TWWE0018 Kadinlar ENG.indd

Transcription

Project
april 2013
© TwentseWelle
02
Project ‘K adinl ar’
Table of contents
1. Introduction 04
2. Project group
05
3. Exhibition
07
4. Cooperating partners 07
5. Target groups and communication 08
6. Public activities, education and participation
09
7. Practical terms and conditions/quality control
10
8. Appendices
10
Appendix AThe Ten Women 11
Appendix BThe role of modern art
in the exhibition
19
Appendix CThe Kad�nlar budget 21
Appendix DProfiles of the institutions
22
Appendix ECommittee of recommendation
24
03
With the exhibition “Kad�nlar”, the focus for the 2014/2015 season of the ‘TwentseWelle’ museum and ‘Concordia Film Theatre Exposition’ in Enschede is on the role of women in successive cultures in Anatolia and Turkey. Some of these women were goddesses. To some women
divine characteristics were imputed while others had and have developed extraordinary qualities
which widely command admiration. Or, as Fikri Sağlar, the former Turkish Minister of Culture,
stated: “Kadin, Anadolu’nun en büyük zenginliğidir” (Women form the most important resource
of Anatolia). This remarkable exhibition is dedicated to ten women, their heritage and the time in
which they lived or still live today.
1. Introduction
04
Located on the Silk Road, which connected Asia
system, even though the worshipping of women
to Europe, Anatolia is an excellent example of a
as the mother goddess did not entirely disappear
region where women have always been a source
as result of this development. Examples are the
of creativity and fertility. In the melting pot of
Phrygian goddess Cybele and the goddess Artemis
civilizations and cultures, was Istanbul – formerly
of Ephesus, who in later times would both get a
known as Constantinople – the capital of the
position in the Greek and Roman pantheon.
Byzantine and Ottoman Empire. Much further back
in time - in Palaeolithic and Neolithic times – in this
The women chosen for this exhibition belong to
area between the Bosporus and the headwaters
the category of role models and forerunners: a
of the Euphrates formed the matriarchal culture
mother goddess, a fertility goddess, the mother of
developed into a patriarchal society. Archaeological
Jesus Christ, the wife of an emperor, the leader of
finds show that man, after thousands of years of
a tribe, a poet, the mother of a sultan, a composer,
nomadic existence, started to establish settlements.
a freedom fighter and an archaeologist. They all
The role of women in this period was of essential
paved the way for future generations, not just in
importance. They bore children, sowed, harvested
Turkey but worldwide.
and presided over daily life. The numerous female
figurines that were found demonstrate the
The starting point of the exhibition is image
supremacy of women and the sacred nature of
and imagination. The exhibition is centred
motherhood.
on sociocultural aspects, rather than purely
scientifically and art-historically substantiated
New inventions, such as working metal and the
criteria. By creating an image with artwork and
birth of written language, caused profound social
various objects of the period in which each of the
shifts. This resulted in cities. Men took command of
ten selected women lived, the visitor gains an
society. The long tradition, in which the fertility of
insight in the way in which the position of women
women was central, was replaced by a patriarchal
has changed from a metaphor of motherhood and
fertility into a more complex contribution towards a
experts have in the meantime expressed their
society dominated by men.
enthusiasm and approval of the choice of
women).
In this way the exhibition ‘Kad�nlar’ wants to rise
•The exhibition runs from the past to the present.
above the one-dimensional discussion and standard
•It will show special objects of cultural heritage
opinion of women and Turkey. In accordance with
the philosophy of the museum, this project will
ensure that TwentseWelle will again become a place
for a special intercultural exploration. TwentseWelle
has always wanted to be a place of reflection, which
shown, never before shown in the Netherlands.
•The objects shown in the exhibition come from
more than twenty museums, mostly located in
Turkey.
•The exhibition gives a different perspective on
fascinates and inspires, allowing you to create new
the history of Turkey. The country from which
ideas and insights.
thousands of immigrants settled on both sides of
the Dutch-German border.
The exhibition is very different from previous
•The Turkish community in Twente will be closely
exhibitions devoted to Turkey:
involved throughout the entire project, especially
•The ten selected women have never been
with regard to guiding the audience and visiting
portrayed in a single exhibition together. (Turkish
schools.
