By Önder Özengi (ed.)
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Extra info for Relative Positions
But due to loss hareket edecek kapsamlı bir konuşma serisi hazırladı. Bu pared an extensive series of speeches paralleling this event. belirlemek değil. Şehir dışı ve şehir içi platformlarda bünyesi- of motivation and dedication stemming from the fading of programın ilk ayağı “-1” hakkında; sonrasında ise günün The first step of this programme is about “-1”; followed by ne, ağına dahil ettiği çok sayıda sanatçıyı birbirinden farklı ve this memory-structuring as an interim phase, attempts of ikinci konuşmasını Merve Şendil “Underscene Project” üze- Merve Şendil’s speech on the “Underscene Project”.
Yerleştirildiği production and representation through spacial apparatuses. Building on odanın biçimlendirici işlevleriyle kurulan yerleştirmede beş farklı görüş düzeni the former function of the room it is placed within, the installation produces oluşturulmuş ve nerdeyse kalıcı betimlemelerle değil izleyicinin deneyimleriyle five regimes of vision and framing where all adjacent spaces (sources) sürekli yeniden üretilen bütün komşu mekanlar (kaynaklar) çerçevelenmiştir. are constantly reproduced, not by permanent imagery but through the experiences of the viewer.
It might be pretty but it is lengthening my path. I have to walk around it. There is no discussion on whether if it is wanted there. However on P2P model -metaphorically- as long as there’s the will of a person to hold a particular file on their computer, there emerges a value independent of monetary worth. DG: All right, let’s get to the difference between an artist and a merchant, then. You commission the work to yourself. Now imagine earning money from it. You are a businessman at some point, aren’t you?