https://egeokal.com ege okal Mon, 08 Mar 2021 02:47:06 +0000 https://egeokal.com en https://egeokal.com/Welcome Wed, 01 May 2019 01:10:40 +0000 ege okal https://egeokal.com/Welcome https://egeokal.com/Tourist Mon, 03 Aug 2020 15:28:23 +0000 ege okal https://egeokal.com/Tourist Tourist is a trilogy of short films. My research focused on levels of ethnographic gaze, non-human sound and moving image. I examined culturally and socially significant public spaces and spectacles that are occupied or governed by a patriarchal economy of bodies. I selected these sites according to my physical and mental proximity and belonging. The sites are: Istanbul, a city I used to live but live no more; Rural America, a place I live now temporarily; and Brasilia, a project city where I don’t belong and only visit as a tourist. I used Super 8mm film, widely used for home movies in the 60s, to capture micro-narratives of social language. I used the sound of extinct and endangered species with the sound of the sites. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0da7090631824c14bd6752f39f014fdda0656a2714a8292f647c33f90ff834d8/001.jpg" data-mid="79006903" border="0" src="https://freight.cargo.site/w/1000/i/0da7090631824c14bd6752f39f014fdda0656a2714a8292f647c33f90ff834d8/001.jpg" /> Installation view of A proposal of a shipwreck or a film prop, truck liner, truck tires, pvc pipe, rope, foam, plaster, cement, plastic sheet, dimensions variable&amp;Installation view of October, found covers of Turkish newspapers of October 2023 cyanotype printed on fabric, 12' x 6'&amp; Sirens, 4 channel projection The installation, that accompanies the Tourist Trilogy, ‘A proposal of a shipwreck or a film prop’, consists of mixed materials and found objects such as a truck lining, car tires, pvc pipe, rope, foam, plaster, cement, plastic sheet, cyanotype print on fabric. The shipwreck points finger to an aftermath, but it might be a materialized, hand-worked image of the Tourist Trilogy, like a ghost image. At the shipwreck's mast hangs 'October'. During this time, I was also thinking of Eisenstein's October and building sets for reenactments. Excerpt of Plaza Orders, 2023, digital copy of Super-8 film, sound.&nbsp; I filmed Chapter I 'Sirens' (2023, 6 min.) at summertime in Istanbul at the seafront, that isn’t a public beach but it has been claimed by local men who spend their afternoons swimming in the city, around passing ferries between European and Asian continents. I was interested in creating a hidden narrative using an observational documentary mode, thinking of ethnologics. With my camera, I assumed the role of a matchmaker to my subjects. I used the mating call sound of the last male Hawai'i ‘o'o bird of its kind, now extinct. Additional scenes including some fantastical sculptural elements are still ongoing. I filmed Chapter II 'Thunder Mountain’ (2023, 5 min.) in a dirt raceway in rural New York State. Every week local racers bring their home-modified dirt cars and they race for hours, while the audience drift off in this American tradition. Fan girls occasionally cheer for the racers while American families are involved in mundane activities.I used and mixed the sounds of bee swarms and the racetrack recordings. I filmed Chapter III 'Plaza Orders' (2023, 10 min.) in Brasilia, the capital of Brazil and Ithaca, NY. The film is an essay about networks of power and authorship in the making of a city and a reflection on a woman. <img width="2010" height="1453" width_o="2010" height_o="1453" data-src="https://freight.cargo.site/t/original/i/c7c5c95f022fdddbee15654539ea5349882d206bc63e8068d19eebf80e34cc82/002.jpg" data-mid="79005719" border="0" src="https://freight.cargo.site/w/1000/i/c7c5c95f022fdddbee15654539ea5349882d206bc63e8068d19eebf80e34cc82/002.jpg" /> <img width="2017" height="1471" width_o="2017" height_o="1471" data-src="https://freight.cargo.site/t/original/i/e1a482f58915312fb9c9cd0dbaca262f2d50ff8070f22308e7c82d4f1df5b0d1/003.jpg" data-mid="79005770" border="0" src="https://freight.cargo.site/w/1000/i/e1a482f58915312fb9c9cd0dbaca262f2d50ff8070f22308e7c82d4f1df5b0d1/003.jpg" /> <img width="1385" height="1000" width_o="1385" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0534309e51994767c7b11bcedc537280bc8f763909b3376a1359bd2229869de3/small-5.jpg" data-mid="79005993" border="0" src="https://freight.cargo.site/w/1000/i/0534309e51994767c7b11bcedc537280bc8f763909b3376a1359bd2229869de3/small-5.jpg" /> <img