Free download labyrinth november 2019 - coskun simsek

Through intricate drawings in ink and pencil, speckled clay, and encrusted plasticine, Crewe reflects upon the evolution of mythic narratives, inter- personal change, and collective political time.

In its double telling, Pastoral Drama envisions the collapse of mythic pasts with the dangerous after-world of the present. The filmmaker tersely distills material shot on the eve of the 45th presidential inauguration in January and blends moments of perilous public authority with more intimate scenes and tender portraits. The film uses poetry as a means to reckon with the present, and casts the figure of the poet as a guide in times of chaos.

Ian Cheng creates live simulations that explore the nature of mutation and our capacity to relate to change. Drawing on principles of video game design and cognitive science, the simulations are populated with characters programmed with behavioral drives, but left to self-evolve amidst otherworldly environmental conditions. It is composed of three interconnected episodes, each centered on the life of a narrative agent — the Emissary — who attempts to achieve a series of narrative goals, only to be disrupted by the underlying simulation and deviate into new directions.

Across three decades, Jafa has developed a dynamic, multidisciplinary practice ranging from films and installations to lecture-performances and happenings that tackle, challenge and question prevailing cultural assumptions about identity and race.

By re-performing these narratives in the present, Jafa imagines and constructs new possibilities for making them visible. Jafa creates work that approximates the radical alienation of Black life in the West while seeking to make visible — or emancipate — the power embedded in modes of African expression.

Texts by Fred Moten, Tina M. The artist has been collecting and working from a set of source books since the s, seeking to trace and map unwritten histories and narratives relating to black life. Between and a young naturalist, Alexander von Humboldt — , visited the American continent for the first time, making two expeditions. The most adventurous section of his journey was the trip down the Orinoco to the Rio Negro in Venezuela.

At the time, his report on this journey laid the foundations for a holistic way of looking at nature — one that was way ahead of its time. Von Humboldt was the first researcher to point out how the forces of nature, both animate and inanimate, work together.

Starting with the idea of the kind of ecology that focuses not only on natural circumstances but also on the economic and socio-political situation, as well as on technological progress, the exhibition investigated an alternative interpretation of anthropology and zoology.

Accordingly, the selection of works evidenced the search for our evolutionary roots, looking into questions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and that of our constantly changing perceptions of reality due to all kinds of different influences.

The different complexes of subjects move within that intermediate space between nature and art, their various systems offering new approaches to interpretation and methods of classification. A free magazine accompanied the exhibition, which is here as download available. Galoye dating from Nothing is left to chance at the Institute for Cybernetics and Future Research. Ostensibly for research purposes, a private corporation uses a mainframe to create a computer-animated world where economic and social developments can be simulated in order to make forecasts and thus lay the basis for decision-making.

This mainframe goes by the name of Simulacron 1 and is capable of perfectly simulating a section of reality with all the respective inhabitants. All the simulated persons have their own minds, but no idea that they are part of a virtual reality. One of the central pieces in the exhibition was the live simulation by Ian Cheng born in in Los Angeles, lives and works in New York made in By means of the virtual animated real-time simulations that arise through the 3D videogame design Cheng enables viewers to experience the microscopic but essential mechanisms of the complex, multi- millennia-long process of evolution.

The structure of consumer and product experiences in capitalist societies and the creative industries become the main theme of art. By contrast, Jon Rafman, Wu Tsang, Hannah Blackand Hito Steyerl spotlight the inner turmoil of digital culture as expressed by changed gender roles, political bodies and the subculture of online communities. Another aspect of the show was the definition of mortality, as is especially evident in the two video installations A Minute Ago and Palisades In Palisades made in by Rachel Rose born in , she lives and works in New York.

The narratives overlap with one another, reveal different angles on death, and morph into a kind of deja-vu in the viewer. The works in the exhibition shared in common a critical thrust that asks how digital technology should be limited and justified. In this regard, the individual art forms oscillate between the different genres. They radically cast into question traditional notions of the artwork and the original creation of pictures as the main task of art.

A free exhibition magazine accompanied the exhibition with an essay by Hannah Black and introductory texts on the individual works, which can be downloaded here. The exhibition includes a total of four video performances on monitors of various heights that are positioned in relation to the minimalistic pavilion architecture. The artist is seen playing this game on the shore of the East River in New York.

The contemplative act is thus transformed into work as well as civil disobedience against the social norms that are associated with public space. She calls for viewers to reconsider the possibilities of urban space and to exercise its freedoms. The four featured works grapple with current socio-cultural and socio-political issues and questions of identity. In Wildness Wu Tsang tells the story of the nightclub Silver Platter, which since the s has served as a safe space and entertainment venue to the Latina transgender scene in Los Angeles.

