Climbing Through the Tide

Curated By Basak Senova

Climbing through the Tide – From March 16th to June 9th

Addressed to an act of re/searching and borrowing its title from Jim Morrison’s song Moonlight Drive (1965), Climbing through the Tide foregrounds a set of queries, observations, research operations, tryouts, and earned knowledge.

The curatorial methodology relies upon the act of composing the display of research-led artistic methodologies and the process of production. This practice encompasses phases of forming statements in this specific time and place; in other words, the entire experience of exhibition making is turning the space to a statement. The same approach and practice dictated and shaped the ‘fabric’ of the Climbing through the Tide exhibition by positioning ‘Tunis’ as the center and the filter for its progression.

With the Climbing through the Tide exhibition, the location and the building of B7L9 (Bhar Lazreg) connote a place, which resonates between being a non-place and an industrial zone that is subject to gentrification is being charged with a function.  Hence, transforming this building is an act of activating potentials. It is an adrenaline-high process with a clear tension; while having enormous ambitions and dreams, it dictates a modest and generous approach by letting the process of this exhibition regulate its function. Such an approach prioritizes some fragile and sensitive notions such as trust, sincerity, commitment, openness, passion, and enthusiasm. It has been a privilege to have this distinct way of working with an institution as it allows and supports an experimental curatorial approach.

By reflecting this experimental approach, the setting of the exhibition is being designed to initiate dialogues and encounters among the works. The exhibition aims to suggest various paths of reception through its scenography. Works in the exhibition connect to each other through spontaneously formed content; form; methodology; and approach based links. By taking the condition-based and geographical inputs into account, the exhibition operates as the prompter of a new interrogations and the instigator of multiple perceptions leading to a more layered reading of our current situation and to different ways to cope with it.

The Curator

Basak Senova is a curator and designer. She studied Literature and Graphic Design (MFA in Graphic Design and Ph.D. in Art, Design and Architecture at Bilkent University) and attended the 7th Curatorial Training Programme of Stichting De Appel, Amsterdam. As an assistant professor, she lectured in various universities in Turkey and in 2017 she was the resident fellow at the University of the Arts, Helsinki in co-operation with HIAP and received Associate Professorship in Fine Arts by the Higher Education Council of Turkey.  At the moment she is the resident of Universität für Angewandte Kunst Wien (University of Applied Arts, Vienna) ARA programme. She is a founding member of NOMAD, as well as the organizer of “Upgrade!Istanbul” and “ctrl_alt_del”; sound art project. She is an editorial correspondent for ibraaz.org and Turkish correspondent of Flash Art International. Senova is a member of the International Biennial Association’s (IBA) editorial board. She co-curated the UNCOVERED. Nicosia International Airport Project (Cyprus) and the 2nd Biennial of Contemporary Art, D-0 ARK Underground (Bosnia and Herzegovina). In 2014, she acted as the Art Gallery Chair of (ACM) SIGGRAPH 2014 (Vancouver) the curator of the Helsinki Photography Biennial 2014 and the Jerusalem Show VII. Fractures. She curated the Turkey and Republic of Macedonia pavilions at the Venice Biennale in 2009 and 2015. In 2016, she curated Lines of Passage (in medias res) Exhibition in Lesvos. Currently she is working on a research-based art project CrossSections in Vienna, Helsinki, and Stockholm.

The Artists

Artist Name

Artwork: Title, Date, Medium  

 

Adel Abidin 

Not Lit, (2019) Neon Installation

The text: “Jerusalem is the bride of your Arabhood”

Saâdane Afif

Pirates Who’s Who (2000), Installation

Aicha Snoussi 

Undefined Scrolls (2018), Synthetic ink and coloured pencil on wallpaper

Ali Cabbar 

Surrender 1 (2006), Paint on canvas

Ali Cherri 

Petrified (2019), video, 12’

Ali Tnani 

Subimages (2018) drawings based installation

Ali Tnani 

Even The Sun Has Rumors (2018) video, 14’

Almagul Menlibayeva  & Bahar Behbahani 

Ride the Caspian (2011) Video, 11’46’’

Almagul Menlibayeva  

Astana (2016), 15’

Benji Boyadgian 

 

The Discord (2011-2017) Painting series, Watercolour and pencil on paper

Benji Boyadgian, Behzad Khosravi Noori  

The Owls, The Queen and the Maquettiste, Video (2018), 22’

Bronwyn Lace  

Mirror Mirror (2016) installation

Egle Oddo 

Extremophile (2019-on-going)

Location: The garden, B7 L9

Public work and living sculpture

The work is supported by KLF, Arts Promotion Centre, by Kone Foundation, STEBICEF Department of Vegetal Biology, Anthropology and Zoology of Palermo University, and realised in collaboration with the CBBC Centre of Biotechnology of Borj Cedrja.

Egle Oddo 

The Ark of Seeds (2019)

Repository of seeds and sculptures.

