A PROJET NOT HAVING AN EQUIVALENT IN THE WORLD: YEDITEPE BIENNIAL
The ‘Yeditepe Biennial’, which is organized under the auspices of the Presidency of the Republic of Turkey and with the cooperation of the Fatih Municipality and Classical Turkish Arts Foundation, opens its doors in the Historical Peninsula Fatih.
Over 600 artists participate in the ‘Yeditepe Biennial’, opening of which will be made with the presence of our President Mr. Recep Tayyip Erdoğan, with more than 3 thousand artworks. Almost 30 historical buildings host the biennial that includes more than one hundred projects.
Unique artworks of our traditional arts have shown up and still show up in quite different places in quite different forms for centuries and for an indefinite period of time without having a “biennial” title and without being locked up in a specific place. While precious artworks look at art lovers behind from bell jars with all of their untouchableness, people in Istanbul may lean against to tile panels of Rustem Pasha Mosque and sleep, another one of which does not exist.
Even though such an acquaintance brings along the blindness and negligence, it does not change the reality that the eyes of people living in this city get accustomed to beauty where a different artwork occupies a corner, and their sense of aesthetic is kneaded with what they see regardless of their awareness.
Yeditepe Biennial is a move to raise the peak, which our traditional arts reached with a disciplined freedom, a little bit further by bringing the traditional and modern artworks produced by the artist of this age together with the thematic multiple exhibition form, which is called as “biennial”.
Yeditepe Biennial, which will be held between the dates of March 31, 2018 – May 15, 2018 under the auspices of the Presidency of the Turkish Republic, and in cooperation with the Fatih Municipality and Classical Turkish Arts Foundation, and with the supports of important institutions and organizations of Turkey, is a project that does not have an equivalent in the world in terms of content.
First Theme Of The First Biennial: “Ehl-I Hiref”
‘Hırfet’ means profession, art and occupation as a word. ‘Hiref’, the plural of hırfet, is used as a word expressing the art and craft together in the Ottoman Turkish. Almost all kinds of production based on hand workmanship was considered within the scope of hırfet, and the producers were named as ehl-i hiref (craftsmen / artisans). Ehl-i Hiref of the palace is the educated production organization that is consisted of various units, which artists and craftsman are connected to.
Ehl-i Hiref, which embodied master artisans in all art branches from miniature artists to armorer and from illuminator to goldsmith existent in the Ottoman period, was the most competent institution in the production of artworks for three hundred years until the XVIII. Century.
Ehl-i Hiref was the organization that created the characteristic unique structure of the Ottoman art, which is called as “palace style”, both with the artists, which it trained in Enderun within its own organization, and the famous masters on the peak of their arts who came out of palace. Ehl-i Hiref, which was organized with the moral values such as modesty and generosity and the understanding of Turkish-Islamic guild in order to carry out the artistic activities of the palace, is the magnificent projection of the political power and mastership of the Ottoman Empire in arts.
Along with the aim of showing what kind of function the organization had in the past, and what kind of timeless impact it still has, Yeditepe Biennial aims to show the present situation of our traditional arts, which this organization laid down the foundations of, have reached, and the effect of the tradition in the artworks produced in the new art branches of the new ages.
We want to see the reflection of our civilization, which has a need-based or value-based philosophy of art, in today’s arts and artists also in the biennial structure, because the content of our art is quite rich in terms of metaphor attribution occurring in the biennials atmosphere.
Our Cultural Codes Meet
Yeditepe Biennial is the “first” biennial embodying the artworks, which include fabrics and forms belonging to our cultural codes, which are blended in our geography for centuries, enlivened with the colors of Saka, Hun, Gokturk, Uyghur, Hazar, Artuk, Sokmen, Avar, Kara-Khandis, Seljuq and many more, embroidered by the pen of Hittite, Sumer, Babylon and many more, taking in Yesevi breath and reaching out to sky with Mevlana Celaleddin-i Rumi. It is the first biennial, because any biennial, which includes all of these, where the artworks of domestic and neighboring (not foreigner, neighbor) artists in the same art branches come together or separated, embraces everything and flourishes them within its body, has not been made yet. The second purpose of the biennial at the second stage is improving this integrative point of view and make it steadfast in this age where everything was atomized.