The works are shown on Samsung monitors in a video lounge that was created in cooperation with Walter Knoll. Opening Friday, 15 November, Saturday, 16 November, Sunday, 17 November, Foundations and collections of modern and contemporary art based on private initiative play a vital role in enriching the diversity of the cultural landscape of public museums, institutions, and artist-run spaces in the Rhineland.

Driven by passion and a belief in social responsibility, private initiatives establish self-funded exhibition spaces, initiate art fellowships, make donations and provide loans, act as sponsors, and finance new productions. With Rhineland Independent , four of these initiatives will merge for the first time to jointly present their multifaceted programs and conceive new projects.

The strength of this cooperation lies above all in the diversity, respective specialisation, and individual agenda of the given players.

In the end, the multifarious institutional and thematic focuses mirror the diversity of a dynamic artistic discourse. The project comprises a selection of ten large format posters created by the feminist collective between and Using a combination of researched facts, provocative images and striking messages, the works address the issue of gender bias, ethnical discrimination and other asymmetries of power in the scope of institutions, art history and the art market.

During their actions — targeting among others politics, the film industry and popular culture — the activists wear gorilla masks; none of the artists speak on their own behalf. Based on this anonymity the focus shifts toward the topics of their work: widespread mechanisms of segregation within the art world, contributing until today to an art and cultural landscape dominated by male protagonists.

The exhibition brings together works in film and video by seventeen artists, spanning over six decades of audiovisual production focused on themes such as cultural history, race, gender identity, circulation of images in the media, and the role of artists in contemporary society. Self-representation and its strategies, such as self-portrait and the fictionalization of life, emerge in various works, functioning as a potential guiding thread and uniting productions in the exhibition, as well as appropriation, collection, and montage of images from other sources.

These are two possible thematic trends running through the exhibit, serving as useful conceptual cores to navigate it, but which do not exhaust the possibilities of interpreting the works displayed and the relationships between them. Time kills simply by passing, and there is nothing we can do about that or the veracity of the phrase.

Nevertheless, it serves to activate other senses in the context of the exhibition. Time-based art relates to works of art produced in video, film, audio, or computerized technologies that unfold to viewers over time, with duration rather than space as their main dimension, unlike painting and sculpture although duration is also an element of those two- or three-dimensional art forms.

To collect time-based artworks, one must compress time in analog and digital media. Therefore, exhibiting them requires decompressing those time frames and creating different forms of spatialization, generating displaysof different lengths occurring simultaneously in a group show. In the case of this exhibit, adding up to ten hours, thirty-one and forty seconds which viewers break down and recombine at will. Historically, the development of video as an art form occurs in tandem with the spread of the electronic image and its interlacing with everyday life, irreversibly altering our perception of time and space.

Even more so in a context in which it is continuously changing, making us anxious to keep up and directly influencing the way capitalism affects our consumer desires and drives. The virtualization of our world experience and increasing temporal hence subjective compression are the context the artists must deal with to create their work. Thus, time not only kills passively, it kills a little more every second.

The exhibition comprises three halls for large-scale installations on the fifth floor displaying works by Arthur Jafa, Rachel Rose, and Monica Bonvicini, immersive spaces that offer time-based experiences isolated from their surroundings. Jafa composes an epic collage based on the visuality of Afro-American culture; Rose examines the chronology of a region and its connection with several layers of history; Bonvicini creates a choreographed dual screening that relates notions like gender and nostalgia.

Around these spaces, in the circulation areas, other works establish new relationships with one another. In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works. The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture. On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons.

Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing. The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time.

The exhibition constituted the largest presentation of time-based media works in Israel. As a whole, the collection centers contemporaneity as an active engagement with the here and now. True to this emphasis, this exhibition focuses on the contemporary part of the collection.

The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed. This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists.

These range from performative and theatrical elements in the works to different means of narration. More than half of the artists featured in the exhibition are women. This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole. Implicit subtexts of power struggles — between the sexes, between the individual and society, and between different creative traditions — are present throughout, resulting in an exhibition that is contemplative, seductive and reflective.

The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time. They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium.

It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on.

It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions. A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today.

A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new. We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.

With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence. Clouds of smoke that rise up from the friction slowly blur the scene.

In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance. Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill.

With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art. As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies.

