beyond credit. contemporary art and mutual trust

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Beyond CreditContemporary art and mutual trust

The following text is relayed to you in strict confidence

No part of this text could be used for anything else but as an insight into the curatorial motivation for an internationalart show in a situation of global financial crisis and dragging insecurity about the future.

No part of this text could be used for any kind of political utopianism apart from the belief that the crisis produces,as one of its side-effects, new lines of cultural credit and new bonds of identity confidence as long as one is willing tolook for them.

No part of this text could be used for anything else but as a reflexive screen on which to project the messagein the works of a number of international artists who have worked with: a/ mutual trust and confidencebetween people, their regions, religions and cultures; b/ monetary and symbolic exchange mechanisms aswell as cultural aspects of the market before/after the crisis; c/ new ways of visualizing the dream of a worldwithout borders of whatever kind; d/ money, love, ethics, multidimensional thinking and futuristic visions ofthe most unrealizable kind.

In fact, it would be best if you do not use this text for anything else but as an incentive to think further along the linesof (intellectual) confidence defined here in a non-analytical but deeply committed way. In fact it is best to read thistext only before you go to see the show Beyond Credit. Contemporary Art and Mutual Trust in Istanbul and never tocome back to it ever again!

***The market as we knew it is over. The global financial markets that crashed in the fall of 2008 were based ona system of confidence (trust), simulated influence and false promises of profitable investments the betterone can convince an investor of the potential profitability of a project, the more generous credit lines one wouldsecure... The symbolic entity (sequence) of trust confidence influence was used to generate cash, which

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Anetta Mona Chisa & Lucia Tkacova

ROMANIA&SLOVAKIA

a/ All Periods in Capital (2007)

If money is ever more identical in appearance and abstract in value, theneverything could be reduced to simple, interchangeable items - this is asgeneral a suggestion as one can find in The Capital by Karl Marx, which hewrote in the 19th c. The most complex item can be reduced to a blueprintfor social experimentation and human life manipulation (lets say by thetotalitarian regimes in Eastern Europe) or to an irreverent gesture of de-ideologizing like in this work.

Using prolonged and tedious physical labor, the artists have transformedall the periods in the printed edition of Marxs book into small black balls,hand-crafted and meticulously counted, to put all of them into a simple bag

placed on the floor. Starting from this ironicalcomment one can make a projection abouteconomical theory it seems that the little dotsand commas are all that is left on the books ofa corporation or a bank once a crisis hits andassets are wasted

b/ After the Order (2006)

Based on the famous caricature from 1911 representing the social pyramidof capitalism, the work refers to two different representations of hierarchyin social systems. One of them is capitalism in its classical form; the other -neo-capitalism in the countries of former Soviet Block Eastern Europe. Thenew social layering of the Slovak society is visualized in photo collages thatmake clear who is the master and who the servant is these days. On alarge billboard we see alternatives to the pyramid of capitalism one is thehuman decoration used by totalitarian socialism (and Nazi Germany)during mass celebrations on stadiums whereupon large number of athleteswere constructing a high, Babylon-tower-like, structure from the balancingof their trained bodies. The other pyramid is generated by the artists as agroup performance by none-athletes (only female) who are acting on theirfree will as participants in an artistic event rather then in an ideologicallymotivated action after the order has been given to construct a humanpyramid. This living monument to human solidarity is based on a mutualsupport system (of trust) between free-acting participants in a group event.

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p (2009)Bu sanat son finans kriziyle dorudan balant halinde bir video eserekmitir. 2009-2010 aras svire'de kald 6 aydaki faaliyetlerindenesinlenir. Zrih'te bir yabanc olarak yaarken ehrin yerlileri iin bile svirekanunlarna uygun olarak p ayrtrp atmann zor olduunu grmtr.Doru dzgn bir i bulamayan sanat komularna bir i nerisinde bulunur.plerini olduu haliyle arabasna koyup Alman snrndan geirecek veorada atacaktr. Alman p kanunlar daha gevek, Alman snr yakn,sanatnn arabas da byktr. Ortaya iyi bir i kar...

Ivan Moudov

Rahat Aydnlanma (2010)Kapitalizmin krizden nceki son aamas, Dou Avrupa'nn eski sosyalistlkelerinin vahi kapitalist dnmyd. Komik olan u ki, tm bu srecinen materyalist boyutu egemen oldu.

Rahat aydnlanma (2010), para, rvet, erdem ve toplumdaki materyalistgdye iaret eden bir dizi Latince deyimdir.

Kiril Prashkov

Truva Savalar (2005)Bu film sahte gven ve beklentiler, smr ve kreselleme, elenceendstrisi, ve birinin hayatn deitirmek isteyip baaramamas zerinedir.Hollywood yldz Brad Pitt'in yerine burada bir Bulgar genci gemitir...

Krassimir Terziev

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Sonsuz Dnya Koleksiyonu (1990-bugn)Sanat Sonsuz Dnya Koleksiyonuna 1989da Berlin duvarnn kylebalad. Binlerce nesne vardr: bilinen ve tuhaf, komik ve sama, masum veirkin vs. imdi dnya, 1989dan daha kk bir yer olsa da, daha iyi ya dagzel bir yer deildir... daha kreseldir, o kadar...

