JOURNAL EVENTS VISIT ABOUT PRESS
CATEGORIES ESSAY
CATEGORIES ESSAY
OTHER
PARALLEL EVENTS
OTHER
PERA FILM
OTHER
LEARNING PROGRAMME
WORKSHOPS
4 NOVEMBER // BLOCKCHAIN WORKSHOP
TALKS
4 NOVEMBER // BLOCKCHAIN SEMINAR
TALKS
3 NOVEMBER // INTERACTIVE TALK: SWEET CREATIVITY
TALKS
3 NOVEMBER // DESIGNER CONVERSATIONS WITH VITRA: DESIGN AS AN ATTITUDE
TALKS
2 NOVEMBER // HOUSING THE HUMAN
OTHER
2-4 NOVEMBER // PALAVER + PALAVER
WORKSHOPS
2-4 NOVEMBER // NEW GROUNDS
OTHER
1 NOVEMBER // E-NUMBER BINGO - EAT ART COLLECTIVE
OTHER
1 NOVEMBER // PRESENTATION: GLOBAL TOOLS
WORKSHOPS
31 OCTOBER - 1 NOVEMBER // MAYA BLUE - ELUSIVE EARTHS
WORKSHOPS
31 OCTOBER // BOSPHORUS SMLXL
WORKSHOPS
30 OCTOBER-1 NOVEMBER // DESIGN FAULT LINES
OTHER
30 OCTOBER // SEEKING 7TEPE
TALKS
30 OCTOBER // ACADEMY DAY #6
WORKSHOPS
28 OCTOBER - 4 NOVEMBER // REVERSE-ENGINEERING ECONOMIC MANIA
OTHER
27 OCTOBER // ALL AROUND
OTHER
26 OCTOBER // REMAPPING ISTANBUL THROUGH THE EYES OF CHILDREN
OTHER
25 OCTOBER // THE PERFECT TIME + 100 FRAME INTERVALS
TALKS
24 OCTOBER // METRO TALK: THE PLACE OF SPOON IN CULTURAL HISTORY
WORKSHOPS
22-23-24 OCTOBER // CRITICAL MAKING
TALKS
23 OCTOBER // ACADEMY DAY #5
TALKS
20 OCTOBER // THE HISTORY OF INDUSTRIALISATION IN TURKEY AND DESIGN
TALKS
20 OCTOBER // LAB OF LABS: PANEL DISCUSSION
WORKSHOPS
19-20 OCTOBER // LAB OF LABS
TALKS
19 OCTOBER // A MARATHON OF DESIGN TALKS
TALKS
18 OCTOBER // YAY-POP PRESENTS: VISUAL EDITIONS
TALKS
18 OCTOBER // ART OF DISASTER: PRESENTATION
TALKS
17 OCTOBER // DESIGNER CONVERSATIONS WITH VITRA: WHAT HAVE I LEARNED FROM LIFE?
OTHER
17 OCTOBER // COLLECTIVE ÇUKURCUMA READING SESSION #3
WORKSHOPS
17-18 OCTOBER // VISUALIZATION OF EMOTION AND THOUGHT
WORKSHOPS
16-23 OCTOBER // NARRATIVES FOR DEVICES, WORKS FOR DEVICES
WORKSHOPS
16-20 OCTOBER // ART OF DISASTER
TALKS
16 OCTOBER // ACADEMY DAY #4
WORKSHOPS
14 OCTOBER // THE SCHOOL OF FIVE UNLIKE
WORKSHOPS
14 OCTOBER // MIGRATION THEMED WORKSHOP AND EXHIBITION STUDY
WORKSHOPS
12 OCTOBER // DO YOU SEE MY WINGS?
WORKSHOPS
11 OCTOBER // AUGMENTED REALITY WORKSHOP
WORKSHOPS
11 OCTOBER // DROWNING IN THE ARCHIVE
WORKSHOPS
11-12, 16-17 OCTOBER // DEEP MAPPING SENSORY SPATIAL NARRATIVES
TALKS
10 OCTOBER // DO WE LEARN CODING IN THE STREET OR IN FRONT OF THE COMPUTER?
TALKS
9 OCTOBER // ACADEMY DAY #3
WORKSHOPS
9, 10 OCTOBER // COLLABORATIVE MAPPING WORKSHOP
OTHER
7 OCTOBER // COLLECTIVE ÇUKURCUMA READING SESSION #2
OTHER
6 OCTOBER // COLLECTIVE ÇUKURCUMA READING SESSION #1
TALKS
6 OCTOBER // DESIGN CHRONOLOGY CONVERSATIONS - PLAYDAY
WORKSHOPS
6 OCTOBER // KADIKÖY TEXTURE WORKSHOP
OTHER
6, 21 OCTOBER, 1 NOVEMBER // MEASURING SESSION
WORKSHOPS
5, 6, 7, 9 OCTOBER // MIGRATION MAP OF ISTANBUL
WORKSHOPS
5-7 OCTOBER // FLANEUR SCANNER
WORKSHOPS
4 OCTOBER, 6 OCTOBER // AN EXPERIENTIAL TOPOGRAPHY OF ISTANBUL
TALKS
3 OCTOBER // OMNIA TALKS
OTHER
2 OCTOBER // ARCHITECTURE SCHOOL EXHIBITION OPENING
TALKS
2 OCTOBER // ACADEMY DAY #2
OTHER
2, 3, 6, 7 OCTOBER // INVISIBLE FILM PROGRAM
WORKSHOPS
30 SEPTEMBER // GENERATIVE DRAWING SCHOOL
TALKS
29 SEPTEMBER // DESIGN CHRONOLOGY CONVERSATIONS
WORKSHOPS
29 SEPTEMBER // MATERIAL EXPERIMENTS FOR SHELTER DESIGN IN EMERGENCY
TALKS
29 SEPTEMBER // BAUHAUS TODAY
AKBANK SANAT (UNMAKING SCHOOL)
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ARTER (EARTH SCHOOL)
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PERA MÜZESİ (SCALES SCHOOL)
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SALT GALATA (TIME SCHOOL)
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STUDIO-X ISTANBUL (DIGESTION SCHOOL)
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YAPI KREDİ KÜLTÜR SANAT (CURRENTS SCHOOL)
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GUIDED TOURS

Encouraging visitors to take a closer look at the exhibited works and the conceptual framework of the 4th Istanbul Design Biennial, guided tours are held every day except Mondays throughout the duration of the biennial at Akbank Sanat, Yapı Kredi Culture Centre, Pera Museum, Arter, SALT Galata and Studio-X Istanbul.

The guides, trained under the supervision of scholar and museologist Mine Küçük, provide in-depth commentaries on the theoretical framework of the biennial, exhibited works, and specific themes assigned to each venue, and answer questions during this hour-long tours per venue.

Turkish guided tours: Every day except Monday 11.00*, 14.00, 16.00

English guided tours: Every Wednesday 11.00 (Akbank Sanat), 14.00 (Yapı Kredi Culture Centre), 16.00 (Arter) / Every Thursday 11.00 (Pera Museum), 14.00 (SALT Galata), 16.00 (Studio-X Istanbul)

*Guided tour at 11.00 on Sundays at the Pera Museum is not held since the museum is closed until 12.00.

Tulip Card members can get their tickets with discounts up to 25%.

GUIDED ROUTES

In addition to venue-specific guided tours, the 4th Istanbul Design Biennial offers guided walks between venues located on two different routes in Beyoğlu and Karaköy for more engaging visitors seeking for an extended biennial experience.

BEYOĞLU ROUTE
Akbank Sanat
Yapı Kredi Culture Centre
Pera Museum
Arter

KARAKÖY ROUTE
SALT Galata
Studio-X Istanbul

The Beyoglu Route, which is held every day except Monday, starts from Akbank Sanat at 11.00. The tour includes four venues (Akbank Sanat, Yapı Kredi Culture Centre, Pera Museum, Arter) and takes approximately four hours.

The Karaköy Route, which is held every day except Monday, starts from SALT Galata at 11.00. The tour includes two venues (SALT Galata, Studio-X Istanbul) and takes approximately two hours.

The Beyoglu Night Route, which will be held on Friday, 28 September and Friday, 26 October, will start from Akbank Sanat at 18.00. The tour includes four venues (Akbank Sanat, Yapı Kredi Culture Centre, Pera Museum, Arter) and takes approximately four hours.

The Karaköy Night Route, which will be held on Thursday, 27 September and Thursday, 25 September, starts from SALT Galata at 20.00. The tour includes two venues (SALT Galata, Studio-X Istanbul) and takes approximately two hours.

Tickets can be purchased via Tulip Card Communication Centre (+90 850 755 02 60), biletix.com, Biletix sales points, and the box office of İKSV –with no service fee. 

UNMAKING SCHOOL

Unmaking School emphasises that the irrepressible human instinct to be creative is a pedagogical dynamo that drives innovation, redefines work, and reshapes our cities.

“The school is the servant of the workshop, and will one day be absorbed in it,” wrote Walter Gropius 99 years ago in the manifesto of the Bauhaus, an experimental arts school that has come to form the basis of contemporary global design education. The projects featured in the Unmaking School offer an overview of how the workshop tools have expanded from handcraft and graphic design to digital interfaces, robotic personal assistants, additive manufacturing and algorithmic coding. The spatial bounds of the workshop are also stretched to include the physical streets, communication networks, and even our own personal and collective psyches.

Despite today’s overwhelming abundance of information, the traditional schooling system is still teaching students to memorise, recall, optimise. Fostering creativity, critical thinking and communication – the human skills that intelligent machines are nowhere near emulating – remain the domain of speciality subjects often reserved for the elite, and design education. Unmaking School is both a challenge to design education to evolve beyond the Bauhaus, and a challenge to traditional education to learn from the Bauhaus.

Unmaking School emphasises that the irrepressible human instinct to be creative is a pedagogical dynamo that drives innovation, redefines work, and reshapes our cities.

“The school is the servant of the workshop, and will one day be absorbed in it,” wrote Walter Gropius 99 years ago in the manifesto of the Bauhaus, an experimental arts school that has come to form the basis of contemporary global design education. The projects featured in the Unmaking School offer an overview of how the workshop tools have expanded from handcraft and graphic design to digital interfaces, robotic personal assistants, additive manufacturing and algorithmic coding. The spatial bounds of the workshop are also stretched to include the physical streets, communication networks, and even our own personal and collective psyches.

Despite today’s overwhelming abundance of information, the traditional schooling system is still teaching students to memorise, recall, optimise. Fostering creativity, critical thinking and communication – the human skills that intelligent machines are nowhere near emulating – remain the domain of speciality subjects often reserved for the elite, and design education. Unmaking School is both a challenge to design education to evolve beyond the Bauhaus, and a challenge to traditional education to learn from the Bauhaus.

THE POST-LABOURATORY
2017-2018
Ottonie von Roeder

The Post-Labouratory speculates on how work could change if robots take over menial tasks. It proposes that post-labour consultants could assist us in reconsidering our life’s purpose, and then self-build a custom robot companion to take over the tasks we would rather not spend time on. In 2017, the designer worked with a painter, post officer and cleaner in Eindhoven to build machines that can help them redefine their jobs. The painting robot is presented here, alongside a robot she developed with a tea maker in Istanbul for A School of Schools. What skills and pastimes should we be learning when technology is radically changing the job market?

Ottonie von Roeder works in critical and social design, design research, and design education. Her strategies of speculation and playfulness intend to open discussions about culture, society and politics. She was trained in Switzerland, Germany, Israel and the Netherlands, and is currently based in Leipzig, Germany.

Collaboration with Batuhan Ateş and Acrome Robotics.
Thanks to Ömer Doğan, Faruk Maz, Hamza Hişim and Taylan Kızılocak.

WATERSCHOOL 
2018
Studio Makkink & Bey, and contributors

Could redesigning our primary schools give rise to a new generation of thinkers and doers who affect sustainable change in our homes and social networks? WaterSchool is a speculative primary school designed and organized around water as an essential material and subject matter. Besides a new curriculum of relevant topics being developed around contemporary issues, the WaterSchool proposes completely rethinking the economic and infrastructural model of education. Inspired by the han’s legacies of caravan hotel, shopping centre and manufacturing hub, a primary school could produce everything it needs to function onsite through small-scale industrial collaborations, and also sell surplus to the public. 

Studio Makkink & Bey is led by designer-architect Rianne Makkink and designer Jurgen Bey. Supported by a design team they have been operating their design practice since 2002. Their ambition is to see the role of the designer expanded to the most strategic function possible.

