art

Fishbones & a Variety of Ideas

and the night dawns upon us

catches us shelterless / and with trembling hearts

rumbling , flowing , blinding our eyes

curtain of life / blood of my blood

 /

the dew of yours, settles in / inside my lungs

and every breath of mine soak in / become your child 

a howl , most silently builds up and turns down on me 

/ sits transparently

between the sermon of he holy

and the cry of the loony

/

get down and down and down

keen to the heart and chin to the chest

maybe the last feeling of any weight / and a glimpse of your feet

all you’ve ever had / one you’d never get

Is there a postponement for eternity ?

/

Since there IS , is there any other attribution to it other than infinite ? What does limited mean other than limitless ? Can something limited really emphasize something other than what is limitless ?

Is there really any other possibility other than all the possibilities ?  What does the possibility of eternal nothing at the end mean for the ongoing now ? if eternal nothing really is then how can it be “later” ?

How can eternal nothing “come” “later” ? If it is here, now then what is this ?  

there is and there isn’t. Are there any doubts that there IS ? Can there really be any doubt on there IS ? 

 No. There can’t be any doubt that there is.          

Here are some flying fish-bones.

Language of Stones

Naomi Takaki

One day, while hiking in the Alps I began to notice the stones beneath my feet. 

The contrast between the shimmery black granite and the white limestone, their irregular shapes, the simplicity of its’ beauty and the complexity of their origin fascinated me. Each stone a small part of the enormous mountain range spread out into the distance. I found these remnants of such natural grandeur awe-inspiring and I was filled with new reverence and inspiration.

 

They are the memories, the thoughts, tiny recollections of the mountains’ history; the plates violently colliding beneath, the reckoning of an ice age, the powerful gracefulness of its formation, fully alive.

Yet it is just a stone…

But a stone that gives me a vision to express its’ spirit, its’ fragmented memories and the impressions I received when I was hiking on that mountain.

Naomi Takaki

Let’s Go to Cappadocia: Hamleci Mansion, its History, Evolution and Influence

If Ayrancı is a shining spot on our inner world maps, Hamleci Mansion in Ürgüp is one of these luminous spots. For many of us, all these spots are the places where the feeling of being a community and the taste of being together penetrate our minds and hearts. While these vibes are transformed into Ayrancı-Neukölln Dolmuş magazine, we continue our journey to Cappadocia and then to our stop in Ürgüp, Hamleci Mansion. In this article, we want to try to explain how Hamleci Mansion has come to this day and where it goes. So, we want to go on a mini journey together.

Ürgüp is a place where the fabulous nature of Cappadocia survives, and the mansion is a place where the historical traces of the region can be followed. The famous fairy chimneys were constructed by wind and water giving shape to the texture formed by the drying of the waters in the history of active volcanoes. This geography, where different societies and cultures live, gives the feeling of an open-air museum that we can visit and see even now. Cappadocia, which Assyrians call “Katpatuka” and means “the Land of Beautiful Horses” in Persian language, is referred as the land of fairies according to a local legend.

Dear Yılmaz, who has absorbed Cappadocia into his soul, says that those who come here cannot leave when they enter the right door. It is indeed so, the roots that pierce and hold onto the rocks are so strong that it is impossible not to feel. This is the reason why we have not been able to get enough of dreaming of going back to and producing together in these lands and the Hamleci Mansion.

Hamleci Mansion was built about 200 years ago by the Greeks living in the region. One day when we were interested in the maintenance of the mansion, we learned from someone who came to do a research on the old Greek houses of the region that, in Evangelia Balta’s book “Prokopi”, there is a photograph of the first owner in front of the mansion. With the combination of these information, the stories about the mansion began to merge one by one.

We learned that the first owners of the mansion were Greeks and when they had to go during the population exchange period between Greece and Turkey, the grandfather, nicknamed Hamlecioğlu, bought the mansion. Hamleci Grandpa, whose stories we had been trying to learn for a while, was Atatürk’s telephone handler. According to what is told, he did not speak much. He was highly respected by those who knew him, and was able to see his great-grandson while he was alive. At that time, we learned that Hamleci Grandpa’s own family, as well as tenant families and “Yoğman Ağa”, who was handling some of the works of the mansion, lived together in the mansion. Ürgüp was the most famous and developed region in Cappadocia at the time that Hamlecioğlu Dede and the generation after him lived.