width="1388" height="1000" width_o="1388" height_o="1000" data-src="https://freight.cargo.site/t/original/i/39c7b2e32c018b47ae4b3c27e6fa0f16a12055da6e93a84ac705868d01ce699f/small-7.jpg" data-mid="79006001" border="0" src="https://freight.cargo.site/w/1000/i/39c7b2e32c018b47ae4b3c27e6fa0f16a12055da6e93a84ac705868d01ce699f/small-7.jpg" /> <img width="1396" height="1000" width_o="1396" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b4539b584413305e44ea6263c545cb1f0b438acdf4dca67061acb270542da71f/small-3.jpg" data-mid="79005886" border="0" src="https://freight.cargo.site/w/1000/i/b4539b584413305e44ea6263c545cb1f0b438acdf4dca67061acb270542da71f/small-3.jpg" /> <img width="2792" height="2000" width_o="2792" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2e15fe613c35a0a3d4c7dba97ce0473230da90f5acdc864d69f4ad60578a6022/jack-8.jpg" data-mid="79613072" border="0" src="https://freight.cargo.site/w/1000/i/2e15fe613c35a0a3d4c7dba97ce0473230da90f5acdc864d69f4ad60578a6022/jack-8.jpg" /> Film stills Tourist Trilogy, 2023, digital copy of Super-8 film, sound. &nbsp; https://egeokal.com/Shapes-of-Water Mon, 03 Aug 2020 13:31:58 +0000 ege okal https://egeokal.com/Shapes-of-Water <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b9b7eb83c522dd6ea3462d3b8783049f749aa14c3cd38a51cfc2d0f558a96197/005.jpg" data-mid="78997329" border="0" src="https://freight.cargo.site/w/1000/i/b9b7eb83c522dd6ea3462d3b8783049f749aa14c3cd38a51cfc2d0f558a96197/005.jpg" /><img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/797a47408c01aaa1fd3e5d984bcf88a133c3d4f6c97ca868955228a44d89f0bc/installation_web-34.jpg" data-mid="78996446" border="0" src="https://freight.cargo.site/w/1000/i/797a47408c01aaa1fd3e5d984bcf88a133c3d4f6c97ca868955228a44d89f0bc/installation_web-34.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/edb6675ad378a6e4c1bb050f923a22c3ff59c7e38507eadae49a8af762adba79/installation_web-31.jpg" data-mid="78996444" border="0" src="https://freight.cargo.site/w/1000/i/edb6675ad378a6e4c1bb050f923a22c3ff59c7e38507eadae49a8af762adba79/installation_web-31.jpg" /> Ege Okal, Shapes of Water, 6 handclown glass vessels, dimensions variable, 2019 https://egeokal.com/Hane-Home Mon, 29 Jul 2019 15:50:54 +0000 ege okal https://egeokal.com/Hane-Home <img width="1873" height="2500" width_o="1873" height_o="2500" data-src="https://freight.cargo.site/t/original/i/dc15e88820616001119eb3036f18cd2654eec2535a3db5d3b0558f4723bc0ea9/homesmall-17.jpg" data-mid="48333588" border="0" src="https://freight.cargo.site/w/1000/i/dc15e88820616001119eb3036f18cd2654eec2535a3db5d3b0558f4723bc0ea9/homesmall-17.jpg" /> Ege Okal, Smoking Papers to Homeland, Papier de Damas rolling paper collage ,30”x50” each, inkjet on paper, 2019 Ege Okal, House on Fire, cel animation on loop, 2019 <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/481d9f9dea50e98a466dd457214671c930656b79e39c04948a94c970b7bb59ee/homesmall-10.jpg" data-mid="48333590" border="0" src="https://freight.cargo.site/w/1000/i/481d9f9dea50e98a466dd457214671c930656b79e39c04948a94c970b7bb59ee/homesmall-10.jpg" /> Installation view, on the left Ege Okal, House on Fire (2019), center front Ege Okal, Mother's Milk (2019), center back Yasmeen Abedifard, زمان - history (2019), on the right Yasmeen Abedifard, مهمانی - party (2019). A Dialogue of Diasporic Memory: ‘Hâne/(Home)’ by Varun Biddanda “The idea of a homeland is contestable as it is riddled with false nostalgias and exclusion – thus the word we chose instead was home. Home is a transient experience based on your placement in the world, while a homeland is stationary. We used this as a stepping stone for the work in the show.” — Yasmeen Abedifard&nbsp; Yasmeen Abedifard and Ege Okal are the creative architects behind Hâne/خانه (Home), an exhibition navigating the dialectic tensions surrounding the idea of home. Coming from two sides of the diasporic experience, Abedifard and Okal channeled their lived experiences into the conceptual origin of Hâne/خانه (Home) — as well as the fact that, in Abedifard’s words, “[their] experiences returning to a homeland had a similar unsatisfying, bitter taste.” Traversing the inter-cultural negotiations of memory and spaces, this exhibition is a moving journey of what home means and how these significations are constantly interrogated. At the far end of the gallery are two animations facing each other. Though independently created with pencil and digital editing, both Abedifard and Okal agreed