilimler ve Sanat Sempozyumu, 13-14 Mayıs 2022 Antalya Türkiye, Tam Metin Kitabı, 25.06.2022, Ankara: Kutbilim Research, Culture and Solidarity Association. (ISBN: 978-605-73444-1-0).

Öz

Bu çalışma iki kardeş disiplin olan şiir ve görsel sanatlar arasında yaratılan sanatsal işbirliğini küratoryal pencereden inceler. Çalışmaya örnek oluşturan, halka sanat projesi-İstanbul ve Artship Initiatives-San Francisco’nun devam eden, çok-yıllı projesidir. Projenin her ayağında halka ve Artship’in yakın çalıştığı görsel sanatçılar yine aynı yakınlıktaki bir kadın şairin tek bir şiirine yanıt verirler. Projenin ilk iki sergisi 2019 ve 2020’de gerçekleşmiş olup üçüncü ayağı planlama aşamasındadır.

Projenin belirgin küratoryal yaklaşımı samimiyetin değeri, ekip çalışması ve ilişkiler ile tanımlanmaktadır. Bu paradigma herhangi bir sergi yapma biçiminin eleştirisi değildir; kendi başına bir birimdir. Yabancılaştırma, metalaştırma, şoke etme ve pazarlama teknikleri bu paradigmanın dışında kalır. Amacı ve sorduğu açık uçlu sorular, her iki disiplinde de ifadenin ve paylaşımın içsel süreçlerini araştırmaya, onurlandırmaya ve özgün sesleri güçlendirip aralarında yeni bağlar kurmaya yöneliktir.

Bu çalışma; projenin küratoryal hassasiyetlerinin ve diğer ögelerinin üzerinden geçerek, şiir ve görsel sanatlar arasındaki ilişkisel ve ilham veren yanlara eğilir. Amacı, projenin kurduğu dinamikler üzerinden, iki disiplin arasındaki köprüleri genişletmeye ve birlikte çalışabilecek kişi, grup ve çevreleri çeşitlendirip büyütmeye yönelik yollar hakkında sorular sormaktır.

Tartışma geriye dönük eleştirel düşüncelere, tanıklıklara ve arşivsel malzemeye dayanır.

Anahtar Kelimeler: Görsel sanatlar, küratoryal çalışmalar, sergi, sergi yönetimi, şiir

SETTLING / UNSETTLING - LEAVING / RETURNING

In Vivo Arts - Platforme artistique - academique #Numéro-pilote CRISE(s) Mai 2022
Numéro coordonné par Alexandru BUMBAS et Anca POP
Éditrices : Mathilde BAÏSSUS, Nadin MAI, Marie MARQUELET, Laura STAN

Abstract

The paper's focus is Migration ‘Stories from Our People’ project as the case study. It is a recollection on the actualized project, a series of exhibitions and mini performances realised by Artship Initiatives-San Francisco and halka sanat projesi-Istanbul, responding to migration crisis and related issues through arts that used inclusive multi-disciplinary expression and sharing.

The purpose of this paper is to reflect on the question how arts represent situations of crisis poetically focusing on the human element instead of focusing on the political theories of conflict. Broader issues are contextualized through train journeys and railway stations of the last century by the experiences of emigrants/immigrants.

The exhibition and performance initially took place at Sirkeci Railway Station on the European side of Istanbul, the “starting point” of international trains from Istanbul to Europe crossing several Balkan countries, mostly carrying emigrants leaving homeland and going to the West with the hope of finding work and shelter. The station’s public character enabled the project to embrace not only the art focused audiences but also curious by-passers and travellers. Performances and exhibitions were simultaneously presented at halka sanat gallery in Moda District, Kadıköy Municipality on the Asian side of Istanbul.

The project involved local and international dancers/actors, visual artists, musicians, architectural historians, as well as academics, and university students of culinary arts and architecture from Istanbul and primary school children from Anatolia.

The paper deals with some of the possible ways of representing crisis in art. Critical recollections in response to the notion of crisis as well as organizational elements and curatorial sensibilities of creating a performance and exhibitions are in the centre of reflection. The discussion of the paper is based on the assessment of seed stories, memories of some participants, the archival material leading to open questions about representing crises and art.

