Performance
September 9, 2016 / 19:00
As part of Katherine Behar’s exhibition, a performance titled Data’s Entry will take place on Fridays, Saturdays and Sundays. In this durational performance, performers Aslı Bostancı and Melih Kıraç interact with an unwieldy QWERTY interface. This unforgiving surface of keyboard keys represents accumulated data and recalls the mind-numbing and dehumanizing repetition that is the basis of data entry. In this intriguing performance, the dancer’s body is both registered and rejected by the keyboard interface. The dancer’s struggle shows the obstacle of data’s presence in our lives as we force our bodies into it through biometrics and grueling minutia. Inspired by the Pera Museum’s Anatolian Weights and Measures Collection, this project seeks to restore weight to data’s measure.
Performers: Aslı Bostancı, Melih Kıraç
Substitute: Pınar Akyüz
Sound design: Shelley Burgon
Aslı Bostancı (b.1984) is an independent choreographer. She graduated from Mimar Sinan Fine Art University State Conservatory Contemporary Dance Department in 2007 and CNDC (Centre National de DanseContemporaine Angers FR.) in 2009, under the direction of Emmanuelle Huyn. She’s continuing her studies at Mimar Sinan Fine Arts University. She has been touring internationally with her own works: in between (2008), panic in the ZOO (2010), tales in no language (2012), singing stories on speaking mountain (2013), the last unicorn (2014) and my grandmother is a stone (2016). She is currently working at Istanbul Mimar Sinan Fine Art University State Conservatory Contemporary Dance Department as a Res. Ass. since 2014.
Melih Kıraç (b. 1990) received his BA from Contemporary Dance Department of Mimar Sinan University of Fine Arts. He continues his MA while working as a lecturer in the same department. He has worked with Meg Stuart, Marc Vanrunxt, Tijen Lawton and MDT Istanbul and he currently works with Çıplak Ayaklar Kumpanyası. His recent research that revolves around the composition of walking body, WELCOME was shown as part of Working Title Situation #02 in Kaaistudio’s Belgium.
Supported in part by the Pera Museum, and by a PSC-CUNY Award, jointly funded by the Professional Staff Congress and the City University of New York.
Click here for performance program.
Temporary Exhibition
Pera Museum presented Katherine Behar: Data’s Entry, the first museum survey exhibition of this New York-based artist who moves fluidly between sculpture, performance, video, and writing.
Click for more information about the exhibition.
The Suna and İnan Kıraç Foundation’s Orientalist Painting Collection includes two children’s portraits that are often featured in exhibitions on the second floor of the Pera Museum. These portraits both date back to the early 20th century, and were made four years apart. One depicts Prince Abdürrahim Efendi, son of Sultan Abdulhamid II, while the figure portrayed on the other is Nazlı, the daughter of Osman Hamdi Bey.
Józef Brandt harboured a fascination for the history of 17th century Poland, and his favourite themes included ballistic scenes and genre scenes before and after the battle proper –all and sundry marches, returns, supply trains, billets and encampments, patrols, and similar motifs illustrating the drudgery of warfare outside of its culminating moments.
In 1962 Philip Corner, one of the most prominent members of the Fluxus movement, caused a great commotion in serious music circles when during a performance entitled Piano Activities he climbed up onto a grand piano and began to kick it while other members of the group attacked it with saws, hammers and all kinds of other implements.
Tuesday - Saturday 10:00 - 19:00
Friday 10:00 - 22:00
Sunday 12:00 - 18:00
The museum is closed on Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 200 TL
Discounted: 100 TL
Groups: 150 TL (minimum 10 people)
