#Cos Ahmet

[nacentart]

Cos Ahmet Artist and guest lecturer at LJMU.

Cos Ahmet is a multi-disciplinary artist who makes art in performance, sound, video, installation, and sculpture, with an emphasis on materiality and the body. With multiple disciplines come multi-materials for Ahmet, such as wool in his tapestries and more recently, cellophanes and plastics. Materials are fundamental to Ahmet's work, and his work asks fundamental questions about the human condition, by giving those materials an altered state, it then puts into question what, why, and who we all are. In his video installation, A Meniscus Between 2021 and more recently, Instruments (C changed to S) 2023, he uses cellophanes as his chosen materials. In A Meniscus Between, there is such human interaction with the materials and the materials interact with all human forms. A constant flux between the residual form of the materials and human state, before, during, and after the performance; Ahmet calls this 'pre-post-performance-props.’ And also asks, "When does the body stop being (a body) and become a material?" Through those performances and interactions with those materials, Ahmet is sculpting new forms in both material and human form that did not exist previously and will not exist in the future; a timely dance of human and material interpolations in a causal and visual spectacle, gravitationally pulling in the viewer to the realisation we are all of the same fabric.

I like the idea Ahmet is somehow giving artistic representation visually, to very scientific ideas. Instruments (C changed to S) which partly consist of sculptured tape resembling polymer-like shapes. They look frozen inside ice as if it has just been dug out of the deep-frozen permafrost; the found DNA of cellophane, itself. Not dissimilar to Superman discovering his identity at the Fortress of Solitude, the sculptured fractal-like ice palace. The Paoli Exclusion Principle comes to mind when thinking about some of Ahmet's ideas, thinking about different materials and their interactions. The thought hits big; the idea that every atom in the universe jostles about imperceptibly reacting with and changing all neighbouring atoms, and that in turn means we are all influencing the energy states of each individual atom at the opposite side of our universe, instantaneously. If art can make me think about this, then it must be good art.

Ahmet's use of cellophane tape is a material I have great affection for, as it is a reminder of a happy childhood on a personal level. I love the texture and sound these materials make, it is fish and chip paper, but for flowers. It also has significance as the windows of childhood toy box packaging, the tape that helped to conceal Christmas presents, twisted sweets wrappers, or the crinkly wrapper of Lucozade bottles, I would look through, turning the world orange and heightening the fever dream I was experiencing while off school, ill. It is funny how our surrounding textures, sights, smells, and sounds from our lives can have deep meaning when we think deeper, but when not thought about, can only have superficial significance. A kind of Schrödinger's Cat placed in a box made out of Cellophane.

[night-spell]

May 1976, Zowie's birthday party by Lake Geneva, Switzerland; photos by Kenny Smith (On the carousel, left to right: Greg Lake, Ahmet Ertegun, who was the co-founder and president of Atlantic Records, David Bowie, Mrs Regina Lake, and Greg and Regina's daughter Natasha Lake) | facebook.com/GregLakeOfficial; Uncut #319 Dec. 2023; Prog #146 29 Dec. 2023

UPD: Polaroid by Simon Fisher Turner - twitter.com

[thevampiricnihal]

I think that Filiz Ahmet’s performance as Nigar is a bit underrated. Looking at these screenshots, her acting is a lot more subdued than her co-star’s (which is not a diss, Okan Yalabık as Ibrahim is a great performance and Ibrahim is a role that warrants an extravagant performance) but still just as efficient at conveying the emotion of a scene.

I think she is a bit underrated because the performance is presumably somewhat similar to actress’s own mannerisms whereas when you watch an interview with Okan Yalabık or Selma Ergeç they are nothing like Ibrahim and Hatice in mannerisms. But Filiz Ahmet played the innocent young daughter of a peasant family (based on Chavaleh in “Fiddler on the Roof”) in her other most famous role, and that role was nothing like Nigar.

She is a good actress is all I am saying. There was no Nigar scene that didn’t land due to her performance, no scene where she overacted or looked ridiculous, which is quite a feat considering how bad the writing for Nigar could get.

