Discipline: Fine arts

Esra Ersen

Year 2015

Discipline Fine arts

Esra Ersen studied at the Faculty of Fine Arts at the Marmara University in Istanbul and completed a post-graduate program at the École Supérieure des Beaux-Arts in Nantes. In her research-based practice, she treats questions of history and historical perspectives and their reverberations over time in everyday culture, education, and cultural symbols. National identities and the mechanisms of their construction are recurring motifs in her work, in which she seeks to bridge the gap between oral tradition and collective memory, between micro-history and macro-history. She meets her chosen questions with a cheerful subversiveness to make the multi-layered, sometimes contradictory aspects of our social reality visible. She has participated in numerous exhibitions, including the 14th Istanbul Biennale, Istanbul (2015), the 277th São Paulo Biennale (2006), the 4th Liverpool Biennale (2006), the 4th Kwangju Biennale (2002), and Manifesta 4, Frankfurt am Main (2002). She has also received many prizes and grants, including the 2019–2020 Rome Prize of the Villa Massimo.

Ersa Ersen was a resident at Tarabya Culture Academy from September to November 2015.

Year 2015

Discipline Fine arts

© Privat

Esra Ersen studied at the Faculty of Fine Arts at the Marmara University in Istanbul and completed a post-graduate program at the École Supérieure des Beaux-Arts in Nantes. In her research-based practice, she treats questions of history and historical perspectives and their reverberations over time in everyday culture, education, and cultural symbols. National identities and the mechanisms of their construction are recurring motifs in her work, in which she seeks to bridge the gap between oral tradition and collective memory, between micro-history and macro-history. She meets her chosen questions with a cheerful subversiveness to make the multi-layered, sometimes contradictory aspects of our social reality visible. She has participated in numerous exhibitions, including the 14th Istanbul Biennale, Istanbul (2015), the 277th São Paulo Biennale (2006), the 4th Liverpool Biennale (2006), the 4th Kwangju Biennale (2002), and Manifesta 4, Frankfurt am Main (2002). She has also received many prizes and grants, including the 2019–2020 Rome Prize of the Villa Massimo.

Ersa Ersen was a resident at Tarabya Culture Academy from September to November 2015.

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Sarah Szczesny

Year 2026

Discipline Fine arts

Sarah Szczesny lives and Works in Cologne. She completed her art studies in 2009 as a master student of Prof. Rosemarie Trockel. She holds an interdisciplinary teaching position for visual methods at the Robert Schumann University of Music in Düsseldorf since 2021. Since 2024 she has been teaching painting at the University of Cologne and has been a guest lecturer at the Kunstakademie Münster. Her paintings, collages, videos and performances have been shown nationally and internationally, including at the Kunstverein Düsseldorf, the Neuer Aachener Kunstverein, Ludlow 38 and the Martos Gallery in New York, and O-Town House in Los Angeles. Essential to her art practice is the questioning of cultural hierarchies and an experimental expansion of painting through animation, sound and pop culture references. Since 2016, she has been working with musician and producer Lena Willikens on the processual project called Phantom Kino Ballett, which includes performances, videos and installations and is presented in art institutions, theatres and at music and film festivals.

Sarah Szczesny is in residence at the Tarabya Cultural Academy from February to May 2026.

Year 2026

Discipline Fine arts

© Anna Sofie Hartmann

Sarah Szczesny lives and Works in Cologne. She completed her art studies in 2009 as a master student of Prof. Rosemarie Trockel. She holds an interdisciplinary teaching position for visual methods at the Robert Schumann University of Music in Düsseldorf since 2021. Since 2024 she has been teaching painting at the University of Cologne and has been a guest lecturer at the Kunstakademie Münster. Her paintings, collages, videos and performances have been shown nationally and internationally, including at the Kunstverein Düsseldorf, the Neuer Aachener Kunstverein, Ludlow 38 and the Martos Gallery in New York, and O-Town House in Los Angeles. Essential to her art practice is the questioning of cultural hierarchies and an experimental expansion of painting through animation, sound and pop culture references. Since 2016, she has been working with musician and producer Lena Willikens on the processual project called Phantom Kino Ballett, which includes performances, videos and installations and is presented in art institutions, theatres and at music and film festivals.

