The Author : Beral Madra
Beral Madra lives and works in Istanbul. Since 1984 she has organized shows for more than 300 local and international artists in her art centres, in other official art spaces in Istanbul, Ankara, Diyarbakır and in Baku, Bari, Berlin, Creta, Huarte, Krakow, Los Angeles, Moscow, Munich, Sofia, Tbilisi, Venezia… She founded and directed Gallery BM from 1984 to 1990 and BM Contemporary Art Centre since 1990. BM CAC is currrently archive (5000 books, 250 exhibition boxes, artist portfolios and a hub of diapositives from 1979-1990) by appoimntment. With her partners she founded and directed BMSUMA, Karaköy (2007-2010) and KUad Gallery , Beşiktaş(2011-2016).
She coordinated and curated the 1st and the 2nd Istanbul Biennale (1987 and 1989), curated the Pavilion of Turkey in the 43rd, 45th, 49th, 50th and 51st Venice Biennale, and the Central Asia Pavilion in 2009 and Azerbaijan Pavilion in 2011. She co-curated the exhibition Modernities and Memories: Recent Works from the Islamic World (1997), Alanica Symposium and Exhibition, South Ossetia (2013), 1st-3rd Sinopale, the 3rd and 4th Çanakkale Biennale (2012-2014), co-curated 8th Bucharest Biennale (2018). From 2008-10 she was the visual arts director of Istanbul 2010 ECOC and conducted the major project www.supremepolicy.blogspot.com. She mentored 60 artists for the Istanbul Scholarship of Berlin Senate (1995-2013) and, since 2003. She was the founder and honorary president of AICA Turkey (2003). www.beralmadra.net
This essay is adapted from a lecture given by Beral Madra during the 50th Congress of the AICA in Paris, November 2017, at the Palais de la Porte Dorée-National Museum of Immigration History. The lecture was part of a day-long event entitled “Everywhere and Nowhere: Migration and Contemporary Art” directed by Marjorie Althorpe-Guyton, General Secretary of AICA Int., and Mathilde Roman, Treasurer of AICA Int.
The AICA, International Association of Art Critics, was founded in 1949 under the aegis of UNESCO, and unites 63 sections and 6 000 members across the world. Each national section takes turns hosting the annual congress, and in 2019 it will be organized by AICA Germany. More information at https://aicainternational.news/
With the support of AICA, Switch (on Paper) had released two other publications last weeks from this event rich with diverse perspectives and debates on the situation of forced migration, whose roots and ripples in creation highlight the many issues at stake between art and politics. These three publications, coming from three critics based in Istanbul, Poznan and New York, testify to AICA’s ambition of fostering dialogue between worlds of art that are as multiple as they are globalized.