The Stars Are Closer Tonight, YAMA, Istanbul, 2008
The Stars Are Closer Tonight, YAMA, Istanbul, 2008

The Stars Are Closer Tonight, YAMA, Istanbul, 2008

(group exhibition)
exhibition website

Yama is a new public art space hosted by a 6m x 9m lumacom screen that sits atop the Marmara Pera Hotel in Istanbul.

The hotel is located in the second most central square of Istanbul, Tepebasi, a restless site where people are constantly passing through on their way to work, where they pause to drink tea in the evening and where sunset lovers find some privacy at night. While it is dark the area is just as active, surrounded by restaurants, clubs and concert halls, a varied crowd gather to queue for bars, to await taxis and to move on elsewhere as much a part of the new gentrification of the area as the places they grace.

The importance of this space is its ability to have an immediate effect on the public and to host the possibility for interactivity and communication. Yama aims to be such a shared experience that acts as a "patch" in the setting of the city to attract the gaze of the passer by, the public and the tourist.

Every year one person, or a team will be responsible for curating yama and it will always be the curator at large who select's the next. The screen's goal is to create a network of people and projects that can in time penetrate and share its achievements with similar screens throughout the world in order to create and sustain an international dialogue.

yama's curatorial series, this year curated by Sylvia Kouvali and titled " long as it's dark..." is supported by the Marmara Pera Hotel. To realise additional independent projects and proposals we are researching further financial support.

yama is made possible with the kind generosity of the Marmara Pera Hotel.

August 21 – September 17 2008 dusk – dawn

allsopp&weir; are London based artists Paul Allsopp and Andy Weir, who have been working collaboratively since 2003. Their work, using moving image, sound, text, and drawing, explores affective qualities of ritualistic procedure: duration, repetition, rhythm and movement in relation to bodies, voices, language and spaces.

In Grass Breath Spit Trumpet, an old man performs a series of eccentric repetitive actions under a golden sunlight. His obscure ritual involves breathing on a patch of grass. Putting the grass into his mouth. Crawling on his hands and knees to the trumpet, which is buried in the ground. Spiting the grass into the trumpet. Blowing on the pipe of the trumpet. The quality of the 16mm film image and the intimate approach to the scene adds to the uncertainty of the nature of his actions a certain veil of surveillance over what is a very bizarre behaviour.

allsopp&weir;’s most recent works, feature the same actor in different scenarios. They have been working in collaboration with an elderly man named Charlie Fuss, as an on-going experiment to transform their practice through the relation to a third person and projecting or fictionalising Charlie’s own process of becoming ritualistic as a method of overcoming himself.

(Irene Aristizibal, guest curator)