Sarah Szczesny is in residence at the Tarabya Cultural Academy from February to May 2026.

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Johannes Vogl

Year 2026

Discipline Fine arts

He constructs rather idiosyncratic sculptures and machines from everyday objects. The artist, describes himself as a poetic inventor rather than a traditional sculptor, and finds inspiration for his sculptures, installations and videos mostly in everyday situations. The objects and devices do not serve people or fulfil meaningful tasks anymore, but exist in endless loops and monotonous self-dialogue. His works act as mechanical outsiders, as oddities. The relationship between human and sculpture, subject and object, observer and observed shifts in favor of the world of objects.

Johannes Vogl is in residence at the Tarabya Cultural Academy from February to May 2026.

Year 2026

Discipline Fine arts

© Adina Mocanu

He constructs rather idiosyncratic sculptures and machines from everyday objects. The artist, describes himself as a poetic inventor rather than a traditional sculptor, and finds inspiration for his sculptures, installations and videos mostly in everyday situations. The objects and devices do not serve people or fulfil meaningful tasks anymore, but exist in endless loops and monotonous self-dialogue. His works act as mechanical outsiders, as oddities. The relationship between human and sculpture, subject and object, observer and observed shifts in favor of the world of objects.

Johannes Vogl is in residence at the Tarabya Cultural Academy from February to May 2026.

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Annika Kahrs

Year 2026

Discipline Fine arts

Annika Kahrs lives and works in Berlin. Her performances, film and sound installations show in various ways the importance of acoustic information in the form of music and sound in different social, cultural and political structures of coexistence. Kahrs has received in recent years numerous awards and scholarships, which include the Mercedes-Benz Art Scope & Arts Initiative Tokyo in Japan (2024), at Casa Baldi of the German Academy Villa Massimo in Rome, Italy (2024) and at Villa Aurora in Los Angeles, USA (2023). Nominated for the shortlist of the Pauli Prize (formerly the Böttcherstraße Bremen Art Prize) in the autumn of 2024, her works have been featured in numerous national and international exhibitions. Her most recent ones include Hamburger Bahnhof – National Gallery of Contemporary Art, Berlin (2025), Biennale Son, Sion, Switzerland (2025), EMΣT | The National Museum of Contemporary Art Athens, Greece (2025), Kunsthaus Baselland, Basel, Switzerland (2025), 60th October Salon, Belgrade, Serbia (2024), Schering Foundation, Berlin (2023), TONO Festival, Mexico City, Mexico (2023), Hamburger Kunsthalle, Hamburg (2022), 16e Biennale d’art contemporain de Lyon, France (2022), The Brick (LAXART), Los Angeles, USA (2021).

Annika Kahrs is in residence at the Tarabya Cultural Academy from February to May 2026.

Year 2026

Discipline Fine arts

© Rosanna Graf

Annika Kahrs lives and works in Berlin. Her performances, film and sound installations show in various ways the importance of acoustic information in the form of music and sound in different social, cultural and political structures of coexistence. Kahrs has received in recent years numerous awards and scholarships, which include the Mercedes-Benz Art Scope & Arts Initiative Tokyo in Japan (2024), at Casa Baldi of the German Academy Villa Massimo in Rome, Italy (2024) and at Villa Aurora in Los Angeles, USA (2023). Nominated for the shortlist of the Pauli Prize (formerly the Böttcherstraße Bremen Art Prize) in the autumn of 2024, her works have been featured in numerous national and international exhibitions. Her most recent ones include Hamburger Bahnhof – National Gallery of Contemporary Art, Berlin (2025), Biennale Son, Sion, Switzerland (2025), EMΣT | The National Museum of Contemporary Art Athens, Greece (2025), Kunsthaus Baselland, Basel, Switzerland (2025), 60th October Salon, Belgrade, Serbia (2024), Schering Foundation, Berlin (2023), TONO Festival, Mexico City, Mexico (2023), Hamburger Kunsthalle, Hamburg (2022), 16e Biennale d’art contemporain de Lyon, France (2022), The Brick (LAXART), Los Angeles, USA (2021).

