Kuratorisches Projekt - Kommende Ausstellung & Publikation
Die Akte von Istanbul
A rare collective fine-art nude photography publication and exhibition from Turkey
Fourteen photographers. Fourteen years of body-based photographic production in Istanbul. An English-language hardcover publication and Berlin exhibition bringing a sustained collective practice into international circulation.
Die Akte von Istanbul is a collective fine-art nude photography project formed across fourteen years of curator-directed photographic practice in Istanbul. It brings together fourteen photographers whose works were made within shared physical conditions: real bodies, real light, constructed sets, material interventions, model presence, and the discipline of photographing the body in a room held through consent.
The project is not a national survey of nude photography in Turkey, nor a personal exhibition by the curator. It focuses on one specific lineage: a long-term collective practice shaped by repeated photographic productions in Istanbul, where the curatorial framework, lighting environment, casting decisions, and material conditions were developed by Burak Bulut Yıldırım, while the final image belonged to each photographer's frame, distance, timing, attention, and decision.
The Berlin exhibition is the opening chapter of the project's public circulation. The accompanying publication is conceived as an autonomous book-length record, independent of any single venue, and intended for art book circulation, institutional outreach, academic use, and selected library acquisition proposals.
At a moment when synthetic and AI-generated body imagery has become increasingly normalised, Die Akte von Istanbul insists on the physical event of photography. The body in these images is not generated, simulated, or abstracted into data. It is present. It has consented. It has occupied the room. The light is real light; the surface is real skin, fabric, glass, pigment, water, shadow, and breath.
Why This Project Matters
A rare collective record from Turkey
The public record of fine-art nude photography from Turkey has remained limited and intermittent. Existing histories have largely been shaped by single-author exhibitions, a thin publication record, and a small number of documented reference points. Die Akte von Istanbul appears within that narrow field as a rare collective book-length project dedicated to fine-art nude photography from Turkey.
A sustained practice, not a workshop archive
The project did not emerge from a single workshop or a casual archive of participant images. It was formed through fourteen years of repeated, curator-directed photographic productions in Istanbul. Each production created a demanding photographic situation: a body, a visual premise, a lighting environment, a set of material conditions, and a shared ethical space. The selected works are not presented as exercises. They are treated as individual photographs made within a sustained collective field.
Shared conditions, distinct authorship
The exhibition holds two layers together. The first is the curatorial field: the concept, lighting environment, casting, set construction, material direction, and publication framework developed by Burak Bulut Yıldırım across fourteen years. The second is photographic authorship: the individual decisions of each participating photographer — frame, distance, timing, restraint, tonal sensitivity, and the moment of release. The project does not treat shared conditions as a weakness. It treats them as the structure through which differences in seeing become visible.
Models as contributors, not only subjects
The publication includes commissioned essays by Zeynep Renda and Su Yeşil, two models who have been central to the Istanbul practice. Their texts are not supplementary commentary. They are structural components of the book. The decision to include model voices follows from the curatorial position that nude photography is not only an image of a body, but a relationship between the person photographed, the person photographing, and the light that holds the room.
Berlin as the opening chapter
The Berlin exhibition does not relocate the work away from Istanbul. It opens a public and international chapter for a body of photographs made in Istanbul and held for years within limited channels of circulation. After Berlin, the project is intended to continue through book presentations, exhibitions, public conversations, institutional collaborations, and academic programming in Turkey and selected European cities.
Ausgewählte Werke aus der Ausstellung
Eine Vorschau auf die Werke der vierzehn teilnehmenden Fotografen.
The photographs are organised through six contemporary registers of the photographed body: Oberfläche, Materie, Deckkraft, Zimmer, Dauerund Selbstbeschlagnahme. These are not stylistic labels or fixed genres. Each register identifies the dominant condition through which a photograph asks to be read: form, material contact, interrupted visibility, interior space, physical duration, or the body as held by the person within the image.
