RODEO Istanbul

May 16 – July 25, 2015

The Fall

Duncan Campbell, Lukas Duwenhögger, Ramin Haerizadeh, Rokni Haerizadeh, Christodoulos Panayiotou, Hesam Rahmanian, Cameron Rowland, John Smith, Vangelis Vlahos

In an effort to deconstruct patriarchy and structures based on hegemonic practices, Rodeo brings together a group exhibition that will take place in two spaces; the gallery on Sıraselviler Caddesı no 49 and the space of Near East magazine and projects in Dolaptere.

THE FALL is never ending and this exhibition could be material that constantly changes as the current historical moment requires. The artists’ list could be endless and its (sexual) identity more mixed but at this first stage no woman is part of it. Not that the feminine doesn’t come hand in hand with hegemony or that women are innocent. From Cleopatra to Maggie Thatcher, from Empress Theodora to Angela Merkel; and on and on. But this exhibition is not about that. John DeLorean, national symbols, Archbishop Makarios, a cable conduit, a series of family photos and Abdulah Ocalan, become the begining of a story that is a proposal without an end of how we can deal with the world we inherited and the one we keep pushing. It is (not) one way of seeing things. But how to continue from here? And how to deal with what’s been already achieved? And what is left to do?

MAKE IT NEW JOHN (2009) by Duncan Campbell portrays the failure of engineering genius John DeLorean. The son of a Romanian immigrant, after quitting from General Motors convinced the British Labour Government to fund his new project; a factory in Belfast that manufactures a new sports car. Despite the success of the attractive model with thousands of sales, the company could not generate profits and the factory shut under Thatcher in 1982, and the glamorous DeLorean was arrested by the FBI.

Lukas Duwenhögger’s UFO STAR (2014), a sculpture made for the artist’s solo show in London with Rodeo, is an assemblage. Commandante Che invites us in the comforting climatized hall, placed on a box of an UFO heater, surrounded by shinny bits of reds, blues and blacks. A sweet gesture from an alienated leader at a neoliberal time.

The sculptures of Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian are the perfect damaged heroes. The practice of the three artists as a group, as any collaborative act, is by default an ego-less, anti-hierarchical gesture. While having independent practices the three artists, who live and work in the same house and make work together, respond to politics and war with a sense of joy and hallucination. Accidents become part of the work and spontaneity and humour is crucial to the sculptures. The material for the works on paper come from personal family photos as well as newspaper clippings the artists collect.

I LAND (2010) is the last piece of a trilogy that is the result of a series of research carried out by Christodoulos Panayiotou in various archives in Cyprus. Found in the Press and Information Office in Nicosia, these photographs follow and document the public life of the leader of the country between 1960 and 1977. While recording the public life of Archbishop Makarios, the photographer in his free time was shooting scenes of leisure, beauty and daily life writing a parallel history to the official one he was hired to do.

INTERMEDIATE PREVENTIVE (2014) is a work by Cameron Rowland that has a mirrored self work that will be exhibited at Rodeo, London as part of the exhibition The Chicken and the Egg, A Chicken (opening June 6 2015). While the work in Istanbul is available for sale the work in London is a rental. Common in Rowland’s practice is to engage the buyer of his work in a dialogue about ownership, rights and responsibility over the work one gets. Conduits cover electrical cables that run on buildings’ facades which mainly power security lights or surveillance cameras. Intermediate Preventive consists of conduit, cable, and a high-pressure sodium wall pack. The light fixture is not shown and will never be in the custody of the collector, but will remain in the possession of the artist.

A starting point for this exhibition has been John Smith’s FLAG MOUNTAIN (Southern Nicosia, looking towards the border with the Turkish Republic of Northern Cyprus) (2010). Life in Nicosia goes on while an ‘invisible’ dramaturgy takes place every day, as the carved flag on the mountain Exadaktylos appears with the daylight and disappears while appearing stronger with the lit elements at night. Smith’s sense of humour and strong visual language compose a perfect deconstructed monument, be it a National Anthem and a Flag.

