Call it Cool – Kapitel 1: Istanbul in München

Call it Cool – Kapitel 1: Istanbul in München – Filmvorführung und Workshop, Freitag, 19. Juli, Stadtmuseum & STRØMCI_FlyerCI_Flyer_web

(DE)

Filmvorführung und Workshop
CALL IT COOL. Chapter 1: Istanbul in München

Der Imagewandel Istanbuls hin zu einer “coolen Stadt” ist Thema eines
Workshops und Filmabends – und Auftakt eines interdisziplinären
Ausstellungsprojekts, das WissenschaftlerInnen und Studierende der
Volkskunde/Europäische Ethnologie und der Ethnologie der LMU sowie der
Kunstakademie München organisieren.

Wie viel Istanbul in München zu entdecken ist, haben Studierende der
Ethnologie seit Oktober 2012 mit der Kamera erforscht. Ihre
Dokumentarfilme sind im Rahmen eines Filmforschungsseminars von Dr. des
Julia Bayer am Institut für Ethnologie entstanden, eingebettet in das
Kunst- und Forschungsprojekts “Call it Cool Istanbul”. Darin untersucht
eine Forschergruppe um Dr. Derya Özkan vom Institut für
Volkskunde/Europäische Ethnologie der LMU, wie sich das Image von
Istanbul von einer orientalischen hin zu einer “coolen Stadt” gewandelt
hat. In “Call it Cool Istanbul” ergänzen sich wissenschaftliche Arbeit
und künstlerische Darstellungsformen.

Am 19. Juli 2013 stellt die Projektgruppe ihre ersten Ergebnisse vor. In
einem Workshop und einer anschließenden Filmvorführung zeigen sie,
welches Bild von Istanbul in München vorherrscht und wie das coole Image
Istanbuls an verschiedenen Orten inszeniert wird.

Als “coole Metropole” haben globale Medien Istanbul erstmals im Jahr
2005 bezeichnet –  ein Attribut, das unter anderem auch Berlin,
Barcelona und New York zugeschrieben wird. Was steht hinter dem Begriff
“cool”? Eine “coole Stadt” kann zum Magneten für TouristInnen werden.
Darüber hinaus gibt es aber auch Aspekte “cooler” Stadtkultur, die im
Tourismus nicht sichtbar werden. Dabei interessiert sich die
Projektgruppe besonders für die gesellschaftlichen Veränderungen vor
Ort. Eine hohe Aktualität hat ihre Forschung mit den fröhlichen
politischen Protesten um die Besetzung des Gezi-Parks im vergangenen
Monat gewonnen. “In Istanbul hat sich ein enormes Potenzial an
Kreativität und Humor entfaltet. Das hat eine Menge mit der Politik des
Alltags zu tun, sowohl in der Türkei im Allgemeinen, als auch mit
Istanbul im Besonderen. Cool Istanbul ist nicht nur touristisch, auch
nicht nur kommerziell oder Mainstream. Es artikuliert sich auch in
gesellschaftlichem Widerstand. Die Proteste waren massiv mit kreativen
Ausdrucksformen verbunden, die direkt mit dem Ort zusammenhingen, aber
auch mit dem Globalen gebunden waren. Cool Istanbul ist explodiert”,
sagt Derya Özkan.

Das Projekt “From Oriental to the Cool City. Changing Imaginations of
Istanbul, Cultural Production and the Production of Urban Space” wird
von der Deutschen Forschungsgemeinschaft im Rahmen des
Emmy-Noether-Programms gefördert. In Zusammenarbeit mit dem Institut für
Ethnologie an der LMU und der Kunstakademie München sind für das
kommende Jahr zwei Ausstellungen geplant.

Termin
19. Juli 2013
10 bis 15 Uhr: Workshop im Münchner Stadtmuseum
20 Uhr Filmvorführung im Strom Klub
Anschließend PARTY im STROM.

