Which artistic activities took part in Maquis Projects until this time and what are the future exhibitions in Maquis Projects?
The exhibitions at Maquis Projects to date include: ‘Eminent Domain A’ a group show of 18 international artists looking at issues of art in public and private spaces; ‘Kemeralti Sofrasi’ a street action by USA based Chilean artist Katiushka Melo Green. This was a celebration of similarity and difference in Turkish and Chilean cuisine; A solo show ‘Kemeralti’ by Italian artist Sara Berti which drew together many diverse motifs, images and influences from the area exploring her personal relation with these in her work; ‘Mirabilia’ a solo show by Irish artist Aoife Collins examining the subjectivity of consumer objects and images. This was open until the middle of February although it will transfer to Izmir University of Economics next week. There were also a number of artists’ talks related to each of these. In the future we will have a second exhibition of video and installation work by Aoife Collins. Also this spring there will an exhibition of Izmir based artists curated by the artist Mehmet Dere. After that this year there will be an exhibition by the artist Kaan Bağcı and a sound art event with Gurkhan Mihci and Cem Güney. Later we are looking at other projects, including a sound art festival in Kemeralti in September and we will be working with local academics and artists from Australia and Ireland examining issues of Art and Architecture in Izmir.
How frequently changing the exhibition and talks in Marquis Projects? Can you tell us course of proceeding?
Generally I am hoping to have eight to ten good exhibitions every year – mainly resulting from work created in the studio space itself. Also Maquis Projects will be able to facilitate a live/studio residency for four to five individuals each year.
In the meantime, you are also a curator, when we compare the art spaces numerically in Izmir and in İstanbul, we can see that there is a gap in numbers. What do you think about the reason behind this situation as a curator?
Quite simply Istanbul is more important as a global cultural city. Also it has became an important commercial art center. It is important for Turkish artists and art ‘workers’ to be based there, if not somewhere like Berlin or New York in order for their careers to flourish. The Turkish art scene is very dependent on private investment and support. There are parallels in smaller cities in the UK outside London. But in many of these places there is: A. good public funding structures for institutions and: B. established arts education facilities and other instıtutions which do much of the work establishing vibrant art scenes. We can see this in Istanbul as well with SantralIstanbul which is supported by Bilgi University. Actually I work for an art and design university IEU in Izmir and we are very interested in examining how educational bodies can contribute to the local cultural scene.
When we look at the relation the human being within separated experiential and political conditions, Can we say that Maquis Projects can respond through the actions to relationship of order and power?
I suppose the biggest problem facing human beings in relation to belonging to a public is that citizens with rights are slowly being transformed into consumers with credit ratings. I honestly believe that art through its inherent openness to commodification creates issues related to its relevance. However, I also think that that the process of making and relating to or witnessing art is a fundamental action that helps to define a truly public individual. I am thinking here of Alain Badaiou’s four categories of event – Art, Science, Politics and Love.