Vangelis Vlahos’ IS THERE ANY OVERSIGHT ON OCALAN? (2009-2011) consists of 119 images recreating Kurdish leader Abdulah Öcalan’s known and rumored route before his capture outside the Greek ambassador’s residence in Nairobi on February 15, 1999 and his transfer to Turkey. The work arranged formally on a 23 meter long wall-mounted shelf is consisted of landscape, cityscape, aerial and architecture images of Moscow, Rome, Athens, Minsk and Nairobi, where Öcalan hid or tried unsuccessfully to find political asylum after he left Damascus, Syria on October 1998. The photographs are presented in a row and the order follows Öcalan’s journey. For the localization of these pictures and the exact conditions (weather etc) existing during the period Öcalan was there, Vlahos used testimonies and articles related to the case, given that the photographic coverage of the route is very limited to non existent. Most of the images included were found in touristic guides and magazines of the late 1990’s and on the Internet.

Ramin Haerizadeh (b. 1975, Tehran) lives and works in Dubai. He has exhibited in Charles Saatchi’s Unveiled: New Art from the Middle East, London (2009); Sharjah Biennial 10 (2011); The Trees Set Forth to Seek for a King at the Museum on the Seam, Jerusalem (2014). He has had three solo exhibitions at Gallery Isabelle van den Eynde and a solo at Gallery Nathalie Obadia, Paris (2012). His works are held in a number of significant collections including Guggenheim Abu Dhabi, the British Museum, the Devi Art Foundation and the Rubell Family Collection. Haerizadeh has staged two collaborative exhibitions with Rokni Haerizadeh and Hesam Rahmanian at Gallery Isabelle van den Eynde, Dubai (2012, 2014) and one at Kunsthalle Zürich (2015). In 2014, the three artists participated as a collective in the Robert Rauschenberg Foundation’s residency in Captiva, Florida.

Rokni Haerizadeh (b. 1978, Tehran) lives and works in Dubai. He has exhibited in Carnegie International (2013); Here And Elsewhere, New Museum, New York (2014); Sharjah Biennial (2011). His works are held in public and private collections, including the Carnegie Museum of Art, the British Museum, Tate Modern, the Devi Art Foundation, the JP Morgan Chase Art Collection and the Rubell Family Collection. Haerizadeh has staged two collaborative exhibitions with Ramin Haerizadeh and Hesam Rahmanian at Gallery Isabelle van den Eynde, Dubai (2012, 2014) and one at Kunsthalle Zürich (2015). In 2014, the three artists participated as a collective in the Robert Rauschenberg Foundation’s residency in Captiva, Florida.

Hesam Rahmanian (b. 1980, Knoxville) lives and works in Dubai. He has had solo exhibitions at Gallery Isabelle van den Eynde (2013), Paradise Row, London (2011) and Traffic, Dubai (2010). He participated in a group show at the Royal College of Art, London, as one of eight finalists for the MOP CAP 2011 prize. Rahmanian has staged two collaborative exhibitions with Ramin and Rokni Haerizadeh at Gallery Isabelle van den Eynde, Dubai (2012, 2014) and one at Kunsthalle Zürich (2015). In 2014, the three artists participated as a collective in the Robert Rauschenberg Foundation’s residency in Captiva, Florida.

Cameron Rowland (b. 1988, Philadelphia) lives and works in New York. His solo exhibitions include Artists Space, New York (2015, forthcoming); Bait, Inc, ESSEX STREET, New York (2014); An Agreement, Wilfred Yang, Los Angeles (2013). His group exhibitions include Slip of the Tongue, Punta della Dogana, Venice (2015); International Currency, Lodos, Mexico City (2015); Theater Objects: A Stage for Architecture and Art, LUMA Foundation, Zurich (2014); Concerns and Returns, Weingrüll, Karlsruhe (2012).