Another feature of the mansion that is the subject of architectural research today is its wooden door. This door was painted green after Hamleci Grandpa went on his pilgrimage.

There is a garden on the right side extending from the old door. Once in the garden, there were horses in the barn, old fruit trees, a vegetable patch and an irrigation pool. This fertile garden, which has been neglected with the decrease of the residents one by one over the years, is covered with weeds and trees. Even a part of the house was destroyed by these trees and according to the stories, this destroyed part was quite magnificent. Apple trees, which were said to have at least ten varieties before, have left their places to the self-growing apricot and black elderberry trees as well as a walnut tree that is hanging from the neighboring garden.

 When you continue from the plain that extends from the garden to the mansion, you will reach the stone stairs leading to the courtyard. When you arrive the courtyard, you will see the old stone house, some parts of which are in the rocks, and the “yellow house” where the vine trees make a shade at the entrance. The courtyard, which connects the mansion and the yellow house, is in the shadow of the vines during the day and the stars and the moon at the night. According to Evangelia Balta’s book Ürgüp – Prokopi, the shape of these stone houses was determined by the rock on which they rest.

We can easily feel the natural fabric of Ürgüp in this wide area where there is a gazebo that overlooks the front garden. This mansion, which once hosted a crowded population, has sections that serve different purposes such as flour place, barn, sheep pen, tandoori, grape distillery.

When we returned to the mansion after fifteen years long abandonment, while cleaning, we discovered that there was a chapel carved into the rock between parts of the house. We think that this chapel may have inherited from the early times of Christianity. In the third century, Christians trying to meet their shelter and security needs in the Cappadocia region were able to protect themselves from the religious pressures of the Roman Empire by taking advantage of the structure of the region’s rocks suitable for carving. During these times, they continued their lives and religious practices in these safe areas. We think that the chapel, according to another assumption, may have inherited from the tunnels connecting the houses in the area.

The flour house between the yellow house and the mansion served as a cellar where cheeses, meats, vegetables and fruits were stored thanks to its location in the rock and thus keeping it cool even on hot summer days. There are two separate wells in the garden and under the “yellow house” where the tenants stay, and even the neighbors would come and take water from these wells. While there were two separate symmetrical stairs leading to the yellow house during the time of Hamleci Grandpa, today only one of them stands.

The place under the yellow house, which has an independent entrance and which we transform into a workshop today, was previously a sheep pen. The place that involves the tandoor and is used as kitchen is between the flour house and the sheep pen. This place is called “tafana” in the local language, and neighbors used to come to benefit from the tandoori. There was a grape distillery in the garden and grape molasses was boiled in large cauldrons through making fire.

Especially during Ramadan and during the holidays, the mansion was full of relatives. When grandfather was alive, they would come to kiss his grandfather’s hand. These meetings were used to lead to get 3-4 generations of the family together. Local dishes of the region were cooked for the arrivals. Hamleci Grandpa always sat on his cushion next to the wood stove in the left corner of “the room with stove”.

We have not even been able to open most of this place, some of which are in the rocks, and new rooms are linked from the other rooms. However, the never-ending features of the mansion and the fact that Ürgüp has a huge differences and great calmness compared to Ankara provides us the space we need to construct the projects we want to do.

You start carving each rock with a hole. To begin with, we decided to revive the wine culture, that is unique to Cappadocia but is hurt, within ourselves. For this purpose, last summer we had an attempt on winemaking in cooperation with our friends in the region. We have experienced winemaking in terms of the grape harvest, the crushing of the grapes, the correct maceration. During this process, we visited the wine room daily and talked nicely with wines. We are currently at the stage where the grape juices waiting in barrels and patiently waiting for them to become wine. 

