Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as kundura hafıza space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives, kundura hafıza.

How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond? Kundura Cinema is part of a cultural placemaking project. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site.

Kundura hafıza

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In subsequent works such as 'At the Site of the Fire,' the artist relates the past of the city we live in, kundura hafıza, shaped by fires and migrations, kundura hafıza the present day, treating fire as a moment of radical transformation; through archive research, testimonies, and the archaeology of the recent period, they aim to probe memories and extract a nomadic narrative from the intertwined memories of cities, cultures, and identities. She played an essential role kundura hafıza the construction of the industrial heritage site Beykoz Kunduraand in she founded the non-profit association Kundura Hafiza.

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Kundura Sahne probes performance practice with an inquisitive approach and creates space of encounter with its experimental and innovative fashion. While creating dialogues with strong local and international values, it embraces, encourages and supports research-oriented creative practice in interdisciplinary context. Nurturing the relation of research methodologies and creative techniques, it provides an interplaying dialogue for known concepts and rules; and takes part in creating works of art that are developed with proper methods. Based on the complexity of terms and definitions, it investigates ongoing peripheral connection and interrelationship of concepts such as stage, audience and actor, body and movement. It encourages change in creative styles and creates new setups. It focuses on documentary approach in the context and practice of research-based art making and narrative plotlines. It shapes and contours experiences and social narrations that we all are surrounded by. It progresses without making a classification according to technique, style and format and does not establish a fixed and limited perspective. It establishes an innovative and transforming language when defining documentary regardless of the genre.

Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. The artists who are invited to Vardiya for working at the archive in certain periods of the year for certain durations transfer their duties to the artist that will take over. The artist decides how to make the transfer in this creative process. The concept and practical outcomes of this system of working in shifts are presented to the audience through an public session. She earned her BFA. A in the "Photography" department at Marmara University in Istanbul.

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Our cinema and its surroundings complete each other. What is it about film that can create solidarity, in your opinion? Our focus at Kundura Cinema is on designing experiences. She earned her BFA. As our space is a part of industrial heritage, and partially public, we cannot keep it just for ourselves or for a very niche target audience. Cinema of Commoning represents a space for encounters and for exchanging shared values based on our filmic missions. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. It plans a working cycle with the artists, which protects, conserve, and guards the archive. Experimenting with exhibition formats can also shape the audience. The self-repair of the organism and the long-term balancing of nature form the backbone of this narrative. The main strand of our curation centres on restored classics and silent film screenings with live music accompaniment. Powerful storytelling is a source of solidarity. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. During the summer time they used to organise an open-air cinema in the garden of the factory, and this inspired us to kick off our open air film festival Midsummers Night Festival. The factory management used to transform the food hall into an indoor cinema after the end of shifts.

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Her recent works investigate the body as an archive and movement as a means of revival. The main strand of our curation centres on restored classics and silent film screenings with live music accompaniment. It plans a working cycle with the artists, which protects, conserve, and guards the archive. What does Cinema of Commoning mean to you? How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond? Between , she worked as an assistant curator in the photography department at the Istanbul Museum of Modern Art. The concept and practical outcomes of this system of working in shifts are presented to the audience through an public session. Through experimentation, we attempt to bridge past and future and embrace change, while also keeping those bonds with the memory of cinema, and with the inherited legacy of our post-industrial space. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. When we were conducting oral history interviews as part of the Kundura Memory Project, we were mostly interested in finding out about the social life of the factory. We believe that we can make locality more valuable within global solidarity. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul.