Banu Cennetoğlu

Banu Cennetoğlu is a visual artist based in Istanbul. She was born in Ankara in 1970. She uses photography, installation, and printed matter to explore the classification, appropriation and distribution of data and knowledge.[1] Her work deals with listings, collections, rearrangements, and archives.[2] She co-represented Turkey at the 53rd International Venice Biennale with Ahmet Öğüt in 2009.[3] Her work has been shown at several international institutions such as Liverpool Biennial, Liverpool (2018), Chisenhale Gallery, London (2018); documenta14, Athens and Kassel (2017); Bonner Kunstverein, Bonn (2015); Kunsthalle Basel, Basel (2011); Gwangju Biennale, Gwangju (2014), Manifesta 8, Murcia (2010); Walker Art Center (2007); Istanbul Biennial (2007); and Berlin Biennial (2003). She is the founding director BAS (2006–ongoing), an Istanbul-based artist-run initiative that focuses on artists’ books. In Turkey, she is "best known as an apostle of the artist’s book."[4]

Education

Cennetoğlu received a BA in psychology and then studied photography in Paris. From 1996 to 2002, she lived in New York where she worked on documentary and fashion photography for publications such as Purple and Self Service.[4][5] In 2002, she moved to Amsterdam where she studied a.o. at the Rijksakademie van beeldende kunsten and got involved with artists' books.[4][6] In 2005, she moved back to Turkey.[7] In 2016, she was a guest at the DAAD Artists-in-Berlin Program.[8]

Selected Works

The List, 2007–ongoing

Since 2007, Cennetoğlu has been developing The List[9] in collaboration with UNITED for Intercultural Action, an Amsterdam-based network in support of migrants and refugees.[10] The work is a collection of data about thousands of immigrants, asylum seekers, and refugees who lost their lives on their way to or at the border of the European Union since 1993.[11] It is presented in multiple forms, including posters, billboards,[12] newspaper supplements,[13] and public screens, [14] in various cities, including Amsterdam, Athens, Basel, Istanbul, Sofia, Bonn, Milano, Los Angeles, Berlin, London, and Liverpool.[9]The List featured data about 7,128 individuals when first exhibited in Amsterdam in 2007. As of May 2018, it includes 34,361 cases.[15] Cennetoğlu does not consider the project "an art piece"; she does not edition it, sell it or sign it.[16] Although she doesn't consider this project an artwork, she acknowledges a connection between The List and her artistic practice, as her artworks deal with witness-bearing.[17]

"Governments don’t keep these record for the public; they don’t want the public to see these records because it exposes their policies, so you have NGOs trying to put data together, and that data is incomplete and fragile, but there again someone has to do it. And I want to contribute to that with what I have and what I do—but not by aestheticizing it. You cannot represent this kind of darkness through art."[18]  

The 2017 edition was distributed as an insert in Tagesspiegel Berlin edition.[19][20] The latest edition in 2018 was printed and distributed as a supplement by The Guardian in a print run of 210,000 on World Refugee Day, June 20, 2018[21][22]. Subsequently, it was exhibited in the form of posters at Great George Street in Liverpool as part of the Liverpool Biennial 2018 and in conjunction with Cennetoğlu’s solo exhibition at Chisenhale Gallery, London.[8] On August 1, 2018, the posters in Liverpool were anonymously destroyed and removed.[23][24][25] Some suggested that a council worker may have mistaken the work as an illegal poster and taken it down, but a spokesperson from the city council refused the allegation.[26] The work was reinstalled on August 5, 2018, but was vandalised again shortly afterwards.[27]

Catalog 2009, 2009

As part of Lapses, the two-artist exhibition (with Ahmet Öğüt) curated by Başak Şenova for the Pavilion of Turkey at the 53rd International Venice Biennale, Cennetoğlu produced CATALOG 2009 (2009),[28] a book that mimics the format of a mail-order catalog, comprising 450 photographs organized in fifteen categories inspired by stock photography:[4] composition, color, assumption, negotiation, operation, vanity, adjustment, excursion, caution, love, seizure, exploit, act, invasion and replacement.[1] Cennetoğlu created subjective categories to organize her photographs along with a few found photographs, challenging the assumed hierarchies of value.[29] For the duration of the exhibition in Venice, the viewers were encouraged to order and download the featured photographs from the Internet free or charge.