Keywords: Migration, storytelling, performance, contemporary arts, arts management

ART, CITY AND SOCIAL BONDING: STREET AS GALLERY  

SAUC Street Art and Urban Creativity Scientific Journal. Vol 7 No 2 (2021): The Future of Urban Creative Studies DOI: https://doi.org/10.25765/sauc.v7i2.478

Abstract:

This work is a discussion on the impact, challenges and ambiguities of artists and makers presence in a community. The purpose is to raise questions on levels of possible, realistic community engagement from passers-by, active makers and sharing partners in the formation of spontaneous, enhanced identity in local neighbourhoods. The art in the street as by-product of care and meaningful engagement, without strong labels or pre-designed, carrier motivated collaborations between artists and communities is in the focus.

The case study is the Flagpoles Project (1986 – 1991) initiated by Slobodan Dan Paich which consists of a great number of semi-permanent sculptures built for and with residents of the Golden Gate, Oakland, USA.

Reflecting on Flagpoles Project enables this paper to re-ask the artist’s role in a community setting, and how do the artistic sensibilities, vision and cohesive visual language remain while the creative process is shared with community. The paper also focuses on an enquiry on the ambiguities on how a public art project can create a positive impact on diverse segments of a difficult neighbourhood and how can bonding through art transform the experience of public space in urban context.

In general, the methodology starts from expressive inception, community context and its development. In this example it is based on interviews, testimonials, also on printed and digital materials concluding with related literature about social inclusion and role of the art in everyday setting.

Keywords: Street art; social bonding; community engagement; urban creativity

How to Cite

Cankaya, İpek. (2022). Art, City and Social Bonding: Street Gallery. SAUC - Street Art and Urban Creativity, 7(2), 26 - 33. https://doi.org/10.25765/sauc.v7i2.478

ARTS MANAGEMENT – WHAT AND WHY? Cultural Needs Assessments and Methodologies of Managing

UYSAD 7th International Management and Social Sciences Conference (Online Conference) 19-21 May 2021 (ISBN: 978-625-00-9923-0)

Abstract

Origins - Intentions

The paper is based on the courses given by the author in the Arts Management Department at Yeditepe University, Istanbul between 2009 and 2016 and also on the Arts Management Internship Programme in Istanbul at halka sanat projesi between 2011 and 2020. The paper consists of three parts: A brief overview of the arts management as a field, assessments on the human cultural needs and reflections on the methodologies of managing in the art sector with the experienced derived from directing an independent art initiative in Turkey.

Scale - Human Resources

The focus of the paper leads towards rethinking the particular nature and widely shared elements of the cultural work regardless of its scale, popularity or connections. Human element is one of the most crucial assets in this dynamic. Management teams from senior members to fresh interns standing at diverse points of the cultural work take their place at the core of the discussion.

Expertise - Apprenticeship - Continued Learning

The paper centres around questions of what a good arts management is and why it is needed. The aim is to emphasize the importance of individual as well as collective practice, significance of the critical approach in management and the influence of continued learning in the work environment to build upon the theoretical basis received at university level arts management education. The value of apprenticeship and the manifestations of diverse teaching methods will be highlighted.

Keywords: Arts Management, Cultural Needs, Methodologies of Managing, Continued Learning, Apprenticeship

Art Initiatives in Turkey (in the Early Millennium): Challenges of Bottom-up Practices in the Field of Visual Arts

ANOTHER ARTWORLD: MANIFESTATIONS AND CONDITIONS OF EQUITY IN VISUAL ARTS, 3-4 December 2020, Belgrade

Abstract:

The main theme of this work is the relations between the legal structuring of the contemporary art scene in Turkey and the challenges of independent art organizations in the field. The paper focuses in art initiatives and artist collectives formed in Istanbul, the cultural capital of Turkey, manifesting authentic characters and internalising decentralised reflexes of action.

The field research made by the author of this paper has shown that over the last twenty years art initiatives have been cultivating creative and organizational strategies to contribute to the diversity of voice and artistic expression in contemporary art scene, and yet face lifeconsuming challenges. The research captures that initiatives are successful organisms within the local art flora enhancing the bottom-up practices. Yet, they suffer from the neoliberal approaches reflected both in the character of the field which reduces them to be unsustainable attempts in the long run, and also in policy making decisions disregarding them for decades in favour of the private investors and corporate institutions.