DOCENDO DISCIMUS INSTRUMANTAE
2018
FABB, and contributors 

How can we redevelop the workshop to transcend its tempo-spatial boundaries in the decentralised age of online learning and the make-it-yourself movement? Docendo Discimus Instrumantae – meaning by teaching, we learn – proposes a workshop in which an international network of contributors share their experiences on robotic fabrication processes through online instructionSets. instructionSets are an experimental protocol for sharing digital making methodologies and documenting deviations and interpretations. Over the course of the six weeks of A School of Schools, six instructionSets developed by six teams around the world will be executed, shared, repeated, duplicated and improved by the two Kuka machines. 

FABB is a transdisciplinary design and production studio founded in Istanbul by Burcu Biçer Saner and Efe Gözen. The pair have developed professional and academic works about computational design in architecture and digital fabrication technologies. They are currently teaching at Kadir Has University.

Contributors: Ludovic Mallegol; Dagmar Reinhardt, Ninotschka Titchkosky, Dylan Wozniak-O’Connor, Rodney Watt, Lynn Masuda, Susana Alarcon, Eduardo Barata, Maryam Houda, Adam Hannouch, Matt Hunter, Mitchell Page, Matthew Blair, Paul Wintour, Farbod Fathalipouri, Nazgol Asadi, Sam Sweeney, Ross Seymour, Sascha Bohnenberger; Anke Pasold, Isak Worre Foged, Mads Brath; Frederico Fialho Teixeira, Müge Belek Fialho Teixeira, Alan Burden, Ayman Wagdy, Glenda Caldwell, Jared Donovan; Ryan Luke Johns, Lukas Lesina Debiasi; Can Söylemez, Ayşe Esin Durmaz, Eda Yetim

MAP SECTION 
2018
Kerim Bayer

What are the mechanisms by which we produce our spatial and geographic knowledge? Map Section is an inventory of how the map and the territory often become indistinguishable. Although presented in a book the size of an atlas, it contains not maps of countries but maps of the graphic devices we use to translate and produce spatial information: lines, dots, colours, symbols, illustrations, shading, text, insets, hachures, legends, grids and contours. The thumbnail images have been cropped from the creator’s own map collection using a custom piece of software that emulates how a satellite might read the surface of the planet.

Kerim Bayer is a map enthusiast, collector and researcher who is an art historian by training. His expansive map collection is primarily focused on 19th and early-20th century scientific, transportation and planning maps with an emphasis on detailed, graphically-complex cartography.

•S•F•S• PORTAL
2018
Stigmergy·Family·Studio
 
How has the contemporary design become a nomadic and pervasive rhizome that respons to the interwoven logics of 24/7 availability, ubiquitous globalisation, just-in-time logistics, seasonal cycles, and rapid technological adaptation? The result of an experimental studio pedagogy that spans Shenzhen, Istanbul and Eindhoven, •S•F•S• Portal is a video journey into how ideas, designs, components, objects and money flow through transitional lines of exchange. It shows an open and growing archive of hybrid proposals, products and portraits of that consider the design workshop as a geography of making, questioning and experimenting.

Stigmergy·Family·Studio was launched by Martina Muzi in 2017 and developed into a Social Design Master’s course at Design Academy Eindhoven. Students featured here include Yiqian Bao, Valerie Daude, Lauriane Heim, Ed Lewis, Lukas Adrian Jurk, Robin Weidner, Marylou Petot, Marianne Drew, Mathew Dominic and Indrė Srebaliūtė.

E-UNITS
2018
Martina Muzi
 
The enormous amount of products invading a densely inhabited space in the large-scale markets in different Chinese cities is overwhelming. Going behind the shop windows however, e-units is a short film essay revealing that family is in fact the fundamental essence in the design of the markets’ systems, services, products, and indeed of their consumption. Socialised small businesses – ranging from one person to a group of friends, husbands, wives and/or children – think, make and produce by sharing the same space. As bodies in a cross-boundaries international system, how is the family not only a site of production and creation, but a unit of economic measurement?

Martina Muzi is a designer and field researcher working with films, exhibitions, clothing scenarios and experimental pedagogies. She has collaborated with Space Caviar since 2014, living in Shenzhen for seven months researching the electronic ecosystem of Pearl River Delta.

HALLETMEK* 
2017-2018
Nur Horsanalı

A survey of people’s instantaneous and intuitive responses to daily problems on the streets of Istanbul, Halletmek offers a non-institutional take on what design is, who designers are, and how we learn from each other and our environment. A book, video and map document objects that present new uses for waste materials and unused objects, ways to circumvent municipal rules and prohibitions, and interfaces for public spaces. The objects are the result of transformative activities that are poles apart from the results of long processes of design professionals. 

*“Halletmek” is a popular Turkish catchphrase that refers to solving, taking care of, dealing with, or bodging.

Nur Horsanalı is a designer interested in ethnographic research, and vernacular design and craft. She graduated from Istanbul Bilgi University in 2017, and is now completing her Master’s at Aalto University, School of Art, Design and Architecture, in Finland. 

Video support: Poyraz Tütüncü, Ozan Şahin, Hamit Çakır

AN I: TALKING TO MY DIGITAL SELF
2018
Camilo Oliveira

As we consume and produce more media through our increasingly ubiquitous digital technology, our relationship with our self is changing. In an era of excessive information sharing, identity confusion, elevated self-consciousness, and fear of the future, we might need a new way to reflect on our own thoughts. The platform An I is a self-educational tool that proposes creating a dialogue with a digital avatar that grows with you from a young age, using artificial intelligence to study your experiences and thoughts. What if, instead of talking to a friend, family member or psychologist, the other were you?

Camilo Oliveira works at the intersection of design, research, technology and art to propose speculative scenarios that question our human condition in the digital era. He graduated from the Social Design Masters at Design Academy Eindhoven in 2018, and previously studying architecture at Pontifical Catholic University of Paraná, Brazil.

[AI]STANBUL: SCHOOLING THE MACHINE
2018
Ersin Altın, Burçak Özlüdil, Augustus Wendell, Amy K Hoover

[AI]stanbul is a machine that wants to learn about Istanbul. It acquires and appropriates place-based experiences through natural language and image-based interactions with visitors to the exhibition. In other words, over the six weeks of A School of Schools, [AI]stanbul will get more and more intelligent as visitors share more and more personal memories, daily ephemera, and practical information about transportation and places to visit in Istanbul. In turn, visitors are given an opportunity to learn about Istanbul from the machine. Can [AI]stanbul learn more about the city than you know? 

Ersin Altın, Burçak Özlüdil, Augustus Wendell and Amy K. Hoover are architecture, design and informatics academics and professionals who met through their shared interests. They bring together individual research interests covering the changing perceptions of the body, home and the city; digital spatial simulation, analysis and scholarship; and facilitating human creativity through AI.

DESIGN PATTERNS
2018

Annika Frye 


What if we could literally dive into the design process? Design Patterns is a virtual reality experience inspired by design theorist Christopher Alexander’s Pattern Language, outlined in his 1962 dissertation, Notes on the Synthesis of Form. Forming the basis of generative design, the method works by dividing design problems into systems and subsystems, which in turn are represented by pattern-like structural diagrams. Using a VR headset, visitors can experience the results as an installation, and even climb it. The work was realised as part of Muthesius Parallax, an educational and exhibition format initiated by Matylda Krzykowski.

Annika Frye works between practice and theory. Her interests lie in the aesthetic qualities of serial production, experimental processes and the design process as source of innovation. She is a professor of design science and design research at Muthesius University of Arts and Design Kiel. Design Patterns was realized with the help of Caroline Nölle. 

CROSSING PARALLELS
2018
Amandine David 

Crossing Parallels explores the interaction between the basketry technique of hand coiling and 3D printing by orchestrating a collaboration between basket weaver Esmé Hofman and 3D-printing artisan Joris van Tubergen. Both crafters build objects through the same construction principle, laying one filament—whether natural fibre or melted plastic—on top of another. The installation shows an ecosystem of diverse artefacts, ranging from samples and failed experiments to tools and final products. Each element is considered as one intersection of human knowledge. Cumulatively, these intersections show design not as a path towards a single outcome, but as a rich territory for collaborative investigation.

Amandine David celebrates sharing as a methodology and opportunity to redefine design processes. She is the co-founder of Hors Pistes, a nomadic residency program that initiates designer-crafter encounters that question the value of multidisciplinary and cross-cultural collaborations. She holds degrees from Design Academy Eindhoven, Netherlands, and La Martinière Diderot, France.

Muthesius Parallax
2018
Matylda Krzykowski, Annika Frye and students

Has design education been reduced to creating interfaces – ways for independent systems to interact? A video and book document the industrial design students and tutors at the Muthesius academy deconstructing and reassembling contemporary design strategies such as visualization, reproduction, immersion and virtuality as if these strategies were interfaces. Taking a different perspective offers different views, such is parallax. The students translated their alternate views into tools, ephemeral objects of process, and new materials and media. Their work was presented in a walk-through post-digital interface installation that evokes the popular digital parallax effect in which layers move at alternate rates to create various illusions. 

The industrial design department at Muthesius academy of arts in Kiel works across digital, product, medical and interface design. Founded in 1907, it is the primary design education and research institution in the north of Germany. Guest professor Matylda Krzykowski is a design curator and transdisciplinary communicator. Professor of design science Annika Frye is a designer and design theorist.

Students: Jakob Brand, Katharina Graff, Franziska Schneider, Benjamin Unterluggauer, Alex Niggemeyer, Leon Clausen, Sebastian Kommer, Henrieke Neumeyer, Hansol Kim. 
Photography: Jonathan Simon-Weidner. 

CURRENTS SCHOOL

Currents School explores information networks, spheres and connections – both digital and analogue, abstract and embodied – to critically examine technologies and hierarchies.
 
From the treasures brought along the historic Silk Route to the appearance of a poisonous Japanese fish in Turkey, from the things we buy online to media we consume on our screens, everything is the result of numerous connections along a network of exchange. The projects in Currents School make the otherwise unseen systems that produce our immediate surroundings visible through unexpected and familiar mediums that range from knitting, soap and drawings to radio, performance and publishing. Materialising these otherwise abstract systems invites alternative sensorial appreciation of the expansive power of knowledge.
 
“While networks are good at describing long-distance and unexpected connections starting from local points, spheres are useful for describing local, fragile, and complex ‘atmospheric conditions’,” observes French philosopher Bruno Latour, connecting his network theories to German cultural theorist Peter Sloterdijk’s spheres. Networks are not uniform, but strengthened and deepened by clustered connections – or spheres – of intensity that can reshape traditional hierarchies of power and surpluses of difference. Currents School places the responsibility on each of us to become agents of our own educational webs and spheres.
 
FUGU OKULU 
2018
åbäke
 
The poisonous fugu fish is a delicacy in Japan, and since 2003 has been found off the coast of Turkey too. The designer packed a suitcase and set about investigating the fish’s reception in its new home, only to discover that the creature oblivious to nation states had been classified an invasive species. Learning about global warming, the construction of the Suez Canal, new cooking techniques, graffiti, and many many tails and tales from architects, chefs, ethicists, linguists and others along the way, we discover a whole world of knowledge emerges when we playfully trace one thing across the ends of the earth. 

åbäke is a graphic design collective of four people in their 40s who in their conventional higher education years were taught in design and art colleges in Sweden, France and the UK for a total of a quarter of the previous century. Now they teach, present workshops, and parent. 

STITCHING WORLDS 
2014-2018
Ebru Kurbak, Irene Posch, So Kanno, Hannah Perner-Wilson, Mika Satomi

What if electronics emerged from textile handicrafts such as knitting, weaving, crochet and embroidery? How would technology be different if craftspeople were the catalyst to the electronics industry, via textiles manufacturing? Stitching Worlds blends the worlds of textiles and electronics in novel ways through past, present and future tense narratives. The focus lies on the tension created by the use of highly traditional textile techniques as an alternative way to manufacture functioning electronic technology. By revealing unexpected potentials of often-undervalued knowledge and skills, the objects and installations question commonly accepted value systems and their implications.

Stitching Worlds is an arts-based research project led by designer Ebru Kurbak at the University of Applied Arts Vienna and funded by the Austrian Science Fund (FWF): AR 284-G21. The research was carried out by Kurbak as principal investigator and Irene Posch as key researcher, with contributions by guest artists So Kanno, Hannah Perner-Wilson, and Mika Satomi.