WHAT DO WE HAVE IN THE YEDİTEPE BIENNIAL
The Yeditepe Biennial has five different sub themes as “Every Aspect of A Flower”, “Like A Bird”, “About Istanbul”, “Flawless Repetition” and “Overflowing From The Place”. The content of the themes are as follows:
Every Aspect Of A Flower
We often use the expression of "like flowers" when we express a beauty. Flowers taking a large part in the beauty understanding of existence, virtually oblige people to this approximation with the endless compositions of beauty they provide. Therefore, flowers are everywhere in our lives by both their true existences and their images drawn by the artists, who desire to reproduce this beauty further.
We can say that there is not any single field, in which flowers do not play a part, in the traditional arts of our civilization, where there were experienced very bright eras in the fields of both flower cultivation and flower painting. Everywhere is decorated with flowers from the ornaments of the Holy Qur’an to tiles, from divan pages to pillars in mosques, and from enormous monuments to tombstones. The flowers drawn in the fruit room of the Topkapı Palace with a naturalist style unfading for three centuries, or the stylized flowers drawn by the Karamemi’s magical hands and give off their smell to the Muhibbi divan, and those blossoming in flower books and flourishing in the hands of scientific flower painters... The flowery arts performed by the artists in this era by smelling the past and future, every aspect of a flower, is in the Yeditepe Biennial.
Artists in this themes: Ahmet Sacit Açıkgözoğlu, Emel Nurhan Ogan, Firdevs Çalkanoğlu, Gülsen Bilgin, Hülya Korkmaz, Mamure Öz, Muhammed Türk, Safiye Morçay, Uğur Taşatan, Zehra Çekin, Endemik Çiçekler Grubu.
Like A Bird
It is one of the creatures that people mostly emulate and would like to be in their shoes. We are jealous of their wings, and try to find ways to learn their language, and speak to them without considering what people might say. As a matter of fact, this is not a self-talk, rather, we get response for it. We set them to work, and send them to the beloved one to say our best regards or take the secret hidden in its feather to its owner, and then ask them “my crane, from whom did you get this cry”. We built pavilions for them when we live, and make room in our tomb for them to drink water when we die.
She is the Phoenix hidden behind the Mountain Kaf, and she is also the Philomel bleeding its breast on a rose branch, and she is also the Kaknüs that is burnt out and reborn from its ashes, and the Huma that never lands on, and she is the one telling the good news with an “olive branch” in its mouth that there is still life in the world after the flood.
The artists of this era, who look at the troubles of people and humanity, their remedies, their dreams, shortly everything that people go through with a view from birds, will tell the human conditions with bird language in the Yeditepe Biennial by saying “people like a bird”.
Artists in this themes: Ali Ahmet Çoktan, Asgar Moradi ve Zeynap Rahnama, Atilla Çakır, Ayşenur Kadakçı Velioğlu, Ayten Pelit, Bahar Yalçın, Güngör İblikçi, Hasan Ertuğrul, Hikmet Barutçugil, Hülya Yaatası, Özlem Özer Tuğal, Reza Hemmatirat, Şehnaz Biçer Özcan, Şeyma Yeniçeri, Yeşim Yıldız Kalaycıoğlu, Yonca Sanat Grubu.
City of Fatih, workroom of Sinan, berceste of Nedim, song of Dede Efendi, notebook of Evliya Celebi, namazgah of Eyup Sultan, and nazargah of Sultan Abdulhamid... The city where the great dreams including sea were had: Istanbul. People seeing or not seeing Istanbul, and people living in it or just passing by it have something to say on it. Now, Istanbul has something to say regarding the past, today and tomorrow.
