In Batumi at the festival Odesa//Batumi Photo Days will participate curator, writer and art critic Beral Madra from Istanbul, Turkey.
Within festival you can visit an exhibition, also meet Curator.
27 August 18:00 Meeting curator Beral Madra (Istanbul, Turkey); at 19:00 Opening of the Exhibition “Magic Inventions” Curator – Beral Madra (Istanbul, Turkey). more information
LIST OF ARTISTS
GÜLÇİN AKSOY (İSTANBUL);
NIKITA ALEXEEV (MOSCOW)
BASHIR BORLAKOV (ISTANBUL)
JACOB GAUTEL (PARIS)
AEKATERINI GEGISIAN (THESSALONIKI)
MURAT GÖK (DIYARBAKIR)
ESİN TURAN (VIENNA)
FERHAT ÖZGÜR (ISTANBUL)
MELİH GÖRGÜN (ISTANBUL)
About Beral Madra:
Curator, writer, critic, art director.
Beral Madra was born in Istanbul in 1942. She graduated from the Archaeology Department in the Faculty of Letters at Istanbul University in 1967. She has worked as a critic since 1980. She has written in Radical newspaper since 1999. Since 1984, Marda has directed BM Contemporary Art Center. She has organized and curated numerous national and international solo and group exhibitions in her art center and other official art spaces in Turkey.
She is a coordinator of the first two Istanbul Biennials (1987 and 1989), and curator of the exhibitions Contemporary Art in Historical Spaces. She worked as a curator and commissioner of the Turkish Pavilions at the 43rd, 45th, 49th, 50th and 51st Venice Biennials. She is one of the founder members of Diyarbakır Art Centre, which was founded in 2002; Madra has published several books such as “Neighbors in Dialogue”, (Istanbul: Norgunk Publishers, 2007, with Ayşe Orhun Gültekin) and “Maidan” (Istanbul: BMCAC publications, 2007). For the project “Istanbul Next Wave”, Madra curated the exhibition “Boden unter meinen Füßen, nicht den Himmel” with Çetin Güzelhan at the Arts Academy in Pariser Platz.
About Exhibition Magic Inventions:
In the age of constant political ecological and economic crisis, all visual material made with analog or digital photography and all the online photography archive available has achieved new functions to convey messages for deciphering the meaning and signification of these crises. However, at the same time all this photography – we still name this visual material photography- can be manipulated by the powers, which trigger these crises.
History is on one level produced by anthropologists, archeologists, historians and other related scholars and on another level by people who have political, economic or cultural interests. The first group constructs history based on evidence, science and logical thought. The second group builds it on specious theory, ideology and other simulative methods.
The first group is trained in research, analysis, evaluation and interpretation of the sources, documents and other necessary material available. Among these material photography plays a key role. However, they also learn how to approach these materials critically and with skepticism and caution.