2. Project Group
Within the project, the following tasks have been
assigned to the following people:
•Clients: Kees van der Meiden (director of
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TwentseWelle)
•Marketing/PR/Event Team: Wilma Tempelman
(TwentseWelle)
TwentseWelle) and Jasper Damsteegt (Director
•Facility Services: Joanna Biccai (TwentseWelle)
of Concordia)
•Public Assistance/Text Editor/Translations: Loes
•Project Management: Edwin Plokker (curator of
Schippers (TwentseWelle)
TwentseWelle)
•Guest Curator: Charlotte de Lussanet*
•Consultation/final editing catalogue: Henk
Boom**
•Coordination contemporary art: Yasmijn Jarram
(curator of Concordia)
•Content advice: Aukje Krommendijk (curator of
*Charlotte de Lussanet is an artist and developed the concept
of the exhibition.
**Henk Boom is a journalist and author of the book ‘The Grand
Turk’ (nominated for the AKO Literature Prize and in the
meantime translated into German and Turkish) and the book
‘Our Man in Constantinople’.
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3. Exhibition
The exhibition takes place from November/December
The ten women are depicted through photography,
2014 till May/June 2015. The exact dates of the exhi-
video, sculptures, paintings, calligraphy, fashion,
bition are still to be determined. The exhibition will
crafts, poetry and prose, miniatures and music. For
be accompanied by a multilingual catalogue.
each woman, a geographical location and a short
film with information about her and the era in which
For this exhibition, the large doors between the
she lived will be shown.
exhibition halls of the museum TwentseWelle and
An exhibition designer will be assigned to design the
Concordia will be opened. This ensures that all ten
exhibition, using the pieces received on loan from
women each have the space they deserve in this one
the Turkish museums, Turkish contemporary art,
large exhibition area of 800 square meters.
photography and digital techniques. As mentioned
before, the focus an implementation of the design
To draw attention to the exhibition presented in the
will be on the sociocultural aspects of the women
museum a one meter high, contemporary statue of
in their time period. The ten women are the main
the goddess Cybele will be installed in front of the
source of inspiration in the search for works of con-
venue. Upon entering the lobby of the museum a 15
temporary artists from Turkey, strengthening the
foot wide interactive map of Europe, Asia and North
dialogue between the past and present. In this way,
Africa will be seen on which images of Palaeolithic
underlying themes such as motherhood, gender, cre-
and Neolithic female figurines and the locations
ativity and leadership will be given an extra dimen-
where they were excavated will be indicated. By
sion. The visitor will furthermore be given an insight
pointing at the various locations the visitors will be
into how contemporary Turkish artists are inspired
shown further information.
through ancestors from their own cultural history.
4. Cooperating Partners
The exhibition is a collaboration between the
Several experts in Turkey have expressed their com-
museum TwentseWelle (www.twentsewelle.nl) and
mitment to provide the curators of the exhibition
Concordia Film Theatre Exposition (www.concordia.
with advice and check the contents of the exhibi-
nl). For a profile of these institutions please visit the
tion on their accuracy. Amongst these experts is
websites and see Appendix D.
Professor Günsel Renda (specialising in the influence of Western art on the Ottoman culture),
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author Ipek Calislar, Professor Sehvar Besiroglu
Pera Museum, General National
(specialising in the field of early music and musical
Library
instruments), Professor Tomur Atagök (professor of
ANKARAMuseum of Anatolian Civilizations,
museology and visual artist), Professor Huriye Reis
Ethnographic Museum, Museum
(expert in poetry from the Ottoman Empire) and
of Painting and Sculpture, General
Fokke Gerritsen (director of the Dutch Institute in
Directorate of Foundations of
Istanbul specialising in archaeology).
