Atelier Muse – Find Your Calling Istanbul art residency program starts in October and spreads three months and various venues, ensures participation to personal and social transformation with using bodily and contemporary art forms. This program hosts artist from Turkey and other countries.
17 December – Dance Performance : Untitle Things / Sole Medina / Kadıköy Theatron
16 December – Workshop: Let’s Dance / Sole Medina / Kadıköy Theatron
8 December – Workshop: Mapping The Fall / Sole Medina / ÇATI Contemporary Dance Artists Association
1 December- Workshop: Ceramics – Free Circulation / Yeşim Us / Studio Dutluk
28 October – Performance: Fragil And Agil / Benedetta Reuter, Bassem Hawar, Nicola Hein / ÇATI Contemporary Dance Artists Association
SOLE MEDINA – PROGRAM
I started freelancing as a dancer falling into contemporary dance. After studing Theater in “Teatro Imagen” Chile (2000- 2004.) I started Kalaripayattu and vocal training in Hindustan Kalari Sangam in India. My dance has integrated influences from Martial Arts, Butoh, Bodyweather training and all my accidents trough life. With C.I I got into other kind of awareness and somatic practices. Got my B.A in contemporary dance. P.E.T, U.D.L.A( 2013).
I am interested in submerging in creative processes that friction concepts around the body and perception in their possibilities of encounter, intimacy and affectation with others. Field to explore, the unpredictable, the intuition, the animality and the state of time in movement, and questions in how these can create choreographic proposals.
I’ve worked in the creation and collaboration of ; Cuerpo (2004), Lugares Inciertos (2011), Spaguetti 2065 (2012) Projecto Ciervo (2017) I’ve been performing in different kinds of festivals in Chile, Spain, France and Canada collaborating with national and international artists in research projects around improvisation as a performing practice. I`ve been teaching C.I in different festivals in Chile, Peru, Spain, France, Canada, México, Istanbul and New Zealand. In the processes of artistic management, my interests are displayed around independent training and the generation of community. In Barcelona I co-directed the Espai La Banyera.
In Santiago, Co directed the La Salvajería. In Valparaíso, organized SUDA. I organize Ciclo E.T, Tangible Experiences space of research on the displacements that take place in the perception of the body with the existence of others.
Sole Medina is interested in working with the theory of Affordances which is coined by psychologist James Gibson in 1977. It refers to all action possibilities depending on users’ physical capabilities. Affordances are an object’s properties that show the possible actions users can take with it, thereby suggesting how they may interact with that object. The central question for the theory of affordances is that information is available in ambient light for perceiving them.
Untitle Things is given shape in the framework of the concept of ‘affordances’. It is a solo dance performance. This performance explore loneliness and togetherness of things. It is interested in living creatures. It is a research project that traces the progressive boundaries between human and things and their relationship’s effects to our idea about reality. It’s a reflection about our own nature and the multiplicity of micro perception and relation. The aim of Untitle Things is to explore a physical exploration of mobility affected by things and all transformations that we experience and perceive in the contemporary world as living matters.
There are two sets of strategy. First is called ‘Site Seeing’ and it focuses on mapping the space and the body through observation. Second is called ‘manipulation’ and it focuses on the how we have a relationship with objects and things in different volumes.
LETS DANCE / MOVING OUR INNER FORCES
Space for the practice of improvisation, an invitation to enter, explore, play and reflect on what emerges from the body in movement. We will observe, active, shake, and move around the possibilities to create presence with our spatial awareness. Working on perception of inner space, in/outside body rhythms, outer sensory/spatial awareness. The space that surround us, the space we create together. Creating new spaces and ‘in-between spaces’, In order to enable the creative game of composing together, creating score, opening the possibility of having a common body.
Let’s zoom in zoom in exploring exercises, that open our perception through weight, flow and organicity, and its possibility of transformation and variation to spirals, curves, and elliptical forces observing the relation with the ground and the space, aiming to enrich the physical skills that enable us to improvise with our present moment.
MAPPING THE FALL
Fall, Fall in between, Fall between the fall. What are we sensing as we go through the fall? Can we grasp something in those brief moments? What are our GPS devices in the pathway of the fall?Every step is a little fall through space-time. What risks are we taking in the fall? What new spaces are created in the moments of the fall? What instincts do we notice? What are the different tonalities that appear in the action of the encounter with another? What forces hold us up before falling? How can we delay fall…and taste it longer? What do we touch when we fall? Can we touch the fall?
In Mapping the Fall // we are a space-time for the practice of contemporary dance and contact improvisation, an invitation to enter, explore, and reflect on that which emerges from the body in movement. We create our dances mapping and exploring touch through movement, modulating tone and differentiating pressure/weight. Hands are open and awake. We catch, we hold, we project, we invite, we embrace, we caress; this is happening all the time. We are observing the multiplicity of ways in which we consent, doubt, or collaborate through touch, exploring the micro-universes of how we do these. We are paying attention to how any movement can also be seen as falling; that instability leads to mobility and that we are surrounded by the sense of touch.
We activate and move through the systems that regulate our balance, aiming to enrich the sensory skills that enable us to improvise with each other.
We play our dances as the larval state where we are not seeking to be ready or finished. Our dance is always in a state of construction, of creation, and itself constructs another body and dance.
YEŞİM US – PROGRAM
She was born in 1983 in Ordu. In 2006, she graduated from Anadolu University, Faculty of Economics, Department of Labor Economics, Industrial Relations and in 2015, she completed her study at Kocaeli University Ceramics Department. She completed her internship at the Glass Furnace Foundation. In 2013, in Keramiek De Atelier, in Belgium, studied ceramics and took ceramic courses from Chirsitane Zeghers and Hein Severjins and made works together. She is currently pursuing her Master’s degree in Ceramics Glass at Istanbul Sakarya University and studying pedagogical formation at Marmara University.
