Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its kundura hafıza development within the context of tangible and intangible cultural values.

How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond? Kundura Cinema is part of a cultural placemaking project. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site. For this reason, our story began with the memory project, Kundura Hafiza, through which we were able to uncover untold stories, and gain a better understanding of the social history of this site and of our collective identity.

Kundura hafıza

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First and foremost we hope that our audience will become a part of this ongoing journey, kundura hafıza their relationship to themselves and the space forming part of the placemaking process.

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Kundura Sahne probes performance practice with an inquisitive approach and creates space of encounter with its experimental and innovative fashion. While creating dialogues with strong local and international values, it embraces, encourages and supports research-oriented creative practice in interdisciplinary context. Nurturing the relation of research methodologies and creative techniques, it provides an interplaying dialogue for known concepts and rules; and takes part in creating works of art that are developed with proper methods. Based on the complexity of terms and definitions, it investigates ongoing peripheral connection and interrelationship of concepts such as stage, audience and actor, body and movement. It encourages change in creative styles and creates new setups. It focuses on documentary approach in the context and practice of research-based art making and narrative plotlines. It shapes and contours experiences and social narrations that we all are surrounded by. It progresses without making a classification according to technique, style and format and does not establish a fixed and limited perspective.

Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. The artists who are invited to Vardiya for working at the archive in certain periods of the year for certain durations transfer their duties to the artist that will take over. The artist decides how to make the transfer in this creative process.

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Following the traces of these narratives helped us to consider how we could construct a cultural destination while also developing an insightful approach to the adaptive reuse of the space. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. The artist decides how to make the transfer in this creative process. We aim to allow our audiences to design their own experience, and what is most important here is that we provide enough material to allow them to do this. Our cinema and its surroundings complete each other. Experimenting with exhibition formats can also shape the audience. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. Her recent works investigate the body as an archive and movement as a means of revival. How does the choice of films shape the different types of audience of your cinema space? She played an essential role during the construction of the industrial heritage site Beykoz Kundura , and in she founded the non-profit association Kundura Hafiza. The main strand of our curation centres on restored classics and silent film screenings with live music accompaniment. To what extent is the programme of Kundura Cinema shaped by the memory of its location, Beykoz Kundura? What does Cinema of Commoning mean to you? It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul.

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The artist decides how to make the transfer in this creative process. Kundura Cinema aims to invite its audience to acknowledge our past and our shared memory. For instance, if a programme is ticketed, then we also ensure that we include free screenings within the season. The location of the cinema and our curatorial policy create natural filters and frames for audience development. During this process of historical exploration, I discovered the world of classical restoration. Through our curation, we remind our audiences of this heritage and we encourage them to engage with the stories behind our programme. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. We were curious about what type of films they were watching back then. During the summer time they used to organise an open-air cinema in the garden of the factory, and this inspired us to kick off our open air film festival Midsummers Night Festival. Buse Yildirim b.