[sonmuzik]

Shadowminds’tan İlk Tekli "Mutsuz Son"

Shadowminds’tan İlk Tekli "Mutsuz Son"

Shadowminds, çıkış şarkısı "Mutsuz Son"u On Air Music Co. etiketiyle müzikseverlerle buluşturdu. Şarkı, Apple Music ve fizy gibi platformlarda editör listelerinde yer alarak dikkat çekti. “Mutsuz Son”un hikayesini grup üyeleri şu şekilde anlatıyor: “Şarkımızda, hayatımızın her zaman güzellikler içinde olmayacağını ve beklenmedik bir kötü olayın yaşamımızı köklü bir şekilde değiştirebileceğini anlatıyoruz. Bu olaylar, bizi geri dönüşü olmayan yollara sürükleyebilir. Şarkıda bahsettiğimiz 'Sen' aslında hayalini kurduğumuz hayatı temsil eden kişi; tüm zorluklara rağmen yanımızda kalmasını istediğimiz idealimiz. 'Ben' ise bu zorluklarla yüzleşmek zorunda kalan taraf. İçinde bulunduğu karanlık durumdan bir türlü çıkamıyor ve en sonunda bu durumu kabullenerek 'olmaz artık, duymaz artık, dönmez artık' diyerek kendini teselli etmeye çalışıyor. ‘Mutsuz Son’un hikayesi karmaşık görünse de derinlemesine incelendiğinde oldukça duygusal ve anlaşılır bir yapıya sahip.”

2022 yılında İzmir'de besteci, söz yazarı ve şarkıcı Yiğit Orsal tarafından kurulan Shadowminds’in güncel kadrosunda Ahmet Uğur Akgül (Lead Gitar), Bora Karaeğemen (Ritim Gitar) ve Berke "Berjo" Solmaz (Bass Gitar) yer alıyor. Shadowminds’tan İlk Tekli "Mutsuz Son" Cennetin boşluğunda, cehennemi buldum ben! Kaybedenler kahrolur, kansızlar bizi yakarken… Işığı gören ruh değil; kabuslar dört bir yanda! Sen ve ben kaybolmuş, celladımızı ararken… Sessizlik oldukça kasvetli, Hayaller, kuyu dibinde… Sular bulanık, sanki lanetli. Akmaz durur içimde… Sinsice yaklaşırlar, dalgalar kıyıya vururken! Gökyüzü kapkaranlık, yeryüzü sarsılırken! Levhalar savrulmuş, faniler tek bir safta! Sen ve ben payidarız, insan oğlu yok olurken… Yaşamaya çalışırken, ağlattılar! Zamanımız daralırken, pusu kurdular! Mutsuz sona yaklaşırken, saldırdılar! Karabasanlar! Sessizlik oldukça kasvetli, Hayaller kuyu dibinde… Sular bulanık, sanki lanetli. Akmaz durur içimde… Bakma, görmez artık… Susma, duymaz artık… Kaçma, olmaz artık… Bitti, dönmez artık… Yapma, değmez artık… Sustu, duymaz artık… Kaçma, olmaz artık… Bitti, dönmez artık! Sessizlik oldukça kasvetli, Hayaller kuyu dibinde… Sular bulanık, sanki lanetli. Akmaz durur içimde… Prodüktör: İbrahim ÜNVERDİ Söz: Yiğit ORSAL Müzik: İbrahim ÜNVERDİ, Yiğit ORSAL “Mutsuz Son”u dijital platformlardan dinleyebilirsiniz:

  Read the full article

[cypr24]

Lotnisko nadal nie płaci za prąd

Lotnisko na północy nadal nie płaci za prąd – jego długi pokrywają mieszkańcy obszarów okupowanych Podatnicy cypryjskiej społeczności tureckiej płacą co miesiąc 10 milionów TL (264 620 euro) na pokrycie kosztów zużycia energii elektrycznej na lotnisku Ercan (Tymbou) – poinformował w piątek Ahmet Tugcu, lider związku zawodowego pracowników północnej spółki energetycznej Kib-Tek, El-Sen. W…

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[C]　🀋ַㅤ𝂅ㅤ𝑴𝘖𝘕𝘌𝘠, 𝙈𝙊𝙉𝙀𝙔, 𝘔𝘖𝘕𝘌𝘠𝂅ㅤ落胆! の

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ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ𝗺𝘂𝘀𝘁 𝗯𝗲 𝖋𝘂𝗻𝗻𝘆

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ𐌉𝗇 t𝘩𝗲 𝙧𝗂𝖼𝘩 𝗺𝖺𝗇'𝙨 𝘸𝗼𝙧𝗹𝖽

[C]⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

[C]　▆▆▆▆ㅤ　ꡰ　︲　 ٫ ㅤ

　　　　

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𝗘𝗦𝗥𝗔 𝗞𝗢𝗥𝗞𝗠𝗔𝗭 ︲𝗙𐌉𝗙ꔋ𝗘𝗘𝖭 ︲

𝘥𝘢𝘶𝘨𝘩𝘵𝘦𝘳 𝘰𝘧 𝘏𝘦𝘳𝘮𝘦𝘴 ︲ꔋ𝗎̈𝙧𝙠𝗂𝘆𝗲 ︲𝘀𝘁𝗿𝗮𝗶𝗴𝗵𝘁

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[C]　ꡰㅤㅤ𝂅 ㅤ𝝡𝗼𝗇𝗲𝘆, 𝗺𝗼𝗇𝗲𝘆, 𝗺𝗼𝗇𝗲𝘆... ٫ ⎯　落胆!