The points explored in this paper are the structural diversity of art initiatives, the characteristics and attitude to constituencies of their management teams, and their programmatic interest as well as the reigning perspective in the cultural policy legislations in force which deeply affects models of self-governance and democratisation of the field.

The main objective is to contribute to the discussion of the complications in equity principles in visual arts; to present a fresh perspective in creating space to others than the dominant corporate actors by bringing visibility on the individual and collective efforts in bottom-up practices of art initiatives so that their presence may be acknowledged in the future policy agendas. The work is an attempt to contribute to a healthier cultural sphere which advocates for diversity and equality in opportunity for different organizational models, and for the freedom of artistic expression and reception in Turkey.

The methodology of the paper is based on a qualitative research design which is a combination of text analysis and in-depth interviews. Based on the methodology of the grounded theory (Glaser and Strass, 1967), the purpose of the work is to bring forth the panorama of the current art scene by emphasizing the independent manifestations and challenges through gathering empirical data obtained from the field interviews and the study of the current laws that create the background to the problem.

The paper presents information based on the testimonials of art initiatives in Istanbul founded between the late 1990s and 2016. It features some of the findings of the interviews realized with the founding directors of twenty-three art initiatives, to illustrate their experiences and observations on how their practice do or do not work. The aim is to describe the situation in the field, to discover the conditions of the bottom-up art practices and to shed light on the lack of an impartial eye for the policy making today in order to contribute to achieving a more inclusive approach in the design of the field.

Keywords:

Art initiatives, models of self-governance, bottom-up practices, visual arts, cultural policy

Reinforced by the Law: Privatisation of the Art Sector in Turkey in the 21st Century

12TH CONFERENCE ON ARTS IN SOCIETY , 14-16 June 2017, Paris, France

Abstract: The intensification of the private investment in the arts dates back to the early 2000s in Turkey. In line with the general policy path followed by many governments since 1980s, the ruling party after 2003, Justice and Developmet Party, strongly followed the neo-liberal ideology which glorifies the reduction of the public involvement in an industry; enhances the private capital to benefit from the gap, and causing the shape of the sector to become coherent with the private capital’s priorities. The key to this approach is the codes and regulations implemented by the governments.

The current laws in the cultural field, as well as a new policy proposal serve the entrepreneur and not the artist or the art worker; disencourage the sustainability of the creative individual and groups who lack financial capital; and hence narrow the public sphere and disregard the public good for the advantage of a wealthy and powerful minority.

The paper, by using the critical political economy approach, aims to explore the connections betweeen the public policies and the dominant actors of the art sector. It also discusses how the laws become the tools that make the policy scheme work reshaping the local contemporary art scene.

Keywords: neo-liberalism, privatisation of culture, cultural industries, public sphere, art’s capital

How to Sustain? Managerial Challenges in Art Initiatives

4th INTERNATIONAL CONFERENCE ON THE MANAGEMENT AND MARKETING ISSUES AND THE ARTS, 18th November 2016, Plovdiv, Bulgaria (ISBN: 978-954-2963-20-2)

Abstract: In 2005, in their text ‘There is no alternative: THE FUTURE IS SELF-ORGANISED’, Davies, Dillemuth and Jacobson contribute to the debate on the impact of neoliberalism on institutional relations by stating the cultural and educational institutions as they are, act as legal and administrative organs of the dominant system; and instead they propose a social process of communication and commonality based on exchange; sharing of similar problems, knowledge and available resources, a future which is self-organized.

But today in Turkey, self- organization in a society with a neoliberal art market, institutions and relations is a challenge. The paper aims to question what “self-organized” is for art initiatives in this context; as well as examplify the challenges faced and solutions created by the art managers, in order to attain sustainability if possible. The laws that shape the art sphere and how they affect independent, non-sponsored, self-organizations will be illustrated with examples.