Lia Perjovschi

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Stefan Nikolaev

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Aristarkh Chernyshev

Lirik Ekonomi (2005)Dijital ekran objesi yaratc dncenin para sz (ya da deer) dizisiniaratrr. Shakespeareden alnma msralar bilgi eritlerine kanalize edilir.Bylece zor okunan bilgi bitleri haline dnrler. Bu halde daha ok menkulkymet alm satm bilgi bantlarna benzerler.

Popler Dnya Ekonomisi (2010)Bu esere gre para tm dnyada en dk ortak paydadr. Her yerde paravardr, sevilir nefret edilir, yaplr tketilir, alnr verilir, kullanlr israfedilir, iyiye ktye harcanr, vs. Eserdeki siyasi haritada her lkenin ismiyerine o lke argosunda paraya verilen isim vardr. Harita para konuurzdeyiini resimletirir.

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was then used further down the credit lines to create more visibility of influence so that one can secure stillfurther credit. Ultimately the system failed because at some point the cycle of symbolic exchange of influenceand confidence needed to be transformed back into cash, to numbers backed by solid assets, in other words -to instant liquidity. But it could not. Instant liquidity of assets insured or not, was not immediately available,not even after some time.

The system collapsed due to the universal decline of trust and lack of confidence in the world financial system. Theresult is the death of credit as we knew it.

Thus, for the purposes of this text we will, very confidentially, call the need for instant liquidity at the end of the creditsequencing - instant gratification of confidence lines.

***The old market is gone; the old notion of credit is gone; a new foundation must be established and a new culture oftrust and confidence should be constructed; a new definition of credit must be found and the global economy mustbe put back on track That is what we are told.

The major world players have started to do just that China started controlling its products and signed a tradeagreement with Taiwan; the presidential elections in the USA coincided with the most active phase of the financialcrisis and it seems that the new administration is on its way of defining new alliances and ideas for mutual trustof a new kind; Japan is trying to re-organize its production surpluses; even Russia seems to be acknowledging itsfailure to generate anything but cash from oil India, Brazil, the Arab Worldeverybody is repositioning, solidifyinginvestments, looking for trust and confidence.

The European Union on its turn is not only in the process of redefining its credit policies and finances but is alsoin the middle of the greatest identity crisis in its history (we are not talking here about the Euro). The future ofthe EU hinges not only on the successful implementation of its new constitution (the Lisbon Treaty) but also onits ability to redefine the notion of Europe - on one end of the continent there are the greatest Euro-skeptics,Ireland and the UK, that are in a constant need to be reassured, while on the other end of the continent the

Kredi tesiada sanat ve karlkl gven

Aadaki metin size mutlak gizlilik iinde iletilmitir...

Bu metnin hi bir paras, kresel finans krizi ve bunun getirdii gelecek gvensizlii artlarnda dzenlenen biruluslararas sanat gsterisi iin kratrlk amac dnda kullanlamaz.

Bu metnin hi bir paras, bu krizin bir yan etki olarak yeni kltrel kredi ve yeni kimlie gven dizileri oluturduuanlay dnda herhangi bir politik topyaclk amacyla kullanlamaz.

Bu metnin hi bir paras, bir grup uluslararas sanatnn eserlerinde mesajn yanstlmas iin bir yanstma ekran

olmann dnda kullanlamaz. Bu sanatlar aadakilerle almlardr: a) insanlar, lkeler, dinler ve kltrlerarasnda karlkl gven ve inan; b) piyasann parasal ve sembolik alveri mekanizmalar ve kltrel boyutlarnnkriz ncesi/sonras hali, c) herhangi biimde snrlar olmayan bir dnya hayalini yaatmann yeni yollar, d) para,ak, ahlak, ok boyutlu dnce ve en olmayacak gelecek vizyonlar.

Aslnda en iyisi, bu metni sadece, burada tanmland gibi analitik olmayan ama derinden kendini vermi ekildekibir (entelektel) gvenin ana hatlarn izleyerek dnmek iin bir vesile olarak kullanmaktr. Yine en iyisi, bumetni Kredi tesi: ada sanat ve karlkl gven, stanbul sergisini izlemeye gitmeden nce okumak ve birdaha bakmamaktr!

Bildiimiz piyasa sona erdi. 2008 sonbaharnda ken kresel finans piyasalar bir gven (inan), sanal bir etki,ve krl yatrmlar zerine sahte vaatlere dayanyordu yatrmcy potansiyel yatrmn krllna ne kadar iknaedebilirseniz, o kadar cmert krediler elinizin altnda oluyordu... Bu sembolik gven (zincirleri) olgusu -inan-

ile nakit para retiliyor, sonra bu tekrar yeni kredi zincirleri boyunca daha grnr etki yaratmak ve bylece

daha ok kredi elde etmekte kullanlyordu. Sonunda bu sistem kt, nk bir noktada bu sembolik etki ve

inan alverii dngsnn tekrar nakit paraya evrilmesi gerekti, yani somut birikimlerce ifade edilen rakamlar...Ya da baka szlerle hemen nakde... ama olmad. Hemen nakit salayacak birikimler, gvencede olsun olmasn,ne derhal ne de bir zaman sonra elde edilebilir deildi.