04.09.2014, 2014

At the 2010s,[30][31] Cennetoğlu created bound collections of daily newspapers printed in one day in Turkey, Switzerland, and Germany respectively. The work offers a juxtaposition of information in an unconventional way, and questions the politics of representation through print media.[2] The artist calls it a "re-contextualization" of the newspaper and "an almost monumentalization"[29] as the archiving of printed matter is meant to be temporary.

Gurbet's Diary, 2017

Commissioned by documenta14, Gurbet’s Diary is a work that comprises 82,661 words in mirror image placed on 145 press-ready lithographic limestone slabs.[32] It draws from Gurbet's Diary. I Engraved My Heart into the Mountains by Gurbetelli Ersöz, first published in 1998 by Mezopotamien Verlag, Neuss.[33] Ersöz was a chemist turned editor turned guerrilla—a Kurdish fighter who kept a journal as an act of resistance between 1995–97. In her diary, she writes about her experience as a fighter as well as her observations in nature, poetry she likes, and the difference between being an intellectual and a fighter.[32] She was killed in 1997. As part of the exhibition in Kassel, Cennetoğlu created a related work, replacing the usual inscription of "Museum Fridericianum" with "Being safe is scary"—as a tribute to Ersöz.[34][35]

Exhibitions

Cenneoğlu has had several solo exhibitions in public institutions, including Chinsenhale Gallery, London (2018)[36]; Bonner Kunstverein, Bonn (2015)[37]; Gentle Madness, Rodeo, London (2014)[38]; Banu Bar Mixt, Salonul de proiecte, Bucharest (2013)[39]; and Guilty feet have got no rhythm., Kunsthalle Basel, Basel (2011)[40].

Selected group exhibitions include Liverpool Biennial, Liverpool (2018)[41]; Stories of Almost Everyone, Hammer Museum, Los Angeles (2018)[42]; 3rd Berlin Herbstsalon, Maxim Gorki Theater, Berlin (2017)[43]; documenta14, Athens and Kassel (2017)[32]; It is Obvious from the Map, Redcat, Los Angeles (2017)[44]; The Restless Earth, Fondazione Nicola Trussardi, Milan (2017)[45]; … und eine Welt noch, Kunsthaus Hamburg, Hamburg (2016)[46]; Burning Down The House, 10th Gwangju Bienniale, Gwangju (2014)[47]; Frozen Lakes, Artist’s Space, New York (2013)[48]; Manifesta 8, Murcia (2010)[49]; The Pavilion of Turkey at the 53rd Venice Biennale (2009)[50]; 3rd Berlin Biennale (2008)[51]; 1st Athens Biennale (2007)[52]; and 10th Istanbul Biennale (2007)[53].

The artist is represented by Rodeo Gallery in London.[54]

Artist-run initiative

In 2006, Cennetoğlu initiated an artist-run project called BAS,[55] which roughly translates as "print".[56] The space currently hosts a collection of artists' books and ephemera on permanent display, which has grown from her own collection.[57] The collection comprises three main categories: artists' publications, periodicals, and project publications with an online inventory.[58] The artists' books in the collection are produced in large editions and circulate outside of mainstream art channels.[59] This can be considered as an extension of her artistic research on the collection, organization, and dissemination of information.[56]

Alongside BAS, Cennetoğlu collaborated with artist Philippine Hoegen to establish Bent, the publishing project that focused on commissioning artists' books by artists from Turkey. The first publication was Pavement Myth-The Life of the Pavement’s Wolf (1, 2, 3, 4, 5, 6) by Masist Gül, followed by artists' books Takip/Poursuite (2006) by Aslı Çavuşoğlu, Bent003 by Emre Hüner, Sahil Sahnesi Sesi (2008) Cevdet Erek, KILAVUZ (2009) by the artist collective Atılkunst, among others.[57]

BAS also hosted exhibitions, including Masist Gül (2011); Artists' books from Georgia and BAS Collection (2011); KORIDOR 1988–1995 (2010); Artists' books by Sol LeWitt (2009), and more.[60]

To develop the BAS Collection, Cennetoğlu prioritizes diversity over personal taste as she has an open acquisition policy when buying, accepting, and bartering artists' books.[61] The collection is open to the public.[59]

In 2014, collectorspace, an Istanbul-based nonprofit, collaborated with Cennetoğlu and the BAS Collection to work on an exhibition with a newspaper project borrowed from the collection, titled Corrections and Clarifications (2001–ongoing) by artist Anita Di Bianco.[62]

