2023 so far

bold: on view

05.2023 – “Akla Kara” (Black with White) (2014) part of the collection show “Floating Islands” (Yüzen Adalar), at Istanbul Modern, Istanbul, Türkiye

14.04.2023 – 16.07.2023 An expanded version -with new recording and facade sounds- of “Çıngır / Jingle / Cinkot” at “Düşler, Hakikatler / Reveries, Truths”, opening exhibition of IBB Casa Botter Art and Design Center, Istanbul, Türkiye

04.03.2023 – 21.05.2023 New work “Στης Θεσσαλονίκης τις δυο αυλές / Selanik’te var iki avlu” at the main show the Biennale Main exhibition: Being as CommunionThessaloniki Biennale:8 of Contemporary Art, Greece

22.02.2023 – 14.05.2023 An expanded installation of “SSS – Shore Scene Soundtrack / Sahil Sahnesi Sesi” part of the group show À bruit secret – Hearing in ArtMuseum Tinguely, Basel, Switzerland 

28.01.2023 – 08.04.2023 “Jingle” and the Prague version “Jingle / Cinkot / Çıngır” part of the group show “Take Your Time” at AKINCI, Amsterdam, The Netherlands

16.12.2023 – 14.05.2023 “Broken Music Vol. 2, 70 Years of Records and Sound Works by Artists“, Hamburger Bahnhof Natinalgalerie der Gegenwart, Berlin, Germany

16.12.2022 – 25.02.2023 solo, new work “A Succession of Turkish StopsTONSPUR_passage” / Museumsquartier, Vienna, Austria

01.12.2022 – 30.04.2023 An expanded installation of “Rulers and Rhythms Studies” part of the group show In a Multiple PerspectiveYARAT Contemporary Art Space, Baku, Azerbaijan

27.10.2022 – 08.01.2023 New work “Columns of Curiosities” part of the group show The Floating CollectionMAMbo – Modern Art Museum of Bologna, Bologna, Italy

16.10.2022 – 19.03.2023 New version “Bergama Stereo Singapore” Natasha, Singapore Biennale 2022, Singapore

7.2.2022 – 9.4.2023 “Kolon” in the group show “ThisPlay” at Arter, Istanbul, Turkey

Honey/Bal (2016) + Day/Gün (2012) @ to bee or not to bee

Honey/Bal (2016) + Day/Gün (2012) at the exhibition ‘to bee or not to bee’ – Punkt Ø

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14. İstanbul Bienali’nde yeni iş yeni mekan / New work new space in the 14th Istanbul Biennial



Bir Ritim Mekanı – Otopark / A Room of Rhythms – Otopark, 2015

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Stedelijk’te Cetveller ve Ritim Çalışmaları / Rulers and Rhythm Studies on view at Stedelijk

(english added below)

003.SM-Cevdet-Erek-Z.01.29-2014--PH.GJ edit

Cetveller ve Ritim Çalışmaları Amsterdam’da Stedelijk Müzesi koleksiyon bölümünde sergilenmeye başlanmış. 2011’de burada (İstanbul) sergilendiği haline çok yakın, masa az değişik, beyaz ve de 2011’de (grup sergisinin şartlarından (ya da tam ikna edemediğimden) dolayı) gösterilemeyen dairesel hafta ve ritim 1 cetvellerine ait sesler de duvarda. Arka duvarda Sol LeWitt’in bol renkli 1084 numaralı duvar çizimi var, o sanırım hep orada duruyor.

Cetvelleri görmeyen veya hatırlamak isteyenler için 2011’deki sergilemeye ait cetveller katalogu burada  pdf: cevdet erek cetveller ve ritim rulers and rhythm (o zaman belgelemede bana yardım eden özgür atlagan ve elif akçay’a tekrar teşekkür ve selam).

Bu arada, bu cetvellerin bazıları, bu katalogdaki masanın 1/2’si, ve de başka bir sürü irili ufaklı şey şu an İstanbul Modern’de açık olan Çok Sesli adlı sergide görülebilir. Bunun için ayrı bir posta, önümüzdeki günlerde. Bu postaya da zaman buldukça bir kaç ekleme yapılacak.


english, translated by duygu

The Stedelijk Museum in Amsterdam is now exhibiting “Rulers and Rhythm Studies” as part of their collection display. This presentation is very much similar to when the work was installed for the first time in Istanbul; the table is a little different, it is white, and in addition, sound pieces of Circular Week and Rhythm 1 are also included on the wall (which, either due to the physical conditions of a group exhibition or because I wasn’t convincing enough, were not exhibited then). On the wall in the back is Sol LeWitt’s colorful wall drawing no:1084, I believe that it is permanent.

For those who haven’t seen the rulers or want to see them again, visit the pdf link here: cevdet erek cetveller ve ritim rulers and rhythm (a nod and thank you to özgür atlagan and elif akçay who helped me with the documentation of the work).

Also, some of the rulers, half of the table shown in the pdf and a few other things are currently on view at İstanbul Modern, as part of the exhibition Plurivocality. Another post about this will follow in the next few days. Additions to this very post will be made as well.

Alt Üst, a solo show, transformation, performance and related events at Spike Island, Bristol, 15 February to 13 April 2014


Cevdet Erek ”Alt Üst” (2014) installation view. Photograph by Stuart Whipps

Cevdet Erek, “Alt Üst” (2014) installation view, Spike Island, Bristol. Gif by Stuart Whipps



Saturday 15 February, 2pm
Exhibition Tour
Free, no need to book
Led by Emma Lilwall, Spike Island/UWE Fine Art
Graduate Fellow 2013/2014.

Saturday 15 February, 3pm
In Conversation: Cevdet Erek and Ben Borthwick
£5/£3 concessions (free for Associates)
Cevdet Erek discusses his work with writer and
curator Ben Borthwick.
Friday 21 February, 8pm
Emptyset play a live gig in the gallery. Their
immersive spatially informed electronic sounds
and visuals are informed by Cevdet Erek’s Alt Üst.
Part of Bristol New Music.
Tuesday 4 March, 6pm
Talk: David Toop
£5/£3 concessions (free for Associates)
David Toop presents a deep listening session
exploring the way we think about the acts of
listening to and speaking about sound.
Related events
Saturday 8 March, 2pm
Exhibition Tour
Free, no need to book
Led by Ben Owen, artist, musician and Spike Island
studio holder.
Tuesday 25 March, 6pm
Talk: Volume
£5/£3 concessions (free for Associates)
Acoustician Ian Knowles and architects Jason
Flanagan and Paul Bavister discuss the qualitative
and physical properties of the acoustic realm
which inform their work.
Saturday 12 April, 2pm
Exhibition Tour
Free, no need to book
Led by Sam Francis, co-director of Supernormal
Festival and Spike Island/UWE MFA Curating
The exhibition coincides with the Bristol New
Music Festival (21-23 February). A full programme
of events can be found at

more, hopefully soon

“Re-illumination” at MAK

Opened on tuesday, my installation “Re-illumination” (image below), a part of the show “Signs Taken in Wonder”, with many good friends, at MAK, Vienna, open until 21.4.2013
I will be back for a performance on 12.2.2013.

More info on the show:
click here


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.