Annika Kahrs is in residence at the Tarabya Cultural Academy from February to May 2026.

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Larissa Araz & Aria Farajnezhad

Year 2025

Discipline Fine arts

Larissa Araz (Istanbul, 1990) is an artist and founder of Poşe artist-run space in Istanbul, Turkey.She studied Media, Culture, and Communication at New York University, NY, USA and Visual Arts at Koç University in Istanbul, TR. She participated in Saha Studio residency from 2019-2020 and Arter Research Program in 2020-2021. She was a recipient of the Prince Claus Seed Award in 2021 and fellow at WHW Akademija in 2023. As part of Artist Development program of European Investment Bank she was invited to Cite des Arts Paris residency. She participated in Onassis Artist Residency in 2024.

Araz focuses on alternative histories, non-human witnesses, and the construction of dominant ideologies through institutional knowledge production. Through personal narratives, she researches documents, archives, ruins, silences, names, traces, and memories that are not included in, or kept hidden from social memory. Between reality and fiction, she tries to discuss possible futures and unrevealed pasts. She uses different mediums in her practice but mainly focuses on text and image-making.

She is also the other half of palimpsest (with author Ekin Can Göksoy) which departs from the ancient belief that nothing is as it seems. With an approach far surpassing the modern conceptualization of the archive, where historical records are brought together and classified. palimpsest attempts to create an archive of the annotations on the margins of manuscripts, the decorations crumbling from the walls of buildings, the written messages behind found photographs, and the testimony of what is no longer there.

Araz founded Poşe Artist Run Space in April 2018. Poşe is conceived with an urge to establish a community. It is a physical and mental open-space for those who feel the need for dialogue and critique. Poşe has displayed many exhibitions including solo and group productions along with public programming and other content.

Aria Farajnezhad (1989, Ahwaz) is a multidisciplinary artist and organizer with a background in engineering and a long-term engagement with rhythm and playing percussion. He is a sound and image examiner whose work encompasses various mediums, leaning towards speculative forensis. Farajnezhad is the recipient of the Kunstverein Hannover Award (2025/2026), the 2024 fellow of HIAP (Helsinki International Artist Program), the 2023 fellow of WHW Akademija (Zagreb, Croatia), and the 2018/2019 fellow of Ashkal Alwan’s Home Workspace Program (Beirut, Lebanon). Between 2020-2022 he co-ran the project space Circa 106 (Bremen, Germany) and co-created the Future Archives project series (Worpswede/ Saarbrücken/Bitterfeld/Bremen, Germany). Aria holds a Diploma from the faculty of fine arts at the University of Arts Bremen where he completed the Meisterschüler*innen program in July 2022 with Natascha Sadr Haghighian. Since January 2023, Farajnezhad’s inquiry around the destabilizing preservation/destruction dichotomy pertaining to the former state central bank building in Bremen found a leg in scrutinizing further the politics of over/non/under-representation imbued in public space constructions. He has been conducting collective settings in which the racist mosaic mural in Bremen’s central station could be critically examined and collectively overwritten, to suggest otherwise accounts that share ecumenical, hybrid, and non-hierarchical views on the notion of humanity. Since 2023 he has initiated a conversation series called Mosaic Speaking to craft an inter-local, trans-regional dialogue through carrying over-written mosaics with various interlocutors, tarrying with the diasporic break as a generative force. The conversation series has dwelled in multiple places among which the AIR InSILo (Hollabrunn/Vienna, Austria) and HIAP (Helsinki/Turku, Finland) to weave them to the particularity of Bremen’s role in colonialism and slavery. Farajnezhad in May 2024 co-published the newspaper Probe-1 with GAK Bremen and co-edited a lecture-performance designed as a dialogic session at the University of Liverpool together with Azadeh Sarjoughian around artistic methodology and the notion of the living archive.