Ausstellung
Krossener Str. 34, 10245 Berlin, Deutschland
Teilnehmende Fotografen
Fourteen photographers are presented in Die Akte von Istanbul. They were selected from a sustained collective practice formed across fourteen years of curator-directed photographic production in Istanbul.
Selection was based on continuity of participation, technical and visual coherence, distinctness of photographic decision-making, and the ability of each photographer's work to contribute to a collective body without dissolving into it. Five of the fourteen participating photographers are women. This presence is not presented as a quota or corrective gesture, but as part of the project's authorship structure: the body is seen, framed, withheld, and released into public view through different positions of looking, distance, restraint, and self-possession.
The works are organised through six contemporary registers: Surface, Matter, Opacity, Rooms, Duration, and Self-Possession.
Vorbildliche Mitwirkende an der Veröffentlichung
Two models who have been central to the Istanbul practice contribute to the publication as commissioned authors. Their essays sit alongside the photographs as a structural component of the book — not supplementary commentary, but voices that the project is built on.
The decision to include them as authors follows from the curatorial position that nude photography is not only an image of a body, but a relationship between the person photographed, the person photographing, and the conditions of trust, visibility, and presence inside the room.
The Curatorial Ground
Burak Bulut Yıldırım ist der alleinige Kurator von Die Akte von Istanbul and does not exhibit his own photographic work within the selection.
The project rests on his twenty-year practice in fine-art nude, portraiture, body-based photography, advanced lighting, and constructed studio image-making. Since opening his first studio in Istanbul in 2005, Yıldırım has worked across commercial photography, fine-art body-based projects, photographer education, and curator-led production environments. His long-term use of controlled light, physical material, model direction, UV-reactive pigments, reflective surfaces, long exposure, optical distortion, and studio-built visual premises forms the conceptual and technical ground from which this project developed.
Die Akte von Istanbul is his second curatorial project after LandAkt, presented at Artcore Gallery in Thessaloniki in 2015. In both projects, the body is approached not as a decorative motif but as a site where light, space, material, authorship, and cultural visibility meet.
His role in Die Akte von Istanbul is not to replace the authorship of the participating photographers. It is to define the curatorial field in which their authorship becomes readable: the premise, the environment, the ethical conditions, the selection, the taxonomy, and the publication framework.
Veröffentlichung
The publication is not an exhibition catalogue. It is conceived as an autonomous book-length record of a rare collective fine-art nude photography practice from Turkey.
The exhibition is accompanied by an English-language hardcover photobook planned with ISBN registration. The book is designed to function independently of the exhibition, with each of the fourteen participating photographers represented through a dedicated selection.
Die Publikation enthält eine lange kuratorische Einführung von Burak Bulut Yıldırım, a historical framing of nude photography in Turkey drawing on Alberto Modiano's edited volume Türk Fotoğrafında Çıplak (2004) and Işık Özdal's 2011 academic survey Türk Fotoğrafında Nü Sergilerin Analizi, the six-register taxonomy used to organise the work, and two commissioned essays by Zeynep Renda und Su Yeşil.
The structure positions the project as a sustained collective practice shaped by shared conditions and distinct photographic authorship. It also recognises the models as contributors to the intellectual and ethical structure of the book.
The book is intended for art book circulation, direct distribution, institutional outreach, academic reference, and selected library acquisition proposals. Pre-order, publisher, library distribution, and institutional purchase information will be announced before the exhibition opening.
For pre-order, library distribution, publisher, or institutional purchase enquiries: info@burakbulut.info.
Kuratorischer Essay
Das Argument der Die Akte von Istanbul begins from a structural contradiction. Istanbul has produced a sustained and technically accomplished field of fine-art nude and body-based photography, yet this work has rarely entered international circulation through books, institutions, dedicated platforms, or collective exhibitions. The reasons are structural rather than artistic: a thin publication record, limited dedicated venues, intermittent exhibition visibility, and a historical record shaped largely by individual male authorship.