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[C]⎯⎯⎯⎯⎯𝖠𝗹𝘸𝖺𝘆𝙨 𝙨𝗎𝗇𝗇𝘆⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

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[C]Meu nome é Esra Korkmaz, e, aos quinze anos, já sou uma especialista em desviar olhares e, claro, em batedura de carteiras. Nascida em Istambul, minha vida é uma maravilha, se o significado de maravilha estiver atrelado ao de instável e caótico. Meu pai, Ahmet, trabalha como taxista e se perde nas intermináveis ruas da cidade horas a fio, sofrendo humilhações de gente do outro continente constantemente e correndo por dias inteiros para carregar a bunda gorda dos turistas de Dolmabahçe até Topkapı. Minha mãe, bem... Não a vejo desde que ela tentou me largar na avenida, aos 7 meses, mas suponho que ela esteja melhor onde está internada. Ela já estava grávida quando se casou com baba, mas nós não falamos sobre isso. Ele se esforça para me criar nessa maravilhosa cidade caríssima, e eu, bem... Eu digo a ele que o governo nos paga uma pensão por termos perdido minha mãe. Uma pensão que vem diretamente dos bolsos americanos - e das bolsas, e das carteiras. E ninguém nunca me pegou! Certa vez, enquanto baba estava em uma longa viagem, eu decidi explorar o que dizem ser o antigo templo de Midas. Sabe, o cara que transformava tudo em ouro? Imaginem a riqueza das histórias que poderia encontrar ali! Na verdade, era só um monte de pedras, mas o céu estava tão estrelado que me senti como se estivesse em uma reunião com os deuses. Gosto disso, das estrelas, desde que me entendo por gente. É algo que eu gostaria de estudar, se estudar não fosse uma porcaria. Quando não estou à caça de turistas desavisados, gosto de visitar mesquitas e igrejas, observando as pessoas e tentando entender o que faz cada uma delas crer no que acredita. É fascinante! Um dia, estou em uma igreja ortodoxa, ouvindo os cânticos, e no outro, estou em uma mesquita, admirando os azulejos azuis de İznik. E, claro, não posso deixar de aproveitar a oportunidade para "emprestar" alguns trocados. Minha família materna pratica o islamismo - como boa parte da minha querida Turquia -, mas não me sinto totalmente confortável nisso. Me chamem de ladra, oportunista, vigarista ou o que for, mas gosto do quão confortável consigo fazer minha rotina ser - se confortável também for atrelado a perigoso. Afinal, entre um lanche de simit e uma olhada no Bósforo, minha vida é uma comédia que ainda não terminou. E quem sabe, um dia, talvez eu descubra quem é meu pai biológico e por que minha mãe, que se perdeu em seus próprios demônios, não está aqui. Mas por enquanto, vou viver a vida como uma mistura de Robin Hood e uma adolescente comum. Afinal, ser uma ladra em Istambul tem suas vantagens!

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[C] ꡰㅤㅤ𝂅 𝙄𝙉 𝙏𝙃𝙀 𝙍𝙄𝘾𝙃 𝙈𝘼𝙉'𝙎 𝙒𝙊𝙍𝙇𝘿 ٫ ⎯　落胆!

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[C]⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

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[C]Eu sou uma pessoa muito legal. Sério, de verdade! Eu entendo todo o rolê do que é moralmente correto e blá blá blá, juro que entendo, e pode não parecer que sou a melhor das pessoas... Realmente não sou, mas pelo menos não sou ruim! Tenho minha moral, meu senso de justiça e um humor de dar inveja, modéstia à parte. Acho que o correto seria me chamar de hipócrita. Roubar? Ótimo, tudo bem! Mas roubar conhecendo a história da pessoa? Bem, depende... Em geral, gosto de crianças e animais, não maltrato idosos e respeito a natureza. Especialmente a minha! Sou bem despreocupada e não tenho medo! Não muito. Gosto de resolver as coisas sozinha. Está bem melhor assim. Não está? Bem, deve estar.

