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 kundura hafıza of photographs such as architectural drawings of the factory buildings, kundura hafıza, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, kundura hafıza, job applications, certificates of quality, bills for goods etc.

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.

Kundura hafıza

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How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond?

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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. The concept and practical outcomes of this system of working in shifts are presented to the audience through an public session. She earned her BFA. A in the "Photography" department at Marmara University in Istanbul.

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It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. 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. Through experimentation, we attempt to bridge past and future and embrace change, while also keeping those bonds with the memory of cinema, and with the inherited legacy of our post-industrial space. Kundura Cinema aims to invite its audience to acknowledge our past and our shared memory. She focuses on the definitions and practices of "care and attention" in a broad sense. As the space belongs to the public, we offer a diversity of genre, and we attempt to reach as wide an audience as possible through our curatorial storytelling. Our focus at Kundura Cinema is on designing experiences. 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. By the way, we still conserve the carbon arc lamp projector left from the factory time — this still welcomes visitors in the foyer of the cinema today. She earned her BFA. A in the "Photography" department at Marmara University in Istanbul. Of course, we also have plenty of programmes with short films and also feature length creative documentaries along with classics. We can see how sharing different layers of experience and knowledge can help us to break down vicious cycles in the structure of cultural production.

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This approach is reflected not only through our curatorial policy, but also through our sales strategy, where we aim to create a sense of balance. Through experimentation, we attempt to bridge past and future and embrace change, while also keeping those bonds with the memory of cinema, and with the inherited legacy of our post-industrial space. Through our curation, we remind our audiences of this heritage and we encourage them to engage with the stories behind our programme. Cinema of Commoning. Experimenting with exhibition formats can also shape the audience. She focuses on the definitions and practices of "care and attention" in a broad sense. Of course, we also have plenty of programmes with short films and also feature length creative documentaries along with classics. What is it about film that can create solidarity, in your opinion? This is the most convenient and healthiest way to keep ourselves vibrant and innovative. She earned her BFA. Powerful storytelling is a source of solidarity. As our space is a part of industrial heritage, and partially public, we cannot keep it just for ourselves or for a very niche target audience. 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. When we were conducting oral history interviews as part of the Kundura Memory Project, we were mostly interested in finding out about the social life of the factory. We believe that we can make locality more valuable within global solidarity.