References

  1. 1 2 Villarreal, Ignacio. "First Comprehensive Solo Exhibition in Switzerland of Works by Turkish Artist Banu Cennetoglu". artdaily.com. Retrieved 2018-03-26.
  2. 1 2 "Banu Cennetoğlu". Artblog Cologne. 2015-12-12. Retrieved 2018-03-26.
  3. ↑ "LAPSES / CONCEPT". www.venicebiennial-turkey.org. Retrieved 2018-03-27.
  4. 1 2 3 4 "Banu Cennetoğlu: Legacy of fragility | Bidoun". Bidoun. Retrieved 2018-03-26.
  5. ↑ "Banu Cennetoglu: BAS / Bent". artistsspace.org. Retrieved 2018-03-27.
  6. ↑ "Van Eyck - Banu Cennetoglu". www.janvaneyck.nl. Retrieved 2018-03-26.
  7. ↑ Prashad, Vijay. "'Being safe is scary': At Germany's documenta 14, chilling reminders that history repeats itself". Scroll.in. Retrieved 2018-03-27.
  8. 1 2 "Artists | Liverpool Biennial of Contemporary Art". www.biennial.com. Retrieved 2018-08-11.
  9. 1 2 "LIST.info". www.list-e.info. Retrieved 2018-08-11.
  10. ↑ Casdorff, Stephan-Andreas; Maroldt, Lorenz (2017-11-09). "Künstlerin dokumentiert das Sterben von 33.293 Geflüchteten". Der Tagesspiegel Online (in German). ISSN 1865-2263. Retrieved 2018-03-27.
  11. ↑ Donadio, Rachel. "The List-Keepers Who Document the Dead". The Atlantic. Retrieved 2018-03-27.
  12. ↑ "Artists | Liverpool Biennial of Contemporary Art". www.biennial.com. Retrieved 2018-03-27.
  13. ↑ Editorial, Reuters. "Newspaper identifies 33,293 people who've died seeking shelter in..." U.S. Retrieved 2018-03-27.
  14. ↑ "'The List' of 22,342 Migrants Appears on Public Screen in Istanbul". Bianet - Bagimsiz Iletisim Agi. Retrieved 2018-03-27.
  15. ↑ "Artists | Liverpool Biennial of Contemporary Art". www.biennial.com. Retrieved 2018-08-11.
  16. ↑ "Banu Cennetoğlu". Artblog Cologne (in German). 2015-12-12. Retrieved 2018-03-27.
  17. ↑ Higgins, Charlotte (2018-06-20). "Banu Cennetoğlu: 'As long as I have resources, I will make The List more visible'". the Guardian. Retrieved 2018-08-11.
  18. ↑ Higgins, Charlotte (2018-06-20). "Banu Cennetoğlu: 'As long as I have resources, I will make The List more visible'". the Guardian. Retrieved 2018-08-11.
  19. ↑ tagesspiegel.de/downloads/20560202/3/listeentireberlinccbanu.pdf
  20. ↑ "Gorki - Herbstsalon | Banu Cennetoğlu". www.berliner-herbstsalon.de. Retrieved 2018-03-27.
  21. ↑ "The List | World news". the Guardian. Retrieved 2018-08-11.
  22. ↑ Needham, Alex (2018-06-20). "The List: the 34,361 men, women and children who perished trying to reach Europe". the Guardian. Retrieved 2018-08-11.
  23. ↑ "Project Documenting the Deaths of Over 34,000 Refugees Mysteriously Removed at Liverpool Biennial". Hyperallergic. 2018-08-03. Retrieved 2018-08-11.
  24. ↑ "List of Thousands of Dead Refugees Destroyed in Liverpool". frieze.com. Retrieved 2018-08-11.
  25. ↑ "ArtAsiaPacific: Banu Cennetoglus Work Removed From The Liverpool Biennial". www.artasiapacific.com. Retrieved 2018-08-11.
  26. ↑ Pidd, Helen (2018-08-01). "Art project listing names of dead refugees and migrants is destroyed". the Guardian. Retrieved 2018-08-11.
  27. ↑ "List of 34,361 dead refugees and migrants goes back on show in Liverpool after being destroyed". www.theartnewspaper.com. Retrieved 2018-08-11.