The exhibition addresses that absence through one specific collective practice. Fourteen photographers, selected from a fourteen-year curator-directed practice in Istanbul, are presented together as a coherent collective formation on an international platform. Five of the fourteen participating photographers are women. This matters not as a numerical correction, but as part of the project's structure of authorship: different positions of looking participate in deciding how the body is seen, framed, withheld, and released into public view.
The theoretical reading sits with three central questions. Jean Baudrillard is useful for recognising how the image can detach from the body it claims to depict — a question sharpened today by synthetic and AI-generated body imagery. Laura Mulvey remains unavoidable for any serious discussion of the gaze, not as a thesis to be mechanically applied to every nude photograph, but as the field within which images of the body continue to be made and read. Maurice Merleau-Ponty offers a phenomenological understanding of the body as the ground of perception, not simply an object viewed from outside.
The project also sits inside a wider Turkish discourse on body politics and representation. Artists such as İpek Duben and Nilbar Güreş have, across different media and registers, examined gender, intimacy, social codes, the body, and self-representation in Turkish visual culture. Ahu Antmen's writing on body, identity, gender, and art provides an important art-historical framework for understanding how the represented body has been shaped by modernity, cultural codes, and identity politics in Turkey. Die Akte von Istanbul does not claim direct continuity with these practices. It sits alongside them as part of the same broader question: how is the body allowed to be seen, by whom, under what conditions, and through which forms of public record?
That question remains structurally charged. The public exhibition of nude photography from Turkey has often moved through limited channels: private studios, small circles, intermittent exhibitions, and a relatively thin publication record. This pattern is not specific to one country. In November 2024, İnci Eviner's video Harem (2009) wurde aus der Ausstellung des Mathaf Arab Museum of Modern Art zurückgezogen Sehen ist Glauben shortly before opening, a case widely discussed as censorship. Read together, such examples remind us that the politics of representing the body remain active, contemporary, and unevenly distributed across cultural contexts.
What the exhibition finally argues is this: the photograph of the nude — made in-camera, with physical intervention, in a room where the body is actually present — remains a serious artistic act at a time when synthetic body imagery has become increasingly normalised. In these photographs the body is not a motif. It is the working material of the image and, at the same time, a person who has consented, posed, waited, moved, resisted, and held the room. The light is real light. The surface is real glass, real fabric, real pigment, real water, real shadow, real skin.
The exhibition takes that physical and ethical ground as its starting point.
Kuratorische Taxonomie
Die Arbeiten sind nach sechs Registern des fotografierten Körpers geordnet. Anstatt den Akt als festes Genre zu behandeln, folgt die Sequenz der dominanten Bedingung, durch die jede Fotografie gelesen werden will: als Oberfläche, als Materie, als zurückgehaltenes Bild, als Figur in Räumen, als Dauer oder als selbstbeherrschte Präsenz.
Ein Foto wird nach seiner primären visuellen Kraft platziert, nicht einfach nach dem, was innerhalb des Rahmens erscheint. Ein Schleier macht ein Bild nicht automatisch Deckkraft; ein Stuhl ist nicht automatisch ein Zimmer; ein sichtbares Gesicht macht es nicht automatisch zu einem Selbstbeschlagnahme. Die Frage ist immer eine kuratorische: Was macht die Fotografie im Grunde mit dem Körper?
1. Oberfläche
Der Körper als Kontur, Terrain und Bildfläche
Ein Werk gehört zu Oberfläche wenn der Körper vor der Identität gelesen wird: als Kontur, Volumen, Licht, Schatten, Linie und Terrain. Ein enger Bildausschnitt, ein reduzierter Kontext, gedämpftes Licht oder ein neutraler Untergrund können die Haut zur Bildfläche machen. Diese Fotografien fragen nicht in erster Linie, wer der Körper ist, wo er sich befindet oder welches Material ihn berührt. Sie fragen, wie das Licht die Form sichtbar macht.
