/ Dezember 16, 2019

Workshop – Pınar Öğrenci
As Part of a Journey – Everyday
Studio 2.14.020

Introduction: 9 November 2019, 14:00
Workshop dates: 10-11-12 November and 16-17 December 2019, 11.00-18.00

Everyday
For the French sociologist, Henri Lefebvre, the aim of any investigation into the everyday is “to grasp a certain quality,” to “get inside” it. But what is there to get inside? The everyday, as Lefebvre continues, is what is left over when specialized knowledge has been exhausted. The everyday exhibits an “absence of qualities” that cannot be approached cognitively and displays an energizing capacity “to subvert intellectual and institutional authority.” The everyday is the place where ordinary people creatively use and transform the world they encounter from one day to another. As far as it is coupled with the responsibility to engage with everyday’s transformative potential, the commitment to the everyday indicates a desire to give a voice to those silenced by dominant discourses and ideologies.

The ‚Everyday‘ workshop focuses on practices which take place on the micro-level of everyday experience, such as discrimination, state violence, identity and gender politics and colonialism. The workshop departs from the idea of “getting inside” the everyday, to test and evolve methods to register the quotidian from a position of being plunged into dailyness and triviality. Throughout the course participants will receive guidance on how to work on daily practices and will be given examples of artists and filmmakers working on the politics of the everyday.

Pınar Öğrenci
With a background in architecture, artist and writer Pinar Ogrenci (1973, Van, Turkey) lives in Berlin and İstanbul. She is the founder and director of MARSistanbul, an art initiative launched in 2010. Her body of work, which consists mostly of video art and installations, is at the intersections of social and political content, everyday practices, and human stories. Carrying anthropological characteristics, her work focuses on forced displacement, collective movements, urban transformation, and relationship of state violence and architecture. Yet, they vary independently of theme and geography. Ogrenci, in whose work the traces of ‘material culture’ studies can be found, is interested in movements of cultural and urban symbols, and their transformation. Employing the method of “thick description” from cultural anthropology, she interprets themes of violence, class inequality, and urban development from decolonial and feminist perspectives and attempts to visualize this interpretation, transcending the local contexts.

Her works have been exhibited widely at museums and art institutions including at 3rd Art Encounters Biennial (2019), 7th Sinop Biennial (2019), 12th Gwangju Biennial (2018), 6th Athens Biennial (2018), Tensta Konsthall Stockholm (2018), Jewish Museum Munich (2019), Kunst Haus Wien- Hundertwasser Museum, 2017; Württembergischer Kunstverein (WKV) Stuttgart, 2017; the Istanbul off-site project for Sharjah Biennial13, 2017; Angewandte, Vienna, 2016; MAXXI Museum, Rome, 2015-6; SALT Galata, Istanbul, 2015-6; De Las Fronteras Biennial, Tamaulipas, 2015 and Depo, Istanbul, 2014-8. Her first solo exhibition abroad was realized at Kunst Haus-Hundertwasser Museum in Vienna, “A Gentle Breeze Passed Over Us” in 2017.

She has participated ‘Contemporary Geographies’, Summer School (Latvian Centre for Contemporary Art, Kuldiga, Latvia, 2018), Migration and Symbols, Lecture Series (Leuphana University, Luneburg, Germany, 2017), Public Calling Conference at National Theatre Oslo, 2016; Middle East Festival, Henie Onstad Kunstcenter, Oslo, 2016; “Plataforma Editable, Desplazamientos Curatoriales: Santiago, Valparaiso, Antofagasta, Tarabaca” in Chile, 2015; “Public Space and Museums” at the CIMAM conference in Rio de Janerio, 2013. She was one the fellows of District Berlin in 2018.


Images from the video documentation of Purple Panic:43 Performance and Public Intervention by Pınar Öğrenci in Mexico City in 2015.

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