Solo-Show Devrim Kadirbeyoglu

Archiviazioni and Ramdom Association


Who draws the line?

Solo exhibition by Devrim Kadirbeyoğlu / curated by Giusy Checola

from 09.24.2011 through 11.30.2011

Opening: 24 September 2011, from 7:30 pm

With a live media performance by Gianluca De Rubertis and Alberto Piccinni, from 10:00 pm

Venues: Archiviazioni project space and Laboratory of Art and Architecture, Lecce (Apulia, Italy)








Devrim Kadirbeyoğlu, Immigration, 2002. Paper-clay, stainless steel desk, sound. Courtesy the artist.

The word “mobility” refers to the cultural, social and political differences that is still a matter which we feel the

need to talk about, despite the processes of integration among European and the neighbouring countries, and

despite the huge participation – as individuals and collectives – to the action nets and the artistic/social

networks. Otherwise the hypermobility characterized the most recent wave of the globalization and has

definitively changed our way to live and work.

Who draws the line? is the title of the first solo exhibition in Italy by the Turkish artist Devrim

Kadirbeyoğlu, co-produced by Archiviazioni and Ramdom Association, presented on the occasion of DDay

party, main event of the Default Masterclass in Residence OFF Program and Artlab 2011 closing day.

The exhibition born as an inner necessity of the artist to represent and communicate the human, financial and

social extent problems concerning the Schengen visa requirement for Turkish citizens, through a site specific

installation which paradoxically becomes itself a mobile project: after having travelled in the Northeast of Italy

in search for a context of where to be discussed and presented, subjected to several conceptual and aesthetical

elaborations, finds home at the spaces of Archiviazioni and the Laboratory of Art and Architecture in Lecce, the

Southern part of Italy, which is widely known as land of emigration.
















The texts which compose the installation are from the Visa Hotline Project, implemented by Economic

Development Foundation (IKV) with the cooperation of Union of Chambers and Commodity Exchanges of

Turkey (TOBB) and Brussels-based European Citizen Action Service (ECAS), which for the first time gave voice

to Turkish citizens’ complaints and their individual stories regarding visa procedures, and collected more than

1,000 letters in a short period of 2 months.

For the exhibition the soil composes the medium of these complaints, the element that in Italy, represents the

never solved “Southern matter” and its enormous fluxes of emigration, but also a kind of dynamism which the

Southern people are historically used to, before that the cultural nomadism became a peculiar aspect of the

contemporary time.

The soil used by Devrim Kadirbeyoğlu comes from Canale del Fano (Fano’s Canal), the Southern part of

Salento, which is one of the first inhabited land, occupied by Greeks, Byzantines and Normans, where in the

1990s a group of Australian archaeologists discovered the so called “West Gate”.

It’s the soil of tophus, which in the ancient time was transported and spread by the water along the all

territory, composed by geological sedimentation of volcano’s fragments and seashells, and largely used for the

construction of the typical buildings of Salento.

Who draws the line? foresees the trespassing of different artistic languages, through the interaction with the

live media by Gianluca De Rubertis and Alberto Piccinni, which creates a dialogue between the inside and

outside spaces of the Archiviazioni venue.

The performance is based on the images of a video recorded during the opening, on the actions of the audience

of Who draws the line? that, by visiting the exhibition, become the performer and erase the phsycological

border created by nationalism, localism and prejudice, performed in a land where collective memory still

remembers the massacre of Otranto by the Ottomans in 1480.

Following the opening two videos of the work in progress of the project and the live media will substitute the

installation, and the last traces of soil spread in the exhibition space will be returned to Canale Del Fano,

through a ritual action performed by the artist.

Who draws the line? has been made possible thanks to the collaboration of two active agricultural organizations

of Salento: Campolisio Sarruni and Agricoltura Bene Comune, who work in order to promote the ecosustainable

agriculture as contemporary main richness of the territory, on which is based its financial, social

and cultural development.


Info > / / +39 393 38761052

press: Francesca De Filippi / +39 339 4867783


Archiviazioni is supported by >

Masseria Torre Coccaro – MAP Masseria Art Project


Partner >

Laboratorio di Arte e Architettura di Lecce


Collaborators >

Campolisio Sarruni / Agricoltura Bene Comune


Media partners >

Il Paese Nuovo /


Archiviazioni / Laboratory of Art and Architecture >

Via Enzo Ferrari, Contrada Pisello

73100 Lecce (Apulia, Italy)





















Biographies >


Devrim Kadirbeyoğlu was born in 1978 and raised in Istanbul, Turkey. She earned her MFA in Studio For

Interrelated Media at Massachusetts College of Art in Boston, USA after studying at Mimar Sinan University,

Fine Arts Faculty in Istanbul, Turkey.

Devrim Kadirbeyoğlu’s work manifests often with an ironic vocabulary in order to explore the construction of

institutions, society and identities, in their complex and contradictionary systems.

Her work strives to capture life’s struggle where she turns her obsessions, triggered by the threads of her

personal experiences, into arrangements using multiples and repetitions.

Evoked by social, cultural and psychological circumstances, her installations resonate as a theatrical extension

of daily life, where the viewers interact and dialogue with the work.