that the mutual relationship between the two pieces felt natural. Their juxtaposition across from each other in the gallery spaces establishes an organic dialectic between each other. In “House on fire,” Okal’s work superimposes a perpetual loop of a burning house on a piercing, red background. Facing it is Abedifard’s “مهمانى – party,” which shows a woman in front of a black background sitting alone on a sofa. In an almost chalk-like white outline, the pencil form’s animation articulates an oscillating texture, imitating the often uneven continuums through which we return to home and its memory. In some ways it is as if the woman is gazing directly at the burning home across from her. The dialectic between the two animations is further reified by the accompanying audio of a dinner table conversation. The word nostalgia, when literally translated, signifies the pain of returning home. Though the title peripherally alludes to a celebration, the somber expression of the woman in Abedifard’s animation — along with its relation with “House on fire” and the ambient audio — materializes this etymological implication of nostalgia along with the overall notion of home. It is unclear on what dimension the destruction of home is occurring in “House on fire,” and perhaps it is this ambiguity that opens itself to such a universal aperture of memory. In some ways, it interrogates the validity of the physical entity of the house as a discursive mediator of home. Along another vein, it resonates deeply with the trauma of displacement as well as invoking the spatial and psychological reconfigurations that displacement inevitably inflicts. The idea of home is often idealized as a site of harmony between the self and the inhabited space. Hâne/خانه (Home) interrogates this association by centering itself around the unignorable dissonance between home and self that diaspora inscribes, that feeling of unsatisfying bitterness that Abedifard refers to. After leaving the exhibition, I could not help but think that home is not localized to a space, but rather it appears to be an orienting force in a narrative ecology of bodies. Perhaps it is through the idea of home that the self and its recollection can persist in their continuous (re)articulations. Hâne/خانه /Home at Tjaden Gallery, Ithaca, NY Artists: Ege Okal, Yasmeen Abedifard https://egeokal.com/Goldensmell Mon, 29 Jul 2019 14:24:55 +0000 ege okal https://egeokal.com/Goldensmell Ege Okal, Goldensmell, slide projector on loop, 57 slides of specialty food packaging, 2 slides of rice paper, 1 slide of flat bread, 3 slides of my mother’s tomato paste that I brought from home, 2020 https://egeokal.com/Salt-Take-I Tue, 11 Aug 2020 14:40:09 +0000 ege okal https://egeokal.com/Salt-Take-I Salt, Take I, hand-drawn animation, 1 min 20 sec. There is wind outside. We see a house. A body appears by the doors and points out and orders the child to go outside. We follow the footsteps of the child walking uphill in the steppes.&nbsp;The child is followed by the sounds of cowbells and cows mixing with the sounds of the wind. The child stops at a large rock formation, starts carving an image of a bird onto the rock with the help of a sharp stone. After he is done carving, he&nbsp;pours salt over the rock. The cows start licking rock as the&nbsp;carving of the bird is slowly erased.&nbsp; The story is based on a Circassian Tribe. Every child had to shepherd the herd as their duty in the village in the middle of Anatolia. They have collectively over time carved many drawings, including Fred Flintstone, to the rocks that showed the imagination of their circumstances. Those rocks were also used as saltlicks for the animals.&nbsp; <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/3f6801812d4bad02dc7e9c1b8db71ba090a65532060bfdad523030143048c06b/IMG_4958.JPG" data-mid="234705657" border="0" src="https://freight.cargo.site/w/1000/i/3f6801812d4bad02dc7e9c1b8db71ba090a65532060bfdad523030143048c06b/IMG_4958.JPG" /><img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/c6d3f83f106326b301f841384f10deb8bdd6098dd188329afad26a128111242c/IMG_4956.JPG" data-mid="234705658" border="0" src="https://freight.cargo.site/w/1000/i/c6d3f83f106326b301f841384f10deb8bdd6098dd188329afad26a128111242c/IMG_4956.JPG" /><img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/0b3567c24a0efe00c488df06a4defac024c89e1d3dc5f23158301e1b8c03885b/IMG_4955.JPG" data-mid="234705659" border="0" src="https://freight.cargo.site/w/1000/i/0b3567c24a0efe00c488df06a4defac024c89e1d3dc5f23158301e1b8c03885b/IMG_4955.JPG" /> https://egeokal.com/About