Larissa Araz and Aria Farajnezhad were in residency at the Tarabya Cultural Academy from February 2025 to May 2025 as part of the German-Turkish co-production program supported by the Allianz Foundation.

Year 2025

Discipline Fine arts

Larissa Araz (Istanbul, 1990) is an artist and founder of Poşe artist-run space in Istanbul, Turkey.She studied Media, Culture, and Communication at New York University, NY, USA and Visual Arts at Koç University in Istanbul, TR. She participated in Saha Studio residency from 2019-2020 and Arter Research Program in 2020-2021. She was a recipient of the Prince Claus Seed Award in 2021 and fellow at WHW Akademija in 2023. As part of Artist Development program of European Investment Bank she was invited to Cite des Arts Paris residency. She participated in Onassis Artist Residency in 2024.

Araz focuses on alternative histories, non-human witnesses, and the construction of dominant ideologies through institutional knowledge production. Through personal narratives, she researches documents, archives, ruins, silences, names, traces, and memories that are not included in, or kept hidden from social memory. Between reality and fiction, she tries to discuss possible futures and unrevealed pasts. She uses different mediums in her practice but mainly focuses on text and image-making.

She is also the other half of palimpsest (with author Ekin Can Göksoy) which departs from the ancient belief that nothing is as it seems. With an approach far surpassing the modern conceptualization of the archive, where historical records are brought together and classified. palimpsest attempts to create an archive of the annotations on the margins of manuscripts, the decorations crumbling from the walls of buildings, the written messages behind found photographs, and the testimony of what is no longer there.

Araz founded Poşe Artist Run Space in April 2018. Poşe is conceived with an urge to establish a community. It is a physical and mental open-space for those who feel the need for dialogue and critique. Poşe has displayed many exhibitions including solo and group productions along with public programming and other content.

Aria Farajnezhad (1989, Ahwaz) is a multidisciplinary artist and organizer with a background in engineering and a long-term engagement with rhythm and playing percussion. He is a sound and image examiner whose work encompasses various mediums, leaning towards speculative forensis. Farajnezhad is the recipient of the Kunstverein Hannover Award (2025/2026), the 2024 fellow of HIAP (Helsinki International Artist Program), the 2023 fellow of WHW Akademija (Zagreb, Croatia), and the 2018/2019 fellow of Ashkal Alwan’s Home Workspace Program (Beirut, Lebanon). Between 2020-2022 he co-ran the project space Circa 106 (Bremen, Germany) and co-created the Future Archives project series (Worpswede/ Saarbrücken/Bitterfeld/Bremen, Germany). Aria holds a Diploma from the faculty of fine arts at the University of Arts Bremen where he completed the Meisterschüler*innen program in July 2022 with Natascha Sadr Haghighian. Since January 2023, Farajnezhad’s inquiry around the destabilizing preservation/destruction dichotomy pertaining to the former state central bank building in Bremen found a leg in scrutinizing further the politics of over/non/under-representation imbued in public space constructions. He has been conducting collective settings in which the racist mosaic mural in Bremen’s central station could be critically examined and collectively overwritten, to suggest otherwise accounts that share ecumenical, hybrid, and non-hierarchical views on the notion of humanity. Since 2023 he has initiated a conversation series called Mosaic Speaking to craft an inter-local, trans-regional dialogue through carrying over-written mosaics with various interlocutors, tarrying with the diasporic break as a generative force. The conversation series has dwelled in multiple places among which the AIR InSILo (Hollabrunn/Vienna, Austria) and HIAP (Helsinki/Turku, Finland) to weave them to the particularity of Bremen’s role in colonialism and slavery. Farajnezhad in May 2024 co-published the newspaper Probe-1 with GAK Bremen and co-edited a lecture-performance designed as a dialogic session at the University of Liverpool together with Azadeh Sarjoughian around artistic methodology and the notion of the living archive.