Today whatever there is that Istanbul whispers to the ear of artists with its south wind, north wind, sea changing color more than its sky, and many other things, they are all in Yeditepe Biennial.
Artists in this themes: Alparslan Babaoğlu, Bünyamin K., Dilek Yerlikaya, Fahriye Oya Kuyumcu, Işıl Arısoy Kaya, Nurcihan Velioğlu, Reza Hemmatirat, Sabriye Şeker, Şaban Demirdağ.
“Every number consists of one time, many repetitions of one.” says Feridüddin Attar. Sun rises and sets. It rises again, and sets again. We blink our eyes, blink again and again. Azan is recited, and recited again, and then again. It is rather meaningful that the lines in itself repeats. Repeating verses, repeating verbs, repeating notes, repetitions in gilding, miniature, calligraphy and architecture... Meaning the rhythm. Craftsmen seeing that something else reproduces in every repetition, in fact not the repeating thing, knowing that a straight line is not consisted of repeating dots, and hearing the chorus that the geometric rhythm says, are in the Yeditepe Biennial with their works, with which they say “there is art in their repetition”.
Artists in this themes: Ali Ulvi Mıhoğlu, Ardeşir Mojared Takistani, Armağan Bilgin, Aslı Ağırbaş, Dilek Yalçın, Ersin Yıldızhan, Fahriye Oya Kuyumcu, Fatma Özçay, Firdevs Çalkanoğlu, Füsun Onamay, Melis Uludağ, Faruk Dinçer Eratlı, İlhami Atalay, Melike Haliloğlu, Mehlika Hilal Kırca, Merve Nur Kayhan Hassan, Nursen Ve Güvenç Güven, Nurten Ünver, Osman Doruk, Recep Ve Züleyha Minga, Serap Bostancı Tulluk, Serap Ekizler Sönmez.
Overflowing From The Place
Let’s define it this way: The person overflowing from his/her own body and soul geography since s/he doesn’t fit in it is called artist, and the overflowing thing is called art. “Should I die, when I don’t say” is also from this kind. Sometimes, there are moments when the art doesn’t fit to the field where it is defined, and would make us say “what is it doing here”. Unusual beauties, which these leaps create and bring people to the line of “in fact it suits” or “why not”, open different fields both to art and artist and to the seeing eyes. Works of the ebullient artists not fitting in to a place are in the Yeditepe Biennial.
Artists in this themes: Aysel Ergül, Bienal Ekibi, Emre Akpolat, Alperen Akpolat, Hatice Ünal, Mustafa Cemil Efe, Ömer Faruk Dere, Ahmet Futtu, Ahmet Sacit Açıkgözoğlu, Berrin Çakin Güç, Havva Bayraktar, Eda Erzurumluoğlu Tülek, Nilgün Firdevs Baltepe, Nurhan Gürbüz, Yasemin Ağırdır, Nur Reyhan Albayrak Özal, Nilgün Firdevs Baltepe, Soner Şahin, Semra İsmailoğlu, Berrin Süzen, Aylin Eda Durak, Berin Alpar, Aylin Özkan, Leyla Varol, Dilek Yalçın, Hikmet Barutçugil, Hülya Sözer, Kubilay Eralp Dinçer, Nilüfer Mutlu, Nihal Özşirin, Tijen Sabırlı, Muhammed Türk, Mustafa Cemil Efe, Tonguç Yaşar, Sezer Tansuğ, Armağan Bilgin, Beyza Akıncı Kaplan, Betül Bilgin, S. Hilal Arpacıoğlu, Dağıstan Çetinkaya, Emel Gemici, Erol Kılıç, Mehlika H. Kırca, Emine Tuğyan Gündoğdu, Büşra Taşpınar, Murat Gür, Reza Hemmatirad, Selma Keleş Şahin, Fatma Zeynep Çilek, Hatice Ünal, Ali Emre Kaymak, Özden Aydın, Aysel Ergül, Ayşe Kiraz, Rakibe Kalkan, Şeyda Demirburan, Tüzin Tiryaki, Yılmaz Eneş, Zafer Baştak, Zehra Karakoç.