Sistem, dnya finans sitemine olan gven ve inancn kresel dzeyde anmas sonucu kt. Bunun sonucu,kredinin bildiimiz ekliyle lm oldu.

Bylece, bu metnin amalar nedeniyle biz, son derece gizli olarak, kredi zincirinin sonunda hemen nakde ihtiyacn

gven zincirinin derhal ihyasnn- arsn yapyoruz.

Eski piyasa yok artk, eski kredi biimi de yok, yeni bir temel ina edilmeli ve yeni bir gven ve inan kltr inaedilmeli; yeni bir kredi tanm bulunmal ve kresel ekonomi tekrar rayna oturtulmal... Bize sylenen bu.

Byk dnya gleri tam da bunu yapmaya koyuldular in rnlerini kontrole balad ve Tayvanla bir ticaretanlamas imzalad, ABD bakanlk seimleri finans krizinin en youn dnemine rastlad ve grlyor ki, yeniynetim yeni tr bir karlkl gven iin yeni ittifaklar ve yeni fikirler oluturma peindedir. Japonya kendi retimfazlalarn yeniden rgtlemeye urayor, hatta Rusya bile petrolden para dnda hibir ey salamamannyanlln kabul etmi grlyor... Hindistan , Brezilya, Arap lkeleri ... herkes yeniden konum alyor, yatrmlarnsalama alyor, gven, inan yollar aryor.

Avrupa Birlii ise sadece kredi politikalarn yeniden tarif sreci iinde deil; ayn zamanda tarihinin en ar kimlikkrizini de yayor (burada Euro'dan sz etmiyoruz). AB'nin gelecei sadece yeni anayasasnn (Lizbon anlamas)uygulanmasna bal deil, Avrupa kavramnn AB tarafndan yeniden tarifine de bal; ktann bir yannda en bykEuro phecileri (rlanda ve ngiltere) var; onlar srekli yattrmak gerekiyor; te yandaki sorun ise AB'nin Trkiyeile karlkl gvene dayal yeni kredi balantlar oluturup oluturamayacadr.

AB imdi bir tarafta rlanda ile Trkiye arasna baka tarafta Kaliningrad ile Pritine arasna uzanyor. Gelecei,imdiye dek hi olmad kadar, ne derece esnek, zgvenli ve gven telkin edebilir olduuna bal. ... AvrupaKltr Bakenti stanbul fikri daha uygun bir zamanda gelemezdi!

Yine de - yeni gven ve inan kltr ne olacak? - soru bu! Hkmetlerin ve finans kurumlarnn bir rn m

olacak o, yoksa kltr ve sanat gelecein bu yeni vizyonunda bir sz sahibi olacak m? Kapitalizm ve piyasaekonomisi byk ihtimalle kendini yeniden icat edecek daha nce olduu gibi ama; ola ki, kltr ve sanat yenibir dayanma, sayg, gven ve inan vizyonu verebilir mi?

Kriz, anlay, sayg ve diyalog iin operasyonel bir gereklilik yaratt. Dierinin kltr ve bilgisi bu srete ok nemli.Bir yeniden tanmlama srecinden geiyoruz ve bu srecin ekirdei kimlie dayal yeni kredi balantlar... ylegrnyor ki, kltr ve sanat asndan dnya finans krizi gven ve inan iin yeni bir anlay arayn tetikledi.

Bizim metnimize bu konuda atf yapmayn, ama bu kriz beraberinde kltrel deme gc kavramn getirdi - gven

balarnn derhal kuruluu kresel finans piyasalar alanndan kltr ve politika alanna kaymak ihtiyacnda; yenidnya dzeni yatrm ve kapital ak zerinde kontrole dayand kadar taraflarn kimlikleri konusunda karlklgvenine de dayal olacak ve karlkl gven balar hep ak kalacak.

Son on ylda kltrler birbirlerine ok yatrm yaptlar kreselleme sreci bir yan etki olarak kltrel rnalveriini de (yani, - sanat biiminde bir gven ve anlay) lkeler, ehirler, sanat meknlar, vizyonlar, edebiyatvs. arasnda getirdi. imdi yatrmlar geri alma ve kresellemenin kltrel boyutlarna ne yatrm yapldn,yatrmlarda para olup olmadn grme zamandr.

Baka szlerle imdi sizin hakknzda her zamankinden daha ok ey biliyor olmam acaba size ve bana karlkldaha ok fayda salayacak m?Dnya kltrnn sregiden kresel krizdeki deyebilme gcn bilmek zorundayz! Kltrel para dnemi gelmitir...

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question is if the EU will be able to establish new credit lines of mutual trust and identity confidence withTurkey.

The EU is stretched now between Ireland and Turkey, and between Kaliningrad and Pristina like never before and itsfuture depends on how flexible, confident and trustworthy it will be The idea of Istanbul as a cultural capital of Europecould not have come at a better time!

