Jennifer Steinkamp, Eye Catching, 2003, 20 x 14 feet and 20 x 14 feet and 20 x 14 feet, The 8th Istanbul Biennial
Jennifer Steinkamp, Eye Catching, 2003, The 8th Istanbul Biennial, Yerebatan Cistern
“The grandest of all is the Basilica Cistern (Yerebatan Sarnıç), so called because it lay beneath the Stoa Basilica, a grand Byzantine public square. It’s also called the Sunken Palace Cistern (Yerebatan Saray Sarnıçı) because that’s what it looks like.Whatever you call it, it’s impressive because of its size, measuring 138 meters long and 64.6 meters wide, covering nearly 1000 square meters (2.4 acres); its capacity (80,000 cubic meters—over 21 million US gallons) and its 336 marble columns.” Excerpted from: here.
“Located in the northwest corner of the cistern, the bases of two columns reuse blocks carved with the visage of Medusa. The origin of the two heads is unknown, though it is thought that the heads were brought to the cistern after being removed from a building of the late Roman period. There is no written evidence that suggests they were used as column pedestals previously. Tradition has it that the blocks are oriented sideways and inverted in order to negate the power of the Gorgons’ gaze, however it is widely thought that one was placed sideways only to be the proper size to support the column. The upside down Medusa was placed that way specifically because she would be the same height right side up.” Excerpted from: here.
Pravdoliub Ivanov, Ornaments of Endurance, 2011, cut carpet mounted on wall, 334 x 226 cm
Pravdoliub Ivanov, Transformation Always Takes Time And Energy, 1998, Installation, dimensions variable, edition 4+1AP, hot plates, pots, tea pots, cables, water, electricity, time, Lothringerstrasse, Munich, Germany
Pravdoliub Ivanov, Do Not Turn Off, 2006, Neon tubes, wire, plug
Jonathan Mayhew, from Geist Series, pencil and eraser on newspaper images, 2007-ongoing
Jonathan Mayhew, Untitled (summon)
Jonathan Mayhew, some but not all my spam (tumblr video version edit)
Aquí Seré consists of audio and video made during a project conducted by the artist in Mexico city called “A Drifter’s Guide to Urban Field Recording.” Through Deep Listening and audiovisual walks this project encouraged a critical reconsideration of the urban environment in an embodied way.