PROTODISPATCH AND RUNNING IN PLACE

Beatriz Santiago Muñoz, David Horvitz, Onur Karaoğlu


Presents at & in partnership with Polat Piyalepaşa Çarşı, Istanbul

Participatory Performance: Wednesday, September 14, 17:00 - 18:00
Protodispatch Launch & Opening Reception: 18:00 - 20:00 

Exhibition Dates: September 10 - October 29, 2022
Location: Polat Piyalepaşa Çarşı, Lower Level, Piyalepaşa Blv., Istanbul
(shuttle or 15-minute walk from Arter)
Open Wed. through Sat. 12:00 - 18:00 


Protodispatch

In September, Protocinema will launch Protodispatch with Ximena Garrido/Ishmael Randal Weeks, Jorge González (with Angela Brown) Kenya (Robinson), Avni Sethi, and Tiffany Sia (with Emilie Sin Yi Choi, Chan Tze-Woon), Protodispatch is a digital publication project, initiated by Laura Raicovich, commissioning artists’ dispatches on local and transcontinental concerns. Longer features and more concise reports will be released monthly via Protocinema and partner publications, such as Artnet.com, and others. Devoted to digging into the precaritites and celebrations of our times, Protodispatch presents provocations by artists’ and makers of culture that are not necessarily reflected in mainstream news sources. It invites artists living and working in different geographies to share their distinctive opinions and analyses of local urgencies in the form of texts, videos, and images. All content is available free of charge. 


Running In Place

Protocinema presents Running In Place, a group exhibition with Beatriz Santiago Muñoz, David Horvitz, Onur Karaoğlu, at & in partnership with Polat Piyalepaşa Çarşı, supported by the United States Mission – Turkey, opening to the public on Saturday, September 10. This exhibition convenes artworks on circulation of ideas, water and bodies along with their inherent contradictions. The artists in Running In Place occupy three positions - Santiago Muñoz’s is that of suspension, Horvitz’s of regulated mobility, and Karaoğlu’s of free-flowing forces of nature and imagination.

Generally, circulation is considered good - good for healthy societies, oceans, and human bodies. The current dissonance lies in extremes of hyper-movement and restricted mass-movement. Globalism has maximized its force of flight for the survival of many, on the one hand, and liberty of transit by class and nationhood, on the other hard. This grotesque dissonance of circulation holds humanity captive, frenetically running in place. An early video by Beatriz Santiago Muñoz, Todo lleva a nada (Everything leads to nothing, 2003), “shows a group of girls in a normally isolated part of the island of Puerto Rico become even more so when a bridge that connects them to town is damaged. They perform fantasies of escape and return.”[1] Pacing and loitering, bright young minds fill their time lethargically lounging or trying on adult shoes while the rain and sun fall. We get a short glimpse of the washed-out bridge while the majority of what we see are girls looking at each other while we look at them. There is a painful elongation of time, every minute feels like it lasts hours, which is all too familiar. As we know, limitation of mobility, space, and time, limits the living of life.

Formally along the lines of his earlier work, somewhere in between the jurisdiction of time, David Horvitz collects waters from different longitude lines that divide time zones. He comes from Los Angeles to Istanbul to create his commissioned work by collecting water samples from various sites in Turkey.  This water will be shown in hand-blown glass vessels, yet this is where the similarity ends. Horvitz’s work draws an “imaginary line that determines spatial and temporal coordination,” displaced and completely abstracted.[2] It examines questions of the distance between places, people, and time in order to test the possibilities of appropriating, undermining, or even erasing these distances. Onur Karaoğlu’s In Vain gets right into these murky waters. The four-channel video installation takes its name from the ashik (poet) [3] Mahzuni Şerif’s song, Boşu Boşuna (In Vain). One of the qualities of an ashik poet is that they travel from town to town singing and spreading reflections to live by. During this work, the audience is invited to write and experience the role of a poet. Our journey is guided by the narration of four characters: a storyteller, an ancient sea, an oceanographer from the middle ages, and a poet from the last century. All of the stories intersect on marine mucilage that has covered the Marmara Sea as a result of the climate crisis in 2021. The ramifications of this abundance of mucilage are catastrophic. 

In Vain creates a space to investigate the passing on of oral and written tales, and how to make meaning in the face of crisis. There are lines in Karaoğlu’s video in which he dismisses hope. To even bring up the negation of hope is somehow hopeful. Nonetheless, the artist invites the viewers to put themselves into the shoes of the poet, the creator, in order to fuel their own ingenuity, to think of solutions via geological time. We do all this while submerged in contradiction of a need for, and simultaneously the broken promise of, circulation, breathless and running in place.

There will be two presentations of the participatory performance version of In Vain with the addition of a fifth character, a young writer from contemporary times, once on September 14 and then in October 2022.

About Beatriz Santiago Muñoz
About David Horvitz
About Onur Karaoğlu

Protocinema is supported by the United States Mission – Turkey and Polat Piyalepaşa Çarşı, Istanbul
for PROTODISPATCH:  Annette Blum, Gabe Catone, Jane Hait, Justin Beal, Jane Lombard, Helen, and Peter Warwick.
Special thanks to: Adnan Polat, Bilge Onur, Kürşad Türkoğlu, Bora Güven; ChertLüdde, Berlin; Sociedad del Tiempo Libre, San Juan; İlknur Aslan; Garp Sessions; Slavs and Tatars’ Pickle Bar at Weiner Festwochen 2022; Kathryn Hamilton; Utku Kara; Oğuz Canbek.

About Polat Piyalepaşa İstanbul: Piyalepaşa Istanbul's Polat Piyalepaşa Çarşı was realized as Turkey's largest urban transformation project with the assurance of Polat, is the new art stop of the city with 5 private art galleries. Including the leading platforms of art, artSümer, Art On Istanbul, Merkur, Pi Artworks, Zilberman Gallery, and artSümer. In its unique complex, Polat Piyalepaşa Çarşı creates a new climate with its outdoor shopping experience with national and international brands, playgrounds for children, and rich gastronomic culture.

  1. Beatriz Santiago Muñoz, fabricainutil.com
  2. Horvitz, David; Alexander Provan, “Somewhere in Between the Jurisdiction of Time,” Art In America, 2014.
  3. An ashik (Azerbaijani: aşıq; Turkish: âşık; Persian: عاشیق) or ashugh (Armenian: աշուղ; Georgian: აშუღი) is traditionally a singer-poet and bard who accompanies his song—be it a dastan (traditional epic story) or a shorter original composition—with a long-necked lute (usually a bağlama or saz) in Turkic (primarily Turkish and Azerbaijani cultures, including Iranian Azerbaijanis) and non-Turkic cultures of South Caucasus (primarily Armenian and Georgian).

Image Credit: Beatriz Santiago Muñoz, Todo lleva a nada (Everything leads to nothing), 2003, still. Courtesy Sociedad del Tiempo Libre, San Juan.