***However - what will be the new culture of trust and confidence that is the question! Will it be the product ofgovernments and financial institution alone, or will art and culture have a say in formulating a new vision for the future?Capitalism and market economy will most likely reinvent itself - as before; but maybe art and culture will offer a newvision of solidarity, respect, trust, and confidence?

The crisis has produced operational necessity for understanding, respect and dialogue. Culture and knowledge of theother are of utmost importance in this process. We are going through a process of redefinition and the core of theprocess is the establishment of new credit lines of identity confidence It seems that from the point of view of artand culture the world financial crisis has triggered a search for new understanding of the notions of trust and confidence.

Do not quote our text on this, but the crisis has brought along the need to introduce the notion of cultural solvency- the instant gratification of confidence lines needs to migrate from the domain of the global financial marketsto the domain of culture and politics; the new world order will depend as much on control over investment and theflow of capital as on the mutual trust of the partners as far as their identities are concerned and the lines of mutualconfidence staying open.

In the last decades cultures invested heavily into each other the process of globalization has as its side effect theexchange of cultural products (that is - trust and understanding in the form of art) between countries, cities, art scenes,visions, stories, and so on. The time has come to call the bets and see what is it that was invested in the culturalaspects of globalization; to see if there is any liquidity in the investments.

(Bu imdilik kantlanmas zor bir ey, ama grlyor ki, Londradaki Deutsche Bank brosunun katlar artk Almansanatlarnn adlaryla anlyor, doru mu?)

Sadece gzlerin iin!!!

Kltrel para kltrel sermayenin gncel bir kimlie brnmesi olup, bu da uluslararas sanat gsterileri, kltretkinlikleri, vs.nin uzun vadeli bir yan rndr. Madalyonun arka yznde ise politik kavramlarn yeniden tanm

vardr; mesela Avrupa ve onun tm muhtemel ortaklarn kresel sahneye kartabilmesi gibi.

Dnyann gelecei una benzer sorulara verilecek cevaplara bal olacaktr: kendimi, z kimliimle komumunkimliince tehdit edilmi hissetmeyecek ekilde gvende gryor muyum? Komumun benim kimliime gvenve inan duymas iin ne yapabilirim? Komumun kimliine gvenimi nasl ina ederim? Komumu nasl benimleayn yolda yrmeye ikna edebilir, nasl onunla ortak bir gelecee bakabilirim?

Kredi tesi gsterisi bu sorulara bir cevap aramak iin yaplyor.

(Ah, bu arada iyi bilinen bir eyi burada sylemek gerekiyor u ya da bu yolla, u ya da bu ekilde dnyann herlkesinin banknotlar sanatlarn ya da eserlerinin resimlerini tar... yle deilse bile o lkenin gurur duyduu kltrve tarih kahramanlarnn resimlerine tar; bu da hemen hemen ayn eydir aslnda).

Ama, yksek finans ve ada alann katmanlarndan birbirini alglamada bir eit eliki vardr. Muhtemelen finansdnyasna gre sanatlar gvenilmezdir, te yandan da sanat dnyasndaki ilikiler tuhaf bir mistisizm zerinekuruludur. Dolaysyla bu ilikiler ynetilemez ve tam olarak kestirilemezdir. Sanat dnyas standardizasyona gelemez;dolaysyla onunla somut anlama olmaz. Yine te yandan sanat dnyas finans dnyasnn i yapma biimine ok

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In other words the fact that I know more then ever before about you will it help you and me to get along better andin a mutually beneficial way?

We need to know what the solvency of world culture is at the time of the on-going global crisis! The call for culturalliquidity has come

(This is hard to confirm at present but it seems that the different floors in the Deutsche Bank office building in Londonare named after German artists, true?)

***For your eyes only!!!

Cultural liquidity is this kind of transformation of cultural capital into actual identity that is the long term by-productof international art exhibitions, cultural events and all sorts of such things. The flip side of the process is the redefinitionof political notions such as, for instance, Europe and its ability to engage all possible partners on the global stage.

The future of the world will depend on the answer to such questions as:Do I feel so confident in my own identity that I do not feel threatened by my neighbors identity? What can I do in orderto build up my neighbors confidence and trust in my own identity? How can I build up my own confidence in my neighborsidentity? How can I predispose my neighbor to take a parallel route and let me see his/her ways into the shared future?

The Beyond Credit exhibition is meant to visualize possible answers to these questions.

(Oh, one well known fact is worth mentioning here in one way or another, in one form or another the paper bills ofmoney from countries all over the world carry images of artists and/or art works on their faces; if not that thensome kind of images of heroes of culture and history that a country is proud of, which is more or less the same)

saygl gibi grnmektedir, nk burada her ey kesinkes szlemelerle, zarar tazmin mekanizmalaryla,dikkatli planlamayla ve kayt altna alnm standartlarla yrtlr; hepsinin de kitaplarda yeri vardr.

Ayn zamanda finans ve sanat dnyas arasnda benzerlikler de grlr. Mesela, finansn ok uzmanlam dilinasl normal insanlar tarafndan anlalmyorsa, ada sanatn ne anlatt onlarca anlalmaz, nk ouzaman en st derecede karmak ve konuyu bilmeyenler asndan ulalmaz kalr...