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[C]˓ ＼̸ ﹙#DeryaPinarAk

ㅤㅤㅤㅤ────ㅤㅤ──

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[rockmusicassoc]

Born In The Rock 7/31/1923: The late, great Ahmet Ertegun, founder of Atlantic Records & co-founder of the Rock and Roll Hall of Fame. He was a dude and a half, producer, songwriter, background singer, impresario, champion. #AtlanticRecords #AhmetErtegan #RockHonorRoll

[sgokie2024]

There is no Cream, there is no Led Zeppelin etc. without this guy.. Ahmet Ertegun.. Rock and Roll and Soul music architect.. Thanks Bill Graham ….Ahmet Ertegun was the co-founder and president of Atlantic Records, shown here in 1969. He discovered and championed many leading rhythm and blues and rock musicians. Ertegun also wrote classic blues and pop songs. He served as the chairman of the Rock and Roll Hall of Fame and museum, located in Cleveland, Ohio. Ertegun has been described as "one of the most significant figures in the modern recording industry." In 2017 he was inducted into the Rhythm and Blues Music Hall of Fame in recognition of his work in the music business.

[renticat]

hunger that will never be satisfied.

there is hate on my heart and it's not healthy, I guess that's the number one reason I am holding on to the memories so tight even though they're an assholes in real life and just playing my feeling.

Because even when it was all lies, I guess I am seeing myself as undeserving of love and now I am hating myself so much, because I never give love to myself properly.

Like why the fuck, what is wrong with me? Well this is how your mind got fucked everyday knowing since little kid your parents hated you but never really said that but their action do. It's harsh when they only love you if you do what they wanted because they didn't care for whatever the fuck you want. It's unhealthy and you're chasing these love because everybody seems to be doing this and like in the good old stories ofc parents are loving their child. Well, they're not always. It's the truth and ofc it's easy when you have never experienced this but when you did esp since it was too early, it's just so hard to wired your brain again and judging everything as it is.

I have the urge to revenge even when it's useless because words, no matter what you say especially when it's the truth, they're gonna deny it because they saw themselves as hero and never hurting anybody. It's form of love, the abuse and discipline. Now that my life is fucked up to the core they act like it was never their fucking doing, it's me who born fucked. Can you believe that?

Oh please everyone have experience this like they're dismissed all my feeling when they can even show the pictures of family, fuck I don't do shit like that not even talking so no, you don't understand. Talk only because they're angry. Father's day is a joke for people like me and fuck you ahmet and all men like you keep harassing me when you know why the fuck I do what I did and there is no free call because that's what I've been saying from the beginning. It's for me to buy food to satisfy hunger that won't end. Fuck I guess it's pointless and I have been saying fuck too much.

You're a bad woman saying bad words and those fucking men who are creeps but cheap are fucking angel just because they can said bad things to me without consequences? I hope you're life hell, but life is not fair these kind of people live lavishly and don't seem to understand that they're the problem.

Comical. Like my bad attempt to joke about myself just because I can't take it anymore.

If I said you're just like my dad then it's over. And now All I see it's they're like that anyway and I am not that sad anymore. It's never worth it. Keeping someone alive just to torture them forever, it's better when they give me away when they don't want me and I have much healthy mind than this. Stop saying bullshit you should be grateful that you are alive now when it's like you're alive but in solitary confinement, not much food, no people would love to understand you because you're labelled as crazy just because you're unfortunate enough to experienced this kind of life you never chose to begin with. No hope and no way to change your surrounding because you've been raising to just nod and agree. Be a fucking property can't escape. But you're alive, you should be grateful.

I wish I am not. I wish death come and pick me up but gently. The end.

*the religion of peace. They're peaceful but not when you're the outsider. Oh try to live in the number one biggest population of it, it's not subtle. You're existence already wrong when you don't even choose that yourself. It's wrong to just walk out and have your own opinion. Fuck you ahmet. And those oil guy who only give me headache but never really give me anything yet they're talking down to me but they think so highly of themselves.

So much logical nonsense.

I am about to upload again on my telegram but then the ahmet face's comes up in my mind, well I should have block him but I don't do it unless someone is pestering me non stop, well but he comes up sometimes just to compliment me like it was meant anything. I don't need that. I need someone who generously share everything with me and ofc we take care of each other. But men only take and take. Well it's okay if they give something but they're only been giving me headache and bullshit. And I hate this, I want to work but again the religion of piece, won't hire anyone unless they're the same like them. It's the truth. It's so limited and I have no skill in arts thanks to the loving dad who called them they're sin when if I can draw or dance in stage i would not be this miserable but I can't. I am too old, that's why you got into entertainment when you're young.

Well but it's predatory and not safe, i guess being old and seen as trash so that I must just get along with anyone bullshit that probably they will make me his wife and abuse me also very unsafe. Ugh.

Fuck you Ahmet. Fuck all of your kind.