National Heritage, Art Centre
Cermodern
Museums and libraries that have pledged to cooper-
IZNIKArchaeological Museum
ate with the exhibition are:
SELÇUKEphesus Museum
ISTANBULTopkapi Museum, Archaeological
KÜTAHYAArchaeological Museum
Museum, Sadberk Hanim Museum,
GORDIONArchaeological Museum
Museum of Turkish and Islamic Art,
5. Target groups and communication
08
The specific target groups of the advertising
•Dutch people of (original) nationalities currently
budget are:
falling within the boundaries of the historic and
•Regular museum visitors, interested in art and
geographic scope of the exhibition (Anatolia/
culture, prepared to travel.
•Higher educated women, interested in the
Byzantine/Ottoman Empire) interested in its history and prepared to travel.
position of women in society, working, 30 +,
prepared to travel.
•The Turkish community in the region (eastern
The following types of media will be approached
and the following actions will be carried out in order
Netherlands and German border area), mostly
to reach all the abovementioned target groups:
originating from immigrants for the textile
•All media targeting or circulating within the
industry, now first, second and third genera-
Turkish community in the eastern part of the
tion Dutch citizens, proud of their ancestry and
Netherlands and German border area
interested in the theme.
•Dutch people of Turkish origin from other parts
of the Netherlands interested in art and culture,
particularly interested in Turkish art and culture,
prepared to travel.
•Media for culture-loving Dutch people
•National and regional media
•Press trip to the museums in Turkey lending
objects for the exhibition for Dutch journalists
•Flyers, posters, website TwentseWelle
6. P
ublic activities, education
and participation
For the duration of the exhibition (five months)
Turkish women. These afternoons became a tremen-
there will be a repeating agenda for public activities.
dous and unexpected success during the Troje expo-
Activities directly related to the theme of the exhibi-
sition in the Allard Pierson Museum in Amsterdam.
tion, with the intention to attract attention for the ex-
We will furthermore strive to cooperate with the
hibition. Concordia is contributing by way of a film and
Dutch Institute in Munster and Turkish organizations
a theatre programme. This programme includes per-
in the German Border area.
formances of the Turkish theatre group Rast and the
Turkish comedian Nilgün Yerli with his acclaimed per-
For this exhibition interactive displays are developed
formance ‘Veiled Monologues’. Interesting film to pre-
for primary and secondary education levels, focusing
sent could include Zenne (2012) and Almanya (2011).
mainly on cultural history and on contemporary women in science, sport, culture, business, contemporary
Other possible activities:
art and politics. To actively promote these interac-
•A fashion show with clothes from Turkish or
tive displays we will organize two special afternoons
Turkish-Dutch couturiers,
•A reader’s trip to Turkey in cooperation with
the regional newspaper Tubantia/Twentsche
for teachers immediately after the opening, during
which we will provide suggestions on how to use the
interactive screens in their educational program.
Courant
•Meetings between Turkish and Dutch women,
The University of Twente in cooperation with the
linked to themes such as gastronomy, career,
TwentseWelle museum will organize a special course
fashion, music/dance, literature and visual art.
“Turkish Culture”. This series of lectures will be ac-
•Lectures
cessible for anyone who is interested. TwentseWelle
•Music
and Concordia Film Theatre Exhibition are organizing their own program with related lectures from
These activities are initiated by an event team with
renowned speakers.
employees from TwentseWelle and Concordia. The
starting point of all these activities is that they are
For the University of Twente, the Kad�nlar Exposition
cost-effective.
provided a reason to start a scientific study. The
University will use the interactive installations of the
Turkish associations in Twente are deployed to reach
TwentseWelle museum for this study, which exam-
the Dutch-Turkish residents in the region. In coop-
ines to which extent people remember information
eration with these organizations, guided tours will
from and about minorities, and specifically female
be organized in the museum in the Turkish native
minorities. The results of this research will be pre-
language and special introductory afternoons for
sented during the exhibition.
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7. Practical conditions/quality control
When commissioning external parties these will
the exhibition to representatives of the institu-
have to meet the following conditions:
tions concerned (project leaders, directors).
•For all AV (Audio/Video) presentation at the
These tests will use the same hardware that will
exhibition the existing hardware will be used.
