Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values, kundura hafıza. It examines Beykoz Kundura as a space of life and 1930s hats state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, kundura hafıza, invoices, job applications, certificates of quality, bills for goods etc. Kundura hafıza plans a working cycle with the artists, which protects, conserve, and guards the archive.

How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond? Kundura Cinema is part of a cultural placemaking project. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. For this reason, our story began with the memory project, Kundura Hafiza, through which we were able to uncover untold stories, and gain a better understanding of the social history of this site and of our collective identity.

Kundura hafıza

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It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. To what extent is the programme of Kundura Cinema shaped by the memory of its location, Beykoz Kundura? Betweenkundura hafıza, she worked as an assistant curator in the photography department at the Kundura hafıza Museum of Modern Art.

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Kundura Sahne probes performance practice with an inquisitive approach and creates space of encounter with its experimental and innovative fashion. While creating dialogues with strong local and international values, it embraces, encourages and supports research-oriented creative practice in interdisciplinary context. Nurturing the relation of research methodologies and creative techniques, it provides an interplaying dialogue for known concepts and rules; and takes part in creating works of art that are developed with proper methods. Based on the complexity of terms and definitions, it investigates ongoing peripheral connection and interrelationship of concepts such as stage, audience and actor, body and movement. It encourages change in creative styles and creates new setups. It focuses on documentary approach in the context and practice of research-based art making and narrative plotlines.

Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. The artists who are invited to Vardiya for working at the archive in certain periods of the year for certain durations transfer their duties to the artist that will take over. The artist decides how to make the transfer in this creative process. The concept and practical outcomes of this system of working in shifts are presented to the audience through an public session.

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She earned her BFA. What is it about film that can create solidarity, in your opinion? Our cinema and its surroundings complete each other. The artist decides how to make the transfer in this creative process. We can see how sharing different layers of experience and knowledge can help us to break down vicious cycles in the structure of cultural production. She focuses on the definitions and practices of "care and attention" in a broad sense. As our space is a part of industrial heritage, and partially public, we cannot keep it just for ourselves or for a very niche target audience. Although to a degree we determine the boundaries of the cinematic encounter, we also try to leave space for audiences to manage their own experiences. For instance, if a programme is ticketed, then we also ensure that we include free screenings within the season. She played an essential role during the construction of the industrial heritage site Beykoz Kundura , and in she founded the non-profit association Kundura Hafiza. Kundura Cinema is part of a cultural placemaking project. The artist often works with archives, which are the tangible materials between life and death. The factory management used to transform the food hall into an indoor cinema after the end of shifts. In addition to her six solo exhibitions to date, the artist has participated in numerous group exhibitions on an international level, such as "A Pillar of Smoke" The Rencontres d'Arles, , "You Are What You Eat" Krakow Photomonth, Of course, we also have plenty of programmes with short films and also feature length creative documentaries along with classics.

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By the way, we still conserve the carbon arc lamp projector left from the factory time — this still welcomes visitors in the foyer of the cinema today. Through our curation, we remind our audiences of this heritage and we encourage them to engage with the stories behind our programme. This approach is reflected not only through our curatorial policy, but also through our sales strategy, where we aim to create a sense of balance. How does the choice of films shape the different types of audience of your cinema space? In addition to her six solo exhibitions to date, the artist has participated in numerous group exhibitions on an international level, such as "A Pillar of Smoke" The Rencontres d'Arles, , "You Are What You Eat" Krakow Photomonth, It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. A in the "Photography" department at Marmara University in Istanbul. We find that this format appeals mostly to younger audiences. The artist lives and works in Istanbul. Her recent works investigate the body as an archive and movement as a means of revival. As our space is a part of industrial heritage, and partially public, we cannot keep it just for ourselves or for a very niche target audience. The self-repair of the organism and the long-term balancing of nature form the backbone of this narrative.