Gerekte, sanat dnyasnn temellerinden biri gven olgusudur ou zaman ilikiler imzalanm belgelere dayaldeildir; verilen sz senettir, sualsiz kabul edilir. u bildik ahde vefa sz her zaman sayg grr, bilindii manadasylenmese bile... Yine de son kriz bunlarn hepsine phe drd; bazen bir projenin zellikleri karlkl gvenisrdrmeyi gletiriyor.

imdi mesela Ahmet tn katlmn ele alalm; o bu gsteride Trkiye'den katlan tek sanatdr; konu dakarlkl gvendir. Kendisi bu gsteride rol almay tek artla kabul etti kendi katlmnn masraflarn kendideyecekti. Neden o sergi organizasyonunun normal yollarn kabul etmedi; bu metnimizin konusu deildir-kratrler art kabul etti ve sanatnn durumuna sorgusuz sayg gsterdiler. Tahminimiz o ki konunun tamamenresmi ve tantmsal amal oluunun bunda etkisi var (2010 Avrupa Kltr Bakenti stanbul); ya da konu sergifonlarndaki karmaklk olabilir (zel ve kamu fonlar konusu); bunun politik ve sanatsal ilikilere ve ifadelereyansmas olacaktr; vs. Bunlar tamamen Trkiye'ye zgdr ve biz yabanclar bu konuda daha fazla konumuyoruz.Burada sanatya ve organizatrlere gvenmeyi setik; Ahmet tn buradaki katlm sergi dzeyinde kalacak;ama serginin tantm boyutuna dahil olmayacaktr. Dndk ki, bu karlkl gven ve ykmllkler, seyirciyegrnmese bile, serginin vurgulad gven konusuna bir katk olacaktr.

Bylece Ahmet tn eserleri sergiye sponsorsuz blm kaydyla girmektedir. Bu ibare tm brorler vebasl malzemede ve eserlerin yannda yer alacaktr. Aslnda sanat organizatrlerle bir cret anlamas yapmamtr

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Yet, there is a certain contradiction in the perception of each other between the spheres of high finance and contemporaryart. The financial world probably thinks that artists are unreliable and that, on the other hand, relations in the art worldare based on strange mysticism - these relations are not regulated and are quite unpredictable as a whole. The artworld seem not be capable of standardization and thats why it can not be negotiated adequately. On the other hand,the art world seems to have a high degree of respect for the world of finance while professing the notion that inthat world everything is based on precise contracts, on mechanisms for compensation, on careful planning, andregistered standards fixed somewhere in the books.

At the same time there are many similarities between the world of finance and the art world. For instance, the extremelysophisticated jargon of finance is just as hard to grasp for normal people as it is hard for them to get the point ofcontemporary art, which many a time is synonymous to utmost complexity and inaccessibility for the uninitiatedIn fact, one of the main ingredients of the art world is the notion of trust most of the time relations are not based on signeddocuments while the verbal agreement has the status of a solid contract, which is honored unquestionably. The notoriouswe have a deal is unanimously respected though not always spoken in quite this way Nonetheless, the latest crisis putsall of that into doubt; while sometimes the specifics of a project are such that it is hard to maintain mutual trust

***Lets take for instance the case with the participation of Ahmet t, the only artist from Turkey in this show, for itconcerns the issue of mutual trust. He accepted the invitation to take part under one condition his participationwould be self-sponsored. Why did he choose not to accept the normal ways of exhibition organizing and funding is notof concern to this text - the curators of the show accepted and respected the artists position without questions. Wewere guessing that it might have to do with the all over official and promotional character of the framework event Istanbul Cultural Capital of Europe 2010; or it may have to do with complexities of funding, with issues of public andprivate, with aspects of political and artistic relations and statements, etc. that are so specific to the Turkish situationthat as foreigners, we would not dare speculate any further. We decided to trust the artist as well as to trust theorganizers that our decision in the case of Ahmet t works participating in the show but not in the promotionalaspects of the event will be honored and respected. We thought this situation of mutual trust and obligations, thoughnot visible to the audience, would be a contribution to the whole question of trust posed by the show.

(bu nedenle de bu eserler alldk tarzda oaltlamaz), o ve kratrlerin yalnzca szl bir anlamas vardr -anlatk szne ve karlkl gvene dayal bir anlama.

Ahmet tn eserlerini alalm: Mkemmel Aklar (2008) bu eserlerden birinin ad; bir yan ile en zel eser,te yandan mizahi potansiyelini ile en toplumsal. Birbirine tam uyan boyutlar, ekilleri ve metalik renkleri ile ikimetal para, Euro ve Trk Liras, iki ak gibi yataa girmi; parann konvertibilitesinin ve uyumunun kolayl ileilgili bir yorum bu. Ama bu kolaylk, dier tm alanlarda gven ve anlayn topik bir rya olduunu ac ekildebize anlatyor. Para en baya ortak payda, burada ylece gsteriliyor- yle baya ve yle yaygn ki, d grnbile ayn... Bu yorumun bir baka boyutu, ekonomi ve finansta bir balant varsa, bunu dier balarn da izleyeceidir;nk eer paralar giderek daha ok birbirine benzer ve soyut deer tarlarsa, belki dier her ey de basit, takasedilebilir nesnelere dntrlebilirler.