 Keywords: art initiatives, sustainability, neo-liberalism, art management

Art Residency as the Nucleus of Artistic production and Urban Experience : The Case of halka art project, Istanbul

CONTEMPORARY ART CONFERENCE (CONTEMP ART ‘13), 10-12 April 2013, İstanbul, Turkey

Abstract: The policies of deregulation and privatization of the late 20th Century in the Western world eased the abolishment of public monopolies in favour of private investment in almost all sectors including the cultural industries. Since then, with the implementation of parallel cultural policies, the art world has been under the influence and intervention of powerful organizations and institutions. As a reflection of neo-liberal policies which were initiated in the US and UK of the time and diffused around the world by the forces of globalisation, non-governmental private investment and corporate capital, along with the governmental powers, began to dominate the art world. Culture has become the business of corporate firms in many Western countries. The production and display of contemporary art has become an intensive point of interest for the hegemonic structures. Symbolic forms of capital as described by Bourdieu have been one of the major types of power in the world and the art world is not immune to it at all.

Nevertheless more recently, other organizational models, relatively small scale and mostly open to international collaborations began to be initiated. The concept of art residency is a relatively new one in the global art world and quite new in Turkey. It cannot be conceived, interpreted and practiced in a singular way. It usually exists to host artists, curators, academics, and researchers from different disciplines for a determined period of time. It provides shelter and hub to support creation and research. Along with the artistic collaboration, the integration of the creative guests with the local community and the setting, either urban or rural, is an expected outcome of the process. Art residency can also be expected to bring the vibe of the city and its citizens together with artistic sharing while nurturing social benefit and welcoming knowledge.

Thus, it may assume the natural responsibility of contributing to the small scale art production, to the enhancement of the local community and to the integration of both artists and audience into urban experience and cultural exchange. As a matter of fact all these attributes and more are optional for each residency set up. Some may prefer to have institutional support, be a part of governmental or corporate organizations such as museums, galleries, universities, public offices, or even large scale perennial exhibitions such as biennials. However, artist-run spaces and art initiatives are also a possible interface which may create a distinctive and genuine ground for the process hereby described.

The aim of this paper is to present an exemplary model of an art residency, halka art project, a local, independent, not-for-profit organization as a case to illustrate how small-scale art formations may support the production, discourse and presentation of contemporary art and culture without claiming any high powers. It also focuses on how the outcome of a collaborative art project may contribute to the urban experience by enlarging artistic and public circles both local and international. The paper also features, through specific artists’ experiences at the residency on how the City itself may be both an inspiration and a collaborator during the process of project development by highlighting the importance of interaction among the project partners and the City as an entity. The method of this paper is based on desk research. Majority of the data is collected from university library archives, published or digital books, reports, journals and periodicals.

Keywords: Art residency; artistic production; international collaborations; urban exchange, city as a partner.

Turkish University Protests and Their Reflections in Local Media: A Political Economy Reading

7th INTERNATIONAL CONFERENCE OF CULTURAL POLICY RESEARCH (ICCPR), 9 - 12 July 2012, Barcelona, Spain

Abstract: In today’s world mass media are the basic tools in communicating the social events and phenomena developing beyond the one-to-one relations basis. Their selection of news and the ways of conveying them, form the informational background, and the perspective of the people they are addressing to.

The aim of this article is to analyse, the ways of reflection of the actions of a part of university youth which represents one of the most dynamic parts in the contemporary Turkish society, in terms of speaking boldly about the democratic rights and demands, and that of the police force, one of the state’s ideological apparatuses as called by Althusser, in different newspapers representing different political ideas and ideologies. The perspective chosen for this critical reading is the political economy of the media.

Media always plays an active role in creating a perspective about an event or an action for the audience. The sides involved in a potential confrontation are represented in media depending the latter’s ideology and mission. Thus, the hypothesis of this article is that the neutrality of media is a myth, as discussed by Schiller, and therefore it is impossible to approach to their discourse, independently from the entire relations of production.

Based on this background, this paper concentrates in finding answers to the following questions: How do the relationships among the society, the state and the media are intermingled in the contemporary Turkish media scene? Does the ideological perspective of a medium affect the ways in which a specific confrontation of two sides are delivered to the society? If so how is it represented in the discourse of the newspapers?

The methodology of the research is the discourse analysis. The period covered for the chosen case study, -university students’ actions in January 2011-, is the week of January the 06th 2011. The newspapers taken under scope are two Turkish newspapers from two different ideologies. Majority of the data are collected from newspaper archives, books and articles.

This paper is original in illustrating how the discourse means beyond its obvious message and what it is communicating, how it can be seen as the reflection of the ownership relations of the media and how the media tools can be instrumental in building political perspectives and clear ideologies.

Keywords: discourse, political economy, ideology, media.