The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present. As of 16 April across a total space of over 2, sq. The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures e. The exhibition takes up the Deichtorhallen tradition of presenting major collections.

In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.

Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq. Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images. Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music.

The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn.

Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring.

The Driver by Andreas Korte plays inside a parking building. A person facing away from the viewer is moving towards the exit. Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history. Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf.

A wild, colourful pictorial history of architecture begins to the rhythm of the music. In addition, small lines of text irritate the eye.

Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox.

How to find us. Please note that the 2G rule applies as of 15 November a visit is only permitted for guests who are either fully vaccinated or have recovered from a COVID infection 2G. The relevant digital certificates a vaccination certificate or QR code and your ID card will be checked in the entrance area.

For children and adolescents between the ages of six and 18, and for anyone who cannot be vaccinated for medical reasons, a proof of a negative up-to-date PoC test result is sufficient. The registration is required online via our booking system , from which you can also find the exact tour dates. Free of charge for children and young people under eighteen, as well as school children, students and trainees. If you are interested in booking a guided tour in English, please send us an e-mail to visit.

If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you. The distinctive nature of the collection carries over into the space in which it is exhibited. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light.

A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link.

Need an account? Click here to sign up. Download Free PDF. Semiha Ekici Simsek. A short summary of this paper. Download Download PDF.

Translate PDF. Abdulmutalip Arpa İst. İzzet Er İst. Kadir Canatan İst. Mehmet Bulut İst. Munzer Kahf İst. Nasuh Uslu İst. Recep Cici İst. Benaouda Bensaid İst. Beytullah Kaya İst. Dursun Yener İst. Emel Yurtsever İst. Hanifi Parlar İst. Afghanistan as the top second refugee sender country and Turkey as the top first refugee receiving country makes a unique case study in migration.

To do so, the main push and pull factors behind irregular migration are addressed. This study is conducted over young male labor force between March to June The interviewees are composed of three ethnic Uzbek, Tajik, and Pashtun groups, respectively. The findings of this research highlight the potential risks and challenges of irregular migration from Afghanistan to Turkey.

Throughout their journey, migrants experience an extreme level of torture close to death by gambling with their lives. The absence of a comprehensive labor migration plan from the sending country is considered a pivotal problem to protect the fundamental rights of migrant workers abroad. Overall, the young generations in Afghanistan have the experience of deep anxiety, fearing the replication of the dark past in the future. Hence, an increasing number of young populations are attracted to immigrate, seeking their lives outside the country.

The basic human rights of the people are being further manipulated and violated ever since the imposition of a security lockdown and communications blackout on August 5th, when, the Indian Nationalist BJP government stripped away the executive autonomy that the state of Jammu and Kashmir was granted in exchange for joining the newly independent India.

An unprecedented lockdown was also imposed on the Muslim-majority state, cutting it off from communication with the outside world. In this situation, the international organizations have all eyes set on them, desperate in hopes of them coming up with a reasonable and lasting solution. This paper discusses the post human rights violations in Jammu and Kashmir while shedding light on the violations of rights to life and liberty, right to education and employment, and the rights to freedom of speech, opinion and expression in Kashmir.

It explains the impact of these restrictions on the common people. Further, it touches on the role of the international organizations in putting an active effort in trying to reverse them and their impact in India. South Africa is a destination for many Africans who want to migrate from their countries of origin. The aim of this paper is to highlight the experiences of immigrants in South Africa focusing mainly in the province of Gauteng. There are various factors that contribute to migration to South Africa such as job opportunities, education, poverty, and political instability in their country of origin.

This paper suggests that some Nigerians are involved in illegal economic activities whilst others are involved in formal economic activities. The claim that immigrants are stealing jobs and involved in criminal activities gave birth to what is known as xenophobia which is viewed as the major challenge experienced amongst Nigerians in South Africa. This paper seeks to highlight research findings that can be be used to educate South Africans to curb the challenges encountered by Nigerian immigrants in South Africa.

The data is gathered through documentary method and it will be conducted under qualitative approach. Political development in post-independent Africa has been dominated by conflicts, human rights violations and assassinations of civilians. This paper aims to illustrate how political instability has contributed to humanitarian crises in post-independence Africa focusing on the case of Zimbabwe.

Zimbabwe is one of many African states that failed to create a stable political environment after attaining independence. The political instability has led to poor governance and abuse of state resources for self-gains by the elites. Zimbabwe has been failing to provide basic needs such as food, health care and education resulting in millions of Zimbabweans being displaced due to the political instability. Given the paucity of published information in this regard, the paper aims to fill in the gaps in the literature on the subject under study.