Be pure, only give lust to your husband that probably already thinking to get another wife just because his bored and it's permissable as long as he can give food to both of them. Anything else is not mandatory. Collect all the women. Don't give them high education because it's not worth it. They're stupid.

Now I know why my dad always tackling me down. Because he really do believe I can't be anything. And yeah if you're doing arts you're whore no matter what section. This cult is nonsense and not offering any peace.

I am angry but I can't do anything. They laugh because it's my own fault. No, it's the whole system you created. So there is less and almost none healthy thinking men in this world anymore that respect women. Fuck you.

[caitlinmia]

Talk By Cos Ahmet

On the 14th of March 2024 we were lucky to have a talk by artist Cos Ahmet about his journey to becoming an artist, his artworks and how he creates them. A member of The Royal Standard, he also has a studio in the building. He also graduated in 2021 during covid which he described as ‘challenging terrain to navigate’. He studied a mix of fine art and textiles and created woven materials but stated that it was ‘a slow and limiting art’ so he started from scratch.

In his art he wanted to use new materials such as clear tape and film. His first choreographic work ‘Sensing The In-Between’ in 2020 is a video of 2 people covered in a 7 metre long clear tape, it shows the movement, touch and space between the two people. They stand opposite each other and slowly walk towards each other in a symmetrical and slow movement as if they are both taking their time, stopping for a moment before getting closer to each other just before both bodies touching in the middle. They begin to rub against each other and bodies leaning against each other letting the subtle noises of clear tape flow out into the open space. As one begins to step back the other follows one step closer before both stepping back away and then closer to each other. This movement could represent the idea of two people come together and the struggles of relationships as one begins to move away. Until they both remove the tape that surrounds them and walks away, possibly showing that we keep walls up to ‘protect’ our feelings.

In another of his films is Proposition, 2022, which is of a nude gentleman who is covering his genitals with a taped box which does actually hide his naked body, a little. It’s only a video performance and not a live one for an audience. It’s all improvised performance and spontaneous, Ahmet allows the models to perform how they would like and take into the art how they see it as well.

One of a kind that I have seen is Curious Being (triptych),2020. The video creates an eerie but almost facinating atmosphere that makes you want to carry on watching but envokes a deep feeling from inside you. He states that this work focuses on the idea of disappearing and becoming a new being, bringing about the question of ‘when does a body stop being a body, and become the material’. The object that he is surrounded by is in fact made from a survival blanket which connotes the idea of being protected and kept safe. When asked the question “where do you get the inspiration tor the soundtrack?” He answered that it needed to be ethereal and otherworldly sounds, something that needed to give the effect of going through dimensions and portals to a completely whole other world.

Another amazing performance and video that Cos Ahmet has created is Transmitting, 2021. It’s part choreographed and improvised as the bodies and shadows intertwine to ‘display a sense of appearing and disappearing, to become apart of the projection’. The background of the projections are absolutely mesmerising and captivate your eye, it’s a truly wonderful performance. The background music is almost hallucinating and makes you feel like you are travelling to another dimension. Cos Ahmet’s collaboration with Gary Finnegan is a great experience, the slow movements of the bodies and the larger scale of the shadows upon the wall almost create a psychological experience.

Cos Ahmets performance videos are generally something that everyone should watch and learn about.

For more information about Cos Ahmet and his work - https://www.cosahmet.com

[rhiannonsage]

Cos Ahmet

Our second visit from a guest speaker was done by Cos Ahmet, titled ‘A Journey of Body-Material Interventions’. This talk I found particularly interesting, as I am not a maker myself, I find it very interesting to listen to creatives talk about their work, processes and inspirations, and Cos was particularly passionate! 

We learned about his MA in fine art at LJMU, from which he graduated in 2021, and now has a studio space in The Royal Standard which he shares with his collaborator Gary Finnigan. Unfortunately, I didn’t make it to the class trip to The Royal Standard which is a shame as I would really have loved to have a nosey at Ahmet’s space! 

Cos’s current practice is sculpture, performance etc. His pieces often involve people interacting with the work or are made to imitate the human body. The work Instructions for a Body, 2019 was made up of fragments of piping to imitate a bodily product or system, Cos explained that he made the work to look almost like an archaeological dig. Although not the original inspiration, Cos took some inspiration from the artist Hans Bellmer, who grappled with the base conditions of the human body and the bodily fragments as a fetish object. 

This interest in the human body progressed into Ahmet beginning to question what it is to be a body now; leaning towards how to be a body in his own skin, this led him to begin looking at new materials to emulate this. To Disperse is to Cause, 2020, is made entirely of tape, as if the body has shed its own skin, leaving behind the remains. Ahmet explained that this linked back to ‘what it is to be a body now’. I found the concept really interesting and could see how it resonated with Cos. 