A face may appear, but it should not dominate the reading. If the person's gaze, psychological presence, or self-held posture becomes the central force, the work moves toward Selbstbeschlagnahme. Wenn Pigment, Flüssigkeit, Stoff, Metall oder farbiges Licht die Haut aktiv verändert, bewegt sie sich in Richtung Materie.
2. Materie
Pigment, Flüssigkeit, Stoff, Metall und Licht, das auf die Haut einwirkt
Ein Werk gehört zu Materie when the body's surface is altered by physical or optical contact. Pigment, powder, paint, glitter, water, oil, fabric, metal, reflective material, projected light, or coloured light may stain, cover, mark, reflect, or reshape the skin. The body is not simply shown; it receives and records contact.
Die Unterscheidung von Deckkraft is important. If a material changes the surface of the body, the image belongs here. If a material primarily interrupts the viewer's access to the body — by veiling, obscuring, blurring, or withholding visibility — the image moves toward Deckkraft. Die Materie berührt den Körper; die Opazität steht zwischen dem Körper und dem Betrachter.
3. Opazität
Die Verweigerung der vollen Sichtbarkeit
Ein Werk gehört zu Deckkraft when the viewer's access to the body is interrupted. Fabric, water, haze, shadow, reflection, glass, translucent surfaces, veils, nets, or atmospheric light may make the figure present but not fully available. The image does not offer the body as transparent information; it delays, filters, or destabilises looking.
Undurchsichtigkeit ist nicht nur Atmosphäre. Dunkelheit allein ist nicht genug. Wenn die Dunkelheit den Körper als Form zeichnet, kann das Werk zu den Oberfläche. If a veil or shadow becomes a barrier to vision, it belongs here. If the person's direct look or self-contained posture becomes stronger than the obstruction, the work may move toward Selbstbeschlagnahme.
4. Zimmer
Private Innenräume, öffentlicher Druck
Ein Werk gehört zu Zimmer wenn der Innenraum zu einem bestimmenden Element der Fotografie wird. Betten, Stühle, Sofas, Vorhänge, Teppiche, Wände, Fenster, Türen, Ecken, Badezimmer und temporäre Studioeinrichtungen können mehr als nur Kulissen sein. Sie platzieren den Körper in einem sozialen und psychologischen Feld: Privatsphäre, Erlaubnis, Entblößung, Häuslichkeit und Druck.
Das Vorhandensein von Möbeln allein ist nicht ausreichend. Der Raum muss beeinflussen, wie der Körper gelesen wird. Wenn der Körper als Form isoliert bleibt, kann das Werk zu Oberfläche. Wenn ein Vorhang oder ein Schatten hauptsächlich die Sicht versperrt, kann er zu Deckkraft. If the figure's inwardness or gaze is the strongest force, the work may belong to Selbstbeschlagnahme.
5. Dauer
Bewegung, Aufhängung, Schwerkraft und Zeit
Ein Werk gehört zu Dauer when the body is read as an event in time. Movement, suspension, balance, blur, long exposure, dance, acrobatics, falling, holding, stretching, or resisting gravity replace the fixed pose with a sense of physical duration. The photograph records not only a body, but the time it takes to hold, move, fall, remain suspended, or resist collapse.
Die Dauer erfordert keine sichtbare Unschärfe. Ein Standbild kann hierher gehören, wenn der Körper eine starke physische Spannung aufweist: Muskelanspannung, Gleichgewicht, Aufhängung oder Widerstand. Wenn die Pose statisch ist und der Körper in erster Linie eine formale Gestalt ist, kann das Bild zu folgenden Kategorien gehören Oberfläche. Wenn die Bewegung einem Raum, einem Schleier oder einem materiellen Eingriff untergeordnet ist, kann ein anderes Register stärker sein.
6. Selbstbesessenheit
Der von der abgebildeten Person gehaltene Körper
Ein Werk gehört zu Selbstbeschlagnahme wenn der Körper nicht dem Betrachter überlassen wird, sondern von der Person im Bild gehalten wird. Dies kann durch direkten Blick, Verweigerung, Stille, Innerlichkeit, eine verschlossene Körperhaltung, eine selbstschützende Geste oder ein stilles Beharren auf Präsenz geschehen. In dieser Kategorie geht es nicht um Verletzlichkeit. Es geht um den Körper als Zugehörigkeit zu jemandem.
