• Grupo Etcètera, El Mierdazo (The Big Shit), 2002, street intervention/political performance, Buenos Aires. From the 11th International Istanbul Biennial.

    11th International Istanbul Biennial

    Various Venues
    Sharjah United Arab Emirates
    September 12–November 8, 2009

    Curated by WHW (Ivet Curlin, Ana Devic, Nataša Ilic, and Sabina Sabolovi)

    Capitalizing on its location at the crossroads of Europe and Asia, the International Istanbul Biennial has consistently offered an inventive platform for the representation of contemporary geopolitics. The eleventh iteration will be no exception, as the Croatian curatorial collective WHW (What, How & for Whom) borrows the title—and draws its conceptual framework—from Bertolt Brecht and Kurt Weill’s song “What Keeps Mankind Alive?” Presenting over one hundred works across three venues (two former industrial buildings and an abandoned school), the curators take up the urgent question of art’s capacity to bring about social change, charging the exhibition’s sixty-nine artists—among them Trevor Paglen, Wafa Hourani, and Artur Zmijewski—and substantial coinciding publication with the task of reinvigorating Brecht’s Marxist message to critique today’s neoliberal conditions.

  • Sarkis, Bourdelle, 2007.


    Istanbul Museum of Modern Art
    Asmalımescit Mahallesi Meşrutiyet Caddesi, No:99
    July 16, 2013–January 10, 2010

    Curated by Levent Calikoglu

    Born in Istanbul to Armenian parents in 1938, Sarkis Zabunyan relocated to Paris at the age of twenty-six, dropped his surname, and was soon included in Harald Szeemann’s seminal 1969 exhibition, “When Attitudes Become Form.” This fall, the Istanbul Modern will give its entire building, including the cinema and the library, to the expatriate Conceptualist’s first Turkish retrospective. Spanning nearly half a century of painting, drawing, sculpture, installation, photography, audio, and video, this show of twenty-five works will feature a new site-specific neon installation and several pieces never before seen outside Sarkis’s studio. Tracking his prolific production by highlighting a key work from each year since 1966, the catalogue will also present an essay by the curator and an interview with the artist.