Cos moved on to talk about the choreographic side of his practice. This was a side of contemporary art that I hadn’t previously seen, and I found it quite thought provoking, the amount of thought and personality that goes into contemporary artwork sure is unique! Ahmet’s first choreographic piece is called Sensing the In-Between. this piece of work is made of tape and involves 2 shrouds that can be worn. Within this work, gestures of movement and touch are explored as the bodies meet in between. Ahmet described the work becoming a ‘pre-post performance’ referring to the performance in which he and one of his collaborators stand within the shrouds, walk towards each other, touch through the shrouds then take them off and lay them on the floor before walking away, ( excuse my terrible description of Ahmet’s very innovative performance piece). Cos explained that this work was made before the very first lockdown, he thinks that the noise in the media about covid going on in the background at the time, filtered through into his work. it is funny some of the things that can inspire art without the artist even realising until after it is made, I think this kind of subconsciousness is a big factor for inspiring contemporary art pieces. 

A year down the line, Ahmet began using other materials but hadn’t yet finished working with the tape, he wanted to expand and make the work much bigger into a choreographic space, but could also be an object at the same time, the piece A Meniscus (Between), 2021, was exactly that for Cos. it revolves around the meeting point from one skin to another but through a wall of tape, watching the video, it really made me think back to the lockdowns during covid, being able to see but not touch people, hold their hand, give your grandparents a hug etc. 

I found it really quite moving! 

We looked at some of the work of Allan Kaprow, who Cos explained was a great influence for him. Kaprow would have a script of instructions for his works, which he liked to be followed to the letter by his performers who would interact with his work. This led Ahmet to begin to create a script of instructions for his works. this is where it clicked for me what a ‘choreographic project’ is, as the script of instructions reminded me of a script for a movie or a set of instructions for a dance etc. this is such an interesting concept for contemporary art, the level of planning that goes into Ahmet’s work is inspiring. Proposition (a duet), 2022, embodies this, the performance consists of a choreographic object, interacting with a human. The term ‘choreographic object’ was also a new one for me, so I gave it a quick google search to see what would come up, this ended up not being quick and took my down a deep hole of the definition of choreographic objects, until I found an essay written by American actor and choreographer William Forsythe. He explained that ‘A Choreographic Object is, by nature, open to a full range of unmediated perceptual instigations without having to prioritise any type of recipient. The objects instigate processes in the body that instrumentalise the body’s readiness to provide input" https://www.williamforsythe.com/essay.html I began here to understand the interest that Cos has in the way people interact with his works, and their eventual outcomes. 

For this particular piece, the instructions were fairly loose, Ahmet let the person interacting with the object take their own opinion of what the instructions meant. This process of evolving, through his artwork, performance pieces and choreographic objects, is one of the main things that I found so interesting about Cos Ahmet’s talk. the evolution of his materials from tape to a survival blanket showed his interest in readily made materials, we could see how he grew in confidence over his performance pieces and use of choreographic objects over the years, up to his piece Transmitting, 2021.

[nacentart]

Bibliography

Cos Ahmet. (n.d.). Cos Ahmet. [Accessed on 20th April 2024] Available at https://www.cosahmet.com/

David Nash | Artist | Royal Academy of Arts. (n.d.). [Accessed on 20th April 2024] Available at https://www.royalacademy.org.uk/art-artists/name/david-nash-ra

Tate. (n.d.). You get a car [Everybody gets a car]: RESOLVE Collective | Tate Liverpool + RIBA North. [Accessed on 20th April 2024] Available at  https://www.tate.org.uk/whats-on/tate-liverpool/you-get-a-car-everybody-gets-a-car-resolve-collective

The Wonderful World of the Ladybird Artists: an exhibition • Ladybird Fly Away Home. (2024, January 20). [Accessed on 20th April 2024] Available at https://ladybirdflyawayhome.com/the-ladybird-artists-exhibition/

Vivian Maier Photographer (n.d.) Vivian Maier Portfolios, Prints, Exhibitions, Books and documentary film. (2013) [Accessed on 20th April 2024] Available at https://www.vivianmaier.com/

WIllard Wigan MBE. (n.d.) [Accessed on 20th April 2024] Available at [Website].   https://www.willardwiganmbe.com/

Yorkshire Sculpture Park. (2024, April 22). Yorkshire Sculpture Park. [Accessed on 20th April 2024] Available at  https://ysp.org.uk/

[contemporarybloggg]