  28. ↑ dmovies.net (2013-06-26), Banu Cennetoglu, 'Catalog' (2009), 53rd Venice Biennale, Turkish Pavilion, retrieved 2018-03-27
  29. 1 2 "Sampling the Document or Documenting the Sample: An Interview with Banu Cennetoglu | Art21 Magazine". Art21 Magazine. Retrieved 2018-03-27.
  30. ↑ "Guilty feet have got no rhythm. • Kunsthalle Basel". Kunsthalle Basel. Retrieved 2018-03-27.
  31. ↑ "Banu Cennetoğlu". frieze.com. Retrieved 2018-03-27.
  32. 1 2 3 "Banu Cennetoğlu". Retrieved 2018-03-27.
  33. ↑ "Diaries as a space of histories". Retrieved 2018-03-27.
  34. ↑ "documenta 14 Kassel: the overview". frieze.com. Retrieved 2018-03-27.
  35. ↑ (www.dw.com), Deutsche Welle. "Documenta art exhibition more political than ever | Arts | DW | 09.06.2017". DW.COM. Retrieved 2018-03-27.
  36. ↑ "Banu Cennetoğlu | Chisenhale Gallery". Chisenhale Gallery. Retrieved 2018-08-11.
  37. ↑ "Bonner Kunstverein » Banu Cennetoğlu". www.bonner-kunstverein.de. Retrieved 2018-08-11.
  38. ↑ "RODEO Gentle Madness". rodeo-gallery.com. Retrieved 2018-08-11.
  39. ↑ "banu bar mixt : SALONUL DE PROIECTE". salonuldeproiecte.ro. Retrieved 2018-08-11.
  40. ↑ "Guilty feet have got no rhythm. • Kunsthalle Basel". Kunsthalle Basel. Retrieved 2018-08-11.
  41. ↑ "Intro | Liverpool Biennial of Contemporary Art". www.biennial.com. Retrieved 2018-03-27.
  42. ↑ "Stories of Almost Everyone - Hammer Museum". The Hammer Museum. Retrieved 2018-03-27.
  43. ↑ "Gorki - Herbstsalon | 3. BeЯliner HeЯbstsalon". www.berliner-herbstsalon.de. Retrieved 2018-03-27.
  44. ↑ khargraves (2016-12-19). "It is obvious from the map". Retrieved 2018-03-27.
  45. ↑ "La Triennale di Milano » The Restless Earth". www.triennale.org. Retrieved 2018-08-11.
  46. ↑ ""…und eine welt noch" – Kunsthaus Hamburg". kunsthaushamburg.de (in German). Retrieved 2018-03-27.
  47. ↑ "GWANGJU BIENNALE". www.gwangjubiennale.org (in Korean). Retrieved 2018-03-27.
  48. ↑ "Frozen Lakes". artistsspace.org. Retrieved 2018-03-27.
  49. ↑ "Manifesta 8 « MANIFESTA". manifesta.org. Retrieved 2018-08-11.
  50. ↑ "LAPSES / CONCEPT". www.venicebiennial-turkey.org. Retrieved 2018-08-11.
  51. ↑ "3rd Berlin Biennale - Berlin Biennale". blog.berlinbiennale.de. Retrieved 2018-08-11.
  52. ↑ "AB1 DESTROY ATHENS | Athens Biennale". athensbiennale.org. Retrieved 2018-08-11.
  53. ↑ "İstanbul Kültür Sanat Vakfı | Uluslararası İstanbul Bienali". 10b.iksv.org. Retrieved 2018-08-11.
  54. ↑ "RODEO Banu Cennetoğlu". rodeo-gallery.com. Retrieved 2018-03-27.
  55. ↑ "BAS". www.b-a-s.info. Retrieved 2018-03-27.
  56. 1 2 "Banu Cennetoğlu". frieze.com. Retrieved 2018-03-26.
  57. 1 2 "Banu Cennetoğlu: Corrections and Clarifications from the BAS Collection - Classroom - Art & Education". www.artandeducation.net. Retrieved 2018-03-27.
  58. ↑ "Sanatçı Kitapları Koleksiyonu // BAS Artists' Books Collection « BAS". www.b-a-s.info. Retrieved 2018-03-27.
  59. 1 2 "Collectorspace". collectorspace.org. Retrieved 2018-03-27.
  60. ↑ "Sergiler // Exhibitions « BAS". www.b-a-s.info. Retrieved 2018-03-27.
  61. ↑ collectorspace (2014-05-17), Banu Cennetoğlu, Istanbul, retrieved 2018-03-27
  62. ↑ Corrections and Clarifications from the BAS Collection. Istanbul: collectorspace. 2017.
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