Wed, 01 May 2019 01:24:24 +0000 ege okal https://egeokal.com/About Ege Okal (b. 1990) is a Turkish artist based in New York. Her work assesses, reimagines, and reconfigures the material and experiential qualities of violence, space, gender, language, diplomacy, and memory through film, animation, installation, and sculpture. In her moving image work, she creates places in a purgatory ensconced within recognizable areas of cultural significance and spectacle. Institutional forces exist in differing degrees in these areas: banalities mix with urgency. She experiments with the ethnographic gaze of the camera; examines stratified and splintered psychological behaviors of carefully observed real scenarios and amplifies these appearances by emphasizing the emotions without a cathartic break. In her installations, she uses a diverse range of materials- from colonial trade products like coffee, corn or silk, to migrant food packaging (that are imported and mistranslated) and found objects, to more traditional sculptural materials. She is exploring potential ways of revealing and conjuring multiple meanings in a single work and investigating different degrees of precarity and the tension between fear and humor. The methodology is in the act of hand-working the artistic process. Both her artistic and curatorial practices involve collaborative thinking, participation, storytelling, and care. She received her MFA in 2020 from Cornell University; has taught at Istanbul Bilgi University (TR) , Izmir University of Economics (TR), Sarah Lawrence College (USA). She is the Co-Founder and Director of Elma artist-run space in Brooklyn, NY. SOLO SHOWS 2022&nbsp; &nbsp; After this town, after this hill, after this tree, Mélange, Cologne, Germany 2022&nbsp; &nbsp; Tourist, Elma, Brooklyn, NY 2020&nbsp; &nbsp; ICFF Javitz Center, New York, NY 2019&nbsp; &nbsp; Tourist, Experimental Gallery, Ithaca, NY TWO-PERSON SHOWS 2020&nbsp; &nbsp; Midnight Crisis, Experimental Gallery, Ithaca, NY 2019&nbsp; &nbsp; Home, Tjaden Gallery, Ithaca, NY GROUP SHOWS 2022&nbsp; &nbsp; Fighting Solves Everything, Church Street Boxing Gym, New York, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Occupy Art Project, Consulate General of France, New York, NY 2020&nbsp; &nbsp; How to Build an Ocean, Jack Hanley Gallery, New York, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Screening of the short film Merkür (2015) : &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Home Alone, Pera Museum, Istanbul, TR 2019&nbsp; &nbsp; Pure Wobble, Experimental Gallery, Ithaca, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Scorched Earth, Tjaden Gallery, Ithaca, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Or High Water, Safe Gallery, Brooklyn, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Book/Mark, Tjaden Gallery, Ithaca, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Freshmen, Tjaden Gallery, Ithaca, NY 2018&nbsp; &nbsp; Pinch Point, Tjaden Gallery, Ithaca, NY &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Screening of the short documentary Nydia (2018) : &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The Kiplinger Theatre, Cornell University, Ithaca, NY, USA 2017&nbsp; &nbsp; Screening of the short film Merkür (2015) : &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Work Affairs, Tricky Women Festival, Vienna, Austria &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The National Arts Festival, Grahamstown, South Africa &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Libby Sacer Foundation, Athens, Greece 2016&nbsp; &nbsp; Screening of the short film Merkür (2015) : &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Festival on Wheels, Turkish Booth, Berlin, Germany &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, !f Istanbul Independent Film Festival, Istanbul, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Akbank International Short Film Festival, Istanbul, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, IKSV 35th Istanbul Film Festival, Istanbul, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Athens Animation Festival, Athens, Greece &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Stockholm Experimental &amp; Animation Film Festival, Sweden &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Kino Roulette, Filmfest