The theme of the 14th Istanbul Biennial, which is curated by Carolyn Christov-Bakargiev, is SALTWATER. A Theory of Thought Forms. This international exhibition will feature new works by more than fifty visual artists and other professionals, including oceanographers and neuroscientists, in a project that extends across the whole city of the Bosphorus and surveys the different frequencies and patterns of waves, currents and water densities, both visible and invisible, that shape and transform the world poetically and politically.
With the collaboration of AC/E, the Spaniard Fernando García- Dory is taking part in the event with a project entitled Inland Turkey Extension Agency. This project is a social sculpture and propaganda space that is drawing on INLAND. Dory initiated this project in in 2010 ( www.inland.org). For one year , Garcia Dory worked together with different groups in Turkey ( from a union of concerned architects to kurdish farming cooperatives ) developing collaborations. The result is the installation on show at the Biennial organised around four case studies. These case studies the artist has been researching about are expanded in a series of talks, lectures and discussions to trigger a public debate about contemporary Turkey´s relations with its territory and its models of development. They aim to spread the need to transition from a plunder economy to an agroecological model. The installation allows the the space different settings ( eatery, group meeting, ierarchical lecture ) and is arranged and rearranged during the biennale. In the main wall, there is a description of the project and a manifesto and the diagram of the organisation. The other walls are covered with posters, made in a old print machine used for quick political prints and advertising, and using a local paper ( the one Greenpeace and the Americal Coalition are also using in their forms ) , displaying images from agronomic brochures and other forms that become iconic, or brands.
Other Spaniards taking part in the Biennial are Chus Martínez, a curator and current director of the Institute of Art at the FHNW Academy of Arts and Design in Basel, who is collaborating in the production, and the research scholar Luis Rico García-Amado, who is involved in the educational programme Democracy School.
With the collaboration of AC/E, the Spaniard Fernando García- Dory is taking part in the event with a project entitled Inland Turkey Extension Agency. This project is a social sculpture and propaganda space that is drawing on INLAND. Dory initiated this project in in 2010 ( www.inland.org). For one year , Garcia Dory worked together with different groups in Turkey ( from a union of concerned architects to kurdish farming cooperatives ) developing collaborations. The result is the installation on show at the Biennial organised around four case studies. These case studies the artist has been researching about are expanded in a series of talks, lectures and discussions to trigger a public debate about contemporary Turkey´s relations with its territory and its models of development. They aim to spread the need to transition from a plunder economy to an agroecological model. The installation allows the the space different settings ( eatery, group meeting, ierarchical lecture ) and is arranged and rearranged during the biennale. In the main wall, there is a description of the project and a manifesto and the diagram of the organisation. The other walls are covered with posters, made in a old print machine used for quick political prints and advertising, and using a local paper ( the one Greenpeace and the Americal Coalition are also using in their forms ) , displaying images from agronomic brochures and other forms that become iconic, or brands.
Other Spaniards taking part in the Biennial are Chus Martínez, a curator and current director of the Institute of Art at the FHNW Academy of Arts and Design in Basel, who is collaborating in the production, and the research scholar Luis Rico García-Amado, who is involved in the educational programme Democracy School.