International exhibitions in the field of calligraphy, gilding and tile art offers the selected artworks regarding the different styles that artists fed by different cultures developed in the same field of art. Art lovers witness in international exhibitions that art unites people in the semantic world by removing all the boundaries drawn on maps. International exhibitions sometimes enable art lovers to see different aspects to same theme and sometimes, same aspects to different themes.
Artists: Abdurrahim Kahya, Abdurrahman Depeler, Abdurrazak Karakaş, Ahmet Koçak, Ali Toy, Ali Rıza Özcan, Awni Nakkaş, Aydın Kızılyar, Ayman Hassan, Bekir Çetintaş, Cemali Gündoğdu, Cevad Huran, Davut Bektaş, Efdalüddin Kılıç, Fatih Özkafa, Fatih Yıldız, Ferhat Kurlu, Fuat Başar, Habib Ramezanpour, Hakan Arslan, Hanife Alpaydın, Hasan Çelebi, Hüseyin Gündüz, Hüseyin Kutlu, Hüseyin Öksüz, Hüsrev Subaşı, Levent Karaduman, Mehmet Memiş, Mehmet Özçay, Menaf Nam, Muhammed Cevadzade, Muhammed Nuri Çetinkaya, Muhammed Yaman, Mustafa Parıldar, Nuria Garcia Masip, Osman Çiçek, Osman Özçay, Ömer Faruk Özoğul, Resul Afşin Okur, Sabah Arbili, Safarbati Mhamed, Savaş Çevik, Seyyid Ahmet Depeler, Tahsin Kurt, Yılmaz Turan, Yusuf Mazi.
Abdülhamit Yılmaz, Afsane Nangar, Arda Çakmak, Ayşe Sayın, Berna Kervan, Eyüp Özcan, Faruk Taşkale, Fatma Özçay, Firdevs Bakkal, Gülnur Duran, Gülsüm Gügercin, Halenur Bakkal, Hilal Dağtekin, İsmail Çökük, Kadriye Bayraktar, Mamure Öz, Nadir Tatar, Necati Sancaktutan, Nihal Tezcan, Nihan Ümran Ersin, Nilüfer Kurfeyz-Selim Sağlam, Nurdanur Ünal, Orhan Dağlı, Seda Demir, Selcen Belgin Balıkçı, Serap Bostancı Tuluk, Serhat Tokmak, Sevde Gülüt, Simanur Uzun, Şahalim Şahmansurav, Şeyma Okur, Vildan Sert.
Artists, who move forward in order to create the new tradition in the future by shouldering our traditional arts with all of their past, turns the solo exhibition zone of Yeditepe Biennal into a rainbow with their own works and the works of their students or their friends singing the same song along with them. Twenty exhibitions, where art branches like painting, sculpture and photography accompanies to miniature, gilding, hand-carving, marbling, tile art, calligraphy and ceramic arts, are hosting its visitors in the most beautiful places of Suriçi particularly in Turkish Islamic Arts Museum, Sirkeci Train Station, Beyazid II Turkish Bath Museum.
Artists: Algan Grubu, Ahmet Sacit Açıkgözoğlu, Alparslan Babaoğlu Ve Öğrencileri, Asiye Kafalıer Dönmez Ve Mimart Atölyesi, Ayten Tiryaki Ve Tiryaki Art, Cihangir Asurhouv Ve Öğrencileri, Emel Türkmen ve Altından Haleler, Etem Çalışkan, F.Hande Topbaş, Nursen ve Güvenç Güven, Mamure Öz ve Nakkaş Tezyini Sanatlar Merkezi, Mehmet Memiş ve Öğrencileri, Murat Gür, Mustafa Cemil Efe Ve Öğrencileri, Mustafa Demir, Nilgün Alp ve Atölye Hiç, Said Chuanyi ve Ali Leı Gong, Semih İrteş Ve Nakkaş Tezyini Sanatlar Merkezi, Şehnaz Özcan Ve Öğrencileri, Tahsin Kurt Ve Öğrencileri, Taner Alakuş.