Dresden International Short Film Festival, Germany &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 4th Canlandıranlar Festival, Istanbul, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Anifilm International Festival of Animated Films, Czech Republic &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, 19th Flying Broom International Women's Film Festival, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Eskişehir International Film Festival, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Golden Kuker-Sofia International Animation Festival, Bulgaria&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Kayseri Altin Cinar Film Festival, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Cannes Short Film Corner, France &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, 10th River Film Festival, Padua, Italy &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, 36th Ifsak Film Festival, Istanbul, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Panorama, Melbourne International Animation Festival, Melbourne, Australia &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Anibar Animation Festival, Peja, Kosovo &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Shorts Mexico Film Festival, 2016, Mexico City, Mexico &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Helsinki International Film Festival, Helsinki, Finland &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; KROK International Animated Film Festival, 2016, Russia &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 59th DOK Leipzig, Country Focus Turkey, Leipzig, Germany &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Cartoons Underground, 2016, Singapore &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, Feelfest, Madrid, Spain &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Official Selection, CutOutFest, Querétaro, Mexico &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Cycle, Bronx World Film, New York, USA &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Sinopale, International Sinop Biennial, SInop, Turkey 2014&nbsp; &nbsp; Teatr Rysowania, Academy of Fine Arts, Wroclaw, PL 2013&nbsp; &nbsp; Drawing Theatre, FASSART Gallery, Istanbul, TR 2012&nbsp; &nbsp; 162m2 8PERSONA, FASSART Gallery, Istanbul, TR &nbsp; &nbsp; 2011&nbsp; &nbsp; In-Between Slashes: Formless/Normless/Homeless, Zilberman Gallery, Istanbul, TR 2010&nbsp; &nbsp; Photokina, The Business Forum Imaging, Cologne, DE 2009&nbsp; &nbsp; Flow, Sakıp Sabancı Museum, Istanbul, TR &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; CURATORIAL WORK 2019 &nbsp; &nbsp; Scorched Earth, Tjaden Gallery, Ithaca, NY 2017 &nbsp; &nbsp; Poolside Animation, Istanbul Comics &amp; Art Festival, Istanbul, TR AWARDS, GRANTS, FELLOWSHIPS 2021 &nbsp; &nbsp;NYFA City Artist Corps Grant &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; SAHA Association - TAAS Fellowship &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; 2019&nbsp; &nbsp; Cornell Council for the Arts Grant 2016&nbsp; &nbsp; Audience Award, Stockholm Experimental &amp; Animation Film Festival, Sweden &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 2nd place - Animation, Kayseri Altın Çınar Film Festival, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Winner - Animation, 34th Ifsak Film Festival, Turkey &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Winner - Animation, FeelFest, Spain TEACHING EXPERIENCE 2022 - 2023&nbsp; &nbsp; Sarah Lawrance College; Visiting Faculty &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The Camera and The Catastrophe, Fall 2022 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Artists and Spaces, Spring 2023 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Photographic Fairytales, Spring 2023 2021 - 2022&nbsp; &nbsp; Izmir Ekonomi University; Part-time Instructor &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Visual Culture, Fall 2021 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Digital Photography, Fall 2021 2018 - 2020&nbsp; &nbsp; Cornell University; Graduate Assistant &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Introduction to Digital Media, Spring 2020 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Introduction to Sculpture, Fall 2019 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Introduction to Photography, Spring 2019 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Introduction to Photography, Fall 2018 2017 - 2018&nbsp; &nbsp; Bilgi