In permaculture, there is a crop / harvest / benefit cycle. According to Bill Mollison, all kinds of useful outputs that come out as a result of the behaviors or operations of the elements in the system are the benefits in that system. At the same time, these benefits are theoretically unlimited. We chose this principle as our road map while we construct a life system we will create in Hamleci Mansion. While buying what we need from the areas we live in and from each other, we chose to diversify and increase what we can give. With the awareness that everything is possible when we come together, all kinds of benefits we have achieved – from creating a rainwater pond in the garden to enjoying each other and healing – has been our motivation. We were good for each other, when it was good for each other, we were good for our environment as well. There were times we worked hard for Hamleci Mansion, and also we camped together in magical landscapes. It can be said that we work in festival vibes. This is our biggest reward.

It is not an easy task to get Hamleci Mansion back on its feet. Its historical nature makes any kind of renovation difficult. Considerable amounts of financial resources are required for the restoration. We are currently writing a project to receive grant support. We dream of in Hamleci Mansion, there will be a gallery area, a suitable environment where we can host artists from different places, a garden kept alive with permaculture principles and a boutique cafe or restaurant connected with the products of the garden. We are open to any improvement of and contribution to these projects that we dream of together.

In fact, what we are aiming at is to build a life woven with the art of coexistence while providing a space to everyone to discover what they want to do and helping them bring their discoveries to this life. What we experience while doing this is, starting from our uniqueness, learning to be “the one” and reflecting this; accordingly, we reach a state of “being a collective one” formed by the coming together of “all the ones”.

We are sending you all the smell of potatoes and chestnuts on the stove from Hamleci Mansion and our journey with the dream of having a place where we can enjoy our existence and materialize our ideas by taking care of each other. Let us know if you come nearby!

Contact with the authors:

Sevecen Kaplan @sevconot

Esin Metin @kaplumbagamutfak

Ayşe Yayla @aysmayslay

Translated from the Turkish original by Tevfik Hürkan Urhan

Portrait of a Paintress from Paris to Berlin: Feryel Atek

Feryel Atek

Can you describe the main components of the aesthetics you have been constructing through your painting? What kinds of artistic, cultural, and social inputs have fed your style so far?

I  like to create an organic body of colors and shapes animated through dynamical, impulsive movements and more graphical, fine gestures. This body of textures, forms, and lines always end up evolving on its own, so that I become the tool of an energy that drives me. I think rhythm and vibration are a big component of my aesthetic, but also symbolic representation plays more a role in my work. From a young age, I wanted to create an aesthetic of my own, I had the conviction that it would bring me paradoxically closer to a certain form of universality. I really enjoy giving a form to an emotion, creating an archetype that is called by my unconscious. I like using the human figure as a recurrent pattern, muster because I think it has an endless source of expressivity. 

When I recall the origin of my style, I think first of my familial background, both of my parents are figurative painters. I spent my childhood visiting ateliers and squats in the late 90s, in Paris they were passionate about all forms of figurative representation from the Christ on the cross, to Enki Bilal’s comics, Japanese mangas, Asian and African masks and marionettes. I was really touched by this and already as a child started to build my own style, mostly graphical.

 I also have Amazigh roots, also called Berber by Europeans, an ancient indigenous folk present on all the North African territory that had an influence on my visual vocabulary.

Philosophy, anthropology, and more recently art therapy also have a strong influence on my style, the human condition and the plurality of her interpretation fascinates me as much as all kinds of spiritual and mythological representations that have been existing. 

How would you describe the aesthetic relationship between Berlin, painting, and yourself?

I came to Berlin over 7 years ago. The energy and the aesthetic of the city were so different and refreshing from my hometown Paris, where the architectural heritage of the last centuries wasn’t destroyed by the war like in Berlin. Berlin with its newborn urban landscapes gave me a lot of inner freedom and stimulation to create. The open spaces, the charm of the industrial raw architecture meeting the plentifulness of green areas and the light of the East.