Etel Adnan  

Paysage (2014) Oil on Canvas

Farah Khelil

Point d’étape #5 (2018) Installation

Fares Thabet

Untitled (2019) Glazed Ceramic

Fatih Aydogdu

Psychogeographie at Frontier Imaginaries | Territory/Language/Identity (2019), Collage and drawing

Ghada Amer 

The Slightly Smaller Colored Square Painting (2001) Acrylic, embroidery and gel medium on canvas

Gulsun Karamustafa  

Monthly Illustrated 2, 2018

Under glass print, collage

Gulsun Karamustafa  

Monthly Illustrated 5, 2018

Under glass print, collage

Gulsun Karamustafa  

My love is my sin 2, 2018

Under glass print, collage

Hatem El Mekki

9 Avril (1968) Ink on Paper, Original Poster

Heba Y. Amin 

Relocating The Mediterranean: Operation Sunken Sea (2018) video, 37’05’’

Hera Büyüktaşçıyan

''Missing Cuckoo'' (2008)

Installation

Inci Eviner

Harem (2011) video , 3’’

Inma Hererra

Towards Samadhi III (2018) Installation: Paper, perplex tubes, ink, wood and sound.

Jawad Al Malhi  

Measures of Uncertainty IV, VII, IX, X, XI

(2012-2014) Oil on Canvas

Joana Hadjithomas & Khalil Joreige 

A carpet (2012)

Installation

Jumana Manna

Wild Relatives (2018), film, 70’

Kader Attia  

ATT/P30, P33, P34, P35 (2012)

Paper collage on cardboard

Larissa Sansour

In the Future, They Ate from the Finest Porcelain, 2015, Short Film

Lina Selander 

Around the Cave of the Double Tombs, 2010, Video, 16’45’’

Malek Gnaoui

Noisy Silence, 2017, Sound Installation

Marcus Neustetter

Excavating Futures, 2019, Performance & Installation (New Commission)

Negar Tahsili

"B+" (2008-on-going)

Blood, colored pencil, marker on paper

Negar Tahsili

Bottling Partners, 2018, video, 4’49’’

Negar Tahsili

Negatives (2019)

35 mm black and white negative films

Nermin Er  

Ink (2017) Animation

Nicène Kossentini

Last words (2017) video, 4’

Nilbar Gures

Playing With A Water Gun From The Çirçir Series (2010) C-Print

Nilbar Gures

Elsewhere's Palm Trees (2012) C-Print

Ramesch Daha 

Unlimited History (2012-2016)

 

Paintings 

The Persian Corridor 

Trans-Persian progress of the Line 

To Aid Russia, Britton shipped these Locomotives to Ahwaz

Construction began in 1928 and was completed in 1933 

From the Persian Gulf to the Caspian Sea 

Allied forces sweep on in Iran 

British-Soviet drives on Iran beat embattled Nazis to punch 

(2012) Acrylic on Canvas 

 

Black paper (2012)

Frottage, Charcoal on paper 

 

Archive (1912-2016)

 

Research Diary (2016)

 

The Book (2016) 

 

Raqs Media Collective

Art in the Age of Collective Intelligence (2015) Installation

Raqs Media Collective

Undoing Walls (2017) Animation

Ricarda Denze

Schwebendes (Hovering) (2013) Video, 18’

Susan Hefuna  

Knowledge is Sweeter than Honey (2007) Ink on Wood

Wael Shawky

Al Araba Al Madfuna III (2016) Video, 25’

Walid Raad

A History of Art in the Arab World Edition 5, 2008-2010, Mixed media on canvas

Yasmine Ben Khelil

J’attendais en vain, 2015, mixed media

Younes Ben Slimane 

New Commission

Youssef Nabil

Not afraid to love, 2005, hand coloured silver gelatin print

Yto Barrada 

Marks left by a Football (2002)

Photograph

Yto Barrada 

Wallpaper (A life full of holes: the strait project), 2001, C-Print

Ziad Antar

Haifa Wehbe / Edition of 5, 2005, Black & white silver print photograph

Hashem El Madani, Sidon/ Edition of 5, 2005, Black & white silver print photograph

Zineb Sedira

The Lovers III, 2008, C-Print

 The Annotations

 

CrossSections

Documentation of the Project, designed by Basak Senova, presenting Barbara Holub, Behzad Khosravi Noori, Benji Boyadgian,  Bronwyn Lace,  Ebru Kurbak,  Egle Oddo, Heba Y. Amin, Inma Herrera,  Isa Rosenberger, Lina Selander,  Marcus Neustetter,  Nikolaus Gansterer,  Nisrine Boukhari,  Otto Karvonen,  Ramesch Daha,  Ricarda Denzer,  Tamsin Snow,  Timo Tuhkanen, Yane Calovski.

 

CrossSections Screening Programme

(3 Chapters)

Collectives

Apartment Project Ashkal Alwan, Centre for the Less Good Idea, Mahatat, Mophradat, L’Atelier de l’Observatoire

The World in Common

Egle Oddo and Centre de Biotechnologie, Technopole Borj Cédria, 

Library

Future Lab

Kamel Lazaar Foundation

Demographic Research on Bhar Lazrag Neigbourhood

Artist Studios 1

Negar Tahsili

Artist Studios 2

Nicène Kossentini

B7L9.tn

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