John Smith (b. 1952, London) lives and works in London. His solo exhibitions include The Kiss, Centre d’Art Contemporain de Noisy-le-Sec, Paris (2014); The Gallery, Tyneside Cinema, Newcastle upon Tyne (2014); Associations, Figge von Rosen Gallery, Cologne (2013); Tanya Leighton Gallery, Berlin (2013, 2012 and 2010); Bildstörung, Kestnergesellschaft, Hanover (2012); Horizon, Turner Contemporary, Margate (2012); Worst Case Scenario, Weserburg Museum for Modern Art, Bremen (2012); John Smith: Short Films, Uppsala Art Museum, Sweden (2011); unusual Red cardigan, PEER Gallery, London (2011); The world seems a long way away, Pallas Projects, Dublin (2011); John Smith: Solo Show, Royal College of Art Galleries, London (2010); I’m Lying, I Promise, Sala Diaz Gallery, Texas (2010); John Smith – Selected Films and Videos, Ikon Gallery, Birmingham (2006); John Smith – London and Other Worlds, Kunstmuseum Magdeburg (2005); Open Eye Gallery, Liverpool (2003) and Pearl Gallery, London (2003). His group exhibitions include Invocable Reality, Museu d’Art Contemporani de Barcelona (2014); The Reluctant Narrator, Berardo Museum, Lisbon (2014); Constellations, Tate Liverpool (2013-14); Image Counter Image, Haus der Kunst, Munich (2012); Has The Film Already Started?, Tate Britain (2011-12); Berlin Biennial (2010); The Talent Show, Walker Art Center, Minneapolis and MoMA PS1, New York (2010); Venice Biennale (2007); A Century of Artists’ Film in Britain, Tate Britain (2004); Live in Your Head: Concept and Experiment in Britain 1965-75, Whitechapel Gallery, London (2000); The British Art Show, UK touring exhibition (1984). His work has been profiled in recent retrospectives at film festivals in Oberhausen, Tampere, St. Petersburg, La Rochelle, Mexico City, Uppsala, Cork, Sarajevo, Regensburg, Stuttgart, Karlstad, Winterthur, Bristol, Hull and Glasgow. He is the recipient of the Paul Hamlyn Foundation Award for Artists (2011 and 2013) and Film London’s Jarman Award. His work is held in numerous collections including Arts Council England, Tate Gallery, Ella Fontanals-Cisneros, Kunstmuseum Magdeburg, Wolverhampton Art Gallery and Ferens Art Gallery, Hull.

Vangelis Vlahos (b. 1971, Athens) lives and works in Athens. His solo and group exhibitions include On the moment of change there is always a new threshold of imagination, Artspace, Auckland (2014); Gesture, Kunstverein Stuttgart (2014); Europe / South East. Recorded Memories, The Museum of Photography Braunschweig (2013); Current Pasts, National Museum of Contemporary Art, Athens (2012); The End of Money, Witte de With, Rotterdam (2011); MONODROME, 3rd Athens Biennale (2011); To the Arts, Citizens!, Serralves Museum of Contemporary Art, Porto (2010); tanzimat, Augarten Contemporary, Vienna (2010); 11th Istanbul Biennial (2009); After Architecture, Centre d’Art Santa Monica, Barcelona (2009); ISLANDS+GHETTOS, NGBK & Kunstraum Kreuzberg/Bethanien, Berlin (2009); Monument to transformation, City Gallery Prague, Prague (2009); Selective Knowledge, ITYS, Institute for Contemporary Art and Thought, Athens (2008); A Number of Worlds Resembling Our Own, SMART Project Space, Amsterdam (2007); 27th Sao Paulo Biennale (2006); Behind Closed Doors, Dundee Centre for Contemporary Arts, Dundee (2005); Manifesta 5, San Sebastian (2004; 3rd Berlin Biennial (2004).

Rodeo would like to thank all the artists for their enthusiasm and their works as well as ESSEX STREET gallery, Tanya Leighton gallery, Isabelle van der Heyde gallery for all their help. This exhibition would not had been possible without the great generosity of Mihda Koray and Lara Ögel of Near East Magazine and space, as well as Eidotech, Berlin, Andry Panayiotou and Andreas Louzis from Move Art, Athens.

Ataerkilliği ve tahakküm pratiklerine dayanan yapıları tersyüz etmek adına, Rodeo iki mekanda gerçekleşecek bir karma sergi düzenliyor; Sıraselviler Caddesi 49 numaradaki galeri ile ‘Near East’ dergisinin Dolapdere’deki proje mekanında olmak üzere.

DÜŞÜŞ sonlu değil ve bu sergi, içinde bulunduğumuz tarihsel anların gerektirdiği şekilde durmaksızın değişen içeriğin kendisi olabilir. Sanatçı listesi sonsuza dek uzayabilir ve buradaki cinsel kimlik daha karma bir hal alabilir, ancak bu ilk etapta listede kadın yok. Kadın tahakkümle iç içe olmadığından ya da kadınlar masum olduğundan değil. Kleopatra’dan Maggie Thatcher’e, İmparatoriçe Theodora’dan Angela Merkel’e, böylece uzayıp gidiyor. Ancak sergi, bununla ilgili değil.