THE PHYSICAL GEOGRAPHY OF THE SEA 
2018
Studio Folder

The 19th century pilot maps that Matthew Fountain Maury compiled from captain’s logs and redistributed back to seamen might represent not only the origins of modern oceanography, but also of open data. Since then contemporary seamen have retrained their directional instruments from astronomical bodies to an invisible abstract cloud of data of unprecedented scale. Using an antenna that taps into the automatic identification system that tracks all ships, a decoder that draws real-time open data, a custom-built projector and a set of analogue data lenses, this multimedia installation reveals an alternative visualisation of the maritime environment of the Bosphorus Strait. 

Folder is an agency for visual research founded by Marco Ferrari and Elisa Pasqual in 2011. They visualise ideas and concepts through a diverse range of editorial, art direction, exhibition design, data visualisation, website and digital publishing work. They studied at IUAV University of Venice and the Architectural Association in London. 

INFREQUENTLY ASKED QUESTIONS
2015-2016
Ebru Kurbak

All people develop skills to survive in their particular physical, social and cultural environments. Once a person migrates to another place, however, some of those skills become entirely obsolete. The person might be confronted with a new climate, language and new rules of social behavior and customs. The common expectation from them is to enter an endless learning process. Infrequently Asked Questions was created through asking a simple question to newcomers in Austria: What are you good at? The displayed selection of migrated knowledge and skills reminds us of something that we often forget: Values of things are social constructs, not absolute facts.

Ebru Kurbak is an artist and designer based in Vienna. She studied architecture at Istanbul Technical University, and has lectured at the Istanbul Bilgi University and University of Arts and Industrial Design in Linz. She recently worked as project leader of Stitching Worlds at the University of Applied Arts Vienna.
 
NO-STOP CLASSROOM
2018
Farzin Lotfi-Jam and Mark Wasiuta

No-Stop Classroom is a school with one course. The course examines control as a defining feature of the 20th and 21st centuries. It reveals how control – often conceived as total, elusive, and amorphous – is embedded in the world and our cities through particular material and formal structures. The course also studies how control circulates through minute forms of perception and interaction. It claims that in an era marked by perpetual human training and relentlessly advancing machine learning, any method of education or counter-education must consider the recent history and current techniques of control.

Farzin Lotfi-Jam is principal of Farzin Farzin, a multidisciplinary studio that designs spaces, software, and media. He teaches at the Irwin S Chanin School of Architecture at the Cooper Union, and studied at Columbia University and RMIT University. Mark Wasiuta is a curator, writer, and architect who teaches at GSAPP Columbia University.

ISTANBUL TECHNO-TOURISM
2018
Ana Peñalba

Designing artefacts and buildings has become even more complicated by the globalisation, fragmentation and hyper-densification of the information. The post-truth phenomenon is affecting not only the socio-political boundaries of our cities but also the way we perceive our physical surroundings. Instagram-savvy buildings have become something beyond their architecture, their identity transformed by our collective production of information and their design distorted by the way we manipulate the information that circulates in our globalised media. What does studying iconic Istanbul buildings through the digital matrix of social media reveal about their nature beyond their physical architecture?

Ana Peñalba lives and works in New York. Her research practice investigates the intangible socio-political forms of the city built by our collective imaginary. She studied at the Polytechnic School of Madrid (ETSAM), and teaches at the School of Architecture at Barnard-Columbia.

ARGO 
2018
Radioee.net + PUB Radio

How is slang transmitted and sustained through codes and contradictions? What can fluid word formations tell us about how ideas immigrate? How does learning transform when it shifts from the grammars of schools to words of wisdom from the streets? ARGO will walk the streets and squares and stairs of Istanbul, hosting an online radio broadcast about language and translingual learning along the way. Radioee.net + PUB Radio will circulate argot, lingo, phrases, and idioms in conversation, music, and sound.

Radioee.net (radio espacio estación) is a nomadic, translingual, online radio station. It hosts 24-hour broadcast events about mobility and movement while itself on the move. It transmits multilingual voices, music and sound to global audiences, unfolding an audio portrait of a place in time. ARGO is co-produced with PUB Radio, a student-run station at Sandberg Instituut in Amsterdam.

YAY-POP MAGAZINE
2018
Onagöre

Print is dead, we’ve been told for decades. Yet more than ever, we’re still printing, reading, and wanting to make publications, and everyone is getting involved. Is it more about the knowledge generating process than the artefact? Over six weeks, a magazine will be written, designed and produced live in the exhibition. Focusing on the opportunities and difficulties of small-scale publishing in the digital era, the YAY-POP (Yayıncılığı Anlarken Yayınlanan - Publishing on Publishing) magazine will cover books, games, music and other publishing practices within Turkey and abroad. Biennial visitors are invited to get involved in the process every Friday afternoon. 

Onagöre is a living, multi-functional workshop, and an expression space for the creative and productive chemistry that has developed between artist and architect Ali Taptık and graphic designer Okay Karadayılar since 2005. Onagöre is a compound word that roughly translates as ‘relative to [subject]’. 

Editor: Merve Ünsal. Assistant: Zeynep Karababa

POETIC COMPUTATION: ARCHIVE
2018
Taeyoon Choi

How do the intimate spheres of our own work and knowledge function within the broader network? While the artist-run School for Poetic Computation operates on the principles of open source and publishes most of its academic and administrative data online, some of the documents have been kept private. A collection of unpublished letters to the students, notes from lectures and administration, software, media and other previously unseen documents offer an intimate insight into its evolution and perspective. The Istanbul installation is connected directly to the original archive in New York via peer-to-peer network, demonstrating the mechanisms of decentralised digital networks into tangible physical form.

Taeyoon Choi is an artist, educator, and activist. His art involves performance, electronics, drawings, and installations that form the basis for storytelling and social practice. In 2013, he founded the School for Poetic Computation in New York with the motto “More Poetry, Less Demo”.

LONELY PLANET
2016-2018
Ebru Kurbak

The image of Syria, in the minds of us outsiders, has transformed from being “one of the most peaceful exotic travel destinations” to “one of the most dangerous places on the planet”. People at the sites of conflict, however, experience things differently, and not always in black and white. Some amount of daily life always continues in war. Attempting to capture this in-between reality, a mass-produced travel guide was hacked with first-person interviews with people who recently fled Syria. Rather than an exhaustive documentation of one reality from one coherent point of view, it presents an overlay of multiple realities perceived by different people and presented through various media.

Ebru Kurbak is an artist and designer based in Vienna. She studied architecture at Istanbul Technical University, and has lectured at the Istanbul Bilgi University and University of Arts and Industrial Design in Linz. She recently worked as project leader of Stitching Worlds at the University of Applied Arts Vienna.

TRANSITIONAL SCHOOL 
2018
Aformal Academy and ARK.WORLD

Two thousand years ago, multiple flows of materials, cultures and ideas interlinked the living centres between Asia and Europe. Now we see the rise of another constellation of urban centres around the same region. Transitional School researches the context to this urban constellation, while creating its own network for trans-local knowledge exchange and production related to design. Through workshops in four of these centres – Bangkok, Doha, Saigon and Istanbul -- design research and interventions were deployed in order to learn about trans-local flows and the layers of production and labour embodied by materials and objects.

Aformal Academy is an experimental school programme initiated by the Rotterdam and Pearl River Delta based architecture and design office Land and Civilization Compositions. ARK.WORLD is a joint designers venture, founded by Roosje Klap in Amsterdam. Workshops were held at INDA/Bangkok, VCU Qatar and Firestation/Doha, RMIT/Saigon and Bilgi University/Istanbul.

OPEN SESAME 
2018
CMP Office

“Ali Baba was a kind, smart business person, and he helped the village,” founder of Alibaba.com Jack Ma recalls. Based on an allegorical relationship between the ancient Syrian folktale and the Chinese E-commerce consumer-to-factory online sales service provider, Open Sesame is a meditative installation of speculative fragments that offers a space for reflection on how precarious societies can conceive communities, design objects and produce cultures. The migration of Aleppo soap factories, leather craftsmen replicating luxury handbags, and street vendors reclaiming European capitals' civic spaces, Open Sesame investigates our ‘World New Disordered’ cycles of production and macro scale displacements in relation to micro intimacies. Do consumers have the agency to provoke large-scale transformations?

CMP Office is the practice of Charlotte-Maëva Perret who graduated from Royal College of Art. She works as a design researcher, art director and lecturer in the fields of fine art, publishing and fashion, allowing her to appropriate semiotics as a mean of translation and delivering a currency between economies of culture.

EARTH SCHOOL

Earth School asks what natural is, what disaster is, what progress, and who is in charge when the planet and human are forced to renegotiate our precarious relationship.

War, famine, climate change… the news paints a grim picture of the present as constant crisis. The projects featured in Earth School draw on various project-based learning strategies – from co-creation and institutional collaborations to artistic research, data analysis, critical making, and manual- and machine-making – but all have one thing in common: they recognise the importance of questioning and subverting the prioritisation of capitalist growth over the planet’s resources and rhythms, and who determines global priorities. An active learning space in the exhibition provides opportunities to reconceive fatalist trajectories.

“A total denouncement of fatalism is necessary. We are transformative beings and not beings for accommodation,” wrote Brazilian educator Paulo Freire in Pedagogy of the Oppressed, this year celebrating its 50th anniversary. This seminal text first identified how schools treat students as empty vessels in which knowledge is deposited, like coins in a bank, by teachers. Schooling assumes that teachers know everything, prevents students from knowing more than teachers, and stifles the potential for generating new ideas and new knowledge. Earth School prompts us to doubt what we consider inevitable about geopolitics, abundance and scarcity, and the future.

THE SCHOOL OF EARTHQUAKE DIPLOMACY 
2018
by Navine G. Khan-Dossos

Bringing together mutual coordination of resources and initiating ongoing research sharing to prepare for future earthquakes, the 1999 earthquakes in Greece and Turkey were a very particular moment on both a political and geological level. The School of Earthquake Diplomacy sought to engage the many memories people have of that time through a series of workshops in Athens and Istanbul. Participants have co-produced paintings reminiscent of earthquake epicentres, layered with patterns and symbols that revive the conversation between the two countries. How do memories become part of the fabric of daily life, influencing how we move around and relate to cities, countries and each other?

Navine G Khan-Dossos is a visual artist based in Athens. She studied History of Art at Cambridge University, Arabic at Kuwait University, Islamic Art at the Prince’s School of Traditional Art in London, and holds an MA in Fine Art from Chelsea College of Art & Design, London.

Assistant: Anastasia Perahia
Athens venues: Matthieu Prat and Kassandras 
Thank you to Benoit Durandin, Zina Sarris and Annie Fletcher.

HOPE ON WATER 
2018
SO? and collaborators 

Designated emergency assembly points in the case of an earthquake in Istanbul were announced in 2001. Since then, most of these public spaces have been built up, which raises the question of where everyone will be housed in the case of emergency? Hope On Water is the result of an interdisciplinary research project and education experiment that spans three departments in two universities. The result is a speculative prototype of a floating structure that could be used on the Golden Horn, the area that will not be impacted by an earthquake’s tsunami. The prototype can be seen floating at the Earth School satellite at Koç Museum.

SO? is an Istanbul design, architecture, and urbanism studio founded by Sevince Bayrak and Oral Goktas. Having won awards and exhibited around the world, they both currently teach at MEF University in Istanbul. Hope On Water is the result of a collaboration with civil engineering and sociology students from Bogazici University and architecture students from MEF University. The project is supported by Metal Yapı and Fibrobeton.

MEF University Department of Architecture students: Oral Göktaş, Sevince Bayrak and students Ramazan Ersin, Hüseyin Furkan Şenoğlu, Dilşad Turna, Berfin Salebçioğlu, Merve Akdoğan, Yağmur Cebeci, Osman Faruk Akkum, Deniz Torun, Gülfem Bayraktar, Elif Lahor, Batuhan Gürol, Kürşat Apaydın, Tanya Davutoğlu, Erden Erdemir, Eren Gedik, Özgür Bulut Gümrükçü, Fatih Eken
Boğaziçi University Department of Civil Engineering students: Emre Otay with Pelin Uzun and students Ali İhsan Alagöz, Elifsu BALCI, Ömer Baytimur, Mustafa Can, Şeyma Güneş, Can Güngör, Thomas Henzel, Ayşe, Tuğba Öztürk, Nur Saygın, Orhan Delil Tanrıkulu, Emre Tayşi, Muhammed Toprak, Samed Torun, Anıl Turan, Atakan Uyduran, Kaan Ülgen 
Boğaziçi Üniversitesi Department of Sociology: Ayfer Bartu Candan and students Arjin Taş, Zehra Begüm Kışla, Sinan Baltalı, Büşra Üner, Berkin Seçme, Mücahit Deniz Sağlam, Şehrazat Gülsüm, Aysel Kapsız, Tunca Avcı, Başak Damla 

WHAT HAPPENS TO THE GEOGRAPHICAL BORDERS WHEN THE LAND ITSELF MOVES
2016–2017
Cihad Caner

The world is witnessing some of the largest refugee flows since World War II. Simultaneously, water crises are highlighted as one of the most pressing global challenges. Yet the discourses around war and water remain separate, even though the Syrian drought of 2007–2010 is one of the main causes for the ongoing conflict and migration. Based on a data analysis of 485 news articles about the Mediterranean Sea becoming a passage of escape, this immersive multimedia installation uses the dynamic meditative image of water to highlight the disparity between planetary and human concerns, and who thinks which is more important.  