•Productions (films, animations, computer
programs, etc.) are always tested and shown at
least three weeks before the official opening of
8. Appendices
10
A
B
C
D
E
The ten women
The role of contemporary art in the exhibition
The budget
Profiles of the institutions
Committee of recommendation
Explanatory note on the budget
Regarding the total number of objects on loan and
the associated value an estimate has been made as
the list of objects is still subject to change. The costs
of transport and insurance, as included in the budget, are a realistic approach. For the exhibition the
indemnity scheme of the National Office of Cultural
Heritage will be used. This scheme ensures that the
Dutch State acts as a guarantor for damage and/or
loss of the foreign objects on loan, which means that
the insurance premium will be lower than currently
recorded.
be used for the applications during the exhibition. The conditions will correspond as much as
possible with the conditions of the exhibition.
Appendix A
The Ten Women
1.CYBELE
PHRYGIAN MOTHER GODDESS
(APPROX. 800 - 400 BC)
figure dated at 2500 BC, a terracotta statue of the
Mother Goddess Cybele from the Hellenistic period
and a marble statue from the Roman period.
As the Phrygian mother goddess in Central Anatolia,
she is the embodiment of primal force, of unyielding
nature. They called her Matar, which translates into
‘Mother’. She is also referred to as Matar Kubileya,
2.ARTEMIS OF EPHESUS
FERTILITY GODDESS
(APPROX. 500 BC)
which translates into ‘Mother of the mountain’.
The name Cybele is derived from these names. The
Originally she was an indigenous goddess. From ex-
symbols of this mother goddess, also associated
cavations in ancient Ephesus can be concluded that
with sacred mountains, were the lion and a bird of
she originates from the Mother-cult which had taken
prey. Impressive monuments were erected to wor-
root. Images of Artemis and Cybele are found side by
ship Cybele. The Greeks, and later the Romans, in-
side and show in some cases remarkable similarities.
cluded Cybele in their own pantheons. Her name was
Because of this it can be assumed that there is a clear
changed into Kybele and Magna Mater, respective-
relationship between the two goddesses. Artemis of
ly. It is striking that statues of her from the Greek/
Ephesus was not only the goddess of fertility, but
Hellenistic, and later the Roman, period resemble
she also ruled over the animal kingdom. She had no
the statue from the Neolithic settlement Çatalhöyük:
male partner. The Greeks, which had colonized the
a female figure sitting on a throne, flanked by two
north-west of Asia Minor, saw a similarity with their
lions. This exhibition will include a statue of a female
goddess of the hunt Artemis. The familiar images of
Women figure,
Cybele with spool,
Cybele with lions,
silver, Alacahöyük,
private collection,
Roman period,
approx. 2500 BC
limestone, approx.
marble,
6th century BC
2nd century AD
Brooch of a falcon, votive, gold, 7th century BC
11
Appendix A - The Ten Women
Roman Diana.
3. MARY
MOTHER OF GOD
(APPROX. 15 BC TO APPROX 50 AD)
The Artemisia Temple, which the Greeks built around
Like the shift from Cybele into Artemis, a similar
550 BC in Ephesus for Artemis (according to a legend
transition also took place from Artemis to Mary. In
founded by the Amazons), was originally considered
394, Emperor Theodosius turned Christianity into
one of the Seven Wonders of the World. This exhi-
a state religion. All pagan rituals were banned. In
bition will include a golden falcon, dated to the 7th
Ephesus, where the cult of the fertility goddess had
century BC A statue of Artemis of Ephesus, from the
prevailed for centuries, a special council was held in
2nd century BC has been requested for display in this
431 in which Mary was officially awarded the title of
exhibition.
Theotókos (Mother of God). This way the old Artemis
Artemis with the many “breasts”, however, show no
similarity to that of the Greek Artemis and the later
cult continued in the worship of the Divine Mother.
At the same time a rumour spread that Mary had
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lived the last years of her life in Ephesus was spread.
The house she called her home is still a place of pilgrimage for Christian and Muslim women.
The Council of Ephesus had many opponents. Earlier
discussions about the divinity and humanity of Christ
where raised again during the Maria affair. The
Small Artemis, marble, 2nd century BC
Image of Virgin and Child, marble, late 11th century Byzantine
human female species Mary could certainly not have
been the mother of God, but only the mother of the
4. EMPRESS THEODORA
(APPROX. 497-548)
human being Jesus?