John DeLorean, milli semboller, Başpiskopos Makarios, bir kablo borusu, bir grup aile fotoğrafı ve Abdullah Öcalan, devraldığımız ve iteklediğimiz bu dünyayla nasıl baş edebileceğimize dair meramı olmayan bir önerinin, bir hikayenin başlangıcı olurlar. Bu, şeylere bakmanın bir yolu (değil). Ama buradan nasıl devam etmeli? Ve zaten tamamlanmış olana nasıl el atmalı? Ve geriye yapacak ne kaldı?

MAKE IT NEW JOHN (2009) adlı işinde Duncan Campbell, mühendislik dehası John DeLorean’ın çöküşünü resmeder. Rumen göçmen çocuğu, General Motors’tan ayrıldıktan sonra İngiliz İşçi Partisi hükümetini yeni projesine mali kaynak sağlamaları yönünde ikna etmiştir; bu, Belfast’ta yeni bir spor araba üretecek olan bir fabrikadır. Bu çekici modelin binlerce satışa varan başarısına rağmen, şirket kara geçememiş, fabrika Thatcher zamanında, 1982 yılında kapatılmış ve görkemli DeLorean FBI tarafından tutuklanmıştır.

UFO STAR (2014), Lukas Duwenhögger’in Rodeo’yla Londra’da gerçekleştirdiği solo sergisi için hazırladığı heykel işi, bir asamblajdır. UFO ısıtıcı kutusunun üzerinde yer alan ve kırmızı, mavi, siyah parıltılarla çevrili Commandante Che, bizi rahatlatıcı bir havayla doldurulmuş büyük salona davet eder. Neoliberal zamanlarda yabancılaşmış bir liderden tatlı bir jest.

Ramin Haerizadeh, Rokni Haerizadeh ve Hesam Rahmanian’ın heykelleri, kusursuz arıza kahramanlardır. Bu üç sanatçının grup olarak pratiğinde her ortaklaşma hareketinde olduğu varsayıldığı gibi, egodan arınmış, anti-hiyerarşik bir jest söz konusu. Bağımsız çalışmalarının yanı sıra, üç sanatçı aynı evi paylaşıyor, birlikte iş yapıyor, politikaya ve savaşa bir neşe ve halüsinasyon duygusuyla karşılık veriyorlar. Kazalar işin bir parçası haline gelirken kendiliğindenlik ve mizah, heykeller için büyük önem taşıyor. Kağıt üzerindeki işlerin malzemesi, özel aile fotoğraflarından ve sanatçıların biriktirdiği gazete kupürlerinden geliyor.

I LAND (2010) Christodoulos Panayiotou tarafından Kıbrıs’taki çeşitli arşivlerde gerçekleştirilen bir dizi araştırma sonucu ortaya çıkmış bir üçlemenin son parçasıdır.  Lefkoşa’daki Basın ve Enformasyon Merkezi’nde bulunan bu fotoğraflar 1960-1977 yılları arası ülkenin lideri olan Başpiskopos Makarios’un kamusal yaşamını izler ve belgeler. Bu fotoğrafları çeken fotoğrafçı, serbest zamanlarında dinlence, güzellik ve gündeliğe dair anları yakalıyor ve kaydını tutması için işe alındığı resmi tarihe paralel bir tarih yazımı gerçekleştiriyordu.

INTERMEDIATE PREVENTIVE, Cameron Rowland’ın bu işinin ikizi, Rodeo tarafından The Chicken and the Egg, A Chicken sergisi kapsamında Londra’da gösterilecek (açılış tarihi 6 Haziran). İstanbul’daki iş satışa açıkken, Londra’daki iş sadece kiralanabilir durumda olacaktır. İşin alıcısını satın aldığı eserler üzerinden sahip olmaya, haklara, sorumluluğa dair bir diyalog çerçevesinde ilişki kurmaya itmesi, Rowland’ın pratiğinde rastlanan bir durum. Güvenlik lambalarıyla güvenlik kameralarına güç taşıyan ve bina cephesinde dolaşan elektrik kabloları, borular tarafından toplanır. ‘Intermediate Preventive’ boru, kablo, ve yüksek basınçlı sodyum kesme duvar paketinden oluşur. Aydınlatma armatürü burada gösterilmeyecek ve hiçbir zaman koleksiyonerin himayesinde olmayacak, sanatçının tasarrufunda kalacaktır.