Cihad Caner is an artist based in Rotterdam and Istanbul. He works with photography, video, CGI and sculpture to explore the image culture around the other, everyday objects, and circumstances such as war, resistance and immigration. He has a Masters in Media Design and Communication from Piet Zwart Institute, Rotterdam.
 
STAYING ALIVE 
2016-2018
SulSolSal

There seems to be a constant crisis of climate change, political upheaval and economic precarity creating a sense of impending doom. Who is doing anything about it? Governments seem more concerned with power over each other and business about cashing in desperation. Increasingly it is up to us to find neo-survival strategies in our leisure time. Staying Alive draws on ongoing design research into the how society is adapting and learning for a seemingly inevitable future of scarcity. Alongside the research into neosurvivalist communities and the bizarre commercial products that cater for these communities, the installation includes a number of designers and artists whose provocations challenge fatalist future trajectories.

SulSolSal is the Amsterdam, Cape Town and São Paulo design research practice of Hannes Bernard and Guido Giglio. They teach at the Royal Academy of Art in The Hague, Design Academy Eindhoven, Instituto Europeo di Design in São Paulo and Federal University of West Bahia. 

Works contributed by Demystification Committee, Andrea Karch, Tattfoo Studio, Fahmy Shahin, Arvid&Marie, Theo Deutinger, N55, Janna Ullrich, Mary Ponomareva, Disarming Design from Palestine, Meeus van Dis, Lukas Engelhardt, João Roxo, Design Displacement Group, Human Rights Foundation, Kerim Bayer.
 
CHINESE SEISMIC INVESTIGATIONS
2018
Nina Wiesnagrotzki

Using film and sculptures, Chinese Seismic Investigations is a speculative attempt to rebuild the earthquake-predicting instrument made by Chinese scientist and poet Zhang Heng in 132CE. Only 238 Chinese characters to detailing its construction and functional indexes - the symbolic toad and dragon, Yin and Yang, and Chinese lucky number of 8 - still exist. Although internationally recognised as the first device to predict earthquakes, there is no evidence that it worked. Myth and science, East and West, mediated symbolism and controlled signals, all collide in this reinterpretation of the fabled device. What might we have lost through a purely scientific and Eurocentric approach to knowledge?

Nina Wiesnagrotzki is an artist and filmmaker who lives and works in Berlin. She graduated from the Academy of Fine Arts Hamburg, and the medical schools of Munich and Hamburg. Her work has been presented worldwide, including Bangkok, Hamburg, Brussels, Berlin, Beijing, Leipzig and Vienna. 

ATTUNEMENT INTERFACES
2017-2018
Sissel Marie Tonn

The incongruous phenomenon of man-made earthquakes exist across sensory, geological, techno-scientific and bureaucratic interfaces. A series of drawings based on site-specific research trace this intersection in an attempt to make sense of the earthquakes caused by gas drilling in the Dutch province of Groningen. Reanalyzing the scientific study of earthquakes to include their effect on the body, the drawings are part of a broader project mapping the impact on our psyche and person. During the six weeks of A School of Schools biennial, the artist will be researching Istanbul’s Attunement Interfaces. What can we learn about the planet’s natural and geopolitical rhythms by using not only scientific devices, but also our senses?

Sissel Marie Tonn is based in The Hague. With artist and frequent collaborator Jonathan Reus, she is the co-founder of Platform for Thought in Motion that, with Flora Reznik, engages artists with scholars in a mutual exchange of knowledge. 

BLOOMING ALGAE 
2018
Atelier Luma Algae Lab 

Design and biology combine to explore existing algae realities, the potential of growing micro- and macro-algae locally, and how it can be combined with biopolymers that can replace fossil oil-based plastics. Presented here are the results of workshops at Atelier Luma in Arles, the Caïro Creative Hub of the Industrial Modernisation Centre, and Bilgi University in Istanbul, where algae biopolymers were used to 3D-print prototypes of domestic items. Drawing on particular cultural archives from each location, a hybrid traditional-contemporary craft-digital aesthetic emerges, provoking us to unlearn the limiting preconceptions with which we value materials and production techniques.

Atelier Luma is a think tank, a production workshop and a learning network of the Luma Foundation based in Arles. Its Algae Lab was founded in 2017. Blooming Algae is the result of a collaboration between Atelier Luma head of research Henriette Waal, Giulio Vinaccia from Creative Mediterranean Cairo and Mevce Çıracı from Bilgi University Istanbul.

Additional contributors: Studio Klarenbeek & Dros, Victor Picon, Sarp Susuzer, Anastasia Eggers, Berat Haznedaroglu (Istanbul Microalgae Biotechnologies Research and Development Center), Daniel Bell, 3Dörtgen, Paşabahçe Glass Collection Istanbul. Workshop participants: Sarp Susuzer, Tufan İşcan, Rengin Jiyan Kolçak, Beste Tekdoğan, Tahsin İnanıcı, Ayşe Kiper, Colleen O’Neil, Billy Ernst, Deena Mohamed ElMahdy, Ahmed Khaled Abdelazim, Yara Yassin, Rania Rafie, Lina Alorabi, Mai Ashmawy, Esmaa Fathy, Sama Omar, Yasmine Elwani, Yousra Yassine

IF ALGAE MATTERED… 
2018
New South
 
How could algae’s potential as biofuel, food and fertilizer reshape the Mediterranean economy? This hypothetical cartography of a not-too-distant-future speculates on an economic and political reality in which power centres and alliances are redistributed, the hegemonic North-South dynamic is reoriented, and a transformative territorial reimagining of the previously unchangeable is prompted. Yet in the present, algae is considered a weed and dealing with it considered menial “women’s work”. Using thread made from algae, the embroidery of the map suggests not only the geopolitical implications of algae being reconsidered as a valuable material but also how the unlearning of gendered labour can redefine the value of materials and knowledge.

New South is a Paris-based research platform founded in 2015 by a group of architects and urban planners of various origins, united by a forward-thinking vision for cities of the Global South. Meriem Chabani and Maya Nemeta curated the Istanbul installation, with production by Evan Giles.

SPECIES WITHOUT SPACES
2018
Thomas Pausz
 
What if humans abandoned the modernist dream of controlling the environment? Since the 19th century, the natural sciences have strived to objectively understand and categorise nature, leaving humans stranded alone in the ivory tower of the ‘nature observatory’. A humorous multimedia installation destabilises these interspecies hierarchies with speculative artefacts designed by insects, shown alongside fragmented films that reference fear and fantasy in pop culture, romantic paintings, B-grade movies and internet memes. Re-inventing interspecies relations asks for a new symbiotic imaginary, and designers are at the forefront of creating and manipulating myths and aspirations around rewilding, the fear of others and interspecies dialogues.

Thomas Pausz is a cross-disciplinary designer who creates scenarios for alternative material cultures. Based in Iceland, he is currently assistant professor in design at the Iceland Academy of the Arts, as well as a member of the nomadic Swamp School, and the ACT lab at MIT.

EARTH SCHOOL SATELLITE VENUE

Rahmi M. Koç Müzesi
Piri Paşa Mahallesi Hasköy Caddesi No: 5 Beyoğlu 
+90 212 369 66 00
rmk-museum.org.tr

SCALES SCHOOL

Scales School investigates the fluidity of taxonomies, quantifications, and established norms, standards and values, to highlight scientific and cultural biases and assumptions.

Whose face to trust, what sounds and letters mean what in which language, the usefulness of different object forms, and even how to quantify value in numeric, monetary and digital units, are not objective realities but reasonable fictions we agree to believe in order to facilitate mass cooperation. The projects in Scales School use a range of exaggerating methodologies, from speculative fictions and performative embodiment to repetition, collecting, miniaturising, supersizing and decontextualisation to highlight some of the absurdities in our mental aggregations. 

“People who have been schooled down to size let unmeasured experience slip out of their hands,” wrote Croatian-Austrian institutional critic Ivan Illich in his enduring 1970 critique of modern education, Deschooling Society. This is not to undermine the value of quantification to scientific advances, but to highlight what we stand to lose by applying these abstract rankings to experiential and personal realities and ethics. In an increasingly complex world in which we feel more alienated from each other than ever, Scales School asks if we need to redefine our assessment matrixes rather than hand it over to computers to optimise.

AMBIGUOUS STANDARDS INSTITUTE 
2018
Cansu Cürgen and Avşar Gürpınar
 
Standards are created through the consensus of different parties such as firms, users, interest groups, organizations and governments, but sometimes different configurations of those parties result in contradictory standards. Ambiguous Standards Institute is an ongoing design research project that seeks to highlight the contradictions in unquantifiable cultural artefacts. The purpose of the institute is not to absolutise ambiguities but to register them according to their discursive potential and portray them in a conversion table, the form of which is inspired by the German Werkbund crate used to teach people about good design in the 1950s.

Cansu Cürgen is an architect and scholar interested in daily life, design standards, open design practices and architectural debates on regulating principles. Avşar Gürpınar is a scholar, designer and engineer interested in critical design, cultural studies, and history of art and design. They both work at Istanbul Bilgi University.

Design and production team: Mete Godollar, Hazal Kırıkçı, Ali Rıza Atakan Gür, İdil Bayar, İlayda Keskinaslan, Yağız Yeşilkaya, Serenay Coşar
ASI collaborated with Gökçe Akçelik (Airs), Selçuk Artut (Airs), Paşabahçe and Koray Özgen (Teaglasses).
ASI thanks to Deniz Ova, Oğul Can Öztunç, Atıl Aggündüz, Nur Gayretli, Ali Emre Kaya, Fatih Doğan, Gülçin Demircan, İclal Gürpınar. 

NOTES ON MINIATURE DRAWING 
2018
Aslı Çiçek

In a miniature drawing different times, perspectives and pieces of buildings are shown on a generic, perhaps undecided plane, with no concern for light, correctness, reality or proportion, but rather with an emphasis on composition, symbolism and imagination. Although a simplification, the miniature is in fact an alternative complexity. An insight into the scenographic thinking of A School of Schools, a series of images demonstrate how the designer’s childhood obsession with the different perspectives captured in miniatures has become a design methodology to organise architectural space. How does thinking and designing at various scales and in alternating dimensions introduce diverse outcomes?

Aslı Çiçek graduated from the architecture and design department of the Academy of Fine Arts in Munich. Her focus is on exhibition architecture and she developed the scenography of A School of Schools. Based in Brussels, she is a guest professor at KU Leuven Faculty of Architecture, Campus Sint Lucas Brussels.

M.O.T.S.
2016–2017
Juliette Pépin
 
In a multicultural, multilingual and nomadic world, children are surrounded by a multitude of languages from their earliest years. All these sounds and forms gradually lose their significance as the education system hones our attention to one or two primary languages. M.O.T.S. encourages children to maintain a positive and curious stance towards pluralism through a designed set of tools that facilitate a method of creative activities based on foreign scripts and languages. Developed in collaboration with academics, psychologists and teachers, the stamps, memory games, stencils and flash cards introduce children to 26 languages from Korean to Turkish, Arabic and Punjabi.

Juliette Pépin is a designer and researcher who operates in the fields of education, language and computation. She is currently completing a Masters at Goldsmiths University of London in Computational Arts. M.O.T.S awarded the Social Design Talent 2016 from the City of Eindhoven.
 
GENETICALLY MODIFIED GENERATION (DESIGNER BABIES)
2018
Pınar Yoldaş

In an age where genetic design is possible, what do the modifications we aspire to reveal about us? Are the aspirations universal or influenced by cultural background? Nine characters – one for each of the nine-month-long human gestation period – have been genetically altered in specific functional gene groups to express a set of desired traits, including beauty, fitness, empathy, clairvoyance, memory, longevity, wealth, social status, privilege, popularity and intelligence. Are these aspirations nature or nurture, genetics or schooled? The bio-critical, techno-feminist aesthetic disrupts the infantilizing mainstream superhero narrative that conditions us to think that we need saving instead of changing and developing ourselves. 