In 2009 her work was part of Seriously Ironic: Positions in Turkish Contemporary Art Scene exhibition held at

the museum Le CentrePasquArt, in Bielle, Switzerland. The same year she was represented by Emmanuel

Fremin Gallery at the Bridge Art Fair in New York and completed her Residency Program at the Platform Garanti

Contemporary Art Center in Istanbul. On 2010 she had a solo show at Barraca in Den Haag, Netherlands, and

another one at ALANistanbul, in Turkey. In the same year her work was part of group exhibitions in Europe and

the United States of America, like the New new at EAST/WEST Project in Berlin; her video work Visa Applicants

was screened at UNDERDOX in Munich and in a large exhibition held in video-dumbo in New York, U.S.A.; she

participated at Gratis, Et Amore Artis curated by Antonello Tolve in Salerno, Italy; at Macka Sanat, Kasa Galeri

and Manzara Perspectives in Istanbul.


Gianluca De Rubertis was not born in Lecce (Italy) and he is not a musician. He does not live in Milan, city in

which he has not created, with Alessandra Contini, the electro popular band Il Genio. He does not cooperate

with several Italian indie scene’s artists, artists that, indeed, are not important to quote here. He does not have

a wide range of interests: from classic music to Destructuralism or Righeira’ pop music. He is not one founding

member of Studiodavoli, the psychedelic band not set up in 2000 with his sister. He has not already released

five albums, and his is not recording the sixth: first solo album under the pseudonym Ivan Davoli almost not


Gianluca De Rubertis is not the author of these non-sense and laughable lines.


Alberto Piccinni aka IBN KALB was born in Capo di Leuca (LE, Italy) and graduated at the University of


He participated in several artistic and international cooperation projects in Italy, France, Portugal, Argentina,

Algeria, Egypt and Germany.

He played and collaborated with: muzAk, Hysm?, The Snail Knows & R.Sawake, Duassemicolcheiasinvertidas,

Luca Coclite, Astragali Teatro, Dead by Chocolate, PassaPa European Orchestra, Josè Marino Malagnino,

Gronge, Javier Alear Velez (Coso), Marco Montanaro, Fabio Magistrali, Lepers Produtcions, Carlo Michele

Schirinzi, Francesco Giannico, Vazca, Giorgio Albanese, Anna Lisa Lazoi, CBMR Europe (Center of Black Music

Research). He founded the indipendent record label Another Shame and he organizes concerts and tours for

artists orbiting around his circuit. His music and sound performances are on the threshhold between didactics

and experimentation, from rock to noise and non-idiomatic improvisation. He creates Strumenteeni

(unconventional musical instruments made of waste materials) aimed for labs with children, educators, disabled

people as well as for music performances and readings.…


Archiviazioni is a project by Giusy Checola, curated by her and Luigi Presicce, and developed with Salvatore

Baldi for the production, Margherita Fanizza for the archiving, Anna Cirignola and Elvira Del Masi for the public

relations. The project is inlcuded within the program Lab 12:00 of the SoutHeritage Foundation for

contemporary art of Matera and is supported by Masseria Torre Coccaro within the project MAP Masseria Art


Archiviazioni works on the artistic and cultural process of growth of the region with two operative tools:

Archivica, an archive in progress and first documentation center for contemporary art in the South of Italy to be

based on the relation between art and territory; a programme of artistic and interdisciplinary actions like a

residency programme, exhibitions, workshops, and seminars with which national and international artists and

curators interact with the local context.

Archiviazioni is based at the fround floor of the in the Laboratory of Art and Architecture, an old tobacco factory

located in the Cupa’s Valley, at the peripheral area of Lecce.





Ramdom is an association working on cultural and artistic design and production, on international mobility and

on research and development of new communication languages.

Ramdom aims to promote and diffuse creative and innovative practices in the field of culture and art interacting

with citizens and, private and public, national and international, organizations.

In Lecce, from 21 through 30 September 2011, Ramdom presents DEFAULT Masterclass in Residence: On Art,

Cities and Regeneration. During ten days, twenty selected local and intenrational artists will discuss with

curators, artists, cultural producers, transnational partners and local audience about some key questions of our

(austere) time: how to interact within a wider governmental policy concerning urban regeneration? How to

tackle the increasingly politicised stakes that underpin cultural inquiry on urban centres’ and neighbourhoods’


Do artists, curators, art managers and policy makers have to default to “art and regeneration practices” which

are no longer feasible yet still entrenched in cultural structures because there is no other alternative given? The

works will take places in several regenerated spaces in the city of Lecce, especially at Manifatture Knos and

Archiviazioni project space at the Laboratory of Art and Architecture in Lecce.


CAMPOLISIO Group Campolisio is a family-run organic farm using methods of production which have a low

enviromental impact. Our aim is to maintain traditions, cultivating plants and breeding animals that are typical

of the area to strengthen our cultural identity. Roberto, assunta, Flavio, Dario, Stefania and friends look

forward to your company to share experiences and happy times. Sarruni is where agritourism activities are

carried out, like catering, camping, accomodation, events and cultural and recreational activities.


Agricoltura Bene Comune is a group of action which aims to defend and support peasant agriculture, because

the land is an economic, social and environmental resource, and therefore it is guarantee employment,

relations and biodiversity.

Agriculture is a commons as water and air.

A social ecology has to start from peasant agriculture, supporting biodiversity and including among its goals

also the natural landscape and its preservation.

A balanced development of peasant agriculture, tourism and culture is the key for enhancing territories instead

of their impoverishment, caused by monocultures, irresponsible tourism and degradation.

In order to defend small-sized peasant, in order to find alternative solutions to all the contradictions that all we

live daily and in order to impollinate new economic, social and environmental practices, Agricolture as

Commons involved students, unemployed, researchers, migrants, professionals, activists, artists and

consumers, in order to establish a positive circuit between production and consumption.