Empress Theodora represents the Byzantine Empire. Her
Following the Council of Ephesus, worshipping Maria
life is remarkable. As a little girl, born in Constantinople,
took flight. Her iconography changed and on icons,
she was forced at an early age to earn a living, first as
mosaics and frescos we see the Virgin not only de-
a dancer and actress, later as a prostitute. Due to her
picted with her child in her arms or on her lap, but
charming personality and physical qualities, she was in-
also on a throne, as the Queen of Heaven surrounded
troduced to Justinian, the later Emperor of the Roman-
by angels.
Byzantine Empire. After their marriage Justinian ordered
the construction of the famous Hagia Sophia (currently
This exhibition will include a relief of Mary with
known as the Ayasofya). As an empress, Theodora had a
child, from the 11th century, and a bust of Mary dat-
great influence on her husband and she repeatedly ex-
ed from the 11th or 12th century.
pressed her own political views and ambitious energy.
She was also the one who opted to regulate prostitution. Both Justinian and Theodora are included in the
calendar of saints of the Orthodox Church.
The exhibition will include a bust of Theodora and a
jewellery box from the Byzantine period, both dated
from the 6th century.
Sculpted head of Mary, marble, Byzantine 11th-12th century
Sculpted head of Theodora,
Jewellery box depicting the
marble, Byzantine, 530-540
adoration of the three kings,
ivory, Byzantine, 6th century.
13
5.MALIKE MAMA HATUN
TRIBAL LEADER
(APPROX. 1200)
mausoleum, in which her remains are interred, is a
Malike Mama Hatun is the representative of the
This exhibition will include a pair of earrings dating from
Seljuk era. She is the only woman ever to lead a Beylik
the 11th -13th century and a mosque lamp dating from
(similar to an emirate) in Anatolia. Her history is
around 1280, both items are from the Seljuk period.
magnificent example of the first Turkish architecture
in Anatolia.
closely related to the arrival of the Turks in Anatolia,
which began with the migration of the Seljuks. The
ed to Islam in 960.
6.MIHRI HATUN
POET
(? - 1506)
Malike Mama Hatun ruled from 1191 to 1200 over
The Seljuk Empire was followed by the Ottoman
the Beylik Saltuklu, an area in the eastern part of
Empire, dating from the 14th to the 20th century.
Anatolia. Despite her relatively short period of
Following the conquest of Constantinople, the capi-
reign, she created some impressive buildings in
tal of the Byzantine Empire, this city became the po-
the city Tercan, which in ancient times was called
litical centre of the Ottoman Empire.
Seljuks, originally Turkish shepherds who had moved
westward from the steppes of Central Asia, convert-
14
Mamahatun. This included a caravanserai (an inn for
travellers and traders) situated on the silk route, a
Mihri Hatun made history with her poems in
mosque, a hammam (public baths) and a bridge. The
Amasya, the city where many Ottoman princes were
Earrings, gold,
Mosque lamp, gilt
Mausoleum in
Seljuk, 11th - 13th
bronze, Seljuk,
Tercan of Malike
century
13th century
Mama Hatun
Divan (collection of poems) by Mihri Hatun, 15th century
educated. Consequently, Amasya did not only contain a royal household but was also a place for great
cultural exchange particularly in the field of calligra-
7.KÖSEM Sultan
THE MOTHER OF SULTAN MURAD IV
(1589-1651)
phy and poetry. Thanks to her private education and
perseverance, Mihri Hatun achieved a prominent po-
Kösem Sultan is the second representative of the
sition in literary circles. She sent some of her poems
Ottoman Empire. She is a true metaphor of power in
to Sultan Bayezid II, whom she had met during his
a society in which men dominated. They were, after
stay in Amasya. The sultan was so charmed that she
all, the sons of sultans, who followed in their fathers’
was rewarded a substantial amount of money. Mihri
footsteps in an almost unbroken line of succession
Hatun, who remained unmarried, dedicated herself
to the throne. But at the same time the status and
to writing ghazels, love poems in which she moved
authority of the mother of the Sultan - the real sultan
into the role of a male. Critics now describe her po-
– grew throughout the course of the centuries. Of all
etry as remarkable due to their simplicity and origi-
these women, Kösem Sultan was the most influen-
nality. Her poems have been brought together and
tial woman of all time. She was not only the favour-
can be read in various libraries in Istanbul.
