yansıma üzerine düşünceler / reflecting on reflection

yeni bir çalışmayı gösteriyorum / i am showing a new study:

Çıngır – Jingle at Mana

Çıngır / Jingle    in

Yansıma üzerine düşünceler / Reflecting on Reflection    at

Galeri Manâ, 18.9 -10.11.2012, Kemankeş Mahallesi, Ali Paşa Değirmeni Sokak, no. 16 – 18, 34425 Beyoğlu, İstanbul, Turkey     +90 212 243 6666     info@galerimana.com     www.galerimana.com

Participating:     Saâdane Afif     Abbas Akhavan     Francis Alÿs     Kutluğ Ataman     Hera Büyüktaşçıyan     Özgür Demirci, Olafur Eliasson     Cevdet Erek     Lara Favaretto     Matt Mullican     Philippe Parreno     Sarkis     Simon Starling     Rirkrit Tiravanija     Mario Garcia Torres      Alexander Wagner     Curating:     Abaseh Mirvali

Shows February to summer 2012

I was not able be present in any of the shows below to install or open, but they are there (gitmesek de göremesek de bu işler bizimdir demek istiyorum, sergiler için mavilere tıklayın). Check if you are close-by. Click on show titles to follow links to sites. I will expand this post with images etc. in the next blogging session.  Danke.

Day at


Ruler Now – at


A Golden Ruler with Two Dates at

Museum of Manufactured Response to Absence

Neither the time nor the place for dancing (NTNPD) at

TBA21 Sound Space at ZKM Karlsruhe

Ruler 0 – Now, Ruler Near, Ruler 1 (Cairo, Istanbul, Antwerp versions) and Ruler 100 Years at

Cross-Time Stories

From Notebooks of a Drummer in a Joy Division by me supporting Tin Soldiers of dear Ala Younis at

The Ungovernables – 2012 New Museum Triennial

Show: “Week” at Kunsthalle Basel

Press Meeting: Thursday, January, 11am////Opening: Thursday, January, 7pm////Museums Night Special: Friday, January 13, 9pm-1am: "Several Types of Museum Audience Gathered Together in an Installation and Grooving with a Week" Live Mix by CE////WEEK poster and invite by Yetkin Başarır

rulers and rhythm studies – cetveller ve ritim çalışmaları

1. These rulers are not timelines themselves.

2. These rulers are timeline makers.

3. The usual rulers (in the world of distance, angle or measured space) are tools for measuring and drawing, cutting etc.

4. These rulers are meant to be tools for drawing (or tools to be looked at and contemplated). I mean, I am not making an absurd proposition to ‘measure time.’

5. Sketches of bird’s eye views of chronologies

6. with or without scale.

7. Dates or any kind of marks on these rulers are proposed (only and only) as reference points. Like 0, 1, 2 on a usual ruler. I am doing my best not to make any comment on them.

8. I don’t know what 1971, 1974 or 1980 means to you. Just as I can’t guess what you will measure or draw with a 10 meter long tape measure.

1. These rulers are not timelines themselves.

2. These rulers are timeline makers.

I will update and keep on soon.

Cetveller ve Ritim Çalışmaları ile ilgili bilgi çok yakında burada.

Sorularınız varsa lütfen doğrudan temasa geçiniz.

I will post more info about Rulers and Rhythm Studies soon.

Please contact for questions etc.

Show: Aksak Ritim / Odd Time Beat

“Aksak Ritim / Odd Time Beat”

Ziad Antar, Athanasios Argianas, Cevdet Erek, Christoph Keller, Füsun  Onur

In dialogue with Adnan Yıldız

30 June–29 July 2011

Rodeo Gallery

Tütün Deposu // Lüleci Hendek Caddesi No 12 Tophane 34425 İstanbul TR
T: +90 212 2935800

Cevdet Erek, Egzersiz/Exercise, 2011, Detay/Detail

Home Works 5

Rulers and Rhythm Studies




Exhibitions, Lectures, Panels, Performance, Dance, Theatre, Music, Film, Video, Publications

Beirut, April 21 – May 1, 2010

Exhibitions will run until May 22nd, 2010
Curated by Ashkal Alwan
Ruanne Abou- Rahme & Basel AbbasContingency
Ayreen AnastasThus I spoke, and ever more softly: for I feared my own thoughts and hinterthoughts
Marwa ArsaniosAll About Acapulco
Vartan AvakianShortWave/LongWave
Broomberg & ChanarinChicago
Decolonizing ArchitectureOush Grab (Crow’s Nest)
Cevdet ErekRulers and Rhythm Studies
Shahab FotouhiDirect NegotiationCan I Speak to the Manager?
Ghassan HalwaniCumbersome Machine: Between the Nonsense & the Archive
Amal IssaNever-eat-y of the Fallen Rifle
Bengü KaradumanIn Place of Silent Words
Hassan KhanCONSPIRACY (dialogue/diatribe)
Maha Maamoun2026
Christodoulos PanayiotouPrologue: Quoting Absence
Marwan RechmaouiC60
Raed Yassin | Disco Tonight
Ala’ Younis | Tin Soldiers

Side by Side at 300m3 ART SPACE, Göteborg

Side by Side

‘Side by Side’

2009.05.08 – 2009.05.31

300m3, Göteborg, Sweden

Opening Friday May 8th, 18-22

Artist talk and performance 19:00


As an artist, architect and musician, Cevdet Erek composes and (re)composes his works as ingredients of grand ideas which are materialized through continuous output processes of intermediary products, in forms of performance, moving image, sounds and installations. He proposes the essence of original site-specific situations and subjects, resulting in innately human reflections on time and space.