Larissa Araz and Aria Farajnezhad were in residency at the Tarabya Cultural Academy from February 2025 to May 2025 as part of the German-Turkish co-production program supported by the Allianz Foundation.

To the scholarship holders

To the projects

Gerrit Frohne-Brinkmann

Year 2025

Discipline Fine arts

Gerrit Frohne-Brinkmann was born in 1990 in Friesoythe, Germany and studied at the HFBK University of Fine Arts of Hamburg. His sculptural practice, which encompasses a wide range of techniques, spanning from handmade ceramics and papier-mâché to found objects and ready-mades, merges contradictory visual languages and material logics. States of being discarded, unloved, and forgotten form a recurring point of reference in his works. He looks at the various ways of creating illusion, imitating, and staging that lie at the intersection of technological history, the natural sciences, entertainment, and pop culture. Plants and animals, along with their replicas or appropriations, are often the focus of his explorations and act as protagonists in his works. In dealing with the conditions for exhibiting, he examines the tension between attraction and disappointment. His works have been shown most recently at the Kunsthalle in Hamburg, at Hangar Y in Meudon (2024), at the Fundación Marso in Mexico City (2023), at LambdaLambdaLambda in Pristina, and at the Kunstverein in Oldenburg (2022). He lives and works in Hamburg.

Gerrit Frohne-Brinkmann was a resident at the Tarabya Cultural Academy from February to May 2025.

Year 2025

Discipline Fine arts

Gerrit Frohne-Brinkmann was born in 1990 in Friesoythe, Germany and studied at the HFBK University of Fine Arts of Hamburg. His sculptural practice, which encompasses a wide range of techniques, spanning from handmade ceramics and papier-mâché to found objects and ready-mades, merges contradictory visual languages and material logics. States of being discarded, unloved, and forgotten form a recurring point of reference in his works. He looks at the various ways of creating illusion, imitating, and staging that lie at the intersection of technological history, the natural sciences, entertainment, and pop culture. Plants and animals, along with their replicas or appropriations, are often the focus of his explorations and act as protagonists in his works. In dealing with the conditions for exhibiting, he examines the tension between attraction and disappointment. His works have been shown most recently at the Kunsthalle in Hamburg, at Hangar Y in Meudon (2024), at the Fundación Marso in Mexico City (2023), at LambdaLambdaLambda in Pristina, and at the Kunstverein in Oldenburg (2022). He lives and works in Hamburg.

Gerrit Frohne-Brinkmann was a resident at the Tarabya Cultural Academy from February to May 2025.

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Corç George Demir

Year 2025

Discipline Fine arts

Born in Cologne in 1991, Corç George Demir is a research-based interdisciplinary artist.

In his visual and theoretical practice, he explores both collective and individual constructions of the self in an attempt to subvert dominant narratives through his autoethnographic approach.

His contributions include international exhibitions and publications in the arts and sciences. He is currently a doctoral candidate in artistic research at the University of Applied Arts in Vienna. In his PhD project “Ancestral Junctures: on the expansion of ancestral mythologies”, he looks at the transformative potential of decentralising nation states and biological family lines and on focusing instead on queer and labour lines of ancestry as a way to expand the mythological notion of our origins.

Çorc George Demir was a resident at the Tarabya Cultural Academy from February 2025 to May 2025.

Year 2025

Discipline Fine arts

Born in Cologne in 1991, Corç George Demir is a research-based interdisciplinary artist.

In his visual and theoretical practice, he explores both collective and individual constructions of the self in an attempt to subvert dominant narratives through his autoethnographic approach.

His contributions include international exhibitions and publications in the arts and sciences. He is currently a doctoral candidate in artistic research at the University of Applied Arts in Vienna. In his PhD project “Ancestral Junctures: on the expansion of ancestral mythologies”, he looks at the transformative potential of decentralising nation states and biological family lines and on focusing instead on queer and labour lines of ancestry as a way to expand the mythological notion of our origins.