Pinar Yoldas is an infradisciplinary designer, writer and researcher. She holds degrees in architecture, communication design, computer science, and design and media arts, and completed her PhD at Duke University. She is an assistant professor of Robotics in Art at the University of California, San Diego.

AUTOMATA
2018
Ali Murat Cengiz

Using conceptual graphic scores and musical compositions, Automata is a collective that remaps events, ideas, concepts, urban spaces and buildings as graphical timelines and music. It aims to create a structured language for an interdisciplinary dialogue between designers and musicians by demonstrating the interchangeability of basic design concepts. The pervasive soundscape we live in is also demonstrated, demonstrated using graphic scores of the Turkish language. A heart attack has been given the Automata treatment through a sculpture by architect Efe Kağan Hizar and string quartet composition by Ali Murat Cengiz.

Ali Murat Cengiz is the founder of the Automata collective. Based in Rotterdam, he has a Masters in architecture from Istanbul Technical University and a Masters in Jazz from HKU Utrecht Conservatorium. Efe Kağan Hizar is a co-founder of Studio Vertebra architectural design office in Istanbul. He studied interior architect d at Istanbul Technical University.

EYESS ISSTANBUL
2018
AATB

Every day the International Space Station (ISS) makes a 92-minute orbit of the Earth 16 times, at an altitude of about 400km. When passing overhead at night, for a few minutes it becomes the brightest object visible in the sky. EYESS proposes rethinking our notions of observer, distances, speed and proximity. Two huge eyes atop the Scales School Satellite at Pera Marmara Hotel will gaze at Istanbul’s night sky, inviting citizens to look up. A physical clock will follow the ISS motion through the day. The EYESS.SPACE website brings observers together through a global online map. Now who’s looking at who?

AATB is the collaborative practice of Andrea Anner and Thibault Brevet, both graduates from ECAL. Having previously worked on interactive objects and installations, three years ago they encountered an industrial robotic arm that has crystallised an ongoing research around human/machine interactions. They are based between Zurich and Marseille.

DEEP DIGITAL TWIN
2018
Legrand Jäger

We are at a turning point: not only our faces but our very emotions are being captured by machines that decrypt and predict our emotional behaviour. The software used is a power that can just as easily be used or abused. A 19th-century head-to-head seat is reimagined according to 21st-century gaming console aesthetics with an added twist: a custom facial emotion recognition (FER) software interface listens in on the conversation, monitoring emotional feedback. Only seven human emotions can currently be identified by such devices, and a short facial yoga video offers a daily practice routine to make our faces more legible to machines.

Legrand Jäger is a critical design practice based between Berlin and London. Guillemette Legrand and Eva Jäger graduated as a duo from their Master’s at Design Academy Eindhoven. Hayung-Ok Park assisted with production and Adjmal Sarwary from Mind Trace customised his emotion tracking software for this project.

OF INSTRUMENTS AND ARCHETYPES
2014
Unfold
On loan from CNAP – Centre national des arts plastiques, Paris
 
In an age of pixels and vectors, are centimetres and inches obsolete as measuring units? A range of wireless digital measuring instruments - a calliper, measuring tape and protractor - measures and transfers physical objects real-time to an on-screen digital 3d model. Measuring becomes something without numbers, but with accurate precision; measuring becomes making. The instruments can also be used in 3D-modelling applications to customise objects with exact measurements. What other artist’s tools – like pencil, paintbrush, spray can, paint bucket and so on – that have become digitised non-physical instruments, can be returned to the real world without losing their digital functions?

Unfold was founded in 2002 by Claire Warnier and Dries Verbruggen as a platform for everything they did and would do after they graduated from the Design Academy Eindhoven, where they also now lecture. The Antwerp-based duo have a multidisciplinary practice that spans design, technology and art, and often collaborate.

III+1
2013-2018
Lukas Wegwerth
 
Scaffolding systems are typically specialized, enclosed and consistent. III+1 is a modular construction system that originated from the OpenStructures grid that allows other designers the opportunity to contribute and improve. However, III+1 has partly evolved beyond OpenStructures to become its own system, raising questions about how open a system can or should be. Used throughout the exhibitions of A School of Schools, these questions apply not only to construction but also social systems. How open can or should an individual be to self-creation, experimentation and overall ownership? On display is an exploration of connectors within the III+1 system, demonstrating that the form of a network follows the connections. 

Lukas Wegwerth is a Berlin-based designer who considers the idea of connections in a wide range of context and media. The III+1 system has been used at Atelier LUMA Arles, the Open Design School in Matera and elsewhere.

THE LIFE OF THINGS 
2018
ECAL X MacGuffin Magazine

Can a magazine be a design school? Or a design school a magazine? Using MacGuffin magazine’s editorial model as a methodology, the ECAL students of Chris Kabel have studied the use of everyday things in order to derive designed objects from them. The students modelled their approach on the way MacGuffin themes its issues, and chose objects like The Roof, Shade, The Wheel, The Ruler, The Lock and The Socle as the focus of their investigations. The outcome is a range of observational studies, contextual reportages and visual essays presented in the form of a 3D magazine.

MacGuffin is a biannual design magazine founded and edited by Kirsten Algera and Ernst van der Hoeven who find a sense of wonder in the mundaneness of the everyday. ECAL/University of Art and Design Lausanne is regularly recognised in rankings of the world’s top art and design schools.

Contributors: Sonja Allenspach, Marjane Amara, Anaïs T.A. Berthod Borcard, Anne Bertoncini, Léa Bonvallat, Nathalie Borgeaud, Nathan Crettex, Kevin Dizami, Pauline Esparon, Leila Farra, Elie Fazel, Gabriel Follonier, Arthur Fosse, Amandine Gini, Baptiste Husi, Victor Jacquard, Antoine Jacquat, Laura Lefebure, Sélène Lepoutre, Victoria Mac Sweeney, Quang Vinh Nguyen, Samuel Perhirin, Anna Piasek, Aurore Piedigrossi, Noelani Rutz, Valentin Sieber, Maximilian Sirtl, Alex Tran, Manon Vernier and Maëlle Walcher. Exhibition assistance: Miranda Stewart, Sandra Kassenaar and Nadine Fumiko Schaub.

ACTING THINGS VII–SCHOOL OF FLUID MEASURES
2018
Judith Seng

Learning should be less about knowing or memorizing what something is than understanding how it continuously changes in relation to something else. At the School of Fluid Measures objects, numbers and values that have become fixed by universal standards are dissolved through scored interactions that leave traces in coloured sand. The patterns that emerge are an exploratory measure of the fluidity of meanings, and the colours represent exemplary values as resources to debate, distribute, and fuse into new colours and values. Through an embodied process that surfaces situative intentions and relations, 18 measuring sessions invite participants to negotiate new colours and values.

Judith Seng uses a choreographic approach to investigate and expand design as a socio-material practice. She was a fellow of the Graduate School of Arts and Science at UdK Berlin and is a guest professor at HDK – Academy of design and craft Gothenburg. ACTING THINGS is an ongoing series that explores processes as if they were a dance, play or ritual.

A Body of Trust 
2018
Mark Henning

The body is often used as an instrument to measure trust. We read the body through the lens of standards and norms, gauging trust through comparison. Power is perceived through the measured body, through cultural standards of perfection and trust. But have we become reduced to faces in terms of identity and trust? And with the rise in Artificial Intelligence, what is the importance of human representation in developing trust? The abstract and often intangible notion of trust is explored through playful configurations and open-ended narratives through an installation inspired by the designer’s ongoing research, and featuring additional work by a number of artists and designers.

Mark Henning combines performance, objects and communication to design and unpack social and spatial interactions. Using playful research methodologies, his work often explores the complexity of social norms and our rigid definitions of ‘normal’ behaviour. He completed his Master’s at Design Academy Eindhoven.

The installation includes work by Jamie Allen, Can Altay, Broomberg&Chanarin, Bogomir Doringer, Fictional Journal Collective, Alix Gallet, Bora Hong, Simone C Niquille, Possible Bodies Collective, Selim Süme and Noortje van Eekelen.

SCALES SCHOOL SATELLITE VENUE

The Marmara Pera
Asmalı Mescit Mahallesi Meşrutiyet Caddesi Beyoğlu 
+90 212 334 03 00
themarmarahotels.com

TIME SCHOOL

Time School travels from accelerationism to deep time, through contested pasts and speculative futures, to shift durational perspectives and the objects that dictate them.
 
The worldwide standardisation of time that started with industrialisation has prioritized the idea of time as being linear, mechanical and progressive. Nonetheless, our subjective experience of time has always escaped the ticking clock. With late-capitalism’s accelerated deluge of distractions, information and systems dictating how and when to think, act, like or sleep, increasingly our attention, integrity and sense of self are also fragmented. The projects in Time School demonstrate alternative durational practices such as weaving, travelling, note-taking, drawing, filmmaking, and even simply sleeping or lingering about.

“It is interesting to take a look back at the ancient Greek meaning of the word skholè (σχολή), which refers to free time, as in free of labour, or a time for unproductive leisurely study, reflection and discussion,” says Time School co-curator Ils Huygens. In a present where education is evaluated by quantified productivity, Time School offers provocations and possibilities for slowing down, pausing, speeding up and switching off in order to become more present, right here, right now. What changes when you just stop, breathe in and take time? 

Time School is co-produced with Z33 – House for contemporary art and curated by Ils Huygens

A COMMONPLACE BOOK
2018
Commonplace Studio, Jesse Howard and Tim Knapen

Could producing information-carrying objects like books in different ways influence how we learn and structure knowledge? A Commonplace Book is a machine of information on a topic that concerns us all: how we understand, perceive and deal with time. Visitors are invited to compile their own book by allowing the machines to transcribe drawings and texts about concepts like deep time and real-time, making time or taking time, timelines or time machines into the blank notebooks provided. In the display cases are a collection of ‘curiosity’ objects that trigger questions about the nature and experience of time.

Commonplace Studio is the design practice of Jon Stam and Simon de Bakker, whose are work focuses on context-driven objects, quality craftsmanship, and quiet interactions. They share an Amsterdam studio with Jesse Howard, a designer researcher who speculates on new systems of making. Tim Knapen is an artist and designer working with digital technologies. 

A Commonplace Book was commissioned and co-produced by Istanbul Design Biennial, Z33 – House for Contemporary Art and Jerusalem Design Week.
 
A DITTO, ONLINE DEVICE
2018
Teis De Greve

A Ditto, Online Device comprises a series of desktop printers that have been hacked to detect text and images on the paper, and add new layers of relevant information. The information is found by going online and searching ephemeral social media and other newsfeeds. Topics and themes relating to the Time School’s curriculum are used as starting point. Visitors are invited to pick up a page and witness the new content be produced on the spot. By constantly adding these new layers to the page, the installation explores the void between the ever-changing online data and the slow medium of print.

Teis De Greve is a Rotterdam-based digital designer and developer who investigates our relationship with technology by reconstructing everyday electronic artefacts. After completing a Master’s at LUCA School of Arts, Genk, he was selected for the Toegepast 21 young designer mentoring programme. 

A Ditto, Online Device was commissioned and produced by Z33 – House for Contemporary Art.

FIELDSTATION: TIME (INHABITING TIME) 
2018
Ecole Mondiale
 
How do we inhabit time? Can time in time and over time be discovered? Fieldstation: Time is a nomadic artistic education project entailing performances, actions, and discussions held over a five-day period in Paris, Vienna, Budapest, and Bucharest, following the route of the historic Orient Express that ran between Paris and Istanbul from 1883 to 1997. The research produced will serve the Time Tool Box - a collection of objects and reference items that explore contrasting models, concepts, and theories of time. A sculpture produced on the road and a sand sculpture produced on arrival in Istanbul will also be shown.

Ecole Mondiale is a collective founded in 2014 by Ive Van Bostraeten and Filip Van Dingenen, who are joined for Fieldstation: Time by Sue Spaid and Jean Katambayi. Provoked by notorious colonialist King Leopold II’s proposed postgraduate school, the loose collective of artists develop novel strategies to integrate thinking, doing and feeling. 

Commissioned by Z33 – House for Contemporary Art and Istanbul Design Biennial.

GOOGLE WEAVING STOP-TIME
2018
Emelie Röndahl and collaborators

Over 20 handweavers from around the world were all given the same instruction: search “textile, Turkey, labour” on Google and in a split second select an image to spend the next few weeks materialising using the ghiordes knot technique, also known as the Turkish or (in Scandinavia) rya knot. We have come to consume so much media at such a pace, what can we learn from living in a much slower speed, spending longer time with just one picture? Corralling and sharing progress in a Facebook group, the participants shared insights. For one thing, the image is selected by the weaver from the top search results, but the results are influenced by Google’s different algorithms in different regions. How fast and how wide does different information spread, and how do we break out of our echo chambers?

