bang. Prix 2018
In the 21st Century, a definition of being a human is changing and novel concepts brought forth by emerging technologies are making us question the modus vivendi of this era by transforming our living spaces, our perception of the environment and our obligations in the society.
Émile Durkheim, who emphasized the importance of the construction of developing societies and the solidarity and coexistence as a consequence of the phenomenon of labor division, has dealt with two different kinds of social structure as mechanical solidarity and organic solidarity through lifestyles.
The social structures he dealt with, the social bond we have established with the developing technology that carries all concerns, have ended up in becoming inseparable parts of our communal lives a result of the behavior and attitude of the communication between the machine and human being with the mutual support of the afore said mechanical and organic bond.
The concept of organic solidarity which forms the basis of the exhibition; is an example of an uncomplicated solidarity, which is assumed to a complex structure in which the division of labor takes place in different perspectives by keeping the competencies of the interdisciplinary people in the forefront, but the tasks in the division of labor are distributed according to the areas of expertise. In this example of solidarity, the solution also assumes the task of a method that can be found quickly.
The structure which formed by the organic solidarity has transformed into a hybrid structure with the progress of technology. The mechanical bond, which progresses in a more traditional structure and has both a limited division of labor and no differentiation, has begun to speak the same language as the organic bond and to make the working system coexist.
At the point we have started to speak the same language, we start to use the correct channels to communicate the flow of information and regardless of the message, we are trying to convey, we attempt to shape the meaning through the channel we have specified.
When a person starts experimenting the artworks; when she touches, when she passes, when she hears or follows, and most importantly when she begins to be curious about the process, she begins to make a contribution to the creation of artwork. She becomes an organic part of the project, understands the artwork, and when she directly communicates the message to another person, she supports the work to establish a connection with the outside world.
As Marina Abramovic expressed in the Artist Manifesto, "An artist has to create a space for silence to enter his work". bang. Art Innovation Prix exhibition opens up new debates by addressing the link between human-machine in the fields of art such as science and technology by questioning new aesthetic judgments, emerging languages and concepts through technology.
The exhibition is dealing with the involvement of the audience in the experiment of finding a silence moment and discover the creation process of the art making, and generate an organic connection with the work, whereas the artist grasps the silence of the audience with the realized experience.
The exhibition includes new media, bio-art, kinetic art and data arts, and shows sustainable alternative methods, bio-electromechanical and sound installations, biomimetics, new structured utopian urban topologies, and interactive artworks inheriting relationship between artificial intelligence robots and human relationships and big data statistics.
bang. Prix is presenting the process of creation, which could only be completed where all stakeholders are involved in an organic connection.
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Ferit F. Meriçten born in Manisa in 1951 and graduated from İzmir Maarif Koleji. (Bornova Anatolian High School) After his graduation from I.I.T.I Academy in 1973, he worked in Firnak as partner and general manager. Between 1983-1991 he was a board member and partner of Okan Holding and managed the construction-tourism group.
In 1990, Ferit F. Meriçten founded FERKO in the field of construction, real estate development and tourism. He is the major partner and chairman of the company.
Assoc. Prof. Mehmet Toner
MGH, Harvard Medical School & Harvard-MIT Division of Health Sciences and Technology
Mehmet Toner is the Helen Andrus Benedict Professor of Biomedical Engineering at the Massachusetts General Hospital (MGH), Harvard Medical School, and Harvard-MIT Division of Health Sciences and Technology.
Mehmet received a BS degree from Istanbul Technical University and an MS degree from the Massachusetts Institute of Technology (MIT), both in Mechanical Engineering. Subsequently he completed his PhD degree in Medical Engineering at Harvard-MIT Division of Health Sciences and Technology in 1989. Mehmet is the co-founding Director of the Center for Engineering in Medicine, and BioMicroElectroMechanical Systems Resource Center (BMRC) at the MGH to explore the applications of bioengineering in basic biology, systems biology, diagnostics and clinical medicine. He is also the Director of Research at the Shriners Hospital for Children Boston. Mehmet holds over 50 patents, has more than 350 publications, and is a co-founder of multiple biotechnology start-ups.
Mehmet is a “Fellow of the American Institute of Medical and Biological Engineering”, “Fellow of the American Society of Mechanical Engineers”, and “Fellow of the Society for Cryobiology.” In 2012, he was given the “Luyet Medal” by the Society for Cryobiology. In 2013, he received the “H.R. Lissner Medal” from the American Society of Mechanical Engineering. He is a member of the Board of Trustees of Özyeğin University in Turkey, and served as a member of the President’s Council of Olin College of Engineering. In 2010, he was selected to the Board of Advisors of the National Science Foundation for a 3-year term. He is a member of the “National Academy of Inventors” and “National Academy of Engineers.”
Dr. Pınar Yoldaş
UC San Diego
1Pinar Yoldas is an infradisciplinary designer/artist/researcher currently based in Ann Arbor, Michigan. Her work develops within biological sciences and digital technologies through architectural installations, kinetic sculpture, sound, video and drawing with a focus on post-humanism, eco-nihilism, anthropocene and feminist technoscience.
