News / Updates

I started hosting a radio show at Keith F’eM, an online radio.

Check the projects section and go to Art Next Door to listen previous episodes.



I am happy to share my collaboration with Ines Lechleitner for “Tracing Dystopian Dialogues” sound installation, on behalf of Dystopie Sound Art Festival Berlin/Istanbul.

The opening is on September 21, in different locations:

DYSTOPIE – Sound Art Festival – Berlin/Istanbul

10 Days – 20 Projects – 7 Locations

Opening Evening : Friday 21. Sept. 2018 (free entrance)

18:00 – Kleiner Wasserspeicher

Welcoming – Georg Klein, Golo Föllmer, Şirin Özgün

Performance / Installation – Society for Nontrivial Pursuits: UTopologies –
A network of shared influences (Alberto de Campo, Hannes Hoelzl, Christian
Schmidts, Isak Han, Bruno Gola)

Installations by  Alessandra Eramo, Selçuk Artut and Georg Werner at Kleinen Wasserspeicher

19:00 – Großer Wasserspeicher

Installations by Sair Sinan Kestelli, Ipek Gorgun, Jacob Kirkegaard aund Georg Klein

20:00 – Errant Sound Project Space

Installation by Candaș Şișman and Sound Bar at the Gallery

21:00 – Meinblau Projektraum

Installations von Peter Cusack/Katharina Bévand, Ines Lechleitner/Tuçe Erel, Antje Vowinckel and Jeremy Woodruff

Performance – RAW (Selçuk Artut / Alp Tugan): Live Coding A/V Performance

Bar – open end

Here are more details about our work:

Tracing Dystopian Dialogues

Ines Lechleitner & Tuçe Erel, 2018
sound installation:
audio (27:09 min),
drawing “Woven Voices” (200 x 90 cm),
photograph “Triangular Dialogues” (40×40 cm),
three armchairs, text.00740004cc

Ines Lechleitner, “Triangular Dialogues”, 2018, photograph, 40×40 cm.

The sound composition Tracing Dystopian Dialogues is collaboration between the artist Ines Lechleitner and the curator Tuçe Erel. It is based on interviews conducted in June, 2018 in Istanbul around the notion of dystopia and utopia.

During the interviews Lechleitner, who does not speak Turkish, created a visual code for each voice. Based on these recordings in Turkish, Lechleitner and Erel compose a sound work following the voice’s intonation, melody and its physical agency as well as its content.

The final piece reflects the subject matter not as a collection of stories but as fragmented flow of meaning and situations that cannot be patched together other than by their musical qualities and the composition itself.

During the talks, Lechleitner and Erel asked about the interview partners’ personal background, their relation to Istanbul and the neighborhood. After these introductory questions people explained what the concept of utopia or dystopia could mean to them personally and how it reflects on the urban scale. The piece plays with the negation of narration as an expression of self-censorship, a daily experience for many of the people interviewed.

The installation has different layers: Ines and Tuçe worked on the sound collage and conceptualized the installation together. Ines made the drawing based on the final sound composition and her color codes developed during the interviews in Istanbul. Her photograph shows the triangular dialogue situation in Istanbul. It serves as a reference point for the installation with the three armchairs facing the drawing. After the process of sound editing, Tuçe wrote a text about the work, the process and the content of the sound work.

“Tracing Dystopian Dialogues” is produced on behalf of DYSTOPIE – Sound Art Festival – Berlin/Istanbul. The sound work is co-produced by Ö1 Kunstradio and finalized in the Ö1  Funkhaus studios in Vienna. Thanks to Errant Sound and the DYSTOPIE Sound Art Festival team; Elisabeth Zimmerman, Anna Soucek, and Fridolin Stolz for Ö1 Kunstradio.


External Memory – Approaching archives

Image: Štěpánka Sigmundová, External Memory (2009-_), Exhibition view at National Gallery Prague (2015)

On Wednesday 12.09, 7pm Berlin Sessions Residency program organized together with Tschechisches Zentrum Berlin an artist talk and conversation about archival artistic practices. I was invited to chair and present a short presentation about archival artist work and its relation to memory. After my introduction, Carrie Skinner presented her experience with Glasgow School of Art and Center for Contemporary Arts in Scotland. Then the residency artist Štěpánka Sigmundová  talked about her practice.

Here are some images on Facebook. I will update my text section soon about her work, which will be published on Berlin Sessions website.

TopLab: the first community biolab in Berlin

We are building TopLab: a community bio laboratory for curiosity, creativity, education and interdisciplinary research. TopLab serves as a platform for science, technology and art, where people have access to biotech classes and develop their own projects. Help us acquire the equipment needed to initiate our community and become an important part of our journey!

Support us and check the campaign page on indiegogo!