Bu serginin çıkış noktalarından biri, John Smith’in 2010 tarihli FLAG MOUNTAIN (Güney Lefkoşa, KKTC sınırına bakarken) işidir. Lefkoşa’da hayat devam ederken her gün ‘görünmez’ bir dramaturji vuku bulur. Beşparmak Dağları gün ışığıyla belirir ve yok olur, gece ışıklarla aydınlatılınca daha da güçlü bir görünüme bürünür. Smith’in mizah duygusu ve etkili görsel dili, yapı söküme uğramış kusursuz bir anıt meydana getiriyor; bu ister Milli Marş olsun, ister Bayrak.

Vangelis Vlahos’un IS THERE ANY OVERSIGHT ON OCALAN? (2009-2011) Kürt liderin Nairobi’deki Yunanistan Büyükelçiliği dışında 15 Şubat 1999 tarihinde yakalanmasından önce, bilinen ve söylentilere de dayanan yolculuğunu yeniden inşa eden 119 görüntüden oluşur. 23 metre uzunluğunda, duvara monte edilmiş bir raf üzerine yerleştirilen bu iş; Öcalan’ın 1998 Ekim’inde Şam, Suriye’den ayrılmasının ardından, saklandığı ya da siyasi mülteci olmak için başvurup sonuç alamadığı Moskova, Roma, Atina, Minsk ve Nairobi’den manzara, kentsel peyzaj, hava ve mimari fotoğrafları bir araya getirir. Fotoğraflar Öcalan’ın takip ettiği güzergaha uygun bir dizilimle, tek sıra halinde sergilenmektedir. Yolculuğun resimsel kaydının yok denecek kadar az tutulduğunu düşünürsek, bunların belli bir bölgesel nitelik kazanması ve Öcalan’ın bölgede bulunduğu zamanın koşullarını (hava sıcaklığı gibi) tamı tamına tespit için, Vlahos tanıklıklar ve davaya ilişkin yazılardan faydalanmıştır. Görüntülerin çoğu geç dönem 1990’ların dergileriyle turistik rehberlerinden ve internetten temin edilmiştir.

Ramin Haerizadeh (d. 1975, Tahran) Dubai’de yaşıyor ve çalışıyor. Katıldığı sergiler: Charles Saatchi, Unveiled: New Art from the Middle East, Londra (2009); Sharjah Bienali 10 (2011); The Trees Set Forth to Seek for a King at the Museum on the Seam, Kudüs (2014). Gallery Isabelle van den Eynde’de üç, Gallery Nathalie Obadia’da bir solo sergisi oldu (Paris, 2012). İşlerinin yer aldığı koleksiyonlar arasında Guggenheim Abu Dhabi, British Museum, Devi Art Foundation ve Rubell Family Collection sayılabilir. Rokni Haerizadeh ve Hesam Rahmanian ile Gallery Isabelle van den Eynde’de (Dubai 2012, 2014) ortaklaşa iki sergi, Kunsthalle Zürih’te (2015) yine aynı grupla bir sergi hazırladı. 2014’te üç sanatçı, bir sanatçı kolektifi olarak Florida, Captiva’daki Robert Rauschenberg Foundation misafir sanatçı programına katıldılar.

Rokni Haerizadeh (d. 1978, Tahran) Dubai’de yaşıyor ve çalışıyor. Katıldığı sergiler: Carnegie International (2013), Here And Elsewhere, New Museum, New York (2014) ve Sharjah Bienali (2011). İşlerinin yer aldığı kamusal ve özel koleksiyonlar arasında Carnegie Museum of Art, British Museum, Tate Modern, Devi Art Foundation, JP Morgan Chase Art Collection ve Rubell Family Collection sayılabilir. Ramin Haerizadeh ve Hesam Rahmanian ile Gallery Isabelle van den Eynde’de (Dubai 2012, 2014) ortaklaşa iki sergi, Kunsthalle Zürih’te (2015) yine aynı grupla bir sergi hazırladı. 2014’te üç sanatçı, bir sanatçı kolektifi olarak Florida, Captiva’daki Robert Rauschenberg Foundation misafir sanatçı programına katıldılar.

Hesam Rahmanian (d. 1980, Knoxville) Dubai’de yaşıyor ve çalışıyor. Solo sergileri: Gallery Isabelle van den Eynde (2013), Paradise Row, London (2011) and Traffic, Dubai (2010). MOP CAP 2011 ödüllerinin sekiz finalistinden biri olarak Royal College of Art, Londra’da bir karma sergiye katıldı. İşlerinin yer aldığı kamusal ve özel koleksiyonlar arasında Carnegie Museum of Art, British Museum, Tate Modern, Devi Art Foundation, JP Morgan Chase Art Collection ve Rubell Family Collection sayılabilir. Ramin ve Rokni Haerizadeh ile Gallery Isabelle van den Eynde’de (Dubai 2012, 2014) ortaklaşa iki sergi, Kunsthalle Zürih’te (2015) yine aynı grupla bir sergi hazırladı. 2014’te üç sanatçı, bir sanatçı kolektifi olarak Florida, Captiva’daki Robert Rauschenberg Foundation misafir sanatçı programına katıldılar.