Çorc George Demir was a resident at the Tarabya Cultural Academy from February 2025 to May 2025.

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Hêlîn Alas

Year 2025

Discipline Fine arts

Hêlîn Alas (b. 1987) is visual artist and art educator. Her multidisciplinary practice addresses the mythical and affective aspects of society’s “scripts” that promise a sense of belonging. Through assemblage, sculpture, photography, and performance, Alas creates model-like scenarios that reveal the (oft unspoken) currencies exacted for seeking to position oneself successfully within different social spaces. In 2017, she participated in the mentorship program Berlin Program for Artists, and she spent 2018 in New York City on a postgraduate fellowship from the DAAD. Alas has lived and worked in Munich since 2019, where she had a solo exhibition of her work at the Brandhorst Museum. Her work has been included in various group shows, including at the Habibi Kiosk at Kammerspiele München, Sentiment in Zurich, Mauer in Cologne, Paulina Caspari/beacon in Munich, Kevin Space in Vienna, and Between Bridges in Berlin.

Hêlîn Alas is in residence at the Tarabya Cultural Academy from October 2025 to January 2026.

Year 2025

Discipline Fine arts

© Jasmijn Visser

Hêlîn Alas (b. 1987) is visual artist and art educator. Her multidisciplinary practice addresses the mythical and affective aspects of society’s “scripts” that promise a sense of belonging. Through assemblage, sculpture, photography, and performance, Alas creates model-like scenarios that reveal the (oft unspoken) currencies exacted for seeking to position oneself successfully within different social spaces. In 2017, she participated in the mentorship program Berlin Program for Artists, and she spent 2018 in New York City on a postgraduate fellowship from the DAAD. Alas has lived and worked in Munich since 2019, where she had a solo exhibition of her work at the Brandhorst Museum. Her work has been included in various group shows, including at the Habibi Kiosk at Kammerspiele München, Sentiment in Zurich, Mauer in Cologne, Paulina Caspari/beacon in Munich, Kevin Space in Vienna, and Between Bridges in Berlin.

Hêlîn Alas is in residence at the Tarabya Cultural Academy from October 2025 to January 2026.

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Susanne Weiß

Year 2013

Discipline Fine arts

Susanne Weiß is a museologist and lives and works as a curator and art educator in Berlin. In her work, it is important to her to produce a polyphony and to show art at the interfaces of its context. Since February 2021 she has been running the ifa gallery Berlin together with Inka Gressel (on behalf of Alya Sebti). From 2017–2021 she was a teacher for special tasks (QPL) at the Burg Giebichenstein Kunsthochschule Halle. In 2017, together with Daniela Bystron, she developed the “Unfinished Glossary” and the associated workshop and communication program for the Hello World Revision of a Collection exhibition at Hamburger Bahnhof – Museum für Gegenwart – Berlin. Since 2015 she has been developing the touring exhibition The Event of a Thread – Global Narratives in Textiles together with Inka Gressel (ifa), which deals with textiles as a carrier of information. From 2012 to 2016, she was director of the Heidelberg Kunstverein. Since 2008 she has been a member of the RealimusStudio of the nGbK. Since 1996 she has worked in international exhibition contexts in places such as London, Oxford, Jerusalem, Vienna, Dresden, Sharjah, and Berlin.

Susanne Weiß was a resident at Tarabya Cultural Academy from August to October 2013.