A multi-party system introduction in was accompanied by electoral violence and further brought fragmentation and significant instabilities. This paper investigates and analyses why elections in Kenya appear to have a correlation with violence and political instabilities. It aims to discuss the identified research question and apply sociological theories approach to study the phenomenon of electoral violence. The paper will examine how and why ethnicity plays an influential role at the center of electoral violence and assess the extent to which it impacts the post-election period.

The paper will be a critical qualitative study. As a result, the study aims to provide multi-party democracies with strategies and understanding of how to suppress electoral violence. It will also explore the importance of the democratization process in fostering free and fair elections in Kenya. It will enable governments to get crucial information in the form of laws before legislatures to strengthen and protect the legitimacy of the rights of citizens. The findings assume ethnicity plays a big role in politics.

Election-related violence deters Kenyans from electoral participation or political involvement. Ethnicity is a contributory factor in electoral violence in Kenya. Prof Dr. Since its inception, the SCO has evolved into a multifaceted institution concerned with a whole plethora of issues bearing on foreign policy coordination and economic development as a second pillar for cooperation. The SCO might be seen as a case study for new Asian regionalism based on good neighborhood diplomacy, liberalizing trade, investment and helping to improve government policies etc.

Nevertheless, the two regional hegemons have used the SCO as a platform to balance and coordinate their interests in the region. As its primary initiator, China needs the SCO to penetrate the region economically through a collaborative framework. For Russia, which has co-led the organization, the SCO is a well-established mechanism to maintain its traditional sphere of influence, but also to engage CARs to ensure a steady supply of energy through its pipeline network.

As a consequence of this imbalance, the SCO could either remain a relevant actor for cooperation in Eurasia or risk degenerating into a symbolic organization. However, he added that Davutoglu and his economic team would be able to monitor the economy closely. Still, investors highlighted concerns about the appointment of Erdogan's son-in-law to the cabinet. Investors worry that Erdogan's vision of a "new Turkey" with increased economic and international clout, will see further crackdowns on his opponents, growing authoritarianism and emphasis on consumption-led growth.

Other appointments saw Mevlut Cavusoglu return to the foreign minister's post he held before June. She took off his last name from her Instagram bio. The "Speed" costars had a casual conversation in which Bullock told Reeves she had never had the treats, and he fixed that a few days later. Kyle Rittenhouse was photographed in Charlotte County over the weekend. The image was politicized, columnist Chris Anderson writes. Darrell Brooks is set to be charged with five counts of intentional homicide in connection with the Sunday evening incident involving a red Ford Escape that plowed through barricades and into the crowd,.

Perinatal J. Histopathological changes in the placenta of streptozotocin induced diabetic rats. Is there a relationship between PCNA expression and diabetic placental development during pregnancy? Acta Histochem. Altered gene expression and spongiotrophoblast differentiation in placenta from a mouse model of diabetes in pregnancy. Dietary flavonoids protect human colonocyte DNA from oxidative attack in vitro.

Eur J Nutr. Structure-antioxidant activity relationships of flavonoids and phenolic acids. Free Radic Biol Med. Antioxidant properties of flavonol glycosides from green beans.

Redox Rep. Placental oxidative stress alters expression of murine osteogenic genes and impairs fetal skeletal formation. Mahesh T, Menon VP. Quercetin allievates oxidative stress in streptozotocin-induced diabetic rats. Phytother Res. Protective effect of quercetin on the morphology of pancreatic beta-cells of streptozotocin-treated diabetic rats. Protective effect of quercetin on experimental chronic cadmium nephrotoxicity in rats is based on its antioxidant properties.

Food Chem Toxicol. Effects of quercetin administration on the pregnancy outcome of diabetic rats. J Diabete Metab. Quercetin, a flavonoid antioxidant, prevents and protects streptozotocin-induced oxidative stress and beta-cell damage in rat pancreas.

Melatonin improves placental efficiency and birth weight and increases the placental expression of antioxidant enzymes in undernourished pregnancy. J Pineal Res. Olayaki L. The role of melatonin on uteroplacental antioxidant enzymes activities and fetal growth retardation in diabetic rats Zahedan Journal of Research in Medical Sciences: 22 1 ; e Published Online: December 10, Article Type: Research Article.

Received: January 2, Revised: June 7, Accepted: August 5, DOI : Groups Thickness, mm Weight, g Diameter, mm Control 2.

This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 4. Story is irrelevant. This field is mandatory. Email optional Please enter valid email. Please re-try again. Thank you for your report! Next In World.