 Berlin also gave me the physical space to paint on a larger scale. And of course, the Berlin scene with her variety of eccentric personalities chasing freedom of being and expression inspired me to fully embrace my individuality. Berlin is also the city where I gave birth and transformed as a woman, becoming a mother empowered my work and desire to go deeper in my painting practice.

Which painters do you think played important roles in the formation of your artist identity? Which art movements have had a significant impact on your art?

It all started with the old masters, I met in museums of all over Europe in my childhood observing Caravaggio, Da Vinci, Artemisia Gentileschi but also Schiele, Kokoschka, Goya, Hokusai, Bacon, Kahlo, Ousmane Sow, Bilal, the Surrealist all of those that invocated the human soul and condition with an innovative form transcending time and space. Also, art from other cultures and places had a big influence on my artistic construction.

Solo Pájaros: “Birds Die, You Remember the Flight!”

From the depths of the heart, with brutal honesty, comes the sound of this volatile band. Inspired by the sublime flight of the bird, the music of “Solo Pájaros” brings to the stage the powerful joy of living. Their lyrics describe the sadness that often haunts the human walk with the desire to turn it into poetry capable of raising wings in every curious listener. If we were to let his music be carried away by the wind, it would have no certain whereabouts, but would travel without a flight plan, trying to reach all the places in the world. It would treat the small as something big. The darkness of the moon as the brightness of the sun. And the inevitable death as a flash of life.

Initially three of the band members (Trini, Alex and Jan) started playing at the beginning of 2014. Singing in constant movement in the trains of Berlin, Madrid and Barcelona. Two years later two new important musicians (Antonella and Uaio) joined the band. From there the constellation that nowadays conforms the band would be aligned. Two women and three men. Five musicians. Three strings. Two percussions. And five voices.

They give their musical support in various solidarity events. They toured festivals in Hungary and Germany. In the middle of 2016 Trini and Alex leave the band and two new members join; Sebastián Yaniez first playing electric guitar and charango. A year later Sebastián Rosales joins on drums, where the band changes the sound of the cajon for that of a drum kit. They record and mix their songs between the walls of their rooms. They film their own video clips. They write their own songs. They are not afraid to feel the fall in order to find the flight.

To listen another song of them:

Fuck the Shame Away!

Fuck The Shame Away
2020

Menstrual blood on paper

The name speaks for itself and should be taken literally. This is an invitation!
Is there anything in the picture making you flush? Anything in the picture related to shame for you? No? Great! It took me a while to get there – if I’m already there at all!

Personally, I see shame about hair, masturbation, and menstruation. It was the shame towards my menstrual blood that led me to make this painting.

I see the root to it in a thought I had long ago: “I have people licking me while I’m menstruating, but I don’t really have a clue what my menstrual blood actually tastes like, except for a few after-cunnilingus impressions when I got a kiss afterwards. And I remember a feeling of distastefulness coming up. And there it was: SHAME.

Fuck this! These people seem to accept my bodily fluid more than I do? I don’t want that! And then came the question: But how can I change that?


First Idea: By trying it, of course. So next time I got my period, I took out my menstrual cup, looked at it, dipped a finger in, and tasted it. Bloody, and ok actually. First step done.
Later on, I accidentally found a webinar about menstrual blood that turned out to be full of ideas on how to get a better connection with it. One idea that caught me was: painting!


So I bought some droppers at the pharmacy to store the blood of each day separately, and some time later I did the first painting.


Fast forward to the prephase of “Fuck The Shame Away”: I made a couple paintings until I needed to produce more paint, and then an interesting feeling came up: I couldn’t wait to menstruate! And, surprisingly, I felt productive just by lying around and menstruating. I love this!


And while painting, there was a completely bloody mess on the floor that didn’t even bother me much. That is a development I was looking for!

The few things I used to create this painting are: paper, my blood (each day of one menstruation stored in a different container), water, and a brush. The variety in colors is due to the different shades from day to day, and to the amount of water it is mixed with. After painting, the colors changed a bit over time. 

And for those who are wondering, it doesn’t smell – if I get really close and inhale deeply, I can catch a soilish smell.

Maria Landmesser