Cos Ahmet

Cos Ahmet is an artist interested in the textures and properties of different materials when making his art. When doing his BA in Fine Art, he focused on woven materials, however found that it was a slow art as you are making the material from its original forms, which can be restrictive. He had decided to push it aside and start from scratch. He was completing his master’s in Fine Art and John Moore’s remotely due to the pandemic, this would be challenging due to art being such a tactile and physically reliant form of creating. His work consists of performance pieces and sculpture. He would use objects such as piping to represent the human body, as ‘choreographic objects’. This is shown in his ‘Instructions for a body’ art works, where he used domestic pipes to represent the body, conduits acted as elbow joints and sleeves which is appropriate due to them being named after human body parts already. The pieces of the plaster, fragmented body was laid out like the remains from an architectural dig, the plaster acted as a way to repair and fix ‘fractures’.

When moving towards alternative materials such as tape, he moved away from the obvious, overt signs of body parts. For example, he spoke mostly on his practice of using clear tape to make geometric constructions and objects. The quality of the material allows for a small element of structural integrity; however the tensile strength doesn’t allow for his structures to support themselves indefinitely due to it being take from its usual context. An extension of his experimentation with tape is done within his performances. The tape is used as a choreographic object which allow for the performers to sense the in betweenness of the 7 meters between them. Ahmet uses instructions, similar to how Franz Erhard Walther does in Plastische, then the performers enact their interpretations of them. The lack of touching from the figures was partially enforced by the echoes of the pandemic, showing the separation everyone had to endure.

The continuation of the tape is shown in ‘A Meniscus’ where it acts as a second skin. He displays the haptic nuances of everyday gestures by removing himself and allowing the performers to enact the piece. He added a set of instructions to ensure there is a base reference for them.

Drifting away from clear tape, Ahmet experimented in using metallic survival rescue blankets. He had created an spherical orb object to enclose himself within, this erases the human subject whilst keeping the human as the operator of the object. In ‘Curious Being’ he reinforces the survival blanket with tape to increase the structural integrity. The piece focuses on how the body can disappear, as well as how you often feel safer in an enclosed space. The metallic object brings the question of when a body stops being a body and starts becoming the material, creating a new type of being. When moving around in the real world in the creation, the sound of the material became overpowering which reduced Ahmet’s hearing and eyesight, rendering him blind and deaf.

[lokaleblickecom]

Elternverband Ruhr würdigt Journalisten beim Journalistentag

Essen - Elternverband Ruhr e.V. hat den Journalistentag mit einer besonderen Veranstaltung gefeiert. Der Tag der arbeitenden Journalisten ist ein in der Türkei einzigartiger Feiertag, der seit 1962 am 10. Januar begangen wird, um diejenigen zu ehren, die den Beruf des Journalisten ausüben.

Der 10. Januar, der Tag, an dem 1961 das Gesetz Nr. 212 über geistige Arbeiter in Kraft trat, wurde zwischen 1962 und 1971 unter dem Namen "Tag der arbeitenden Journalisten" gefeiert; nach der Militärintervention 1971 wurde der Name des Feiertags in "Tag der arbeitenden Journalisten" geändert, als einige der Rechte der Journalisten im Land zurückgenommen wurden. (Quelle: Wikipedia)

In einer Rede von Fatime Okuyucu, der Co-Vorsitzenden des Vereins, wurde den verdienten Pressemitgliedern und Journalisten gedankt.

Das Programm, das in der Konditorei Nur in Essen stattfand, begann mit einer Schweigeminute für die gefallenen Soldaten, die bei der Krallenschloss (Millitär-Operation) ihr Leben verloren haben. Anschließend gab es ein Frühstück und ein Kennenlerngespräch. Neben İlhan Kılıç, Ramazan Kabataş und der Redakteurin Nilüfer Güven nahmen unter anderem Abdulkadir Bakirdöven, Murat Pehlivan, Tevfik Kara, Ünsal Gür, Resul Düvenci, Ahmet Salıncaklı, Ender Yenilmez, İbrahim Taş, Ahmet Birinci, Yunus Ülger, Ali İnan, Ali Osman Doğan und Ali Osman Yayla an dem Programm teil. Allen Journalisten wurde für ihre Teilnahme an dem Programm gedankt.