Futbolun gzelliine, bu oyunun kitleleri ekii ve insanlar arasnda inanlmaz gven balar oluturmasna hayrankalmsanz; belki ayn sanatnn 7 metre uzunluundaki resmine yakndan bir bakmak ve onunla gelen bir futbolyorumu ses kaydn dinlemek istersiniz. 203 Mehmet Yldz (2009) almasnda Trk profesyonel futbol liginin tmoyuncularnn ad Mehmet Yldzdr basit ama hayli etkileyici. Tablodaki resim 11 kiilik bir oyuncu grubunun genibir fotoraf gibidir. Normalde futbolda oyuncu ismi yldz ismi gibidir; bunun halkla medyayla ilikiler yn ve parayn vardr. Burada tm oyuncular, rekabetten ender derecede arnm bir kardelik iinde, sadece oyun kaliteleriylebirbirlerinden ayrt edilirler; ama seyircinin bunu bilmesine imkn yok... Ses kaydnda oyunun yorumu gremediinizhzl ritmi yanstr; ama kii hangi oyuncunun hangi pozisyonda skor, penalt, yedek deiimi- oynadn bilmez; hepsiayndr... Geriye kalan futbolun ekonomik tarafnn by bozumu ve o gerek ve temel oyun hakknda scak bir duygudur;

tpk ocuklarn bo bir arsada futbol oynarken duyduklar gibi.

te yandan serginin resmi karakteri kendi kendisinin sponsoru olma gibi "ciddiyetsizlikleri" kaldrmaz; basl

malzemedeki "sponsorsuz blm" notunu da. Ama bir yabancnn bilemeyecei nedenlerle bu not sergi sahnesinde

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Thus the works of Ahmet t are exhibited under the special signage of Sponsor-Free Zone and this note wassupposed to appear in all printed materials (flyer and catalogue) related to the show always next to the reproductionsof the works. In fact the artist did not sign a loan agreement with the organizers of the show, (and thats why his workscan not be reproduced in the usual way) and he and the curators had only a spoken agreement for his participation precisely the kind of we have a deal contractual agreement mentioned above that is based on mutual trust and thatis so typical for the art world. However, such an arrangement creates many problems and at the end nobody is fullyhappy or satisfied Except maybe the viewers who enjoy the works and the show while paying attention to the standof the artist too.

Perfect Lovers (2008) is the title of one of these works and it is the most intimate in scale and yet the most publicin ironic potential. The perfectly matching size, shape and metal color of the two coins, the Euro and the Turkish Lira,put side by side as a pair of lovers in bed, is a comment on the easiness of monetary conversion and adaptability. Thisease however only makes it ever more painful to realize how in all other areas trust and understanding are a utopiandream Money the lowest common denominator is revealed here as just that so low and so common that it evenlooks the same Another angle for interpretation of this work is the suggestion that if there is a link in economy andfinance, all other links will follow for if money becomes more and more identical in appearance and abstract as value,then maybe everything else could be reduced to simple, interchangeable items.

If you have ever wondered about the beauty of football, the mass appeal the game has as well as the incredible bondsof trust between people it is able to establish you may want to pay closer attention to both the nearly 700 cm longscroll drawing by the same artist and the sound track of a commentary of a football game that comes with it. In 203Mehmet YILDIZs (2009) all the players in the Turkish professional football league who share the same name MehmetYildiz are portrayed in a simple yet highly convincing manner. The image of the scroll looks like a stretchedphotograph of an 11-players squad. Usually in football the name of the player has a star appeal, which translates intopublic and media attention as well as money. Here all the players, forming an unlikely none-competitive fraternity,are differentiated only by the quality of their game, which the viewer has no way of knowing actually... In the soundtrack the commentary of the game consists of relating the fast action that you cant see except one is totally confused

sorun olmad, oysa basl malzemede oldu. Belki bunun nedeni serginin unutulup gitmesi, basl malzemenin kalmasdr....

Gerek sergi eser yaratclar iin basl ktlardan daha nemlidir... Bir baka nokta da gvenin asla elde varkabul edilmemesidir; gven balamla ilgilidir. Ve gven en ufak yanl anlamada, en ufak bir phede yaralanabilir.

Oysa serginin resmi karakteri, kendinin sponsoru olmak ya da sergi brorlerine sponsorsuz blm gibi ibarelereklemek eklindeki hafiflikleri kaldrmaz. Bir yabancnn bilmedii nedenlerle sergi iindeki byle ibareler sorunolmazken, basl materyaldekiler (brorler, ilanlar vs.) sorun olmutur. Belki mesele, sergide olanlar zamanlaunutulurken, kataloglardaki yazlarn herkesin grmesi iin kalacak olmasdr. Bir etkinlikte hem sanat hem de

kratrlerin sergiye birbirinden gzel eserleri karmay ilk ama olarak benimsemelerinin gelecekte kalc etkileri

olacaktr; bu da sanatnn katalogda tantlmasna (ya da tantlmamasna), resimlerinin olup olmamasna,

sponsorsuz blm ibaresinin olup olmamasna, sponsorsuz blmn brorde bo geilmesi ya da resimlerininkonulmasna bal deildir.