Cahide Keskiner, Süheyl Ünver defines her as “she realized the renaissance in Turkish ornamentation by reaching to a very advanced level in our fine art world”, says “Every work is not art, and every person producing works is not an artist. An artwork doesn’t come to existence without self sacrifice and devotion. Artist should act with decency and good manners. Regardless of how much a person produces or not, and regardless of how many activities s/he conducts or not, if s/he doesn’t understand that s/he is ‘nothing’, everything goes for nothing.” This group exhibition, where you can see almost all the colors that our traditional arts have taken in the hands of the artists of this age, and where you can ask the questions of what is art, and who is artist in your mind with every artwork you see, waits for you in the Yeditepe Biennial.
Group Exhibition Artists: Abdul Vahap, Yasemin Ergün- Kevser İbrahimoğlu, Ayşe Nurgül Kabasakal-Songül Sümen Ak, Betül Coşkun, Büşra Akan, Erol Kılıç, Esen Akgöl, Esra Eşin, Fatma Betül Acun, Figen Tekiner, Gül Tezbora, Gülten Kosova, Hacı Meryem Kiola, Hatice Ünal, Hüdayin Sav, Kamuran İşcan, Leyla Varol, Mehdi Naghavi, Meryem Şahin, Safigül Bengü Olgun-Zeynep Önen, Semra Ata, Tuba Ruhengiz Azaklı, Veysel Kucuras, Yasemin Taş, Zeliha İyilik, Zeynep Bato, Zeynep Bostan, Zeynep Elçi, Zeynep Işık Çetinkaya.
Artists in Group Tile Exhibition: Adilcan Güven-Cem Güven, Emel Gemici, Ersin Fethi Öçal, Gülen Kesova, Gülfer Akgönül, Güvenç Güven, İbrahim Kuşlu, Kifayet Özkul, Mehmet Gürsoy, Melike Haliloğlu, Nur Avlupınar, Özkan Tokaç, Rauf Sadi Güven, Ryuko Kito, Salih Sarıçam, Selma Keleş Şahin, Tenzile Özgün, Timur Bilir, Ümmühan Çelikkaya, Yumiko Kubota.
Collection Exhibitions, where the artworks collected by the collectors, who gather the precious samples of our traditional arts got together within time, will meet with the art lovers, is full of beauties that you may not be able to find an opportunity to see one more time in the flesh.
Exhibited Collections: Termikel Mustafa Kara's Yakup Cem Collection, Yusuf İyilik İcazet Collection
When we see an artwork affecting us, sometimes we ask from inside and sometimes aloud: “How could s/he do it”. Live performances partaking in the Yeditepe Biennial is a good opportunity to see the answer of this question with your own eyes. These programs, where the artist and the people wondering how they are done may meet by moving the workroom of the artist to the public exhibition areas, and where people may witness the formation of an artwork, are the most “alive” sections of the Yeditepe Biennial.
Artists: Garip Ay, İlhami Atalay, Leyla Kara, Reza Hemmatirat
People watching the art from far away and maybe thinking that they may never do it themselves get the chance to deal with art through workshops, which are highly influential in terms of getting the taste of art. Workshops, which will be made under the guidance of masters, offers the pleasure of performing art by bringing the artist and art lover together in the workroom environment.
Artists: Ayten Tiryaki, Esra Eşin, Güvenç Güven, Özlem Özer Tuğal, Serap Ekizler Sönmez, Yasemin Arıman
Three generations in marbling: The late Hezarfen Edhem Efendi, who planted seeds for the permanence of this art by inculcating the marbling art and its technicalities that it learned from his father to this student in the last days of his life; the late Necmeddin Okyay, who made the marbling tray to blossom by adding flowers to the marbling forms that he learned from his teacher Hazerfen Edhem Efendi; and the late Mustafa Düzgünman, who further increased the number of flowers that he took over from his teacher Necmeddin Okyay by receiving his consent. Three great masters, each is one more precious than the other, who produced artworks in many fields particularly in marbling and calligraphy and trained students, are remembered in the Yeditepe Biennial with mercy and gratitude.
