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Bir Elma Hikayesi

IPA The Hague 2017

Photographer by Jürgen Fritz

Solo Performance

Duration: 10 minutes

Place: Quartair, The Hague, Netherlands

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Sculpture Performance /  Still-Live Action PAS #55

Knotted Desires / Düğümlenmiş Arzular “My body covered with invisible bonds. I can not live without my bonds. I can not go out without it. I can not even ride a bus. You can not see them unless you’re stuck in my bonds. But if you have entered this zone, I will show you my bonds.” Kadının yerine karar veren onun duruşunu, şeklini ve kararlarını belirleyen görünmez bağlar.

Baba - Koca - Devlet

Pressed serisinin bir başka ifadesi olan 'Düğünlenmiş Arzular' görünmez bağları görünür kılarken yine bağ ile doğrudan ilişki kuran gelin kurdelesini performansın malzemesi olarak seçer. Kadının bu can acıtan hatta uyuşturan bağlar içinde yine de güzel yine de güçlü ve yine de yek olabileceğini gösterir

Acının estetiği...

Bir saatlik still-live performans konsepti ile uyumlu olarak kadının ataerkil toplum düzeninde zaman zaman hareketleri kısıtlansa da varlığını daima, üstelik her geçen gün daha da güçlenerek sürdürmesini anlatmak istemiştir.

https://www.youtube.com/watch?v=0Iz1_OK7zTw&t=14s

https://vimeo.com/227811792?activityReferer=1

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Duel

Duel 2017 Duo Performance Duration: 55 Minutes

Concept and content:  Gamze Ozturk and Carol Montealegre

Event: Holaa Festival - Hoogtij openning, 

Place: Het Nutshuis, Den Haag / The Hague, Netherlands

Date: July 7th 2017

İki sanatçı, birbirleri arasındaki ilişkiyi simgesel boyutta resmeder. Kendiliğindenlik ile yoğrulan bu ilişkiyi simgelerken, saten bir şerit malzeme eşliğinde bir çeşit kolaj üretirler. Beden, malzeme ve mekanın dahil olduğu bu kolaj, iki kadının anlık etkileşimlerini yansıtan bir ifadeye ulaşır. Yer yer durağan ve uyumlu zaman zaman ise agresif ve uyumsuz bir yol çizen sanatçılar mekanı bedenin bir uzantısı olarak algılayıp, ortak bir uzvu paylaştıklarını keşfederler. 

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Garbage  2017

Garbage /  Çöp 2017 Solo Performance Duration: 25 MinutesConcept and content:  Gamze Ozturk Event: P.S - This is live! The Poetic in Performance Art, Place: Quartair The HagueDate: July 4th 2017 Maslow'un ihtiyaçlar hiyerarşisinde birincil ihtiyaç olarak "gıda" yer alır. Yaşamsal bir önemi ve önceliği vardır. Garbage / Çöp, ilk oluşumdan günümüze değin canlının değişmeyen ritüeli yeme eylemi üzerine düşünmeye iten, gıda neydi diye sorgulatmayı amaçlayan bir performanstır. Doğada yetişen besinin geçirdiği dönüşüm üzerinden bir bellek soruşturması amacı güder. Bazen sadece doymak için yediğimiz kimi zaman mutsuzluğumuzu hafifletmek için, kimi zamansa öfkeden dolayı yemek yeriz. En ilkel anlarımızdan en unutulmaz hatıralara kadar hep baş roldedir, yemek. O halde yemek nedir? İnsan ne yer? Ekmek,Makarna,Dondurma,Pasta...Peki, bu isimler ne kadar tanıdık?Polydimethylsiloxone*, Xanthan**, Mısır şurubu, Carmine, Jelatin, Amonyum sülfat, Bütillenmiş hidroksianisol, Potasyum bromat... Garbage / Çöp performansı, yeme ritüelini gıda içerikleri açısından bir farkındalık yaratmak amacıyla, kendine has bir mizah barındıran bir anlatım yolunu izler. *Polydimethylsiloxone : kısaca bir tür silikon da denebilir. Bu madde pek çok fast food yiyecekte var. Oyun hamurlarının ve meme büyütme operasyonlarının vazgeçilmezi. ** Xanthan : salatalar için pek çok sosta kullanılıyor. Özü ise sebzeler çürüdüğünde de ortaya çıkan bir bakteri.