Von den Mitgliedern der Ruhr-Elternvereinigung waren Mehmet Kapyapar, Ahmet Değirmenci, Dilek Sak, Funda Tunçtürk, Yelda Yüncüoğlu, Atilla Yüncüoğlu, Bülent Okuyucu, Turhan Tunçtürk und Gülsüm Değirmenci ebenfalls anwesend. In seiner Rede erinnerte der Vorsitzende Dr. Ali Sak daran, dass der 10. Januar seit der Verabschiedung des Gesetzes Nr. 212 jedes Jahr als "Tag der arbeitenden Journalisten" begangen wird, und betonte, dass die Presse eines der grundlegenden Elemente der Demokratie ist. Dr. Ali Sak stellte fest, dass Journalisten ihre Aufgabe, die öffentliche Meinung unter schwierigen Bedingungen aufzuklären, erfolgreich erfüllen, und sagte, dass eine unparteiische und freie Presse für ein demokratisches Land unerlässlich sei.

Dr. Sak wies darauf hin, dass die Ziele des Elternverband Ruhr e.V. darin bestehen, die Teilnahme am Türkischunterricht zu erhöhen, die türkische Sprache und Kultur zu fördern und Lösungen für die Probleme der türkischen Gemeinschaft zu finden, und sagte, dass die Mitglieder der Presse eine wichtige Brücke zur Erreichung dieser Ziele darstellen.

Am Ende des Programms wurde den Pressevertretern gedankt und den Journalisten, deren Journalistentag gefeiert wurde, sowie den verstorbenen Pressevertretern das Mitgefühl ausgesprochen. Das Programm fand in Einigkeit und Solidarität statt. Bilder: Ruhr-Elternverein Read the full article

[1solone]

On this date in 1974, THE JOKER by THE STEVE MILLER BAND hit No. 1 on the US Billboard Chart (Jan 12, 1974)

The song topped the US Billboard Hot 100 in early 1974 and reached the top 20 in Australia, Canada, and the Netherlands.

More than 16 years later, in September 1990, "The Joker" reached number one on the UK Singles Chart for two weeks after being used in "Great Deal", a Hugh Johnson-directed television advertisement for Levi's, thus holding the record for the longest gap between transatlantic chart-toppers.

The line in this song, "I speak of the pompatus of love," has baffled listeners for some time.

The word "Pompatus" does exist in the Oxford English Dictionary, and it means "to act with pomp and splendor."

Miller most likely heard the word on a song called "The Letter," which was recorded by the Los Angeles doo-wop group The Medallions in 1954.

It was written by their lead singer Vernon Green, who was 16 at the time and crippled with polio. The song contains these lyrics:

Let me whisper sweet words of dismortality

and discuss the pompatus of love

Put it together and what do you have?

Matrimony

Miller drew associations to some of his other songs in the lyrics to this one. The line, "Some people call me The Space Cowboy" is a reference to Miller's 1969 song "Space Cowboy." The line, "Some call me a gangster of love" is a reference to his song "Gangster of Love."

The line, "Some people call me Maurice" is a reference to Miller's 1972 song "Enter Maurice." In that song Miller also sings about "The pompatus of love."

Miller got the line at the end, "I really love your peaches want to shake your tree, lovey dovey, lovey dovey..." from "Lovey Dovey," a 1953 song by the R&B group The Clovers. That song's co-writer was Ahmet Ertegun, who later became head of Atlantic Records. Ertegun sued Miller for plagiarism. Miller recalled to Mojo magazine in 2012: "To me, it was an old blues double entendre, but I had to give him credit. I don't mind having Ahmet's name beside mine though."

Miller won a lawsuit against rap group The Geto Boys when they used this without his permission in 1990. In 2000, he let Shaggy use the bass line from this on his hit, "Angel." A year later, Miller let Run-D.M.C. sample "Take The Money And Run."

Steve Miller told the story of the song in an interview with Mojo November 2012: "I got this funny, lazy, sexy little tune," he recalled, "but it didn't come together until a party in Novato, north of San Francisco. I sat on the hood of a car under the stars with an acoustic guitar making up lyrics and 'I'm a joker, I'm a smoker, 'I'm a midnight toker' came out. My chorus! The 'some people call me the space cowboy' and 'the gangster of love' referred to earlier songs of mine and so did 'Maurice' and 'the propitious of love.' You don't have to use words. It was just a goof.

I produced myself. Nobody pushing us around. That 12-string acoustic I played, it was made by Epiphone's last master guitar-maker. I forget his name, sorry.

The basic rhythm track, when we cut it I was very precise with the bassist, Gerald Johnson about the line he should play. Then there's the slide guitar sound, which I put through a Leslie speaker and a wah-wah pedal, among other things."

Miller's subtle approach to the wah-wah pedal earned him the #16 spot on Guitar World's 2015 list of greatest wah solos of all time.

[ghostie111]

You Can Get Him Frankenstein

Castle Kings cover co written by Ahmet Ertegun and Phil Spector and another