Cameron Rowland (d.1988, Philadelphia) New York’ta yaşıyor ve çalışıyor. Solo sergileri: Artists Space, New York (2015, yakında); Bait, Inc, ESSEX STREET, New York (2014); An Agreement, Wilfred Yang, Los Angeles (2013). Katıldığı karma sergiler: Slip of the Tongue, Punta della Dogana, Venedik (2015); International Currency, Lodos, Mexico City (2015); Theater Objects: A Stage for Architecture and Art, LUMA Foundation, Zürih (2014); Concerns and Returns, Weingrüll, Karlsruhe (2012).

John Smith (d.1952, Londra) Londra’da yaşıyor ve çalışıyor. Solo sergileri: The Kiss, Centre d’Art Contemporain de Noisy-le-Sec, Paris (2014); The Gallery, Tyneside Cinema, Newcastle upon Tyne (2014); Associations, Figge von Rosen Gallery, Köln (2013); Tanya Leighton Gallery, Berlin (2013, 2012 and 2010); Bildstörung, Kestnergesellschaft, Hanover (2012); Horizon, Turner Contemporary, Margate (2012); Worst Case Scenario, Weserburg Museum for Modern Art, Bremen (2012); John Smith: Short Films, Uppsala Art Museum, İsveç (2011); unusual Red cardigan, PEER Gallery, Londra (2011); The world seems a long way away, Pallas Projects, Dublin (2011); John Smith: Solo Show, Royal College of Art Galleries, Londra (2010); I’m Lying, I Promise, Sala Diaz Gallery, Texas (2010); John Smith – Selected Films and Videos, Ikon Gallery, Birmingham (2006); John Smith – London and Other Worlds, Kunstmuseum Magdeburg (2005); Open Eye Gallery, Liverpool (2003) and Pearl Gallery, Londra (2003). Katıldığı sergiler: Invocable Reality, Museu d’Art Contemporani de Barcelona (2014); The Reluctant Narrator, Berardo Museum, Lizbon (2014); Constellations, Tate Liverpool (2013-14); Image Counter Image, Haus der Kunst, Münih (2012); Has The Film Already Started?, Tate Britain (2011-12); Berlin Bienali (2010); The Talent Show, Walker Art Center, Minneapolis ile MoMA PS1, New York (2010); Venedik Bienali (2007); A Century of Artists’ Film in Britain, Tate Britain (2004); Live in Your Head: Concept and Experiment in Britain 1965-75, Whitechapel Gallery, Londra (2000) ve The British Art Show, UK gezici sergi (1984). Smith’in işleri yakın zamanda Oberhausen, Tampere, St. Petersburg, La Rochelle, Mexico City, Uppsala, Cork, Sarajevo, Regensburg, Stuttgart, Karlstad, Winterthur, Bristol, Hull ve Glasgow film festivallerinin retrospektif bölümlerinde yer almıştır. 2011 ve 2013 Paul Hamlyn Foundation Award for Artists ödülleri ile Film London tarafından verilen Jarmanödülünü kazanmıştır. İşlerinin yer aldığı koleksiyonlar arasında Arts Council England, Tate Gallery, Ella Fontanals-Cisneros, Kunstmuseum Magdeburg, Wolverhampton Art Gallery ve Ferens Art Gallery (Hull) sayılabilir.