Emelie Röndahl is based in Gothenburg, where she works as a a weaving artist specifically interested in the rya knot technique. MFA in Crafts in 2012 at Academy for Design and Crafts, University of Gothenburg, where she is also currently completing her PHD. She has participated in exhibitions and residencies in Sweden, Croatia, the United States and Serbia.

With contributions by: Aleksandra Tyszkowska (Poland) Andrea Pizarro (Spain) Arianna Funk (USA/Sweden) Begüm Cana Özgür  (Turkey) Betul Sertkaya (Turkey) “Dhoku” (Turkey) Emelie Röndahl (Sweden) Ezgi Aum (Turkey) Francesca Piñol Torrent (Spain/US) Heidi Pietarinen (Finland) Karine Makartichan (Armenia/USA) Lina Dornhof (Germany) Liron Shua (Israel) Lise Frølund (Denmark) Maja Petrović (Serbia) Marguerite Roux (South Africa) Marta Sobczyńska (Poland) Margaret Jones (UK) Mardi Nowak (Australia) Mortaza (Afghanistan/Sweden) Ragnheiður Björk Þórsdóttir (Iceland) Ritva Jääskeläinen (Finland) Steffy-Luise Dyer (UK) Sayumi Suzuki (Japan/Sweden) Susana Negre (Spain/Brazil) Şebnem Uğuz (Turkey) Zorica Zafirovska (Macedonia) 
 
CIRCADIAN SPACE
2018
Helga Schmid
The increasing temporal fragmentation created by modern technology has heralded an era of ever more complex processes of synchronization, leaving us with the feeling of ‘no time’. The Circadian Space acts as a clock that re-centres our attention to our body, instead of the clock time structures that have come to direct our behaviour. The installation is the result of the designer’s ongoing Uchronia research project about temporal utopia.  Drawing on design, chronobiology and chronosociology, the interdisciplinary investigation opens up possibilities for a new politics of time that not only involves unlearning time, but is also concerned with developing alternative ways of understanding and using time.

Helga Schmid is a design researcher, designer, and lecturer currently based in London. She completed a practice-led PhD in Design Interactions and Visual Communication at the Royal College of Art, where she teaches on the MA Information Experience Design. Circadian Space is a collaboration with Tereza Červeňov, Piotr Ceglarek, Delfina Fantini van Ditmar and Michaela French. Electrician: Onur Mumcuoğlu from Zenith Project

New production/commissioned by Z33 – House for Contemporary Art and Istanbul Design Biennial.
 
NO MORE SLEEP NO MORE
2014-2015
Danilo Correale 
 
Is sleep the one activity that still has the potential to resist standardization and normalization? This 240-minutes single-channel HD video installation invites visitors to lie down, take a rest and be overtaken by the flow of images, sounds and voices. Images the artist made while sleep-deprived are juxtaposed with a series of conversations with various experts on sleep, including a doctor, anthropologist, sociologist, feminist, labour studies scholar and historian. The work investigates the political life of sleep, particularly the encroachment of working time on sleep in the late-capitalist push toward a never-ending production cycle.

Danilo Correale is an artist and researcher who lives and works in New York and Napoli. Through the lenses of time and body, his considers the labour-leisure relationship and sleep, among other things. He studied at the Academy of Fine Arts in Naples and NABA in Milan. In 2017 he was associate research fellow at Columbia University, New York. 

I AM (NOT) A MONSTER 
2018
Nelly Ben Hayoun
 
What is knowledge and who controls it? Using Japanese puppetry and interviews with the likes of Noam Chomsky, Pussyriot, Magid Magid and many others, I Am (Not) A Monster sets out to trace the legacy of political theorist Hannah Arendt from Ethiopia and Egypt to Japan, Germany, Netherlands, Italy and the UK. A work in progress, on display are the initial results of this long-term multi-platform project, offering a snapshot into the lengthy process of tracing knowledge production in different cultural and political contexts of today.

Nelly Ben Hayoun is an award-winning designer and filmmaker working at the intersection of science, theater, politics and design. Based in London, her roles include chief of experiences at WeTransfer, designer of experiences at the SETI Institute, advisor to the UN Virtual Reality Labs, and founder of the tuition-free University of the Underground. 

R&D phase coproduced by Z33 – House for Contemporary Arts and MU Eindhoven in collaboration with Istanbul Design Biennial.

DIGESTION SCHOOL

Digestion School learns from metabolic systems, patterns of consumption, cultural rituals, and food infrastructure to consider how circular and lifelong learning manifest.

As scientific research redirects its focus from brain to gut as a site of cognition, and revisionist historical practices resurface the knowledge of age-old indigenous cultures, Digestion School emphasises the importance of communal and embodied approaches to living and learning. Poetic, inquisitive and activist projects manifest in multispecies ecologies of care that include intuitive constellations of beings – from human to microbe and mycelium – found in spaces that range from laboratories and markets to culturally-revisionist kitchens.

“Life is in itself more incomputable than we are currently able to predict, and its propensity for constant mutation is incalculable as it stands, being a complex system.” These words by Portuguese educator Margarida Mendes, co-curator of the Digestion School, explain the necessity of sensorial, participatory and multidisciplinary research to expand staid forms of knowledge. What if every micro- and macro- being were not understood as singular units but as cumulative energetic currents in a massive planetary dance of digestion? Digestion School stretches our perceptions to consider the restorative potential of collective cognition, via the exploration of metabolic narratives, which start with acknowledging learning as caring.

FLAG CLOUD WORD RAIN
2003-2008
Peter Zin

Activists and ecologists across the Iberian peninsula have been influenced by activist Peter Zin’s teachings. Drawing inspiration from the generation of Buckminster Fuller, Stewart Brand and the Whole Earth Catalog, his poetic teachings introduce methods of permaculture and ecological revision that explore the resilience of the Earth and its resources in a conscious way. Here shown in full for the first time is his entire collection of his flag manifestos: a lexicon of ecological provocations that calls for cosmological revision, mindful intervention, mutual care, and environmental restoration by studying indigenous knowledges and staying open to cultural sensitivity and exchange, all the while making our own decisions about life and work.

Peter Zin is a tree planter, poet, and free jazz musician. He went to school in Amsterdam in the 1960s and has improvised his life across Senegal, Canada, Spain and France. Since 1990 he has been living in Portugal. Peter Zin is his third name since birth and another is in gestation.

FAKE FRUIT FACTORY 
1986
Chick Strand

A cult classic, Fake Fruit Factory is an experimental documentary showing women making papier-mâché fruit in a Mexican factory. Using a technique of extreme close ups, the film draws attention to the women’s careful labour as they take papier-mâché moulds out of glue vats, dry them, and then meticulously paint them to resemble watermelons, bell peppers and other fruit. As the women work, they gossip – mostly about sex, and what they think of the manager. How does oral tradition challenge the expectations surrounding gender and gender roles that we learn from our environment?

Mildred "Chick" Strand was an experimental filmmaker, “a pioneer in blending avant-garde techniques with documentary”. She studied anthropology at Berkeley in the early 1960s, before completing the ethnography programme at University of California, Los Angeles in 1971, and going on to teach at Occidental College for 24 years. She died in 2009.

BEFORE EVERYTHING FORGOTTEN AND VANISHED
2018
Lifepatch

Jamu is an Indonesian term that describes traditional medicine potions made from roots, bark, flowers, seeds, leaves and fruits, and often honey, royal jelly, milk and ayam kampung eggs. Passed down from generation to generation, Jamu is believed to have healing properties, and became popular during colonialism when tea and coffee were unaffordable luxuries. Before its legacy is erased by commercialism and modern medicine, this fragmented video attempts to capture this ephemeral knowledge that resides mostly in local healers, and share its additional usages besides drinking, by documenting oral histories and personal experiences.

Lifepatch is a collaboration-based community organization in Yogyakarta, Indonesia, founded in 2012. Its cross-disciplinary practice brings art, science and technology into dialogue in order to develop useful applications of technological, natural and human resources in their region. They collaborated with Dedi Irawan and Nova Basuki on this project.

A COLLOQUY OF VESSELS, FACIALITY MACHINE
2018
Carlos Monleón
 
What are the correlations between the biophysics of tissue and the material qualities of clay bodies and blown glass? Drawing inspiration from the history of vessels, the two works on display – A Colloquy of Vessels and Faciality Machine - emerge from an inquiry into the biological and evolutionary processes that have fashioned the tissues and organs that compose bodies. Embryonic development, fluid exchange, and the rhythms of the liquefaction and solidification inform the amphorae as a place of fermentation, storage and transportation of liquids, and the unguentarium as a device for application of scented oils on the skin.

Carlos Monleón lives between Madrid and London, where he studied Design Interactions at the Royal College of Art. He works with a variety of both living and non-living processes and materials to develop sculptural and participatory artworks. His main line of line of work traces evolutionary processes that stem from digestion and cognition.

LEARNING TO LIVE WITH THE ENEMY
2017
Pedro Neves Marques

What kind of life lies in genetically modified seeds? Shot in inner Brazil’s Rio Grande do Sul, this film is set in a landscape transformed by transgenic agricultural monocultures and narrated through a diary written by the director. It follows the industrial process of transforming soy crops into biodiesel, from the moment of harvest to one of the main processing factories in the region, to emphasise the significance of new biotechnological and computational agents. The latent colonial violence exercised by this process of multinational capitalism transpires in the quandary: who owns the very existence of humanity?

Pedro Neves Marques is a filmmaker, visual artist and writer living in New York. Together with Mariana Silva he runs Inhabitants-tv.org, an online channel for exploratory video and documentary reporting. He completed a Masters in Arts and Politics at Goldsmiths University, London. The film is presented courtesy of the artist and Galleria Umberto di Marino.

FROM MARKETPLACE
2018
Gamze Gündüz, Güher Tan, Tangör Tan
 
Throughout history, the marketplace has served as a platform, an infrastructure and a learning space where cultural, social and anthropological knowledge is collectively produced, accumulated and distributed. From Marketplace deciphers the network structure and transformative spatial process of the Nazilli, Karacasu, Tire and Ödemiş marketplaces, all located in Büyük and Küçük Menderes Basin area of Turkey. By analysing the before and after phases of the market based on the interaction between the producer and the consumer, the collectivised and anonymised learning in our food networks is revealed. 

Gamze Gündüz studied at Yildiz Technical University and the Institute for Advanced Architecture of Catalonia, and teaches at Bilgi University. Güher Tan studied at Istanbul Technical University and Barcelona Institute of Architecture, and teaches in Kadir Has University. Tangör Tan is an agricultural engineer gastronome who studied at the University of Ege and the University of Gastronomic Science, Italy. 

FROM HIERARCHY TO HOLARCHY, MINAKATA MANDALA, HOLOBIONT
2015-2018
Jenna Sutela

Zooming from outer space right into the gut, three works consider the idea of embodied cognition on a planetary scale. Holobiont is a video where the nattō bacterium plays the leading role as Planetary Protection rituals take place at the European Space Agency, and extremophilic bacteria in fermented foods serve as possible distributors of life between the stars. From Hierarchy to Holarchy and Minakata Mandala are two labyrinths for the single-celled slime mold Physarum polycephalum that demonstrate the growth of this Decentralized Autonomous Organism. What are the limits anthropocentrism and its cause-and-effect systems?

Jenna Sutela works with words, sounds and other living materials. Her installations and performances seek to identify and react to precarious social and material moments, often in relation to technology. She co-edited Orgs: From Slime Mold to Silicon Valley and Beyond (Garret Publications 2017), an experimental survey of decentralized organisms and organizations.

PALAVER + PALAVER
2018
Mae-ling Lokko, Nana Ofori-Atta Ayim and Selassie Ataditka
 
Responding to the intersecting drivers of food, food waste and human activity, the spatialisation and life cycle of the kitchen is investigated through this mycelium-grown prototype where conversations, mushrooms and coffee are served. Much like many other parts of the world, imported commodities have worked their way into the Ghanaian home, changing the materials it was built with and introducing shiny display kitchens that serve completely different food. Today, the amount of locally-sourced components in contemporary Ghanaian cuisine is shrinking, alongside a knowledge ecosystem around the diverse inventory and processing of local food resources and their by-products.