University; Part-time Lecturer &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Food: Culture, Cultivation, Design, Spring 2018 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Food: Culture, Cultivation, Design, Fall 2017 2017&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Bilgi University; Visiting Lecturer &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Studio Sustain, Fall 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Studio Kitchen Table Issues, Summer 2017 COMMUNITY INVOLVEMENT 2016&nbsp; &nbsp; Assistant to artists Ekmel Ertan and Seçil Yaylalı “61 Meters of Kahya Bey Street” Community Project, commissioned by HKW Berlin in the frame of Wohnungsfrage Conference. 2012&nbsp; &nbsp; Presenter at Hedonist International Congress, Berlin, Germany “ What Happened at the Istanbul Biennial? - Guerrilla Art in Turkey “ Interactive Presentation. https://egeokal.com/Texts Mon, 23 Nov 2020 17:19:05 +0000 ege okal https://egeokal.com/Texts ON Cornell MFA Show, by Wendy White, Jack Hanley Gallery, July 2020 The Brevity of Solitude: ‘Home Alone’ with Pera Museum, by Matt Hanson, Daily Sabah, April 2020 Or High Water, Hyperallergic, May 2019 A Dialogue of Diasporic Memory: Home, by Varun Biddanda, Cornell Sun, February 2019 Interview on Merkür, by Cem Kayiran,&nbsp;Bant Magazine, April 2016 BY Boiling, Roasting, and Smoking: Li Jin, Hamam Magazine, February 2021 Making Her Bear Dance on Katarina Janeckova, Hamam Magazine, December 2020 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://egeokal.com/Photojournalism Mon, 08 Mar 2021 02:47:06 +0000 ege okal https://egeokal.com/Photojournalism <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/9c51e51286356e711493d3a9a402c15b2b9cde6944b7e8b32a31332be9a49fd5/UNGA-13.jpg" data-mid="101256742" border="0" src="https://freight.cargo.site/w/1000/i/9c51e51286356e711493d3a9a402c15b2b9cde6944b7e8b32a31332be9a49fd5/UNGA-13.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d42b06b877897c46286c892acf49799042772183d16361084e53b1e3526ed835/UNGA-14.jpg" data-mid="101256741" border="0" src="https://freight.cargo.site/w/1000/i/d42b06b877897c46286c892acf49799042772183d16361084e53b1e3526ed835/UNGA-14.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/1d09b8c3ab9ae1cdd0c69aed577df6cb4082c223938a13f66f6fdc4f271b6144/UNGA-3.jpg" data-mid="101256753" border="0" src="https://freight.cargo.site/w/1000/i/1d09b8c3ab9ae1cdd0c69aed577df6cb4082c223938a13f66f6fdc4f271b6144/UNGA-3.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/7269dab27ca4c060d2808855b8482daf4d002431e11b241cc478cd2a69ad6c54/UNGA-8.jpg" data-mid="101256747" border="0" src="https://freight.cargo.site/w/1000/i/7269dab27ca4c060d2808855b8482daf4d002431e11b241cc478cd2a69ad6c54/UNGA-8.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b53992fb18f5226cd72c81a01fa824ffb77809d79c31a376496400f672dbc107/UNGA.jpg" data-mid="101256762" border="0" src="https://freight.cargo.site/w/1000/i/b53992fb18f5226cd72c81a01fa824ffb77809d79c31a376496400f672dbc107/UNGA.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/ead022a1c94bcdbde927c60738def6b2e482d0d13d00cc59c215db89f81957f5/UNGA-10.jpg" data-mid="101256745" border="0" src="https://freight.cargo.site/w/1000/i/ead022a1c94bcdbde927c60738def6b2e482d0d13d00cc59c215db89f81957f5/UNGA-10.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/8883b853a398672741249cdf3bdfe3cec040011b27a5acbe9629704d64e2dd32/UNGA-12.jpg" data-mid="101256743" border="0" src="https://freight.cargo.site/w/1000/i/8883b853a398672741249cdf3bdfe3cec040011b27a5acbe9629704d64e2dd32/UNGA-12.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/89216a9b8e9378ceab91f0a0cb4b10f1f6d4eac1307d0afe1d32c99f72714093/UNGA-4.jpg" data-mid="101256756" border="0" src="https://freight.cargo.site/w/1000/i/89216a9b8e9378ceab91f0a0cb4b10f1f6d4eac1307d0afe1d32c99f72714093/UNGA-4.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/85715ce01341ddab126c4fea2d3b60a701c8de7a4896688b70701294ed45f160/UNGA-11.jpg" data-mid="101256744" border="0" src="https://freight.cargo.site/w/1000/i/85715ce01341ddab126c4fea2d3b60a701c8de7a4896688b70701294ed45f160/UNGA-11.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d7086f46424191b1c59f2334e1f08d3729a3e370a945a9f53f448ab9c85add4a/UNGA-15.jpg" data-mid="101256739" border="0" src="https://freight.cargo.site/w/1000/i/d7086f46424191b1c59f2334e1f08d3729a3e370a945a9f53f448ab9c85add4a/UNGA-15.jpg" /> UNESCO at United Nations General Assembly 2019