ite concubine of Sultan Ahmed I, but she also had a
huge influence on him. After the death of the sultan,
This exhibition will include the “divan”, a collection
Kösem was able to increase her position within the
of poems by Mihri Hatun, and a beautiful pencil case
palace even further. Attempts from other pretenders
from the 15th to 16th century.
to succeed Ahmed I failed. The new sultan was her
son Murad IV. Due to the fact that he was a minor,
Kösem was appointed as regent. This made her the
Pencil Case, Chinese porcelain, Ming dynasty, 15th century, with
Embroidered bed sheet, silk and
Dress from Hanzade Sultan,
Ottoman decoration, 16th century, gold, ruby, emerald and jade
linen, tulip motif, 1550 – 1600
daughter of Kösem Sultan, Satin
Moiré, 1620 – 1625
15
first woman in Ottoman history who reigned the em-
(a small, originally Persian, violin) and the miskal
pire (from 1623-1640).
(Ottoman pan flute). Many of the old Turkish musical instruments disappeared through time. By the
The exhibition will include a dress from a daughter of
end of the eighteenth century - during the sultan-
Kösem Sultan and a silk embroidered bed sheet. Both
ate of Selim III - interest in Western influences in-
pieces are on loan from the Topkapi Palace Museum.
creased and European instruments were introduced.
Another masterpiece that can be seen is the cradle
What remained is the classical music of the Ottoman
from the sultan’s children, which is also on loan from
Empire, a mixture of Persian, Arab, Byzantine, Greek,
the Topkapi Palace Museum.
Jewish, Armenian and Turkish sounds which Dilhayat
Kalfa incorporated into her compositions.
16
8. DILHAYAT KALFA
COMPOSER
(APPROX. 1710 - APPROX. 1780)
The exhibition will include a painting of female musicians and various historical musical instruments.
During her life, Dilhayat Kalfa composed music
which is still being played in concert halls today.
Not much is known about her personal life. It is assumed that she received her musical education in a
harem. Concubines were taught singing and dancing,
and played the çeng (Ottoman harp), the kemançe
“Two female musicians”, painting by Osman Hamdi Bey, 1880
Lavta, (lute) 19th century
9. H ALIDE EDIP ADIVAR
WRITER
(1884-1964)
Turkish history to publicly address a crowd.
The exhibition will include a painting of the arrival of
Atatürk in the port of Istanbul, photos of Halide Edip
Halide Edip is the ninth and most well-known wom-
and several of her personal belongings.
an. She lived in the years that Mustafa Kemal Atatürk
came to power and turned the Ottoman Empire in
1923 into a Turkish republic. Originally she was a writer. In her novels, of which the first one appeared in
1909, the main characters are intellectual and pow-
10.HALET ÇAMBELl
ARCHAEOLOGIST
(1916- )
erful women. Much of her work has been translated
into several languages. In Dutch for example: “De
During her working career, Halet Çambel was one
dochter van de pias” (“The daughter of the clown”).
of the most prominent archaeologists studying
Simultaneously, a number of her novels where made
the Turkish prehistory and Hittites. She was also
into movies. In everyday life she rebelled against
an admirable athlete. Çambel was born in 1916 in
the power of men. She spoke out against polygamy
Berlin, Germany. She studied archaeology and pre-
and, in 1910, founded the first women’s organization
history at the Sorbonne University in Paris, France.
named: Teali-i Nisvan (The elevation of the woman).
Immediately after the establishment of the Turkish
Her reputation as a national hero was acquired in
Republic in 1923, she moved to Istanbul with her
1919 when she protested against the landing of the
parents. At the age of twenty she represented her
Greek army in Izmir. This made her the first woman in
country at the Olympics as the first female fencer.