Erek’s work and performances have been included in group exhibitions at Istanbul Bienali, Stedelijk Museum CS, ZKM, Platform Garanti, V2_, Martin Gropius Bau, MOMAS, Art Museum of Estonia, Living art Museum Rejkavik and others. His first solo exhibition took place at Galerie Akinci in Amsterdam in 2008. Erek was on residency at the Rijksakademie in Amsterdam from 2005 – 2006 and his installation ‘Studio’ was awarded the Uriot Prize 2005. Besides personal work, he collaborates with architects, directors, choreographers and Istanbul’s avantgarde rock act Nekropsi.

SSS, Shore Scene Soundtrack (2006- )

SSS is about mimicking the sea, or imitating a very common piece of nature, by using 2 hands and a piece of carpet. Installation includes the video of a recording session of SSS, a carpet to be used for the performance and drawings which were done for artist’s book ‘SSS – Theme and Variations for Carpet’. In the video, the carpet from artist’s living room, placed on a Steinway Grand Concert piano, is being rubbed by a half naked man, with a series of massage-like hand movements. A translation of nature takes via a process of recording, interpreting and playing back, through the ‘technology’ of humanity which captures the essence of the movement and sound of the sea as it laps the shore. The dramatic image is irregularly interrupted by some short scenes e.g. zooming in to the hands or showing the sound engineers located behind the glass of the recording room. Drawings from the book function as notations or guides for both hands’ movements on the carpet.

SSS (Shore Scene Soundtrack) ‘Themes and Variations for Carpet’ (2007)

‘SSS can be seen as an attempt to share a discovery. It explains in detail to the reader how one can mimic the sea, how this can be done simply for oneself or formally as a performance. In each case the emphasis is on delighting in this experience. The required state of mind for making the imitation is treated with the same precision as technique and necessary equipment. Humorously but without irony, Erek constructs a subjective guide by passing from a contemplation on the imitation of nature, through a step-by-step manual to a form of sheet music.’*

*from press release of the artist book SSS, by BAS Istanbul

Avluda / In the courtyard (2002)

In 2002, Erek was asked to propose a piece for Istanbul Pedestrian Exhibitions I: Nisantasi – in the context of “Personal Geographies, Global Maps”. For the exhibition, Erek selected and processed an archive of video footage and sound recordings which he made in two unused courtyards of ITU Macka building, in where he spent days and nights working as a researcher and recording engineer of ITU MIAM – Center For Advanced Studies in Music. The 3 synchronized videos and 6 channel sound consist of 6 sequences and Erek, with the support from video editor M. Bilginer, adapted several visual and temporal collage techniques in order to realize a panoptic experience. The installation was realized in a former chemistry laboratory, which was locked and forgotten for more than 15 years. Standing as Erek’s first public viewed experiment for capturing and reformulating a particular space and situation, Avluda creates an intense experience – playing with continuity and pause in time and space.


The Macka Arsenal, which was commissioned to the architect Sarkis Balyan in 1873 by the sultan Abdulaziz, is now located within the Istanbul Technical University Macka Campus and is used for educational purposes. The double courtyard was formed as a result of additional mid-20th Century constructions within the sizable building and possesses a completely different character than the exterior of the building (except the symmetric design of the facades). The courtyard possesses no other function than to provide air and light for the surrounding classrooms and hallways. The school’s residents, i.e. the students and employees, (strangers have no reason to enter this semi public area) simply look out at this courtyard although entry into it is not forbidden. One cannot see the street from the courtyard(s), and the surrounding walls filter out all outside noises except faint echoes of the call to prayer, powerful car horns and ship sirens, and the sound of football crowds at the Inonu and Ali Sami Yen stadiums. The courtyard stands silent and empty.’*

*Erek’s description of the building from the catalog Istanbul Pedestrian Exhibitions I: Nisantasi (2002)

Avluda 2 – Ceasless (2009)

After years, while working in a room with a view at one of the courtyards subjected in Avluda (2002), Erek hears some shouts, and sees a demonstration by a group of students, protesting the badly wounding of a student by a nationalist group of students. Students tour the corridors surrounding the courtyard while shouting the typical socialist slogan ‘side by side, against fascism!’. Contrasting the heavy structure and a very inhabited building in Avluda (2002), the very simply edited Avluda 2 – Ceaseless becomes a typical representative of Erek’s never ending work idea.