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video artist Ali Kazma, who represented the country at the 2013 Venice Biennale, has published an online protest statement titled “Something Rotten in the Republic of Turkey.” In his essay, Kazma condemns ruling Justice and Development Party’s (AKP) identity politics, which he claims pit the poorer Islamist sectors of society against the wealthy, more educated classes in order to maintain power.

Hopping like a jackrabbit between genres and media, including forays into the swamps of pop culture, Nelson is strongest when at her most rageful, writing with controlled fury at the anti-­intellectualism and crassness of the present. She has no time for fake populism, she’s an unabashed cultural elitist: withering about reality TV, Lars von Trier and the middlebrow brutality dispenser Neil LaBute (whose plays she calls “sophomoric” and “weak-minded”). She employs herself as a registering instrument, constantly taking her aesthetic temperature: “I felt angry. Then I felt disgusted. Finally, I felt bored.” These reports have a phenomenological brio, laced with physiological detail. She recalls “a kind of vibrating memory of the unnerving psychic state” induced by the video art of Ryan Trecartin. About a Yoko Ono piece, she writes: “I long to see Ono’s clothes fall, to see her breasts bared. Yet I also feel a mounting sense of alarm, empathy and injustice in watching her body be made vulnerable.” She likes art that makes her morally uncomfortable, and from the laudatory way she quotes Kafka — “What we need are books that hit us like a most painful misfortune” — I assume she wishes to induce the same state in her readers. Often she does, moving at breakneck speed from real-life political violence to the images of such violence (including those on human rights Web sites), to real violence in performance art (Chris Burden asking a friend to shoot him; Marina Abramovic inviting viewers to injure her), to the violent impulses of artists like Bacon.

Last Saturday, the 15th of March, Akram Zaatari and Rana Zincir engaged on a very inspiring conversation around the prolific artistic production of Akram Zaatari. Rana Zincir wrote 6 words on postcards and let Zaatari choose among them and then talk about what they mean for him and his artistic production: Longing, peace, chronicle, resistance, artifacts and finally history were the words… But other words also came forward such as memory, archeology, conflict, identities, documentation and photography…

Akram Zaatari reflected on Rana Zincir’s word puzzle! | Boğaziçi Chronicles

Kind of brilliant approach to sparking a conversation. Stealing that forthwith…