Place: Üsküdar Özbekler Dervish Lodge
TRADITION IN FUTURE SYMPOSIUM
One of the purposes of the Yeditepe Biennial, where the form and style differences in classical arts are observed by creating a kind of laboratory environment, is carrying tradition to the future, and exchanging ideas about how it will be done and whether there will be novelties to be included in the tradition. The symposium titled “Tradition in Future” that will be organized within the scope of the Yeditepe Biennial is an important step to ask the questions, which have been asked about the traditional arts but could not be answered or which have never been asked before, and to discuss different ideas on these issues.
The symposium creates an environment where the issues regarding the future of our accumulation of art, which was carried from yesterday to today and will be carried from today to tomorrow, are discussed. The symposium puts the question of “from where to where” in the center, and it wants to embrace both the tradition and future by hosting many sessions with the participation of doyen names.
OPENING CALENDAR OF THE YEDİTEPE BIENNIAL
GRAND OPENING CEREMONY
It will be made in Haghia Sophia with the participation of our President Mr. Recep Tayyip Erdoğan on March 31, 2018 at 12:00.
Dear Esteemed Art Lovers,
The only purpose of existence and creation of human, which Allah animated by giving from His own soul, is being a perfect human being (mature person). Because, only mature person may know Allah and realize his/her own nothingness by understanding the greatness of Him in the creatures of Allah.
The Great Sufi Mevlana explained his own life journey as reaching to the nothingness level, and explained the stages of his journey with the expression of “I was immature, suffered and became enlightened.”
In fact, these words explain the journey of human in the world.
Likewise, journey of an artist is for reaching to matureness in art in a way similar to the journey of dervishes. Artist may progress in his/her art with the talents that the Creator bestowed on him/her and only by imitating Him. As s/he progress, s/he accepts his/her nothingness before the Creator, who is the greatest artist.
Meaning, art is an endless journey from immatureness to the suffering, and from suffering to the matureness.
Therefore, search for the climax and perfection in art will continue throughout the journey of human in the universe, and it will always find new courses to flow with new searches and expansions.
However, transition of art and artist from immaturity to suffering and maturity – so to speak- depends on the art and artist to be supported. Because, as long as the artist is supported, s/he can proceed to the next step in his/her art.
In the past, particularly in the 1000-year period (A.D. 600-1600), which is the golden age of Islam, climaxes were forced in art and also in science, and artists reached beyond the ages in every field from architecture to fine arts.
Undoubtedly, personal maturation process of human and maturation process in art has not ended. It continues its progress sometimes with baby steps, and sometimes with big steps.
However, art has to become widespread for the superior feelings reaching to the other segments of the society. This can be achieved if the society internalizes art in artworks that it may see, access or even use. This may happen in a building, in embroidery on a dress, or on a plate used for dining.
Because, people learn to appreciate refined tastes as long as they see them; and as long as the eye sees, soul may realize the greatness of the divine power.
For that reason, the artist feeling the light on his/her forehead must bring his/her art together with the public. One of the methods of this today is exhibitions.
As Fatih Municipality, we decided to meet the classical art works produced by the masters of today and their modern interpretations with our people in order to contribute to the long maturation journey of people in the Yeditepe Biennial under the auspices of our President Mr. Recep Tayyip Erdoğan and with the cooperation of Classical Turkish Arts Foundation. Totally 2725 artworks produced by 670 artists in 119 different projects will be exhibited in 30 different places within the scope of our biennial, which will be held in Fatih for 45 days between the dates of March 31-May 15, under the main title of “Ehl-i Hiref” and sub-titles of “Every Aspect Of A Flower”, “Like A Bird”, “About Istanbul”, “Overflowing From The Place” and “Flawless Repetition”.