Mae-ling Lokko is an architectural technologist and an assistant professor at Rensselaer Polytechnic Institute in New York. Nana Ofori Atta-Ayim is a Ghanaian writer, art historian and filmmaker and founder of the ANO Institute for Contemporary Arts. Selassie Atadika is a Ghanaian culinary artist, chocolatier and founder of Midunu food and lifestyle company.

ELUSIVE EARTHS IV
2018
Lorenzo Cirrincione, Jennifer Teets, Lorena Ancona
 
What can we learn from clays, soils, and earths with forgotten origins? Using geophagy – the ingestion of edible soils – as starting point, Elusive Earths is an ongoing in situ work, process, and dialogue that traverses the globe and transcends linear archeological history. From raw material selection, to object manufacture, use, circulation and abandonment, this process of inquiry involves different forms of replication, extraction, and multiplication of material processes, and their subsequent extrapolation as “clay narratives”. In collaboration with Mexican artist Lorena Ancona, this installation of Elusive Earths focuses on crafting surface as an ephemeral site, architectural membrane, and sensitive skin. 

Lorenzo Cirrincione is a philosopher, curator, and artist interested in how early modern scientific collections challenge us and stretch beyond artistic privilege and appropriation. Jennifer Teets is a curator, writer, researcher and performer.  With Margarida Mendes, she co-hosts The World in Which We Occur, a research entity concerned with art, science, and philosophy.

THE PEOPLE’S DISPENSARY
2018
Eat Art collective

Can going completely organic cope with the world’s current and future food needs, or do we need a little additive help? With many industrial food additives only purchasable in bulk quantities and only known in abstract E-numbers, not to mention our cultural prejudices, we are reluctant to entertain the idea. Powder to the People is a long-term design research project exploring natural and industrial food additives through installations, performances, workshops, cultural research and sample distribution. By distributing samples through The People’s Dispensary, the project intends to spark a citizen-science movement that, like in other open-technology and science movements, opens up a previously proprietary realm of knowledge to widespread experimentation.

Eat Art collective is a Rotterdam-based group of engineers, thinkers and food fanatics who use the role of artist to critically engage with the food production battleground that has been created between industry, consumer and government. Designer and builder Alexander Geijzendorffer, and storyteller and chef Lukas Taks are two of the co-founders.

UNPACKING EMBODIED KNOWLEDGE
2017
Bakudapan

How do kitchen materials and objects influence our behaviours and gestures? Using cooking tools and a kitchen has become such an intuitive skill that it might be considered a natural daily practice rather than acquired cultural knowledge. Unpacking Embodied Knowledge is a publication and series of workshops that seek to reimagine how our relationship with tools,  cooking rituals and circular food economies has been formed. It seeks to understand and reflect on the gendered hierarchy of what is considered acquired skill.

Bakudapan is study group about food. Based in Indonesia, they believe that food is not merely about filling the stomach. Using performance, installations and exhibitions, as well as daily practices like cooking, gardening and reading, they use food as an instrument to speak about politics, society, gender, economics, philosophy, and culture. 

OBJECT ACADEMY
2018
Gökhan Mura
 
A yogurt maker, potato peeler, cheese cutter, jar opener, Nescafe instant coffee and Nutella are put to scrutiny in this selection from Object Academy - an ongoing research project into the personal histories of gifts brought by Turkish migrant workers in Europe to their friends and relatives back in Turkey. Discussing the mobility of objects across borders as personal products or as gifts allows us to reflect on how the values placed on the same material objects changes in different societies. Object Academy not only offers a novel perspective on migration, but also provides visitors with a framework to translate and reconstruct knowledge from their own domestic utensils.

Gökhan Mura is an assistant professor at Izmir University of Economics. He studied Industrial Design and Visual Communication Design. He has taught, carried out research and organized design workshops in various universities and organizations in Turkey, Sweden, Denmark, United Kingdom, Finland, France and Chile.

4th Istanbul Design Biennial – A School of Schools
A Biennial about Design as Learning, and Learning as Design.

A School of Schools is a multi-platform biennale that will use, test, and revise a variety of educational strategies to reflect on the role of design, knowledge, and global connectedness in contemporary Istanbul and beyond.

The amount of information in the world is more than doubling every two years. People know more than ever before. Lifelong learning is touted as the only way to keep a job and keep your head. Chalk and talk, and reciting multiplication tables has no chance against the animated distractions in our pockets. Meanwhile, the machines themselves have started learning too. What will be left for humans to do and which mental faculties remain irreplaceable are hot topics. Is it time to go back to school – and redesign it?

Alternative design education initiatives have consistently provided a brave space for experimentation and new knowledge, from the Bauhaus to Black Mountain College, and from Global Tools to the Sigma Group. These initiatives have not only helped design evolve, question itself and push its own boundaries, but also education and learning in general. Not only concerned with design, many of these experiments have also tested alternative ways of living, working, and connecting with each other and ourselves. Through this process-based experiential research, new manifestations, meanings, and implications of design have surfaced.

Today, design has become a form of enquiry, power and agency. It has become vaster than the world and life itself, permeating all layers of everyday life. As design becomes pervasive, the discipline can no longer claim to offer solutions to everything. In fact, the one-size-fits-all approach of many universal global systems is showing its cracks and exclusions. Similarly, design education – where the field and its practitioners have traditionally been reviewed and refined – now finds itself navigating new constraints and challenges regarding relevance, adaptability, accessibility, and finances.

As a space for critical reflection on design established in a historically rich context, the Istanbul Design Biennial offers the opportunity to question the very production and replication of design and its education. In 2018, the 4th Istanbul Design Biennial builds on the legacy of previous editions, in order to reinvent itself and become a productive process-orientated platform for education and design to research, experiment and learn in and from the city and beyond.

Titled A School of Schools, the 4th Istanbul Design Biennial will stretch both the space and time of the traditional design event, manifesting as a flexible year-long programme within which to respond to global acceleration, generating alternative methodologies, outputs and forms of design and education. A School of Schools manifests as a set of dynamic learning formats encouraging creative production, sustainable collaboration, and social connection. Exploring six themes, the learning environment is a context of empowerment, reflection, sharing and engagement, providing reflexive responses to specific situations.

Can the biennial use, question and reframe previously tried-and-tested education models – from the museum-as-encyclopedia to the laboratory, the studio and the academy – to create a setting for meaningful dialogue and design? Can design itself be a brave space for people to share their knowledge and ignorance, their experience and curiosity?

Engaging multigenerational, transdisciplinary practitioners from Turkey and abroad, A School of Schools brings together old and new knowledge, academic and amateur, professional and personal, focusing on the process as much as the outcomes. Together, agents in this complex and ambitious ecosystem will create new knowledge, search for alternatives to implemented systems, and with radical diversity, push the boundaries of the design discipline.

PARTICIPANT LIST

Biennial participants include;

AATB

Åbäke

Aformal Academy & ARK.WORLD

Can Altay

Ersin Altın, Burçak Özlüdil, Augustus Wendell, Amy K. Hoover

Burak Arıkan

ARK.AMSTERDAM (Roosje Klap & Pauline Le Pape)

Arvid & Marie

Bakudapan

Kerim Bayer

Merve Bedir

Broomberg & Chanarin

Cihad Caner

Ali Murat Cengiz

Taeyoon Choi

Lorenzo Cirrincione, Jennifer Teets, Lorena Ancona

CMP OFFICE

Commonplace Studio, Jesse Howard and Tim Knapen

Danilo Correale

Cansu Cürgen & Avşar Gürpınar

Aslı Çiçek

Çukurcuma Okuma Kulübü / Reading Club

Amandine David

Demystification Committee

DESIS Felsefe Konuşmaları

Design Displacement Group

Theo Deutinger

Meeus van Dis

Disarming Design from Palestine

Bogomir Doringer

Dpr-barcelona

Eat Art Collective

ECAL x MacGuffin

Ecole Mondiale

Noortje van Eekelen

Lukas Engelhardt

FABB

Fictional Journal Collective

FRAME research Group (Remco Roes, Carla Swerts, Tom Lambeens, Griet Moors)

Annika Frye 


Alix Gallet

Gerçeklik Araştırma Grubu, Tasarım Laboratuvarı, Koç Üniversitesi

Teis De Greve

Gamze Gündüz, Güher Tan, Tangör Tan

Gökçe Gürçay

Ineke Hans

Lisa Hartje Moura, Pascal Rousseau, Noam Toran

Adam Harvey & Anastasia Kubrak

Nelly Ben Hayoun

Mark Henning

Esmé Hofman

Bora Hong

Nur Horsanalı

Housing the Human: Artem Kitaev (KOSMOS Architects), Mae-Ling Lokko, Simone C Niquille, Lucia Tahan, Dasha Tsapenko

Human Rights Foundation

Alexandre Humbert

IASPIS Urgent Pedagogies Symposium (Sepake Angiama, Markus Bader, Magnus Ericson, Joseph Grima, Sandi Hilal, Onkar Kular, Peter Lang, Tor Lindstrand, Pelin Tan, Merve Gül Özokcu)

Ils Huygens (Z33)

So Kanno

Andrea Karch

Navine G. Khan-Dossos

Roosje Klap

Rauf Kösemen

Ebru Kurbak

Matylda Krzykowski

Naho Kubota

Onkar Kular

LAB OF LABs: Professor Jussi Parikka, University of Southampton, Visiting Assistant Professor Andreas Treske, Chair Department of Communication and Design, I. D. Bilkent University, Dr. Faculty Member, PhD Simge Hough, Bilgi University, Jamie Allen, Ege Berensel, Ebru Kurbak

Landskip

Peter Lang

Legrand Jäger

Lifepatch

Mae-ling Lokko, Nana Ofori-Atta Ayim, Selassie Ataditka, Gustavo Crembil

Farzin Lotfi-Jam & Mark Wasiuta

LUCA School of Arts

Pedro Neves Marques

Margarida Mendes

Alexandra Midal

Carlos Monleón

Gökhan Mura

Martina Muzi

N55

New South

Camilo Oliveira

ONAGÖRE (Okay Karadayılar & Ali Taptık)

Şevket Pamuk

Parasitic Okuma Kulübü / Reading Club

Thomas Pausz

Ana Peñalba

Juliette Pépin

Hannah Perner-Wilson

Shailoh Philips

Mary Ponomareva

Irene Posch

Possible Bodies Collective

RADIOEE.NET AND PUB RADIO

Alice Rawsthorn

Livia Rezende

Ottonie Von Roeder

João Roxo

Emelie Röndahl

Mika Satomi

Helga Schmid

SCN

Judith Seng

Fahmy Shahin

SO?

Stigmergy·Family·Studio

Chick Strand

Studio Folder (Marco Ferrari, Elisa Pasqual, Pietro Leoni)

Studio Makkink & Bey

SulSolSal

Jenna Sutela

Selim Süme

Aslıhan Şenel

Gülsün Tanyeli

Tattfoo Studio

Teaching Lies (Jamie Allen, Selçuk Artut, Rebekka Kiesewetter, Paolo Patelli, Donato Ricci, Benoît Verjat, Michael Edward Young)

Jennifer Teets & Lorenzo Cirrincione

Sera Tolgay

Sissel Marie Tonn

Joris Van Tubergen

Dr. Ahmet Uhri  

Janna Ullrich

Unfold

University of the Underground

Henriëtte Waal (LUMA) & Studio Klarenbeek & Dros

Lukas Wegwerth

Nina Wiesnagrotzki

Pınar Yoldaş

İpek Yürekli

Peter Zin

ABOUT ISTANBUL DESIGN BIENNIAL

Taking place since 2012, Istanbul Design Biennial aims to bring together a diverse cross section of design ideas once every two years, exploring a wide range of fields concerning design. Seeding ideas and fostering dialogue and intersections within the creative and academic community, the biennial operates on a network of national and international collaborations with cultural agents, institutions, universities and companies. Using the city as a dynamic space for projects, actions and interventions, the biennial tackles global design problems, brings the notion of design into scrutiny, stimulates critical debate, foregrounds underexplored or overlooked aspects of society and prompts further investigation into and exchange about emerging conditions of the world. In addition to its biennial exhibition and various activities, Istanbul Design Biennial seeks to ensure a long, deep and interdisciplinary conversation that will help rethink the question of design by multiplying the number of voices and assembling an inspirational design archive. Committed to design as a tool for understanding its complex role in today’s society, the biennial as a progressive discussion platform is in permanent transformation.

Istanbul Design Biennial is organised by the Istanbul Foundation for Culture and Arts (IKSV).