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Trace of Label

Trace of Label /Etiket Izi 2017 Solo Performance Duration: 2 hours

Concept and content:  Gamze Ozturk  

We look at each other and see each other. We immediately  try to shape what we see  and stick labels on it. Sometimes, we associate a complex structure that we call as 'personality' with a single word. Shockingly enough, we see the same shape, but we cannot perceive it in the same way.  We are transformed, divided or multiplied every single day in the extent to which we feel the cacophony of illusions and prejudices. Now, I have to cobfront these prejudices to find myself. To take a step further and rid myself of these prejudices, Imust first touch them.

Individuals are highly influenced by environmental factors when they created their ego. This begins with the family first. Then, over time, it is step by step affected by the religion and tradition of the society which they’re members of. When communication is concerned the individual acquires sentiments (prejudice) that reflect the conditioned emotional attitude as the first action against the other individuals. Human being wants to shape all living or non-living things. They want to give them names. When a human being cannot give form own want, (when an individual cannot shape people around her/him) she/he can try to judge or label them. The forms we have, or rather the forms given to us, affect and change our perceptions of other people. Obviously, everybody looks, sees and interprets, but can we claim that we perceive what we see the same way? In this case, can we say that we can have as much reality and different identities as the number of people we meet? I look at myself and I cannot identify myself with the shape I have, I cannot see myself as I see it in the eyes of others. This duality threatens the uniqueness of my ego. I have been tagged in a visual, auditory or sensuous way by each individual I contact. Repeatedly! Who am I? Where, how and what do I feel? How do I feel to whom? The main act of performance is asking participants to combine their thoughts and feelings about the artist with 'words' [prejudices, labels]. This action, expected from the participants, is a very challenging act. It is also a challenge for the artist to carry on them and show everyone as much as to confront the prejudices. The real difficulty is to make this confrontation with people have different languages, different physical and cultural rituals. Performance plays an integral and constructive role at this point. Performance, different languages and lifestyle practices can fit into the same space and energy. This togetherness aesthetically blends the differences and creates 'unique' phenomena. This new phenomenon belongs both to the artist and the participants and is a living thing. It continues to grow and change. The artist wants to see all the prejudices that exist: cultural prejudices, religious prejudices, geographical prejudices, moral prejudices. The artist wants to solve this prejudice's code/password with performance.

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Upcoming Project: ETİKET İZİ / TRAİL OF LABEL,  Mamut Art Project 2017 / Mamut Performances

http://www.mamutartproject.com/en/home-en/

http://www.mamutartproject.com/en/mamut-performances/

Etiket İzi / Trail of Label 2017 

Solo Performance 

Duration: 3 hours

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Zone

Zone 2016 Video Performance Duration: 8′ 43″ 

Written and directed: Gamze Öztürk Choreography: Gamze Öztürk Cinematopgraphy:Suzan Sönmez Camera: Suzan Sönmezi Önder Yaycıoğlu Editör: Suzan Sönmez

