Find the most recent exhibitions, concerts and events in Antalya!
Antalya residents met a brand new platform for culture and arts at the heart of the city in 2015: Antalya Culture and Arts.
Antalya Culture and Arts, founded by the Antalya Chamber of Commerce and Industry’s Education, Research and Culture Foundation in order to create a new site of attraction in Antalya and to bring different colors of culture and arts to residents and visitors of the city, hosts national and international exhibitions; provides art education for adults and kids; organizes conferences and panels with a wide range of topics, including philosophy, literature, cinema, and contemporary events.
Antalya Culture and Arts is located in a 5-story contemporary building designed by Dr. Sinan Genim, at the very center of the city and the intersection of touristic and commercial axes. Including three large exhibition halls, one auditorium, education rooms, a coffeeshop and a gift shop that features original souvenirs and books on Antalya, the building with its unique façade that represents the harmony of differences has been one of the symbolic landmarks of Antalya since the day it was opened.
Explore exhibitions in Antalya
Antalya Culture and Arts / 01.11.2020 – 01.06.2021
Memory is a concept necessary to maintain existence. What gathers in memory is later converted into a body of knowledge we call experience, guiding our stance in life, our reactions, and our instincts.
Recollections on the personal scale is called memory; on a communal and national scale, it is rather called history. Both are redeeming concepts. Individuals and societies remember what they like and forget what they don’t, even pretending they never happened. “Human memory is marred with oblivion” is a saying that implies humans are inclined to forget uncomfortable truths in order to go on living.
It is possible to connect states of forgetting to the concepts of custody and betrayal. Things in our custody are remembered almost eternally as they are “bigger” than individuals, loved and respected. Betrayal, on the other hand, is a conscious effort to willfully forget, involving the legitimization of despising others and regarding them as “small” in order to gain access to power or to survive.
Forgetting what’s in your custody may knowingly or unknowingly lead to betrayal.
Today, due to the speed and competition forced upon us, we have come to forget sharing / giving / helping, making do, modesty, politesse, elegance, simplicity, thrift, becoming smaller, and protecting what is in our custody; instead, we seem to have taken up endless growth, waste and excess, vanity, taking without giving, a loud tastelessness, crudity, cruelty, hypocrisy, insult, victimization, evilness, and betrayal.
Such oblivion must lead to a revolt for every individual, or else we are surely doomed.
Nature can remember its own systemic structure and regenerate it; but humans, due to their endless greed, forget the internal structure of the system they belong to, degenerate it instead of regenerating it, and thus cause the demise of their own kind.
The only war humans cannot win is the one waged against nature, sublime and indestructible; they will win when they lose…
are projects / 01.04 – 30.05.2021
What will we do with our dead? This question is as old as human history. It is said that one of the features that distinguish humans from other living things is their care for the dead. Although the treatment of the dead varies from culture to culture, the dead is not ever left to decay as it is. It is either cremated and turned into ash, dropped into rough waters, or buried. Before settling down, people built the first cities for their dead and established cemeteries. How the world of the dead will be separated from the world of the living, different rituals and rules are also a reflection of the differences that separate civilizations from each other. In Çatalhöyük, the tombs are inside the homes where they lived, modern western society tries to move the cemeteries out of the city in order to distance death from daily life as much as possible.
Encountering an atypical funeral ritual in and around Adana, Mustafa Boğa positions this unusual situation at the centre of his works called The Foundation Ceremony. In the region, the grave pits are covered with concrete panels and, in a way, a room is being constructed for the deceased. Although the use of concrete panels instead of the commonly used timbers to cover the deceased seems like an application to prevent the collapse of the grave over time, it is a practice that prevents the decay of the body and flush with the soil. The origins of this practice is unknown; it requires in-depth research to claim it a modern application or a contemporising of an archaic one. Boğapicks up this application in creating the archaeology of modern day Turkey. The artist reveals the foundations of Turkey via scraping the ephemeral yet effective images of the popular imagery onto the concrete panels. Concrete makes visible the patterns between death and power.
Concrete, just as the opposite of the mortality of the body, it is a material used to overcome death; to freeze change, to counter the flow of life. It is not accidental that this technology, which differs from natural processes by being an industrial material, is associated with modernism, and concrete buildings are monuments of modern power. Concrete is used to secure the foundations of modern power with a slippery slope in an age where everything solid evaporates. A world embedded in concrete freezes the cyclical movement between birth and death and tries to preserve what exists as it is. As a result, although it seems for a while that the forces of life are being brought under control, in the long run there is absolute destruction. Stream beds claimed with concrete and uncontrollable flood results are the clearest examples of this broken chain. Concrete is the technology that we refrain from giving back to nature what we get from nature. But a weak technology; it is not in vain that our concrete civilization collapses like a sand castle in the face of the slightest natural event. Boğa uses the concrete, which speaks a lot even in its simplest form, to create a narrative that captures its relationship with death and depicts today’s world. The engraved panels of The Foundation Ceremony are trying to narrate us the story of our own via both the funeral rituals and modern Turkey that they are associated with.
Boğa’s drawings create surrealist collages from images that have taken place in our collective memory. In these collages, a soldier dressed in camouflage and the cartoon character Scooby-Doo can come together. Despite all their temporality and insignificance, these images that pass before our eyes in daily life are revealed to be engraved in our minds. The spreads of the drawings that do not contain any orderly relationship make it impossible to construct a narrative or a subtext behind the visible. Rather than an iconography work, what is important here is the dialectical relationship between the temporary images and concrete, which is desired to be permanent. Boğa‘s own poems carved on the panels also highlight this relationship. Poems are laments that are burned after these images that haunt us like a ghost who is dead but not buried duly and passed on to eternity. They talk about being stuck, being rootless and not being unable to hold on.
The Foundation Ceremony reveals the state of a society whose foundations have been scraped and lives have lost their organic ties. The work of Boğa is a symbolic funeral ceremony for a society that tries to resist the passage of time, cannot bury its dead, cannot make room for the new ones, and is covered with pus. Letters written inerasably in case someone in the future attempts to dig into the past in order to understand our situation.
are projects / 15.04 – 30.05.2021
With this work, Coming Soon explores daily sequences confined to the authenticity of actual time and space, that have been ‘captured and detained’. By putting these images together, the viewer is again invited to offer their individual narration. The installation creates endless variations, and reflects the ways in which we archive our lives to make sense of the random events that dominate our daily experiences. It represents what the recorder cares about and the question the instinct behind recording.