In ART, General
Following the last issue of Selections, Frequently Asked Questions in Art, we continue our quest to analyse what surrounds us in the art world. However, this time, for our 21 Artists and a Biennial issue, we take you backstage to expose you to the world of research in the 21st century. Because the most important part of our work is research, we analyse both the material we receive and what we find, basing ourselves on today’s most common search tools: online search engines, online encyclopaedia, social media, carefully written press releases, email exchanges with the artist’s gallery and the artist him/herself. After laying down the information we’ve gathered onto our pages, we invite you to make your own analysis.

Portrait of Inci Eviner. Photographed by Muammer Yanmaz. Image courtesy of the artist.

Inci Eviner
Born in 1956, Ankara. Lives
and works in Istanbul

 

 

Portrait of Inci Eviner.
Photographed by Muammer Yanmaz.
Image courtesy of the artist.

 

Inci Eviner, sketch of We, Elsewhere. Image courtesy of the artist
Inci Eviner, sketch of We, Elsewhere. Image courtesy of the artist

Eviner’s large body of work comprises multilayered pieces that originate from drawings. Eviner explores the politics of desire, space, subjectivity and its potentiality.

Inci Eviner, still from Harem. Image courtesy of the artist.


Inci Eviner, still from Harem. Image courtesy of the artist.

 

SOLO SHOWS

Retrospective, Istanbul Modern (2016); Runaway
Girls, e Drawing Center, New York (2015) and
Broken Manifestos, Espace Châtelain, Brussels (2013).
Among her group shows are Sharjah Biennial 13:
Tamawuj (2017); Utopia/Dystopia, Museum of Art,
Architecture and Technology, Lisbon (2017); Rainbow
Caravan, Aichi Triennale, Japan (2016); Home Works
7, Ashkal Alwan, Beirut (2015); Everyday Life, 4th
Asian Art Biennial, Taichung, Taiwan (2013); Mom,
Am I Barbarian?, 13th Istanbul Biennial (2013).

Inci Eviner. Co-Action Device. Images courtesy of the artist.
Inci Eviner. Co-Action Device. Images courtesy of the artist.

“In a practice spanning some 40 years, Inci Eviner has explored the perspective of
women, processes of organisation and the formation of subjectivities. Her works imagine alternate forms of expression and existence that interrogate normative representation.”

She has shown her work in solo and group exhibitions worldwide. She has been invited to participate in numerous biennials including the Gwangju Biennial (2018), Liverpool Biennial (2018), Sharjah Biennial (2017), Aichi Triennale (2016), Istanbul Biennial (2013 and 2005), Thessaloniki Biennale (2013), Asian Art Biennial (2013), Busan Biennale (2010), Shanghai Biennale (2008) and Venice Biennale (1997). Among the museums where her works have been exhibited are the Drawing Center, the Philadelphia Museum of Art, Thyssen-Bornemisza Art Contemporary, Musée d’Art Moderne de la Ville de Paris, Massachusetts Museum of Contemporary Art, Palais des Beaux-Arts de Lille and Istanbul Museum of Modern Art.

 

Inci Eviner. Co-Action Device. Images courtesy of the artist.
Inci Eviner. Co-Action Device. Images courtesy of the artist.

Inci Eviner’s work usually takes drawing as a starting point and comprises a large body of multilayered pieces that range from drawing and video to performative and collaborative practices. Eviner explores the formation of subjectivity, and her work touches on the workings of power and the politics of representation, especially with regards to the female body. The complex set of relations that Eviner forms between video technologies and drawings tradition proposes a different kind of perception.

Eviner was a winner of the Sharjah Biennial Prize (2017), and she was an artist-in-residence at Headlands Center for Art (California, 2017), Rauschenberg Foundation (Florida, 2017), SAM Art Projects (Paris, 2010), Musée d’Art Contemporain du Val-de Marne (Vitry-sur-Seine, 2009), Cité Internationale des Arts (Paris, 2008) and International Studio & Curatorial Program (New York, 2004-2005).

Eviner is also a lecturer at Kadir Has University, Faculty of Art and Design. She lives and works in Istanbul where she is represented by Galeri Nev Istanbul.


VENICE BIENNALE – INCI EVINER
LOCATION: ARSENALE

 

Visual identity for the 2019 Venice Biennale. Design by ONAGÖRE (Ali Taptık and Okay Karadayılar). Image courtesy of the artist

Visual identity for the 2019 Venice Biennale.
Design by ONAGÖRE
(Ali Taptık and Okay
Karadayılar). Image
courtesy of the artist

We, Elsewhere, a new work by Inci Eviner,
will be presented in the Pavilion of Turkey at the
58th International Art Exhibition, La Biennale
di Venezia, to be held from May 11 through
November 24 2019. Organised by the
Istanbul Foundation for Culture and Arts
(IKSV) and sponsored by Fiat, the Pavilion of
Turkey is located at Sale d’Armi in Arsenale,
which is one of the main exhibition venues of La
Biennale di Venezia.

“We, Elsewhere is created as a site-specific installation for the Pavilion of Turkey at the 58th International Art Exhibition, La Biennale di Venezia, and makes use of elements such as reconfigured objects as well as drawings, video, sound and performance. It is an investigation into the spaces that we can create, and are created for us as a result of collective displacement. The exhibition ruminates on how subjects who find themselves in these spaces react and interact with one another and with their memories. Various elements of sound, reconfigured objects and characters crafted by Eviner evoke the sense of a search for the missing, the erased and that which is elsewhere. A certain aggression and abruptness comes out in the characters’ everyday behavior informing their identities in transition. The space itself, in which visitors are invited to walk along the ramps, courtyards and edges, displays permeability, allowing views through cuts and cracks along the walls. The paths punctuated by the objects suggest the way in which memory eases conflicts. Together, the characters, the space and the paths tell a story akin to Hannah Arendt’s narrative of struggles in We Refugees.”

A VERSION OF THIS ARTICLE APPEARED IN PRINT IN SELECTIONS, 21 ARTISTS AND A BIENNIAL #49, PAGES 80-85.

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