Performers: Gamze Öztürk, Gültuğ Yenidoğan, Derya Dinc, Eylul Dizdar,  

Gamze Öztürk, “Pressed” adlı performans serisinin ilk çalışmasında, kadınların kamusal alanda maruz kaldıkları fiziksel erkek baskısı üzerine yoğunlaşmıştır. Özellikle toplu taşıma araçları gibi en yakın karşılaşmaların yaşandığı ortamlarda kadınların bu fiziksel sıkıştırmaya karşı verdiği mücadeleyi göstermek istemiştir. Bu karşılaşmayı absürt bir üslup benimseyerek aktarmayı tercih etmiş ve bu yolla izleyenlerin daha fazla rahatsızlık duymasını amaçlamıştır.  Pressed serisinin ikinci performansı olan ‘ Zone ‘ ise benzer bir yol izleyip kadının yaşadığı fiziksel baskıya psikolojik baskıyı da ekleyerek daha karmaşık bir yapıya odaklanmaktadır. Performans, kadının kabul edilen fiziksel erkek baskısı ve henüz kabul edilmemiş psikolojik kadın baskısı sonucunda yaşadığı görünmeyen bozulmaları somutlaştırarak görünür kılmayı amaçlar. Baskının olumsuz psikolojik yankılarını ve daha doğduğu ilk andan itibaren toplumsal, kültürel ve dini birçok kalıba sokulma sürecinin yarattığı olumsuz sonuçları, fiziksel duruş ve bedensel bozulmalar ile somutlaştırma çabası içine girer. Bu kalıpları oluşturan sözlü ve yazılı kuralları, davranış ve ritüelleri temsil etmek için birçok kültürde yeri olan kırmızı şerit bir kuşak kullanılır. Bu kırmızı kuşak bazı geleneklerde kadının bekâretini simgelerken bazı geleneklerde kadının gelin olarak gittiği evde işten kaçmayıp kadınlık görevlerini yerine getirmesi için bir uğur anlamını taşır. Buradan yola çıkarak “kuşak”, kadının aile ve toplum içindeki varlığını şekillendiren bir baskıyı yansıtır, diyebiliriz.   ‘ Zone ‘ somutlaşmış bir sıkıştırma olgusu üzerinden kadın bedeninin hangi formlara girdiğini ve bu formların psikolojik yankılarını sorgular. Soyut ve somut olguların yer değiştirdiği, bilinen vücut dilinin terk edildiği, yerine yenisinin inşa edildiği yepyeni bir bölge yaratır. Bu bölgede dört kadın zoraki bir yüz-yüze karşılaşma yaşar. Bu karşılaşmada her kadın kendi beden dili ile önce tüm baskıları simgeleyen kuşak ardından da hemcinsleri ile bir mücadeleye girer.  Seyirciyi de bu alana hapseden sanatçı onları daha önce karşılaşmadıkları bir vücut dili kullanan 4 kadın performansçı ile yüz-yüze bir karşılaşmaya ve etkileşime zorlar.

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Zone (Pressed)

(PRESSED) ZONE 2016

Live Performance Duration: 30 minutes 

Concept and choreography: Gamze Öztürk Performers: Gamze Öztürk, Gültuğ Yenidoğan, Derya Dinc, Eylul Dizdar,

Selected Work:  'Zone' was selected as both of the opening performances in Venice International Experimental Art Festival and Contemporary Venice International Art Show by It’s Liquid Group. 

"My body covered with invisible bonds. I can not live without my bonds. I can not go out without it. I can not even ride a bus. You can not see them unless you're stuck in my bonds. But if you have entered this zone, I will show you my bonds."

 ' Pressed / Zone ' represents both an abstract and physical compression in public and private space.  " Zone " tries to underline the fear, anxiety and restlessness of women in an absurd way of expression.   By means of directly build a relationship between their own bodies and space; a group of women performers try to convert the space. While doing this, performer interprets the status of woman in society and all the factors that created this status (concept and structure like political, cultural, religious and erk that representing the power).  Performance piece of " Pressed ‟ creates a body-to-body encounter. Performer leaves open her own body to the influences of these factors and interact with them during the encounter.   As a result of this interaction, performer saves the new edits on 'pressed' and 'chaotic' loops in the various relationship types (body-space, woman-man, woman-woman) with this new form that she‟s transformed. Women make the invisible persecution they are exposed visible with a red satin ribbon.  The woman struggles desperately for to get away from the compression she lives. But she depends on other woman performers as well as her own. This connection will oblige them to have a strained relationship. Red satin ribbon represents all universal and traditional pressure on the woman. And red ribbon incarcerates all bodies in an endless and exitless loop. 

