Ali Kazma

Born (1971) in Istanbul, Turkey, where he lives and works. He studied (MA degree) in The New School, New York City, USA. His work documents human activity, labor and explore the meaning of production and social organization through the detailed and meticulously created videos, mainly focusing on routines and cycles in different professions. Recent exhibitions: Istanbul Biennial (2001, 2007, 2011); Tokyo Opera City (2001); Istanbul Modern (2004, 2008, 2011); 9th Havana Biennial (2006); San Francisco Art Institute (2006); Lyon Biennial (2007); Athens Biennial (2007); Whitechapel, London (2008); New Museum, New York (2010).

 

In locating the state of contemporary man in the contemporary world it is very important for me to look at different iconic contemporary situations. In these symbol-locations, many aspects of the human condition are being revealed. All videos deal with the way we -as humans- relate to, give form, change and create the world around us perpetually. I always shoot my own videos -without rejecting the possibility that this may or may not be the case forever- and I edit them myself. I do not have a crew, lights, or assistants when I am on location. This is very important for my work. Entering into these spaces puts me in a very receptive and festive mood. I feel I am on the edge continuously, on the threshold of change, facing the moment of decision. This mood, although not attuned to communicating with others, is nonetheless necessary since I do want to do want to change what I am shooting due to a strong presence on location. I would rather stay like a fixture or better still as a ghost for as long as possible.

Obstructions series (eight videos documenting human activities related to maintenance, repair, production and creation):

I have been making these videos for longer than I have been presenting them. So with each space I try out a new configuration and see how I feel about it. Deciding how to present the videos is also a creative process. Combination starts to create its own unfolding. Moreover, since all the videos differ in duration, you never see the same combination of images or hear the same audio twice. When you add a third or a fourth video, of course the exponential increase in complexity takes over. I think this is one of the most important features of the work for me for a number of reasons. To begin with, this presentation keeps the work fluid, dynamic, difficult to pin down and possess completely; therefore it remains open-ended. Alive. Moreover, this presentation, in all its complexity, with multiple centers and tensions, is in a constant state of being created; it is open to infinite possibilities and yet able to present one possibility at a time, which I believe mirrors the world as it is. Finally, it links production to presentation in a positive way and makes it possible for me to stay engaged with the works.

Ali Kazma

Photos

Jean Factory, 2008, Single channel video, 12 minutes, Courtesy : Qbox Gallery, Athens and Francesca Minini, Milan
Jean Factory, 2008, Single channel video, 12 minutes, Courtesy : Qbox Gallery, Athens and Francesca Minini, Milan
Household Goods Factory, 2008, Single channel video, 12 minutes, courtesy : Qbox Gallery, Athens and Francesca Minini, Milan
Household Goods Factory, 2008, Single channel video, 12 minutes, courtesy : Qbox Gallery, Athens and Francesca Minini, Milan

Untitled (12th Istanbul Biennial), 2011 Biennale de Lyon