Buradaki basit gerek, serginin kendisinin yaratclar iin basl materyalden daha nemli olmasdr; promosyon konular

ise beklenebilecei gibi sponsorlar iin daha nemlidir; bunun tek istisnas o sanatnn standn desteklememeleridir.Bu serginin verdii en anlaml mesaj gvenin herzaman elde ve hazr olamayacadr; gven ok artlara baldr veok hassasiyetle ele alnmaldr en ufak bir yanl anlama, ama ve niyetlerdeki en ufak bir phe glgesi onu yaralar.

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as to which player on which side is credited for which action scoring, penalties, substitutions its all the sameWhat is left is demystification of the economical part of football and a very warm feeling about the real basic game,a feeling like the one all young boys have experienced while playing football on the neighborhood pitch.

However, the official character of the event does not tolerate such frivolity as self-sponsorship, let alone thesponsor-free zone note in the printed matter for the show. For reasons unclear to a foreigner, the note in theactual exhibition space is not a problem, while such a note in the printed materials (flyer and catalogue) is aproblem. Maybe the problem is that the memory of the show will go away while the catalogue will remain for allto see. In any event, this case has some implications for the future regardless of the way the participation of theartist in the show is presented (or not) in the catalogue with or without images; with or without the sponsor-free zone note; with altogether empty pages or with an installation photograph from the very Sponsor-freeZone in the exhibition that both artist and curators had so happily agreed to have as the specific pre-conditionfor the presence of a set of wonderful works in the show!

The simple implication is that the actual exhibition is still more important to the creators of art then the printedmaterials; the promotional aspects are expectedly more important to the sponsors then they are to the artistsexcept when these disregard the artists stand. The more relevant implication for the meaning of this show is thattrust is never to be taken for granted; trust is very context specific; and it is a very delicate thing to deal with trust can be betrayed by the smallest margin of misunderstanding, by the tiniest shadow of doubt in motivationand purpose.

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Ciprian Muresan

Komnizm Hi Olmad (2006)Kt haber (ya da iyi haber, nasl kabul ederseniz), komnizmin hiolmaddr! Muresan'n metinsel almas seyirciye bunu haykrr. Sanatavuesku Romanyas'nda domu ve bymtr. Ancak takdir seyircinindir,komnizmin neden-nasl olmadna o karar verir: herkes iin mutlak adalettopyas m, vaad mi, gerek mi, sosyo-politik ve ekonomik bir proje mi; vs...

ISTANBUL 2010 AVRUPA KLTR BAKENT SANAT LMANI

Meclis-i Mebusan Caddesi, Liman letmeleri Sahas

Antrepo No:5, Tophane

Tel: 0212 243 90 74

letiim/mail: [email protected]

Pazartesi dnda her gn 10.00-19.00 / Everyday except Monday: 10am to 7pm

Sanatlara, koleksiyoncularna ve galericilerine katklarndan dolay teekkr ederiz/We would like to thank all artists and their collectors and galleries for their contribution.

Bulgaristanl Kratrler Maria Vassileva, Iara Boubnova, Luchezar Boyadjiev tarafndan kurgulanan ve gerekletirilen, nl uluslararas sanatlarn nemli

yaptlarn ieren KRED TES-ada Sanat ve Karlkl Gven sergisi, stanbulda dzenlenen Gneydou Avrupa lkeleri, Devlet ve Hkmet Bakanlar,

Kltrel Koridorlar Zirvesi ile ezamanl olarak ve stanbul 2010 AKB etkinlikleri kapsamnda Tophanede Antrepo alanndaki yeni Sanat Limannda 19

Haziran 2010 25 Temmuz 2010 tarihleri arasnda gerekletirilmitir.

The team of three curators from Bulgaria - Maria Vassileva, Iara Boubnova and Luchezar Boyadjiev, conceived and realized the exhibition BEYOND CREDIT -

Contemporary Art and Mutual Trust with important artworks by famous international artists. The exhibition is one of the significant events of the Istanbul 2010

European Capital of Culture and it is realized on the occasion of the Cultural Corridors Summit of the Presidents and the Prime Ministers of the countries from South-

East Europe. It takes place in the new venue of Sanat Limani, situated in the Antrepo compound at the Tophane. The exhibition has been open to the public from

June 19th to July 25th 2010.