CONTEMPORARY VENICE  – It's LIQUID International Art Show Palazzo Flangini, Venice: Dec. 15, 2016 - Jan. 15, 2017

VENICE INTERNATIONAL EXPERIMENTAL ART FESTIVAL | OUT OF BORDERS Palazzo Ca’ Zanardi, Venice: Dec. 16, 2016 - Jan. 16, 2017

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Face Time

Face Time 2016

Live Performance Duration: 30 minutes Concept and choreography: Murat Adash Performers: Tarcin Celebi, Derya Dinc, Eylul Dizdar, Bahar Gökten, İlgi Özdikmenli, Gamze Öztürk, Ebru Sargın, Gültuğ Yenidoğan

Organised by Performistanbul at Art On Istanbul

By means of changing physical arrangements in space, a group of performers establish micro choreographies of proximity and distance. As an extended choreography, the performers position the viewers within a viewing experience that extend amongst each other. Through a semiotic lens, the bodies engage in close-ups and zooming, utilising both the present bodies and faces as surfaces of an inscription.

Face Time

creates a face-to-face encounter and a body-to-body situation in which the performers test out symmetries and asymmetries of co-presence. Utilising body language as the primary means of communication, the performers become agents in establishing a temporary social system within which the audience becomes complicit. Through fluctuating physical arrangements, postures and encounters, Face Time inquiries into the potential of an embodied event, probing what bodies can do.

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To the Extent

To the Extent 2016

Live Performance Duration: 30 minutesConcept and choreography: Murat Adash Performers: Tarcin Celebi, Ilgün Ceylan, Leman Sevda Darıcıoğlu, Derya Dinc, Eylul Dizdar, Cemrehan Karakaş, Irem Nalca, Gamze Öztürk, Ebru Sargın, Gültuğ Yenidoğan

Alt Art Space, Istanbul 

In ‘To the Extent’, a group of performers move between a set of corporeal constellations, establishing fluctuating stages of contact and division between each other and the audience. Through strategies of dispersion, re-assembly, and reciprocity, the performers build a complex accumulation of gestures and bodily compositions, in which viewers become complicit. From a wall of living bodies to gestures of alignment, camouflage, isolation, and disappearance, To the Extent inquire into the sculptural potential of social relations. Moving shapes and postures expand into the portrait of the group, enabling changing viewing positions and counter-perspectives. With perpetual shifts between the individual and the collective through negotiating and embodying various group structures, both the actor and the witness make way for a re-organization of their corporeal and spatial positionings.

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PRESSED

Pressed 2016 Video Performance Duration: 2′ 52″

Concept and choreography:  Gamze Ozturk   Directed and produced: Gamze Ozturk   Edited: Hakan Alp Calikusu   Performed by student of the Faculty of Art and Design   Place: Photo and Video Studio at Yildiz Technical University

Selected Work:  'Pressed’ was selected for OXYGEN - FRAGMENTED CITIES +IDENTITIES Festival in Bogotá (Colombia) by It’s Liquid Group. 

'Pressed' is a performance video work based on the concept of the situation of women in public space which is dominated by men. The focus is on the women, the ' crowded minority ' of the world population and their isolation   ‘Pressed’ re-evaluates and criticises cultural, moral stereotypes and moulds that surround women. On the contrary, it accepts these moulds in their lexical meanings while looking to the status of women in society in a conceptual way. It interprets urban life and architectural forms in terms of gender and identity. When viewed from this aspect, the choreography of ' Pressed ' represents both an abstract and physical compression in public and private space. In fact, it tries to point out being literally ' breathless' by both physical and psychological violence and social oppression. ' Pressed ' tries to underline the fear, anxiety and restlessness of women in an absurd way of expression.  

OXYGEN - FRAGMENTED CITIES+IDENTITIES | Bogotá 2016 It's LIQUID International Architecture, Video Art, Painting, Photography, Installation and Performing Art Festival November 19 - December 19, 2016

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Movement-Space-Time

 2015

Concept and choreography: Gamze Öztürk Performer: Gamze Öztürk