Undoubtedly, Yeditepe Biennial, which will bring people from all segments of society together with art, firstly will appeal to our eyes, later to our minds and finally to our hearts. The art reaching to heart will grow there and bring us to our own art journey.
And the journey of human in time and art will proceed from immaturity to suffering and from suffering to nothingness, meaning to the Creator by evolving in each stage.
We hope that you will enrich your journey to become a mature person with art, and take a meaningful step towards your own nothingness by honoring the Yeditepe Biennial with your presence.
With my highest considerations and regards,
Knowing the history means knowing the national capacity and national flaws. Moving forward and taking turns accordingly, knowing what will bush out from which seed is a power that cannot be gained with no other thing. As the ones blowing the wind of a global civilization exceeding 1400 years in Anatolia for the last one thousand years, we know how these seeds, which were moved with this breeze, blossomed up all across the world. We want to remind and show one more time with the biennial that we prepared by putting our classical arts in the center that the accumulation of thought and art that we created had a considerable value and occupied an extensive place within the cultural accumulation of human history.
Making the organization like Yeditepe Biennial would befit to Turkey, which is the pioneer of the Islamic geography in the cultural and art activities, and it did. As the “Ehl-i Hiref”, which we determined as the theme, used to be patronized by the state in the past, likewise ehl-i hiref of this age working on this theme is patronized by the Presidency today. We would like to present our thanks to our esteemed President, who took the Yeditepe Biennial under his protection, as the indication and symbol of the national power, and to the Fatih Municipality and to its esteemed mayor Mustafa Demir collaborating with us in this effort, to our artists that we have broken grounds together, and to all people, institutions and organizations providing us financial and moral support and contribution, and we would like to share our gratification and pride that we feel for being a part of such a beauty as the Classical Turkish Arts Foundation.
President of the Classical Turkish Arts Foundation
TRADİTİON OF THE FUTURE
We would like to see the reflection of our civilization, which has a need-based or value-based philosophy of art, on today’s arts and artists within the structure of the biennial, because the content of our arts is quite rich in terms of the metaphors forming in the atmosphere of biennials.
We should watch the scenery that will be created when the arts, which tries to find out whether designing tomorrow by looking at yesterday and reading today is applicable and the point reached when it is applied, and which reached up perfection and was thought discovering a new style was almost impossible, come side by side. Yet, this association displays a unity that the expressions of “colorfulness” or “richness” will not be enough to describe, and that is beyond the imagination of everyone. Our classical arts, every one of which touches each other in a way, glamourizes by reproducing each other, and becomes a “classic” with the perfection that it found in this beauty, come together in one biennial by holding the hands of other arts of this age. We aim to transform this meeting into a kind of laboratory, which questions the tradition of future, looking for solutions and reviewing the terminology.
Yeditepe Biennial will provide a wide basis in order for producing added-value to our traditional arts and culture and for talking the current art language with our genetic codes by girding on the current status of the seeing and showing aesthetic after the ages of transformation and the differences required by this status. It will also contribute to the national art standing and state art policy by enabling the training and improving of new artists, who attach importance to domestic values in art.
Yeditepe Biennial is an international platform that focuses on exhibiting the Classical Turkish Arts and their current interpretations with unique techniques by building a bridge with the art activities of the neighboring cultures that our culture got in touch within time for various reasons. Cultural, social and artistic values that our country has will be shared with the global community in this platform where the artworks, which were produced by the artists grown up with different art disciplines and different traditional rules, will appear.
Yeditepe Biennial is the song that artworks, independent from each other, sing all together. Being the conductor of this song, I mean being the curator of this organization, requires conveying this song to the ears of people, who will listen to this song, with an impeccable mechanism by knowing the colors and structures of all the sounds in this choir. We did our best, now you give an ear to this song...
YEDİTEPE BIENNIAL CURATORAll list