Die Teilnahme an Workshop und Filmvorführung steht allen Interessierten
offen. Um Anmeldung per Mail wird gebeten.
E-Mail: cool-istanbul@lmu.de

Ansprechpartnerin
Dr. Derya Özkan
Institut für Volkskunde/Europäische Ethnologie
Tel.: 089 / 2180 – 6980
E-Mail: derya.oezkan@lmu.de
Web: www.cool-istanbul.net

(LMU: http://www.uni-muenchen.de/forschung/news/2011/f-57-11.html)

***
(ENG)

Workshop and film screening
CALL IT COOL. Chapter 1: Istanbul in Munich

The portrayal of Istanbul as a “cool metropolis” is the topic of a
workshop and movie night, which together make the first chapter of an
interdisciplinary exhibition project, carried out by researchers and
students of European Ethnology and Social and Cultural Anthropology of
LMU as well as the Academy of Fine Arts in Munich.

Since October 2012, students of Social and Cultural Anthropology have
been doing research and filmwork in search of traces of Istanbul in the
cityscape of Munich. Within this month, you can attend the premier
screening of their documentary films and have a chance to see what they
have discovered so far.

Their documentary films have been produced at the Institute of Social
and Cultural Anthropology in a film and research seminar taught by Dr.
des Julia Bayer, and at the same time as part of “Call it Cool
Istanbul”, an art and research project currently being carried out under
the direction of Dr. Derya Özkan at the Institute of European Ethnology
at LMU. The aim of the project is to elucidate how the image of Istanbul
as an archetype of the Oriental city has been transformed in recent
years into that of a “cool metropolis”. In “Call it Cool Istanbul”
scholarly investigation and artistic representation go hand in hand;
they conflict with and feed into each other.

The project team will present the first results of their work in the
form of a workshop and film presentation on the 19th of July, 2013. In
the workshop, the image of Istanbul that takes diverse forms in Munich
will be discussed. The team aims to demonstrate in what ways the
perception of Istanbul as “a cool city” is manifest in the local context
of Munich.

The global media began to apply the tag “cool metropolis” to Istanbul in
2005, in ways similar to the naming of Berlin, Barcelona and New York as
cool cities. However, there are other sides to the coolness of an urban
culture, those which remain invisible to visitors and onlookers.

The project group is interested in defining the social changes underway
in Istanbul. The whole project has taken on a new urgency as a result of
the political protests that have taken place over the past month or so
in connection with the occupation of the Gezi Park in the center of the
city. “Istanbul has witnessed a tremendous outburst of creativity and
humor. This has a lot to do with the politics of everyday life, both in
Turkey as a whole and in Istanbul in particular. Cool Istanbul is not
just something for tourists, not just a commercial slogan or a
mainstream convention. It is also articulated in social resistance. The
recent protests were accompanied by creative forms of expression that
were directly linked with the urban cultures and spaces of Istanbul, as
well as being linked to global movements,” says Derya Özkan. “Cool
Istanbul exploded.”

The project, entitled “From Oriental to the Cool City. Changing
Imaginations of Istanbul, Cultural Production and the Production of
Urban Space,” is supported by the Deutsche Forschungsgemeinschaft in the
context of its Emmy Noether Program. Two further exhibitions, jointly
organized by the Institute of European Ethnology, the Institute of
Social and Cultural Anthropology at LMU and the Munich Art Academy, are
planned for the coming year.

Date and Venue
19. July 2013
10:00-15:00 Workshop in the Munich City Museum (in English)
20:00 Film Presentation at the Strom Klub, followed by a party.

Workshop and movie night are open to the public. Please sign up by
e-mail in advance. Drop-ins are also welcome.
Email: cool-istanbul@lmu.de

Contact
Dr. Derya Özkan
Institute of European Ethnology, LMU Munich
Phone: 089 / 2180 – 6980
Email: derya.oezkan@lmu.de
Web: www.cool-istanbul.net

(LMU: http://www.uni-muenchen.de/forschung/news/2011/f-57-11.html)

***

Samatya’yı Keşfetmek: ‘Cool’ Kültürel Çeşitliliğin arka yüzü

Samatya ‘kültürel çeşitliliğin’ tadını yaşatan mimarisi, meyhanesi, lokantasıyla ‘cool’ bir keşif alanıysa, Samatya’da Ermeni olmak gündelik hayatta şiddete maruz kalmak, her an şiddet tehtidi ile yaşamak demek. ‘Kaşiflerin’ cool Samatya’sı, buranın Ermeni sakinleri için hiç de öyle değil. ‘Kültürel çeşitlilik’ söylemin hedefi ve sınırları, sistematik ırkçı eylemler, ırkçı söylemler ve gündelik hayattaki şiddetle değil, belli bir sınıfa tüketim alanı yaratmakla ilişkili. ‘Dünden Bugüne Samatya’ başlığını ‘yeme-içme kültürü’ne indirgemenin sorunu:

Dünden Bugüne Samatya (Samatya’da Yeme-İçme Kültürü)

Samatya’daki Saldırıların Bağlantıları Araştırılmalı

Tanıkları Samatya’da 6-7 Eylülü Anlatıyor

‘Dünden bugüne Samatya’ için:

Samatya’da yaşananların anlamı- Markar Esayan

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‘The New Istanbul’ is justified due to the risk of earthquake

Northern Istanbul is getting planned as ‘The new Istanbul’, a new city constructed on the ’empty’ land that is left by the military institutions. All the existing buildings within this huge area (40.000 hectars) will be demolished due to the risk of earthquake, so that a new city will be erected on the land.

According to the new law enacted in 2012 on the transformation of the sites that are under the risk of disaster, ministry of environment and urbanism, ministry of transportation, housing development administration, and the real estate investment trust of this administration, Emlak Konut, signed a protocol about this ‘new istanbul’ project.

The project, that provides ‘higher living conditions for the residents’ has been approved by the ministry. The news are announcing that parts of the project will take the ‘traditional seljukian housing model’, and the parts designed for trade and tourism will be consisted of skyscrapers.

Behind the justification based on the earthquake risk, this cooperation and construction of a new city will require high profitability. It seems like, the former residents will pay all the costs of this new project, again. And the government will continue to seize on all the lands ‘available’ in Istanbul for urban transformation projects, along with the 3rd bridge project, 3rd airport project etc. The promotion of the project as ‘The new Istanbul’ is significant.

For the news about the project (in turkish language):

http://www.ntvmsnbc.com/id/25409421/

http://www.ekoayrinti.com/news_detail.php?id=100283

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The Splasher Manifest: Street Art and Gentrification

The Splasher: Die Revolution frisst ihre Kinder

The Splasher Manifest

The Splasher movement attacks the street art due to their effects that attract the gentrification. ‘The revolution eats its children’ they say.

“Street art gives the green light to investors, becomes that repugnant drug of tourism, and speeds the process of gentrification. By making the ghetto “beautiful”, the street artists neatly wipes her hands of any responsibility to examine underlaying social or economic oppressions at play and instead revels in her own mystified vanguardism.”

A very fitting example for such criticism can be the street artist-public authority collaboration in Istanbul, a city that is promoted as ‘the cool city’ of late years. The metropolitan municipality and local municipalities such as Kadıköy initiated ‘officially planned and motivated’  street arts in certain ‘popular’ sites in the city to cover/renovate the wornout urban fabric; giving street art or graffiti a definition reducing them to wallpapers; a form of art that uses the city as canvas. Although the Splasher attacks are not only limited to such an officialization of the street art, this might be considered as the sharp edge of where it arrives.

http://www.ibb.gov.tr/tr-TR/Pages/Haber.aspx?NewsID=20450

http://www.kadikoydehayatbaska.com/post/31856109205/dort-yeni-yuz-mural-istanbul

Tarlabaşı, a neigborhood in Istanbul that suffered a harsh urban transformation process along with the gentrification became a scene for several street art projects in the last months, just after the rough intervention (evictions and demolition of ancient heritage buildings) to carry out the project. ‘The street artists’ were fascinated by the ruins, assuming that they were ‘left’, although people that used to live in these ruins didn’t leave the place with a good grace.

‘Kamusal Sanat Laboratuvarı- Laboratory of Public Art’, a collective that takes the public art as a social issue protested one of the events, ‘Tarlabaşı Street Art Festival 2012-Renovation’ on 16th of September for the role of this kind of a street art in this gentrification and urban transformation process that made the neigborhood more attractive for the targeted clients. They visited the event with banners on which the figures related to this urban transformation such as the mayor, metropolitan mayor and the most  prominent constructor that is continously involved in such processes celebrated this street art event for its contribution to the attraction of the site.

What Begüm Özden Fırat, a sociologist and activist, suggested in an article about these events gives a very smart clue for those who wants to intervene in this transformation in critical terms with street art: Do your graffities on the walls of the city hall or on the billboards that intend to hide the ruins and the tragic scene of the urban transformation from the eyes of the people !