Vangelis Vlahos (d.1971, Atina) Atina’da yaşıyor ve çalışıyor. Katıldığı solo ve karma sergiler: On the moment of change there is always a new threshold of imagination, Artspace, Auckland (2014); Gesture, Kunstverein Stuttgart (2014); Europe / South East. Recorded Memories, The Museum of Photography Braunschweig (2013); Current Pasts, National Museum of Contemporary Art, Atina (2012); The End of Money, Witte de With, Rotterdam (2011); MONODROME, 3. Atina Bienali (2011); To the Arts, Citizens!, Serralves Museum of Contemporary Art, Porto (2010); tanzimat, Augarten Contemporary, Viyana (2010); 11. İstanbul Bienali (2009); After Architecture, Centre d’Art Santa Monica, Barselona (2009); ISLANDS+GHETTOS, NGBK & Kunstraum Kreuzberg/Bethanien, Berlin (2009); Monument to transformation, City Gallery Prague, Prag (2009); Selective Knowledge, ITYS, Institute for Contemporary Art and Thought, Atina (2008); A Number of Worlds Resembling Our Own, SMART Project Space, Amsterdam (2007); 27. Sao Paulo Bienali (2006); Behind Closed Doors, Dundee Centre for Contemporary Arts, Dundee (2005); Manifesta 5, San Sebastian (2004), ve 3. Berlin Bienali (2004).

Rodeo, heyecanları ve üretimleri için tüm sanatçılara, yardımları için ESSEX STREET galeri, Tanya Leighton galeri, Isabelle van der Heyde galeri’ye teşekkür eder.Near East dergisi ve mekanından Mihda Koray ve Lara Ögel ile Eidotech (Berlin), Move Art’tan (Atina) Andry Panayiotou ve Andreas Louzis’in büyük desteği ve cömertliği olmadan bu sergi gerçekleştirilemezdi.

Rokni Haerizadeh, But a Storm Is Blowing From Paradise, gesso, watercolour and ink on printed paper, 29.5 x 41.9 cm (11 5/8 x 16 1/2 in), 2014 – 2015

Rokni Haerizadeh, But a Storm Is Blowing From Paradise, gesso, watercolour and ink on printed paper, 29.5 x 41.9 cm (11 5/8 x 16 1/2 in), 2014 2015

Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Birthday Party 1, 2, 3, detail, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape, 162 x 50 x 33 cm with stand (63 3/4 x 19 3/4 x 13 in with stand), 118 x 50 x 33 cm without stand (46 1/2 x 19 3/4 x 13 in without stand), 2015

Rokni Haerizadeh, Ramin Haerizadeh, Hesam RahmanianBirthday Party 1, 2, 3, detail, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape, 162 x 50 x 33 cm with stand (63 3/4 x 19 3/4 x 13 in with stand), 118 x 50 x 33 cm without stand (46 1/2 x 19 3/4 x 13 in without stand), 2015

John Smith, Flag Mountain (Southern Nicosia, looking towards the border with the Turkish Republic of Northern Cyprus), HD video, colour, sound, 8 min., 2010

John SmithFlag Mountain (Southern Nicosia, looking towards the border with the Turkish Republic of Northern Cyprus), HD video, colour, sound, 8 min., 2010

Ramin Haerizadeh, First Rain’s Always a Surprise, collage, ink, acrylic and lipstick on paper, 70 x 100 cm (27 1/2 x 39 3/8 in), 2012

Ramin HaerizadehFirst Rain’s Always a Surprise, collage, ink, acrylic and lipstick on paper, 70 x 100 cm (27 1/2 x 39 3/8 in), 2012

Cameron Rowland, Intermediate Preventive, conduit, armored cable, conduit straps, outdoor conduit body, high-pressure sodium wall pack, 4.45 x 342.9 x 4.45 cm (1 3/4 x 135 x 1 3/4 in), 2014

Cameron RowlandIntermediate Preventive, conduit, armored cable, conduit straps, outdoor conduit body, high-pressure sodium wall pack, 4.45 x 342.9 x 4.45 cm (1 3/4 x 135 x 1 3/4 in), 2014

Hesam Rahmanian, Untitled, collage of recycled acrylic paint, magazine page, and ink on paper, 50.5 x 27.3 cm (19 7/8 x 10 3/4 in), 2015

Hesam Rahmanian, Untitled, collage of recycled acrylic paint, magazine page, and ink on paper, 50.5 x 27.3 cm (19 7/8 x 10 3/4 in), 2015

Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Birthday Party 1, 2, 3, detail, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape, 186 x 45 x 36 cm with stand (73 1/4 x 17 3/4 x 14 1/8 in with stand), 141 x 45 x 36 cm without stand (55 1/2 x 17 3/4 x 14 1/8 in without stand), 2015

Rokni Haerizadeh, Ramin Haerizadeh, Hesam RahmanianBirthday Party 1, 2, 3, detail, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape, 186 x 45 x 36 cm with stand (73 1/4 x 17 3/4 x 14 1/8 in with stand), 141 x 45 x 36 cm without stand (55 1/2 x 17 3/4 x 14 1/8 in without stand), 2015

Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, O, You People!, featuring Minnie McIntyre and Christopher Lord, single channel video, sound, 1 hour 38 min., 2014

Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, O, You People!, featuring Minnie McIntyre and Christopher Lord, single channel video, sound, 1 hour 38 min., 2014

Christodoulos Panayiotou, I Land, 160 b&w slides, two synchronised slide projectors, images sourced from the Press and Information Office, Republic of Cyprus, Ministry of Interior, 2010

Christodoulos Panayiotou, I Land, 160 b&w slides, two synchronised slide projectors, images sourced from the Press and Information Office, Republic of Cyprus, Ministry of Interior, 2010

Installation view, The Fall, Rodeo, Istanbul, 2015

Installation view, The Fall, Rodeo, Istanbul, 2015

Vangelis Vlahos, Is There Any Oversight On Ocalan?, 119 photographs (framed), dimensions variable: biggest 24 x 30 cm (9 1/2 x 11 3/4 in) smallest 10 x 15 cm (4 x 5 7/8 in) on a wall mounted shelf 23 m long (905 1/2 in), 2009 – 2011

Vangelis Vlahos, Is There Any Oversight On Ocalan?, 119 photographs (framed), dimensions variable: biggest 24 x 30 cm (9 1/2 x 11 3/4 in) smallest 10 x 15 cm (4 x 5 7/8 in) on a wall mounted shelf 23 m long (905 1/2 in), 2009 2011

Lukas Duwenhögger, UFO Star, cardboard, wood, 181.9 x 31.5 x 22.5 cm (71 5/8 x 12 3/8 x 8 7/8 in), 2013

Lukas Duwenhögger, UFO Star, cardboard, wood, 181.9 x 31.5 x 22.5 cm (71 5/8 x 12 3/8 x 8 7/8 in), 2013

Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Birthday Party 1, 2, 3, detail, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape, 145 x 40 x 34 cm with stand (57 1/8 x 15 3/4 x 13 3/8 in with stand); 98 x 40 x 34 cm without stand (38 5/8 x 15 3/4 x 13 3/8 in without stand), 2015

Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Birthday Party 1, 2, 3, detail, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape, 145 x 40 x 34 cm with stand (57 1/8 x 15 3/4 x 13 3/8 in with stand); 98 x 40 x 34 cm without stand (38 5/8 x 15 3/4 x 13 3/8 in without stand), 2015

Duncan Campbell, Make It New John, 16 mm film and analogue video transferred to digital video, B&W/colour, 4:3, stereo, 50 min., 2009

Duncan Campbell, Make It New John, 16 mm film and analogue video transferred to digital video, B&W/colour, 4:3, stereo, 50 min., 2009

Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Birthday Party 1, 2, 3, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape. Group of 3 works. From left to right: 162 x 50 x 33 cm, 145 x 40 x 34 cm, 186 x 45 x 36 cm with stand (63 3/4 x 19 3/4 x 13 in, 57 1/8 x 15 3/4 x 13 3/8 in, 73 1/4 x 17 3/4 x 14 1/8 in with stand); 118 x 50 x 33 cm, 98 x 40 x 34 cm, 141 x 45 x 36 cm without stand (46 1/2 x 19 3/4 x 13 in, 38 5/8 x 15 3/4 x 13 3/8 in, 55 1/2 x 17 3/4 x 14 1/8 in without stand), 2015

Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, Birthday Party 1, 2, 3, assemblage of readymades (fiberglass sculpture, artificial lettuce, candles, plastic forks, spoons and plates, paper napkins, plastic toys, paper coaster, steel fork and folding chair), modelling paste, clay, ribbon, cotton rope, acrylic plaster and duct tape. Group of 3 works. From left to right: 162 x 50 x 33 cm, 145 x 40 x 34 cm, 186 x 45 x 36 cm with stand (63 3/4 x 19 3/4 x 13 in, 57 1/8 x 15 3/4 x 13 3/8 in, 73 1/4 x 17 3/4 x 14 1/8 in with stand); 118 x 50 x 33 cm, 98 x 40 x 34 cm, 141 x 45 x 36 cm without stand (46 1/2 x 19 3/4 x 13 in, 38 5/8 x 15 3/4 x 13 3/8 in, 55 1/2 x 17 3/4 x 14 1/8 in without stand), 2015