ISTANBUL FOUNDATION FOR CULTURE AND ARTS (IKSV)

Istanbul Foundation for Culture and Arts (IKSV) is a non-profit cultural institution that was founded in 1973. The general objectives of the Foundation are: to make Istanbul one of the world’s foremost capitals of culture and the arts; to create continuous interaction between national and universal values and traditional and contemporary values via culture and the arts; and to contribute actively to the development of cultural policies.

IKSV was organising a single Istanbul Festival in the 70s, a festival that presented examples of different cultural and artistic disciplines. Over time, groups of events from different disciplines evolved into distinct festivals and biennials. Today IKSV organises the Istanbul Festivals of Music, Film, Theatre and Jazz, as well as the Istanbul Biennial, the Istanbul Design Biennial, Leyla Gencer Voice Competition, autumn film week Filmekimi and one-off events throughout the year. The Foundation hosts cultural and artistic events at its performance venue Salon, located at the Nejat Eczacıbaşı Building. IKSV also organises the Pavilion of Turkey at la Biennale di Venezia and coordinates an artist residency programme at Cité International des Arts, France. Furthermore, IKSV conducts studies and drafts reports with the aim of contributing to cultural policy development.

TEAM

BOARD OF DIRECTORS ChairmanBülent Eczacıbaşı

Vice ChairmenAhmet Kocabıyık
Prof. Dr. Münir Ekonomi

MembersNuri Çolakoğlu
Hayri Çulhacı
Ahmet Misbah Demircan
Oya Eczacıbaşı
Tayfun İndirkaş
Prof. Yekta Kara
Ergun Özen
Ethem Sancak
Oya Ünlü Kızıl

Corporate Identity AdvisorBülent Erkmen

Legal AdvisorAv. Sadife Karataş Kural

Administrative Affairs AdvisorÇağrı Köseyener
EXECUTIVE BOARD ChairmanBülent Eczacıbaşı

MembersAhmet Kocabıyık
Prof. Dr. Münir Ekonomi
AUDITORS Fatma Okan (Borusan Holding AŞ)
Sibel Yazıcı Kesler (Arçelik AŞ)
MANAGEMENT General DirectorGörgün Taner

Head of Finance and AdministrationAhmet Balta

Deputy Director GeneralDr. Yeşim Gürer Oymak

Human Resources and Administration DirectorSemin Aksoy

Marketing Directorİrem Akev Uluç

Sales and Business Development DirectorDilan Beyhan

Sponsorship Programme DirectorYasemin Keretli Çavuşoğlu

Media Relations DirectorAyşe Bulutgil

Corporate Identity and Publications DirectorDidem Ermiş Sezer

İKSV Studio DirectorSelçuk Metin

Istanbul Music Festival DirectorEfruz Çakırkaya

Istanbul Film Festival DirectorKerem Ayan

Istanbul Biennial and İKSV Contemporary Art Projects DirectorBige Örer

Istanbul Theatre Festival DirectorDr. Leman Yılmaz

Istanbul Jazz Festival DirectorHarun İzer

Istanbul Design Biennial DirectorDeniz Ova

Salon İKSV DirectorDeniz Kuzuoğlu

Cultural Policy Studies DirectorÖzlem Ece

Project ManagerElif Obdan Gürkan

Assistant to General Director Nilay Kartal
ISTANBUL DESIGN BIENNIAL HONORARY BOARD Beatriz Colomina
Hashim Sarkis
Deyan Sudjic
Alexander Von Vegesack
Mark Wigley
CORPORATE IDENTITY AND PUBLICATIONS DirectorDidem Ermiş Sezer

Editorial CoordinatorErim Şerifoğlu

EditorMerve Evirgen

Prepress Graphic DesignerFerhat Balamir

Graphic DesignersEsra Kılıç
Ayşe Ezgi Yıldız
Elif Çiftçioğlu

WebmasterSezen Özgür
İKSV STUDIO DirectorSelçuk Metin

AssistantsEbru Gümrükçüoğlu
Kamil Kulaksız
SPONSORSHIP PROGRAMME DirectorYasemin Keretli Çavuşoğlu

Assistant DirectorZeynep Pekgöz

ManagerZeynep Karaman

CoordinatorsYeşim Birhekimoğlu

AssistantZeynep Bilgihan
SALES AND BUSINESS DEVELOPMENT DirectorDilan Beyhan

Membership Programme CoordinatorsYıldız Lale Yıldırım
Gülce Şahin

Sales Operations CoordinatorNeva Abrar

Sales and Business Development CoordinatorHamdi Sarıoğlu

Sales Operations AssociateItır Sevig

Operation AssociateIşıl Öztürk

Sales Operations AssistantsCanan Alper
Begüm Çavuşoğlu
Harun Köktürk
Erim Pala
Yeliz Vural
FINANCE ManagersAhmet Buruk (Budget and Accounting)
Başak Sucu Yıldız (Finance)

Accounting and Finance Operations AssociateDeniz Yılmaz

Accounting and Reporting AssociateKadir Altoprak

AssistantsÇiğdem Arslan
Gözde Yılmaz
HUMAN RESOURCES AND ADMINISTRATION DirectorSemin Aksoy

Human Resources SpecialistEren Ertekin

Human Resources AssistantEkin Kayhan

Building Administration and Security ManagerErsin Kılıçkan

System AdministratorKadir Ayyıldız

Information Technology AssistantTahsin Okan Erdem

Reception OfficerDilara Çetin

Warehouse OfficersMuzaffer Sayan
Şerif Kocaman
Sercan Dericioğlu

ServicesÖzden Atukeren
Aşkın Bircan
Aydın Kaya
Hayrullah Nişancı
Müzeyyen Öztürk

AssistantBurak Akgün
MARKETING Directorİrem Akev Uluç

Marketing Communication CoordinatorCansu Aşkın

Creative Services CoordinatorMeriç Yirmili

Field Operations CoordinatorSezer Kari

Digital Media CoordinatorBahar Helvacıoğlu

Social Media AssistantEce Kartal

CRM CoordinatorÖzge Genç
PRODUCTION Production ManagerErdal Hamamcı

AssociateBaşat Karakaş

AssistantAli Uluç Kutal
Mehmet Camadan
Oğuz Öztosun
INFORMATION AND RECORDS CENTER ManagerEsra Çankaya

AssistantsÇağla Gönül
Selin Gül
FINANCE AND ADMINISTRATION Head of Finance and AdministrationAhmet Balta
ISTANBUL DESIGN BIENNIAL TEAM DirectorDeniz Ova

Exhibition and Project ManagerMerve Yücel

Communication and Operations CoordinatorBahar Türkay

Fundraising CoordinatorEzgi Yılmaz

Editorial CoordinatorCan Koçak

Venue Coordinators
Elif Engin
Melodi Gülbaba
Boran Güngör
Gamze Öztürk
Başak Tuna


Production AssistantBaşak Tuna

Operations AssistantEylül Şenses

Transport AssistantBaşak Zorlu

AssistantSinem Ören

Guided ToursMine Küçük

Guided and Thematic Tours CoordinatorPelin Kuş

Exhibition Attendants CoordinatorEmre Seymenoğlu

Hospitality AssociateMurat Özçaylak

Purchasing AssociateNihat Karakaya

Exhibition GuidesBeril Açıkgöz
Nazlıcan Akcı
Ezgi Su Ayak
Neva Çöğendez
Ada Dileksiz
Burcu Fidan
Merve Gürşen
Rahime İsmetova
Gizem Kaygusuz
Beyza Makuloğlu
Cemre Özkan
Hazal Paftalı
Ali Güney Yakar
Sude Yedikardeş


Installation AssistantsNisan İpek Akkuzu
Tilbe Yaren Dolu
Elif Engin
Ozan Er
Eylül Deniz Ergun
Suzi Erit
Damla Ertem
Melodi Esgin
Hakan Ilıkoba
Mustafa Sina Karaoğlu
Lalin Mercan
Selen Sarıel
Pınar Şenol
Mine Temuralay
Selin Ünlü
Hülya Yavaş


Exhibition AttendantsŞehbal Sezen Acarlı
Tüten Akay
Gizay Akdoğan
Naime Akgün
Çağla Akıncı
Fırat Akışık
Ali Murat Akozan
Kadir Emrah Aktop
Mustafa Can Tözün Atmaca
Melike Ayaz
Ece Aydoğan
Damla Ayyıldız
Büşra Balaban
Gülin Göksu Başaran
Cenk Beharti
Eylül Bektur
Elif Bıkmaz
Barış Bilgen
Ece Dilan Bozkurt
Berk Boztaş
Tansu Bulut
Arzu Büyükuğur
Egemen Candan
Yağmur Çakıroğlu
Melis Çamlıoğlu
Yaren Çay
Buse Çelik
Azime Ayşenur Çelimli
Aziz Çirci
Bilge Çubukçu
Büşra Dağlar
Esra Demirel
Zeynep Dirlik
Nil Döğerlioğlu
Zeynep Duman
Açelya Dursun
Gülşah Dürmüş
Barış Sami Ekşioğlu
Büşra Emir
Ozan Er
Burcu Erdem
Pınarnaz Eren
Gizem Bengisu Erenler
Pakizenur Es
Melodi Esgin
Mehmet Ali Gasseloğlu
Yusuf Bora Gökçeler
Alper Efe Gökmen
Ege Berk Gönül
Ayça Günay
Esra Gündoğdu
Hakan Ilıkoba
Mete İçenler
Tuana İnhan
Seda Kara
Mustafa Sina Karaoğlu
Damla Karıştıranlıoğulları
Gülay Kaya
Özüm Kaygısız
Elif Cansu Kayıkcı
İrem Kılıç
Öznur Kılıç
Orkun Kıvanç
Sena Kekoz
Cemre Köse
Elif Nesrin Kurt
Çağla Kuşçu
Aslı Küçüksezer
Ezgi Betül Marangoz
Tuğba Menşur
Ece Metin
Aslı Güliz Orakçı
Begüm Özay
Sena Özgürcan
Ozan Özkan
Muhammed Onur Öztürk
Volkan Parlak
Şeyma Sağlam
Emel Gizem Selvi
Zeynep Sinan
Hande Solak
Gizem Sütemen
İpek Şengül
Dilucan Eylül Şenyaylar
Semih Topal
Sıtkı Semih Tut
Şizen Türkal
Başak Tüsüz
Irmak Uyan
Sena Nur Uysak
Aygül Yalçın
Ayşe Hülya Yazıcıoğlu
Aydan Yıldızhan
Melis Yılmaz
Aslı Yolcu
Merve Seray Zümrüt


Technical TeamErdoğan Morgül
İzzet Taş
 
PUBLIC AND INTERNATIONAL GRANTS ManagersAslı Yurdanur
INFORMATION TECHNOLOGIES System AdministratorKadir Ayyıldız

Information Technologies AssistantTahsin Okan Erdem
CULTURAL POLICY STUDIES DirectorÖzlem Ece

Research AssistantFazilet Mıstıkoğlu

Project AssistantValeri Boğosyan
SALON İKSV DirectorDeniz Kuzuoğlu

Operations AssociateMerve Kavas

Production ManagerUfuk Şakar
Sound EngineerSinan Özçelik
Lighting EngineerEfe Sümer
CURATORIAL TEAM CuratorJan Boelen

Associate Curator Vera Sacchetti

Assistant Curator Nadine Botha

Visual Identity Offshore Studio
Exhibition Design Aslı Çiçek
Lukas Wegwerth
4. ISTANBUL DESIGN BIENNIAL ADVISORY BOARD Tulga Beyerle
Selva Gürdoğan
Nikolaus Hirsch
Justin McGuirk
Meriç Öner
MEDIA RELATIONS DirectorAyşe Bulutgil

Assistant DirectorAyşen Ergene

Coordinators Berk Çakır
Ayşe Zeynep Güldiken
Ayşen Gürkan
Zeynep Topaloğlu

AssociateAyşegül Öneren (International Media)

AssistantDerya Bozcuk (International Media)

Visual Archive EditorCoşku Atalay

Visual Archive AssistantOzan Şahin

Biennial Reporter Tuğçe Karataş

Archive Photos Kayhan Kaygusuz

Archive Videos Hamit Çakır
 

SPONSORS

Design Biennial Sponsor

İKSV Founding Sponsor

İKSV Official Sponsors

Theme Sponsors

Workshop Sponsor

Panel Sponsor

Design Walks Sponsor

Special Project Sponsor

Contributing Corporations

Insurance Sponsor

Service Sponsors

Contributing Institutions

Venue Supporters

Press Sponsors

TV Sponsors

Magazine Sponsors

Radio Sponsors

We acknowledge their kind support towards the promotion of Istanbul Design Biennial.

CONTACT

T: +90 212 334 07 00
E: TasarimBienali@iksv.org