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
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.
www.archiviazioni.org / www.ramdom.net / +39 393 38761052
press: Francesca De Filippi email@example.com / +39 339 4867783
Archiviazioni is supported by >
Masseria Torre Coccaro – MAP Masseria Art Project www.masseriaartproject.it
Laboratorio di Arte e Architettura di Lecce
Campolisio Sarruni www.campolisio.it / Agricoltura Bene Comune firstname.lastname@example.org
Media partners >
Il Paese Nuovo www.ilpaesenuovo.it / Undo.net www.undo.net
Archiviazioni / Laboratory of Art and Architecture >
Via Enzo Ferrari, Contrada Pisello
73100 Lecce (Apulia, Italy)
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.