Year 2013

Discipline Fine arts

Susanne Weiß is a museologist and lives and works as a curator and art educator in Berlin. In her work, it is important to her to produce a polyphony and to show art at the interfaces of its context. Since February 2021 she has been running the ifa gallery Berlin together with Inka Gressel (on behalf of Alya Sebti). From 2017–2021 she was a teacher for special tasks (QPL) at the Burg Giebichenstein Kunsthochschule Halle. In 2017, together with Daniela Bystron, she developed the “Unfinished Glossary” and the associated workshop and communication program for the Hello World Revision of a Collection exhibition at Hamburger Bahnhof – Museum für Gegenwart – Berlin. Since 2015 she has been developing the touring exhibition The Event of a Thread – Global Narratives in Textiles together with Inka Gressel (ifa), which deals with textiles as a carrier of information. From 2012 to 2016, she was director of the Heidelberg Kunstverein. Since 2008 she has been a member of the RealimusStudio of the nGbK. Since 1996 she has worked in international exhibition contexts in places such as London, Oxford, Jerusalem, Vienna, Dresden, Sharjah, and Berlin.

Susanne Weiß was a resident at Tarabya Cultural Academy from August to October 2013.

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Nevin Aladağ

Year 2013

Discipline Fine arts

Nevin Aladağ, born in Van, Turkey, studied at the Academy of Fine Arts in Munich. Her work is shown internationally on a regular basis. Her most recent solo exhibitions include Sculpture 21st (Lehmbruck Museum, Duisburg, 2021), Nevin Aladağ: Fanfare (Southbank Center, HENI Project Space, Hayward Gallery, London, 2020), Nevin Aladağ: Traces (Arter, Istanbul, 2020), Nevin Aladağ (Mangrove Gallery, Shenzhen, China, 2020), New Work: Nevin Aladağ (San Francisco Museum of Modern Art, San Francisco,2019/2020), Nevin Aladağ (Mönchehaus Museum Goslar, Goslar, 2019), and Exercises in Harmony 1 (Kunsthal 44, Møen, Denmark, 2019, with Dorothee Diebold). In recent years she has taken part in numerous group exhibitions, including at the Museum Tinguely, Basel; Hamburger Bahnhof – Museum für Gegenwart – Berlin; Bundeskunsthalle Bonn; Galeri Nev, Istanbul; Schirn Kunsthalle, Frankfurt am Main; The High Line, New York; Kemper Museum of Contemporary Art, Kansas City; 57th Venice Biennale and documenta 14, Athens/Kassel. She lives and works in Berlin.

Nevin Aladağ was a resident at Tarabya Cultural Academy from May to July 2013.

Year 2013

Discipline Fine arts

Berlin; 05.04.2013: Nevin Aladag arbeitet als K¸nstlerin in Berlin; f¸r ihr neues Projekt hat sie Freunde fotografiert, die sich ‰uﬂerlich (dresscode) auch sehr ‰hnlich sind; Kleiderordnung ist eben alles

Nevin Aladağ, born in Van, Turkey, studied at the Academy of Fine Arts in Munich. Her work is shown internationally on a regular basis. Her most recent solo exhibitions include Sculpture 21st (Lehmbruck Museum, Duisburg, 2021), Nevin Aladağ: Fanfare (Southbank Center, HENI Project Space, Hayward Gallery, London, 2020), Nevin Aladağ: Traces (Arter, Istanbul, 2020), Nevin Aladağ (Mangrove Gallery, Shenzhen, China, 2020), New Work: Nevin Aladağ (San Francisco Museum of Modern Art, San Francisco,2019/2020), Nevin Aladağ (Mönchehaus Museum Goslar, Goslar, 2019), and Exercises in Harmony 1 (Kunsthal 44, Møen, Denmark, 2019, with Dorothee Diebold). In recent years she has taken part in numerous group exhibitions, including at the Museum Tinguely, Basel; Hamburger Bahnhof – Museum für Gegenwart – Berlin; Bundeskunsthalle Bonn; Galeri Nev, Istanbul; Schirn Kunsthalle, Frankfurt am Main; The High Line, New York; Kemper Museum of Contemporary Art, Kansas City; 57th Venice Biennale and documenta 14, Athens/Kassel. She lives and works in Berlin.

Nevin Aladağ was a resident at Tarabya Cultural Academy from May to July 2013.

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