SERG/EXHIBITION

Kratrler/Curators: Maria Vassileva, Iara Boubnova, Luchezar Boyadjiev

Yapm ve Ynetim: Grsel Sanatlar Ynetmenlii ve BB Kltr A/ Production and Coordination: stanbul 2010 Visual Arts Directorate and IBB Kltr A

stanbul 2010 AKB Ajans Grsel Sanatlar Ynetmeni/ Istanbul 2010 ECOC Visual Arts Director: Beral Madra

Sergi Koordinatr/Exhibition Coordinator: Ahmet Akif Cansz (Kltr A)

Sanat Liman Koordinatr/ Coordinator of Sanat Liman: Saliha Kasap

Sergi Kurucusu/Exhibition Setup: Derya Bayraktar (Kltr A)

Sergi tasarm/Exhibition Design: Maria Vassileva, Iara Boubnova, Luchezar Boyadjiev

Grafik Tasarm/Graphic Design: Sanat Ynetmeni/Art Director: Aydn Sleyman

Tasarm/Design: Nazl Eretin

Kredi modern ticari sistemin hayat nefesidir. Deerli madenlerin yaptndan binlerce kez fazla milletlerizenginletirmitir. Emei atelemi, reticileri tahrik etmi, ticareti her denize yaym, her milleti, her krall,her kabileyi, her insan rkn buluturmu, tantmtr. Ordular beslemi, donanmalar donatm, byk rakamlaraegemen olmu, milli hakimiyeti akl, servet ve iyi ynetilen sanayi yoluyla salamtr. Para ticari mal iin ne ise,kredi de para iin odur. Nakit para nasl mlkiyet temsil ediyorsa, kredi de nakit paray temsil eder. Ve o parann

yerini o derece mkemmel alr ki, sko okulundan kimi aykr yazarlar artk nakit parann ticari adan gerekmediinide iddia etmekteler. Geri ben bu fikirde deilim. Hkmetlerin sade bir senet sistemini arya kararak depresyonyaratmadan yrtebileceini sanmyorum.

Daniel Webster

(Senatr Daniel Webster ABD senatosunda, 18 Mart 1834te yapt konumada ABD Merkez Bankasnn gerekliliinisavunmutur. Bkz: The Writings and Speeches of Daniel Webster, vol. 7, p. 89; http://www.iwise.com/ZBVaz )

Credit is the vital air of the system of modern commerce. It has done more, a thousand times, to enrich nations, thanall the mines of all the world. It has excited labor, stimulated manufactures, pushed commerce over every sea, andbrought every nation, every kingdom, and every small tribe, among the races of men, to be known to all the rest. Ithas raised armies, equipped navies, and, triumphing over the gross power of mere numbers, it has established nationalsuperiority on the foundation of intelligence, wealth, and well-directed industry. Credit is to money what money is toarticles of merchandise. As hard money represents property, so credit represents hard money; and it is capable ofsupplying the place of money so completely, that there are writers of distinction, especially of the Scotch school, whoinsist that no hard money is necessary for the interests of commerce. I am not of that opinion. I do not think anygovernment can maintain an exclusive paper system, without running to excess, and thereby causing depreciation.

Daniel Webster

(Senator Daniel Webster remarks in the US Senate in favor of continuing the charter of the Bank of the United States,March 18, 1834. In: The Writings and Speeches of Daniel Webster, vol. 7, p. 89; http://www.iwise.com/ZBVaz )

a) Das Kapitalde Tm Noktalar (2007)

Uzun ve zahmetli bir almayla sanatlar Das Kapital eserindeki tmnoktalar, elde yaplm ve zenle saylm kk siyah toplaradntrmler ve onlar yerde duran bir basit antaya koymular.Bu alayc yorumdan yola karak insan ekonomik teori zerine birprojeksiyon yapabilir grlyor ki, u kk nokta ve virgller, birkriz vurduunda ve birikimler gittiinde byk bir irket ya da bankadaokunan kitaplardan tek geri kalanlardr.

b) Dzenden Sonra (2006)

1911de izilmi kapitalizm iktidar piramidini gsteren nl karikatrdenesinlenerek bu eser toplumsal sistemlerdeki iki deiik hiyeraritemsiline iaret ediyor. Byk bir panoda kapitalist piramide seeneklergrrz bunlardan biri insan dekorudur, totaliter sosyalizmce (veNazi Almanyas'nca) kullanlr. Dier piramit ise bayan sanatlarcaina edilir. Burada sanatlar, serbeste bir sanat gsterisine katlanlarolarak bulunurlar.

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TeekkrlerimizGratitude to:

Galerija Gregor Podnar, Ljubljana / BerlinGregor Podnar Ljubljana / Berlin Galerisinin izniyle

Federico Luger, MilanFederico Luger, Milano

videoart.chvideoart.ch

Klosterfelde BerlinKlosterfelde Berlin Galerisinin izniyle

Gallery Michel Rein, ParisMichel Rein Galerisinin izniyle, Paris

Institute of Contemporary Art-SofiaSofya ada Sanat Enstits

Teekkr ListesiOur Special Thanks to

Prof. Dr. Ahmet Davutolu/Dileri BakanMinister of Foreign Affairs

Hayati Yazc/Devlet BakanMinister of State

ekip Avdagi/Ajans BakanAgency CEO

Mehmet Grkan/Genel Sekreter Yrd.Vice Secretary of Mayor

Gmrk Md.Office of Customs

Nevzat Bayhan/Kltr A. Gn. Md.General Manager, the Culture Co.

Ahmet Akif Koyiit/Genel Sekreter Yrd.Vice Secretary of Mayor

Ahmet t