Kundura hafıza

It explores Beykoz Kundura, which used to be a living space tk1064 being just a factory when its kindergarten, cinema and library are taken into consideration, kundura hafıza, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It kundura hafıza Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It plans a working cycle with the artists, which protects, kundura hafıza, conserve, and guards the archive.

How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond? Kundura Cinema is part of a cultural placemaking project. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. For this reason, our story began with the memory project, Kundura Hafiza, through which we were able to uncover untold stories, and gain a better understanding of the social history of this site and of our collective identity.

Kundura hafıza

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This is the most convenient and kundura hafıza way to keep ourselves vibrant and innovative, kundura hafıza. As our space is a part of industrial heritage, and partially public, we cannot keep it just for ourselves or for a very niche target audience.

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Kundura Sahne probes performance practice with an inquisitive approach and creates space of encounter with its experimental and innovative fashion. While creating dialogues with strong local and international values, it embraces, encourages and supports research-oriented creative practice in interdisciplinary context. Nurturing the relation of research methodologies and creative techniques, it provides an interplaying dialogue for known concepts and rules; and takes part in creating works of art that are developed with proper methods. Based on the complexity of terms and definitions, it investigates ongoing peripheral connection and interrelationship of concepts such as stage, audience and actor, body and movement. It encourages change in creative styles and creates new setups. It focuses on documentary approach in the context and practice of research-based art making and narrative plotlines. It shapes and contours experiences and social narrations that we all are surrounded by. It progresses without making a classification according to technique, style and format and does not establish a fixed and limited perspective.

Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. The artists who are invited to Vardiya for working at the archive in certain periods of the year for certain durations transfer their duties to the artist that will take over. The artist decides how to make the transfer in this creative process. The concept and practical outcomes of this system of working in shifts are presented to the audience through an public session. She earned her BFA. A in the "Photography" department at Marmara University in Istanbul.

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Buse Yildirim b. Of course, we also have plenty of programmes with short films and also feature length creative documentaries along with classics. She focuses on the definitions and practices of "care and attention" in a broad sense. To what extent is the programme of Kundura Cinema shaped by the memory of its location, Beykoz Kundura? We find that this format appeals mostly to younger audiences. She played an essential role during the construction of the industrial heritage site Beykoz Kundura , and in she founded the non-profit association Kundura Hafiza. We can see how sharing different layers of experience and knowledge can help us to break down vicious cycles in the structure of cultural production. In addition to her six solo exhibitions to date, the artist has participated in numerous group exhibitions on an international level, such as "A Pillar of Smoke" The Rencontres d'Arles, , "You Are What You Eat" Krakow Photomonth, We find that good quality and original hand-picked programmes also lead to the most interested and dedicated audiences. As our space is a part of industrial heritage, and partially public, we cannot keep it just for ourselves or for a very niche target audience. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. The artist often works with archives, which are the tangible materials between life and death. As the space belongs to the public, we offer a diversity of genre, and we attempt to reach as wide an audience as possible through our curatorial storytelling.

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Kundura Cinema aims to invite its audience to acknowledge our past and our shared memory. During this process of historical exploration, I discovered the world of classical restoration. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. She played an essential role during the construction of the industrial heritage site Beykoz Kundura , and in she founded the non-profit association Kundura Hafiza. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. She earned her BFA. When we were conducting oral history interviews as part of the Kundura Memory Project, we were mostly interested in finding out about the social life of the factory. What is it about film that can create solidarity, in your opinion? It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. We find that good quality and original hand-picked programmes also lead to the most interested and dedicated audiences. The artist often works with archives, which are the tangible materials between life and death. We believe that film exhibition should not merely mean bringing films to audiences, but rather that our events should be spatial, immersive experiences that begin from the moment the will of discovery emerges.