Ein sichtbares Gesicht ist ein starkes Signal, aber keine Voraussetzung. Auch ein umgedrehter Rücken, ein gefalteter Körper oder eine zurückgezogene Haltung können Selbstbeherrschung erzeugen, wenn die Figur als Person lesbar bleibt, die die Bedingungen der Sichtbarkeit festlegt. Wenn der Körper zur anonymen Form wird, kann das Werk zu einer Oberfläche. Wenn Material, Opazität, Raum oder Bewegung die Lektüre dominieren, sollte das Werk an anderer Stelle platziert werden.
Wie die Taxonomie verwendet wird
Die sechs Register sind keine starren Gattungen. Sie sind redaktionelle Hilfsmittel, um die dominante Kraft eines jeden Fotos zu lesen.
Vielen Werken kann man sich durch mehr als ein Register nähern. Ein verschleiertes Porträt kann sich zwischen Deckkraft und Selbstbeschlagnahme; Ein Körper in einem Raum kann auch die psychologische Kraft eines Porträts haben; farbiges Licht kann in einem Bild als Atmosphäre und in einem anderen als Materie wirken. Die endgültige Platzierung hängt davon ab, was das Foto am stärksten auf den Körper wirkt.
Die Abfolge folgt also eher einem kuratorischen als einem rein deskriptiven Prinzip. Oberfläche Namen bilden; Materie Namen Kontakt; Deckkraft Namen die Sichtbarkeit unterbrochen; Zimmer nennt den Innendruck; Dauer nennt Zeit und körperliche Anspannung; Selbstbeschlagnahme benennt den Körper, den die Person auf dem Bild hält.
Kuratorische Methodik
Die vierzehn Fotografen der Die Akte von Istanbul were not selected through an open call. They were invited from a collective field formed across fourteen years of curator-directed photographic production in Istanbul — repeated working environments usually organised around a shared model, a constructed lighting situation, material intervention, and a defined visual premise.
Selection was based on sustained authorial development rather than isolated strong images. The criteria included continuity of participation, technical and visual coherence, distinctness of photographic decision-making, and the ability of each photographer's work to contribute to a collective body without dissolving into it.
The aim was not to assemble a representative survey of nude photography in Turkey. It was to identify a coherent collective practice that emerged from one specific working environment in Istanbul. That working environment is part of the project's identity: the curator's conceptual premise, lighting environment, model direction, and staging on one side; the photographer's framing, timing, distance, tonal judgement, and interpretive decision on the other.
The decision to present the work in Berlin reflects a structural condition of the field. Turkey's documented exhibition history of nude photography, traced in Işık Özdal's 2011 academic survey for Süleyman Demirel University, begins with Çerkes Karadağ's Nüans und setzt sich in einer begrenzten Folge von Ausstellungen fort, die meist von einem einzigen Autor organisiert werden. Die Bilanz ist wichtig, aber unregelmäßig. Was fehlt, ist eine dauerhafte kollektive Plattform.
The Berlin presentation is therefore not a relocation of the work away from Istanbul. It is the first public international platform for a body of photographs made in Istanbul and held, for years, within limited channels of circulation. In this sense, the exhibition treats Berlin not as an escape from the project's origin, but as the first site where that origin can be read from outside.
Die türkische Genealogie
A Turkish genealogy of nude photography exists, but it has been intermittent rather than cumulative. Işık Özdal's 2011 academic survey, Türk Fotoğrafında Nü Sergilerin Analizi, traces a record beginning with Çerkes Karadağ's Nüans - die 1988 in Köln und 1989 in Istanbul gezeigt wurde - gefolgt von einer begrenzten Reihe weiterer Ausstellungen von Fotografen wie Mehmet Koştumoğlu, Levent Öget, İbrahim Göğer, Orhan Alptürk, Saygun Dura, Cem Boyner und Niko Guido.