“Hâlâ burada yaşayan ve dönüşümün ikinci etabında ikamet edenlerin ellerini güçlendirmek için, boşaltılan alanları yaratıcı direniş mevzilerine haline çevirmek bir alternatif. Şüphesiz bu tavır, yaratıcılık kadar, örgütlenme, emek ve stratejik bir perspektif gerektiriyor. Böylesi uzun erimli örgütlenmelere tahammülü olmayan, anlık müdahaleleri tercih eden sabırsız yaratıcı zekâlar ise, belediye binasını, GAP İnşaat’ın ofisini ya da bulvar boyunca tertemiz duran reklam panolarını tual olarak kullanmayı seçebilirler.”

“In order to strengthen the people that still live here during the second phase of the (urban) transformation, turning the evacuated places into the sites of creative resistance is an alternative. Beyond any doubt, this attitude requires organization, effort and a strategical perspective, as well as creativity. Those impatient and creative minds that cannot take such long-term organization processes and prefer immediate interventions might chose to use the city hall, the office of GAP Construction Inc. (the company that carries out the urban transformation project in Tarlabaşı) or the spotless billboards throughout the (Tarlabaşı) boulevard as their canvas.”

(To read the full article of Begüm Özden Fırat in turkish language: http://birdirbir.org/tarlabasinda-sanat-yikima-dek-gorulebilir/)

So could there be a way to perform street art that don’t mean to fall into such a collaboration with gentrification? May be taking the content-frame relationship in a more precise and smart way, rather than using the urban fabric just as a canvas that fits in some aesthetical touch?

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Another City is Possible!: An Interview with David Harvey

David Harvey approches to anarchism as a spirit of movement to be inspired rather than a way of doing politics, as many recent Marxist approches tend to do. Together with this comment, he emphasizes that the forms of organizations should be different than the former ways of political organizations. To understand his criticism of anarchism and his point of view about new modes of urban struggle, his ‘Rebel Cities’ should be read and discussed further.

Another City is Possible!: An Interview with David Harvey

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Ne kadar ‘chaos’ o kadar ‘cool’

2005 yılında İstanbul’da geçekleştirilen UIA İstanbul Dünya Mimarlık Kongre’sine gelen dünya çapında tanınmış mimarlar arasında İstanbul’daki gündelik hayata ‘kaos’ deme eğilimi esmiş, kimisi bunu nasıl çözmek gerektiğine kafa yorarken aradan bazı sesler İstanbul’un kaosuyla başbaşa bırakılması gerektiğini savunmuştu. İstanbul’a yakıştırılan bu kaos söylemi, şehrin gündelik yaşamını otantikleştirerek geliştirilen diğer tahayyüllerden çok farklı bir yere gitmezken, bir yandan da ‘cool İstanbul’ söylemini pekiştiriyor; kent pazarlama taktiği olarak piyasada yerini buluyor. İşte hem kentin sosyal ve ekonomik sorunlarına yaklaşamayan, hem de turizme yönelik bir cazibe söylemi olmaktan ileri gitmeyen bu ‘İstanbul=Kaos’ mottosuna yeni bir örnek:

‘They call it chaos, we call it home’

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Taksim Sempozyumu

İstanbul’daki mimarlar Taksim’i tartışacak. Kenti yalnızca fiziksel bir mekan olarak ele almamaları, üretilmiş İstanbul tahayyüllerinin içine hapsolup, argümanlarını bu tahayyüllere dayandırmamaları, tüm bu dönüşümün bir kartpostal fonunu değil de insanların gündelik hayatlarını ve tüm bir toplumu nasıl etkilediğini akıllarında tutmaları umuduyla…

http://www.di.gen.tr/

Mapping the urban commons

Sulukule, the day after (Najla Osseiran, 2009) from http://hackitectura.net/blog/en/2012/mapping-the-commons-istanbul/

Now there is a new take on the  urban commons to construct a power of the right to the city against the power of the neoliberal governmentality and its discourse that puts the emphasis on the private economic relationships producing a marketable city for investors and upper economic classes. ‘Mapping the Commons of Istanbul’ attempted to map Istanbul’s urban commons for the imaginations of ‘the commonwealth of its social life’.

http://hackitectura.net/blog/en/2012/mapping-the-commons-istanbul/

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