Her solo shows include The Warm, the Cool and the Cat at Roda Sten Konsthall (2016), Polyteknikum Museum Moscow (2015),An Ecosystem of Excess, Ernst Schering Project Space among many. Her group shows include ThingWorld, NAMOC National Art Museum of Beijing (2014); Transmediale Festival, Berlin (2014), ExoEvolution at ZKM (2015),14th Istanbul Biennial (2015) ,Taiwan National Museum of Fine Arts(2016).
Pinar’s residencies include the MacDowell Colony, UCross Foundation, VCCA, National Evolutionary Synthesis Center, Duke University, Quartier21 Künstlerstudio-Programm, Transmediale Villem Flusser research residency at UdK Berlin. She has been an invited speaker at SAIC, Haus der Kulturen der Welt, Northwestern University, Angewandte Kunst, University of Arizona, Reed College, University of Buffalo, BacNet15, Penn State and UCLA among many others. Her work has been featured in Arte TV, Die Welt, The Creators Project, Art21 Blog, Der Spiegel, Vogue Turkey and Artlink BioArt issue to name a few.
She holds a Ph.D. from Duke University where she was affiliated with Duke Institute of Brain Sciences and Media Arts and Sciences. She holds a Bachelors of Architecture from Middle East Technical University, a Master of Arts from Bilgi University, a Master of Science from Istanbul Technical University and a Master of Fine Arts from University of California, Los Angeles where she worked at the Art|Sci Center and the UCLA Game lab. Her book An Ecosystem of Excess was published by ArgoBooks in 2014. Pinar is a 2015 John Simon Guggenheim Fellow in the Fine Arts and a 2016 FEAT Future Emerging Arts and Technologies Award recipient.
She holds a bronze medal in organic chemistry in the national science olympics and had her first solo painting exhibition when she was five.
Refik Anadol is a media artist and director born in Istanbul, Turkey in 1985. Currently lives and works in Los Angeles, California. He is a lecturer and visiting researcher in UCLA’s Department of Design Media Arts.
He is working the fields of site-specific public art with parametric data sculpture approach and live audio/visual performance with immersive installation approach, particularly his works explore the space among digital and physical entities by creating a hybrid relationship between architecture and media arts. He holds a master of fine arts degree from University of California, Los Angeles in Media Arts, master of fine arts degree from Istanbul Bilgi University in Visual Communication Design as well as bachelors of arts degree with summa cum laude in Photography and Video. Co-founder and Creative director at Antilop.
He has been given awards, residencies and has served as a guest lecturer. He is the recipient of a number of awards, prizes including Microsoft Research’s Best Vision Award, German Design Award, UCLA Art+Architecture Moss Award, University of California Institute for Research in the Arts Award, SEGD Global Design Award and Google’s Art and Machine Intelligence Artist Residency Award. His site-specific audio/visual performances have been seen in Walt Disney Concert Hall (USA), Hammer Museum (USA), International Digital Arts Biennial Montreal (Canada), Ars Electronica Festival (Austria), l’Usine | Genève (Switzerland), Arc De Triomf (Spain), Zollverein | SANAA’s School of Design Building (Germany), santralistanbul Contemporary Art Center (Turkey), Outdoor Vision Festival SantaFe New Mexico (USA), Istanbul Design Biennial (Turkey), Sydney City Art (Australia), Lichtrouten (Germany).
Born in 1957 in Istanbul, Server Demirtaş entered State Academy of Fine Arts Department of Painting in 1977. Receiving the education in the atelier of Devrim Erbil at the Academy, which would subsequently be named as Mimar Sinan University, after graduating the artist has conducted joint works with Adnan Çoker. The three dimensional placements that Demirtaş, who has sought the possibilities of the third dimension in the works he has conducted both throughout his education as well as in the aftermath and who has always positioned himself as a sculptor despite having graduated from the Department of Painting, has created in his early career from layers of PVC coated newspapers, are pioneer and highly appraised works of the time. Having received the Accomplishment Award in the “New Trends Exhibition” held by Mimar Sinan University in 1987 which was the most innovative contemporary art exhibition of that time, the artist has received the Painting & Sculpture Museum Jury Award in 1989 in “Today’s Artists Istanbul Exhibition”, which is another important exhibition.
Demirtaş’s innovative sense of art, which constantly seeks variation, has initiated the period of moving sculptures he has created by combining various machine parts in 1997. The mechanical sculptures of the artist, who has not received any engineering education, which requires a long process, are important samples of kinetic sculpture in Turkey.
While certain human emotions not caught and gradually more mechanized in the speed of the daily life are conveyed to the viewers with an impressive reality in Demirtaş’s sculptures by virtually being taken into slow motion, they also display the ongoing relationship between “the artist and creativity” since the legend of Pygmalion, who wanted to give life to his sculpture.