Özdal's survey identifies a field shaped by discontinuity. The practice has largely appeared through individual exhibitions rather than sustained collective structures. The published record remains thin, with Alberto Modiano's Türk Fotoğrafında Çıplak (2004) standing as one of the few substantial book-length treatments of the subject. The historical record also shows a pronounced imbalance in authorship, with women photographers largely absent from the early exhibition history documented in the survey.
The period after 2011 has not produced a continuous, widely visible institutional record of fine-art nude photography from Turkey. Body politics, however, remained central to Turkish visual culture. In the broader field of art history and contemporary practice, Ahu Antmen's writing on body, identity, gender, and representation; İpek Duben's long-term engagement with the body, identity, gender, and self-representation; the historical framing of the nude in modern Turkish painting; and Nilbar Güreş's sustained practice around gender, social codes, and embodied identity define a wider cultural field in which the visibility of the body remains contested.
These practices do not form a direct lineage for Die Akte von Istanbul. The project is photographic, collective, and rooted in one long-term Istanbul working environment. But they help define the broader question to which the project belongs: how does the body become visible in Turkish visual culture, who is allowed to frame it, and through which structures can it enter public record?
Die Akte von Istanbul is positioned in relation to these conditions. The accompanying publication appears as a rare book-length collective project dedicated to fine-art nude photography from Turkey after Modiano's 2004 volume. It presents a sustained collective practice rather than a single author. Five of the fourteen participating photographers are women. It includes commissioned essays by two model contributors. And it organises the work explicitly through six contemporary registers — Surface, Matter, Opacity, Rooms, Duration, and Self-Possession — that connect the Istanbul practice to current frameworks in art photography.
Die Ausstellung hat nicht den Anspruch, die historische Lücke zu schließen. Sie erhebt den Anspruch, den Punkt zu markieren, an dem ein anderes Gespräch möglich wird.
Fotografische Abstammung
The project is not presented as an isolated local phenomenon. Its six registers are read in relation to international photographic histories of the nude, the body, studio construction, duration, material intervention, and self-representation.
These names are not presented as direct influences on the participating photographers. They function as reading coordinates — a way of placing the six registers in conversation with wider histories of the photographed body.
Oberfläche
Bill Brandt - Edward Weston - Ruth Bernhard
Dieses Register gehört zu der Linie des Körpers, der als Form, Kontur und Bildfläche gelesen wird. Brandt, Weston und Bernhard bleiben wesentliche Bezugspunkte für die Disziplin der Reduzierung des Aktes auf Volumen, Geometrie und Licht, ohne ihn seiner physischen Präsenz zu berauben.
Materie
Prue Stent & Honey Long · Ana Mendieta · Carolee Schneemann
Matter names the moment when pigment, fabric, liquid, reflection, projected light, or physical contact becomes an active agent in the image. This register connects contemporary body-based experimentation with wider histories in which the body receives, records, resists, or becomes marked by material action.
Deckkraft
Francesca Woodman - Deborah Turbeville - Marianna Rothen
The body is half-given, half-withheld. Woodman's blurred interiors, Turbeville's atmosphere of withheld visibility, and Rothen's cinematic reconstruction of feminine space provide useful coordinates for reading images where the body resists full legibility.
Zimmer
Lee Friedlander - Lucas Samaras - Juno Calypso
Rooms bringt den Akt in den Druck der Innenräume: Möbel, Ecken, Betten, Vorhänge, häusliche Oberflächen und konstruierter privater Raum. Friedlander, Samaras und Calypso zeigen unterschiedliche Wege auf, auf denen der Raum zu mehr als nur einer Kulisse wird - einem psychologischen, sozialen und optischen Rahmen.