Photograph of Halide Edip
“Atatürk’e Istikbal”, “The
during her speech in Istanbul,
arrival of Atatürk”, painting by
1919
Mehmet Ruhi Arel, 1927
Halet Çambel
17
TEN CONTEMPORARY WOMEN
In 1946 she worked with Dutch archaeologist Emilie
The oldest figurines of women are symbols of fertility
Haspels in the geological area where the Phrygians
and motherhood, while today we see Turkish women
once lived. After completing her doctorate, she be-
portrayed in mayor newspapers, national television
came the first female professor due to her appoint-
and on the Internet as metaphors of success. The
ment at the University of Istanbul in 1960. Her most
prominent role of motherhood has been traded in for
influential and significant archaeological work was
respectable activities in science, business and show
carried out in a Hittite city called Karatepe, where
business, even while there is still a significant differ-
she founded the first Turkish outdoor museum. She
ence between the role of women living in the rural
also played a key role in the decoding of Hettitian
countryside and a city like Istanbul. The proportion
scripture. Halet Çambel was awarded numer-
of female professors at Turkish universities is remark-
ous times, including an honorary doctorate at the
able. This number is significantly higher than in the
Eberhard Karls University in Tübingen, Germany and
Netherlands. In addition, many Turkish businesses are
in the Netherlands the Prince Claus Award.
led by women.
18
This same trend can be observed in the Netherlands. In
2014 it will be fifty years ago since the first Turkish immigrants came to the Netherlands and we are seeing that
the third generation of Turkish women are employed in
respected positions in Dutch business and politics.
It is still too early for all these modern-day women to
be assured of a permanent place in history, but they
are certainly candidates. From this long list we will
choose ten women who are currently enjoying tremendous respect in Turkish culture, both, in Turkey
and abroad. These women are the current sources of
inspiration in sport, culture, business and science. For
example women like:
Neslihan Darnelvolleyball player in Turkey
Olcay Gülsenfashion designer and
businesswoman in the Netherlands
Hatice Akyünjournalist and writer in Germany
Appendix B
The role of modern art in
the exhibition
in the past are returning to Turkey. This is causing
an interesting fusion of, on the one hand, western
and modern aspects, and, on the other hand, traditional and oriental aspects in Turkish contemporary
art. The artists to be selected for this exhibition will
Hale Tenger, School of Simiden Assa Kasimpasa, 1990
create a bridge between both worlds, while simultaneously serving as a link between history and the
As a result of the partnership with Concordia, con-
present in the exhibition. They are the modern-day
temporary art will also be part of the exhibition. This
heirs of the ten iconic women from the area we now
will lead to an interesting confrontation. The con-
call Turkey.
stant migration of tribes in Asia Minor has over the
centuries contributed to an assimilation of standards, customs and values, which has made Turkey
into what it is today. This serves as the foundation
19
for the share of contemporary art in the exhibition.
A similar development amongst Turkish artists is at
hand today. The Turkish art scene has long had a different vision of “contemporary” art. Tradition and
Islamic religion were clashing with liberal, Western-
Tomur Atagök, “Anadolu Tanricalari”, 2006
oriented Turkish artists. This has meant that many
left their motherland and exchanged it for a (tem-
This theme is articulated by ten contemporary
porary) existence in cities like Berlin, London, Paris
Turkish artists. Their work does not necessarily have
and New York.
women as its figurehead, but the underlying themes
of power, admiration, independence, identity, art,
tradition and role patterns are always present. In
view of the entire exhibition this contemporary element can be seen as a translation: everything the
visitor has experienced and learned of its cultural
history has come together in the here and now.
Pinar Yolacan, Untitled, from the mother goddess series, 2009
Interesting suggestions are Hale Tenger, Handan
Due to this migration, but also developments such
Börütecene, Günes Terkol, Ceren Oykut, Seda
as the Internet, the Western world is gaining in influ-
Hepsev, Bengu Karaduman, Nezaket Ekici, Pinar
ence in Turkey. Currently many artists that have left
Yolacan, Tomur Atagök, Sükran Moral Inci Eviner
Appendix B - The role of modern art in the exhibition
Günes Terkol, Desire Passed by Band, 2010
Inci Eviner, Harem, 2009
Kutlug Ataman, Ahmet Polat and Ahmet Ögüt. Some
of them have emigrated and have subsequently re-
as in Europe. All these different backgrounds offer a
turned to Turkey. Some of them are trained or grew
varied insight into the current state of affairs in the
up in Turkey, others in a western country. Some have
Turkish contemporary art world. A few suggestions
never left their country but exhibit in Turkey as well
are mentioned in the description of the ten women
in the appendix.
