The context for art practice in Turkey - negotiating patronage

About

ABOUT This discussion is organised to provide context around and responding to Burak Delier's exhibition at Iniva, 'Freedom has no script'. Burak Delier's work is acutely political; he questions links between corporate culture and artistic practice, a real concern for artists in Turkey. Like many countries worldwide, Turkey's current artistic boom is funded by private money from banks and large corporations, with no or very limited support for cultural activities from the state. His practice often questions his position as an artist and the difficulties associated with negotiating the politics of this situation. THE SPEAKERS Dr Andrea Phillips is currently Reader in Fine Art in the Department of Art, Goldsmiths, University of London, and Director of the Doctoral Research Programmes in Fine Art and Curating. As well as providing academic and managerial leadership both in the Department of Art and at Senior Management level across the University, Andrea also directs a number of international interdisciplinary research projects and publishes widely on art, curating, politics and public space. In addition to the research projects listed below, Phillips was the Curator of Public Programme, Istanbul Biennial 2013. à 'vül Durmusoglu is a curator and writer based in Berlin and Istanbul. As a Goethe Institute Fellow at Maybe Education and Public Programs for dOCUMENTA(13), she organized the programs, What is Thinking? Or a Taste That Hates Itself; Readers Circle: 100 Notes - 100 Thoughts; and Paper Mornings: Book Presentations at dOCUMENTA(13). Durmusoglu has contributed to different catalogues, publications, and magazines such as Frieze d/e, Flash Art International, and ment. Durmusoglu worked as the curator of the festival, Sofia Contemporary 2013. Fisun Güner is an art critic and visual arts editor for the award-winning online arts journal The Arts Desk. She has written for a range of publications, including the Independent, Metro, Prospect, Standpoint and the New Statesman.