Dauer
Eadweard Muybridge - Étienne-Jules Marey - Viviane Sassen
Die Dauer betrachtet den Körper als ein Ereignis in der Zeit. Muybridge und Marey etablierten Bewegung und sequenzielle Analyse als zentrale fotografische Fragen; zeitgenössische choreografische und schattenbasierte Praktiken erweitern diese Frage auf Geste, Aufhängung, Balance, Unschärfe und Körperspannung.
Selbstbeschlagnahme
Nan Goldin - Elinor Carucci - Paul Mpagi Sepuya
Das intimste Register der Ausstellung. Goldin, Carucci und Sepuya bieten drei verschiedene Bezugspunkte für Körper, die von den Menschen im Bild gehalten und nicht dem Betrachter überlassen werden: autobiografische Präsenz, Intimität aus nächster Nähe und das Studio als Ort des selbstbewussten Sehens.
Registerübergreifende Verankerungen
Zwei Zahlen befinden sich in der Taxonomie und nicht in einem einzigen Register. Robert Mapplethorpe ist relevant für die formale Disziplin, die sich zwischen Oberfläche, Materieund Zimmer. Zanele Muholi ist relevant für die politische und selbstbewusste Lesart des Körpers, die am stärksten in Resonanz mit Selbstbeschlagnahme, und berührt dabei auch die inszenierte Präsenz von Zimmer.
Beyond Berlin: International Circulation
Berlin is the opening chapter of the project's public circulation, not its final destination.
After the Berlin presentation, Die Akte von Istanbul is intended to continue through book presentations, exhibitions, public conversations, institutional collaborations, and academic programming in Turkey and selected European cities. Future presentations in Istanbul, Turkey, and other European contexts are being explored.
The publication is designed to circulate independently of any single venue through art book distribution, direct distribution, institutional outreach, and selected library acquisition proposals. Advance reading copies or digital previews may be made available to curators, editors, publishers, critics, and academic researchers by arrangement.
Institutions interested in hosting the exhibition, organising a public conversation, building academic programming around the publication, discussing book distribution, or acquiring the book for a library or archive are welcome to enquire.
Press, Publishers & Institutional Enquiries
Press materials are available on request: selected high-resolution images, curatorial statement in English, German, and Turkish, photographer biographies, factual press release, publication preview, advance reading copy by arrangement, interview availability, exhibition details, and image credit and consent information.
The exhibition is open to journalist previews, interview requests, academic visits, publisher conversations, institutional hosting enquiries, and curatorial meetings during the exhibition period by arrangement.
Curators, art critics, editors, publishers, library acquisition teams, and academic researchers working in contemporary photography, nude art, Turkish visual culture, gender, image politics, body-based practice, publication histories, or collective authorship are particularly welcomed.
Curatorial statement (EN / DE / TR)
Biografien von Fotografen
Presseerklärung
Vorschau auf die Veröffentlichung
Advance reading copy
Interview availability
Image credit and consent information
Theoretische Referenzen
Der kuratorische Rahmen stützt sich auf die folgenden primären Referenzen.
- Antmen, Ahu. Kimlikli Bedenler: Sanat, Kimlik, Cinsiyet. Sel Yayıncılık, Istanbul, 2014.
- Baudrillard, Jean. Simulakren und Simulation. University of Michigan Press, 1994.
- Berger, John. Wege des Sehens. Penguin Books, 1972.
- Merleau-Ponty, Maurice. Phänomenologie der Wahrnehmung. Routledge, 2012 (1945).
- Modiano, Alberto (Hrsg.). Türk Fotoğrafında Çıplak. Bileşim Yayınevi, Istanbul, 2004.
- Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Bildschirm 16:3, 1975.
- Özdal, Işık. "Türk Fotoğrafında Nü Sergilerin Analizi." SDÜ ART-E, 2011.
- Sontag, Susan. Zur Fotografie. Farrar, Straus und Giroux, 1977.
Die vollständige Bibliografie - einschließlich der Primärquellen für die türkische Ausstellungsgeschichte und die oben erwähnten Referenzen zur Körperpolitik nach 2011 - ist in der Publikation enthalten.