The artist participating in national and international group exhibitions also took part in public art, urban transformation, street art projects and actions by taking place at Public Art Laboratory, Sanat Tanımı Community and Sehrine Ses Ver. Using the possibilities, indicators and contexts of the ceramic material, the artist makes researches in search of new expressions in contemporary art and makes readings and productions based on its own cultural codes by questioning the relations between material and discipline which are not supposed to be. The artist, in his geography; he thinks that art should be nourished with sociological, political and cultural structure, and he makes researches about independent art models;considers that artist should question his presence and position, and re-exist in the existing structure of today’s technology, perception and speed. She still works as an art teacher in various foundations, institutions and organizations while at the same time continuing art production at her own atelier.
We exist with our name, our profession, our title, our definitions, our feelings and our judgments. What we are is more visible than what we are not. But there are gaps, which reveal the existing, visible part. Our bodies, minds and souls are starting to enter a pattern within this framework.
As long as you release the body and move it out of shape, what are the rest of the body doing?
Is a free circulation possible from forms we are jammed into formlessness?
Where does the movement come out?
How does the mind and the body respond when they just start looking at what is in this silence?
What is the story that the words of silence tell us?
In this workshop where we will start by rediscovering our voice, language, discourse and story, together with the mud and ceramic, we are waiting for you in an experimental production practice about how to write again.
BENEDETTA REUTER, BASSEM HAWAR, NICOLA HEIN – PROGRAM
She is an Italian-German dancer and choreographer based in Cologne. After her dance studies in stage dance at the Folkwang University of the Arts, Essen, she led her dance activities through different European countries and to several working stays on the African continent. Her work investigates the connections and interactions between dance and other arts. Again and again she works with musicians from the fields of contemporary experimental music and jazz and explores the relationship between sound and body. Starting from the interplay of sound * body * movement * environment, the exploration of the interface between music and dance is a central theme of her artistic work. In recent years she has focused on the development of performance projects developed with various musicians in local and international collaborations. For example, “Electric Tire-Land”, “Basso Continuo” and “the fabric of the universe” were created in cooperation with the Tanzanian artist organization ASEDEVA.
Bassem Hawar studied Iraqi and Oriental Music with a major in djoze at the Baghdad Conservatory. He went on to earn a degree in violin and musicology at the University of Baghdad and then spent several years teaching djoze, violin and music theory at the Conservatory and the Baghdad Music School. Hawar performed under the auspices of the Ministry of Culture in various ensembles including Al Bayariq, Al Nahar al jadid, Babel the Iraqi National Symphony Orchestra. He also co-founded the group Melodic with his brother, oud player Saad Mahmood Jawad. Bassem Hawar makes his own instruments and has revolutionized the design and construction of the djoze, an ancient musical instrument dating back to Sumerian times. Formerly confined mainly to use in traditional Iraqi maqam music, Hawar’s innovations render the djoze capable of playing all forms of Arabic and European music. His design is now used in Iraq to make the instrument known as “Bassem’s djoze”. Since moving to Germany in 2000, Bassem Hawar has established a successful career as a freelance musician. His first project in Europe was playing with the Dutch jazz group Yuri Honing Trio. Bassem Hawar is a founding member of the groups, Ahoar, Lagash and Sidare, which have given numerous concerts throughout Europe and in several Asian countries. In 2006 Ahoar took first place at the statewide music competition Creole NRW and went on to win “Germany’s global music contest” gain at the national level the following year. Bassem Hawar plays in many different groups encompassing a wide range of musical genres, from classical Iraqi maqam (Duo Melodic, Mesopotamiens) to European medieval music (Sanstierce, La Beltatz) to Flamenco (Trio Ziryab), contemporary classical music and experimental jazz (Crossover Bagdad Köln).
He is guitarist, composer, philosopher and sound artist. As a sound artist he develops various possibilities to project the musical ontology of improvised music onto different aesthetic spaces. This happens through the creation of instruments, installations and other forms of guitar use that use the musical ontology of improvised music as a center of sound practice, but create many different sensory structures that differ from the usual practice of improvised music (e.g. by creating a scenic sensory level, etc.) He also creates sound installations that involve the recipient as part of the work. The works encourage the recipient to make a special aesthetic experience with different sounds. The aesthetics of these sounds are inspired by the aesthetics of Free Improvised Music.
First resident artists of this year’s program are Benedetta Reuter, Bassam Hawar, Nicole Hein ve Caroline Skibinski in the frawork of their dance performance FRAGIL UND AGIL. In this context, Benedetta Reuter and Bassem Hawar will perform their project’s preview in ÇATI Contemporary Dance Artist Association on 23th October and Benedetta Reuter & Nicola Hein on 28th October.
In FRAGIL UND AGIL – dancer and choreographer Benedetta Reuter and musicians Bassem Hawar (focus on Iraqi oriental music) and Nicola Hein (focus on free jazz and new music) explore the relationship between contemporary dance and contemporary sound art with influences from non-European music cultures in the context of aesthetic perspectives. In the development of an interdisciplinary musical dance performance, European and oriental music cultures come together, different horizons of understanding and manifestations of the two art forms enter into a direct dialogue. Another component of FRAGIL UND AGIL is the mediation work, which is carried out by the Syrian mediator and archaeologist Jabbar Abdullah. During the rehearsals, an intensive, curious and eye-level exchange with new arrivals takes place through rehearsal visits and on the evenings of the event. Habits of seeing are discussed in the context of one’s own experiences. Through this exchange, the participants want to reach as diverse an audience as possible with and without a migration biography or escape experience.