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“SITE” focuses on the resonances between arte- and arche- (between art and artifact, and between power and architecture). She explores the inherent traces of power or powerlessness that the made worlds impose, expose or try to hide. She focuses on hospitality and inhospitality of built environments, habitats, structures and objects.

Treating the made world as an extension of our embodied consciousness, she researches the ways in which we make our world through artifacts in order to compensate for the frailties of our sentient condition. Sızanlı unveils how certain urban and/or domestic environments which she refers to as “inconvenient architecture” turn frailty into vulnerability and powerlessness.

How do cities create inconvenient situations with disabling effects and how they accommodate the body in given architectural structures?

 

Participating artists:
Direction, Choreography, Performance: Filiz Sızanlı
Text: Filiz Sızanlı & Aslı Çavuşoğlu
Editor: Aslı Çavuşoğlu
Light: Sophie Lepoutre


Premiere: September 2010 at Tunusi, Tunis


Further Touring:

December’10/ Théâtre de la Minoterie, DanseM, Marseille, France

December’10/ Monty, 0090 KunstenFestival, Antwerp, Belgium

November’10 / Espace Pier Paolo Pasolini, NEXT Festival,Valenciennes, France

October ’10 / garajistanbul, iDANS Festival, Istanbul, Turkey

September ’10/ El Teatro, Tunusi, Tunis


Short CV

Filiz SIZANLI (1975, Eskisehir) graduated from Istanbul Technical University’s Department of Architecture in 1997. She participated in various projects of Theater Research Laboratory of Istanbul Municipality Theater from 1998 to 2000. In 2000 she was among the co-founders of Çatı Association in a collective artist group. She worked on projects with Mathilde Monnier, Emmanuelle Hyunh, Yann Marussich and Mustafa Kaplan. In 2003 she found Taldans together with Mustafa Kaplan. Her choreographies in Taldans include “Üç Ayak” (2001), “Sek sek” (2003), “Graf” (2007), “Dokuman” (2009) and Eskiyeni (2011). Her solo pieces are “Solum” (2005) and “Site” (2010).

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