20
Sükran Moral, “Bordello”, 1997
Appendix C
The
bud get
For information on the budget,
you can contact:
Edwin Plokker, Project manager,
[email protected]
053-480 76 87 06 – 22836424
21
Appendix D
Profiles of the institutions
TwentseWelle
ages are also able to experience this quest.
TwentseWelle, museum of the human adventure
Besides the semi-permanent exhibition, each year
TwentseWelle is a museum in which historical and
TwentseWelle creates small and large temporary
contemporary collections are brought together,
exhibitions in its own exhibition space. Since open-
managed, studied and presented in the field of na-
ing its doors in April 2008, the museum has shown
ture, technology and culture; in order to inform the
a large number of temporary exhibitions. The cen-
visitors - young and old - in groups or individually,
tral theme in the choice of subjects for temporary
residents of the region and beyond – in an educa-
exhibitions is always the creativity and ingenuity of
tional and/or recreational manner about the special
mankind. Large temporary exhibitions were: “DDR,
development of town and country, from prehistoric
impressions of a vanished republic” in 2009, “Better
times to the present.
than God” an exhibition about beauty and plastic
surgery in 2010, “Unravel, knitwear in fashion” in
22
This unusual museum in Roombeek, Enschede relates
2011 and “Sea monsters in Twente” in 2012.
in The Big Story of TwentseWelle the extent of the creativity and ingenuity of mankind. How mankind is able
TwentseWelle is located in the Rozendaal, a very
to live in Twente and how he has managed to survive,
special building, in which the remaining parts of the
with the aid of or possibly despite, nature. This quest is
old, deteriorating textile factory are included in the
called the human adventure. By way of exciting films,
contemporary architecture of Bjarne Mastenbroek
surprising games and fascinating objects people of all
of SeARCH architects.
Appendix D - PROFILES OF THE INSTITUTIONS
Concordia
At Concordia young and old, experts and beginners,
season card holders and passers-by are able to enjoy
contemporary films, theatre and visual art. With this
offer of multidisciplinary professional art Concordia is
well known in Enschede and the surrounding area. Our
goal is to bring art closer to the people. We do so at
various locations in Enschede which are ideal for this
sort of thing, in the distinctive multicultural district the
Roombeek and the vibrant centre of Enschede.
23
Appendix E
Committee of Recommendation
for
Meral Akkent
Fokke Gerritsen
Curator at the Women’s Museum, Istanbul / Founder
Director of the Dutch Institute, Istanbul
of the Women’s Culture Foundation, Istanbul
Marijke van Hees
Tomur Atagök
Alderman culture, Enschede
Painter / Professor of Museology at the Yildiz University, Istanbul
Ria Oomen-Ruijten
Bahadir Ateş
CEO Garanti Bank International, Amsterdam
European Parliament, Reporter on the Turkish
accession to the European Union
Ank Bijleveld
Karen van Oudenhoven-Van der Zee
Commissioner of the Queen, province of Overijssel
Professor of Organisational Psychology and
Cultural Diversity, University of Twente
Henk Boom
Journalist / Author of “The Great Turk” (“Büyük
Turk”) and “Our Man in Constantinople”
Günsel Renda,
Professor of History of Art, Koç University, Istanbul
Emine Bozkurt
Eveline Sint Nicolaas
European parliament, member of the
Curator of History and the Turkish Cabinet,
Commission for Women’s Rights
National Museum, Amsterdam
Levent Çalıkoğlu
Görgün Taner
Chief curator at Istanbul Modern
General Director of the Istanbul Foundation for Culture and Arts
Jan-Paul Dirkse
Erik-Jan Zürcher
Dutch ambassador, Ankara
Professor of Recent Turkish History, University of Leiden

TWWE0018 Kadinlar ENG.indd

Transcription

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