Sookoon Ang
John Arndt
Backbreakerneckbrace
Elisabetta Benassi
Wolfgang Berkowski
Johanna Billing
Brian Block
Opie Boero-Imwinkelried
Daniel Bozhkov
Lasse Brandt
aka Bosse Sudenburg

Sarra Brill
Thomas M. Callori
Rob Carter
Anetta Mona Chisa
Suzy Cho
William Cobbing
Tyler Coburn
Patricia Cronin
Keren Cytter
Jen DeNike
Robert Ladislas Derr
Stanislao Di Giugno
Ra di Martino
Honoré d'O
Steven Eastwood
Chris Ernst
Billy Erhard
Mariana Ferratto
Oriana Fox
Rainer Ganahl
Jean-Baptiste Ganne
Mario Garcia Torres
Emil Goh
Goldiechiari
Dara Greenwald
Vincent Grenier
Jesper Just
Rob Johannesma
John Kelly
Jeroen Kooijmans
William Lamson
Penny Lane

Sandra Eula Lee
Jochen Lempert
Jason Livingston
Jennifer Locke
Giuliano Lombardo
Marie Losier
Mary Magsamen
& Stephen Hillerbrand

Giulia Mainenti
Kristine Marx
Tara Mateik
Ursula Mayer
Jacopo Miliani
Franklin Miller
Vincenzo Mistretta
Liana Miuccio
Joshua Mosley
Willett Moss
Shana Moulton
Lydia Moyer
Jeremy Newman
New Humans
Nicedisc
Olaf Nicolai
Dan Oki
Joao Onofre
Jimmy Owenns
Arzu Ozkal Telhan
Jose Parral
Sarah Paul
Julie Perini
Rosalind Peters
PH.ON
Alessandro Piangiamore
Cesare Pietroiusti
Frederic Post
Gunter Puller
Marco Raparelli
Alia Raza
Asad Raza
Jack Riccobono
G. Alan Rhodes
Manuel Saiz
Alessandro Sarra
Corrado Sassi
Mathew Sawyer
Jennifer Schmidt
Guendalina Salini
Cigdem Slankard
Claudia Sohrens
Mirjam Somers
Nomi Talisman
Jennet Thomas
Jennie Thwing
Lucia Tkacova
Nathan Townes-Anderson
Thomas Tsang
Ken Ueno
Guido van der Werve
Marcella Vanzo
Nico Vascellari
Luca Vitone
Clemens von Wedemeyer
Patrick Ward
Julita Wojcik
Emiliano Zelada
ZimmerFrei
Sarah Zwerling



Eating Disorder

(2006) 1:57 min.
Set to the song "Lay Lady Lay" (Magnet with Gemma Hayes), the camera lens assumes the position of a mirror allowing the viewer to witness a woman's quotidian ritual of lipstick application.  However, rather than remaining on the surface, the red gloss enters into the mouth, as Telhan chews and swallows the inorganic substance.  Telhan posits the make-up and its ritual of application as both a means of achieving physical beauty (in the social context) and a cause of physical sickness on the individual level.
(Kristen Lorello)


Nothingness

3:06 min., 2005
Occupying the space between action and passivity, a flaccid body enters onto the screen as the cleansing ritual of a Turkish burial rite is performed onto the body's surface by a secondary performer.  Uncertain whether the body is alive or dead, the viewer's access to the female nude is denied by the formal structure of the visual space and by the eventual recognition that the body is in fact a corpse.  In this seeming passivity, Telhan activates an attitude of disobedience, refusing to participate according to the dictations prescribed by the outside realm. (Kristen Lorello)

ARZU OZKAL TELHAN

http://contrary.info/

Culture inscribes its mark in bold letters affirming “human” on the surface of the body at the first moment of “being.” After being entitled as “human,” one would notice the vocabulary to define “human” is limited only to dichotomies: male/female, good/bad, pretty/ugly, us/other…

I don’t think I ever sought for a definition of my human being until I left my native country -Turkey- four years ago. I had never thought that language, which holds the connection between mind and object, introduces the individual to the collective voice and vocabulary, fastens the codified norms of the society, and imposes them on the individual. I believe the major advantage of being away from my native country is to provide emancipation, or a distance, from my previous life and indoctrinated values. This emancipation is helping me to become conscious of the borders and limits that I was setting into my life, in addition to the ones that were being set for me by my social environment. I have realized that this freeing was also a temporary one and ended as soon as I had to attend a western identity, which I have been introduced by my present milieu.

My practice can be grouped under the interpretation of body and its relationship to its environment. I make attempts to emancipate the body from social and cultural norms and try to suggest ways to distance one from the limits imposed on the society by totalitarian establishments. I believe that even temporary emancipations can help us be aware of the limits forced on us by the regimes of society. I appear in unfamiliar places where supposedly “I do not belong” according to the tradition, laws, or patriarchal value systems.

Arzu Ozkal Telhan is a Turkish born media artist and designer. She received her BFA in graphic design from Bilkent University, and her MFA from Department of Visual Studies at University at Buffalo, SUNY.

Ozkal Telhan has exhibited internationally at various festivals and venues including Hallwalls Contemporary Arts Center, CEPA Gallery, University at Buffalo Art Galleries, British Council Art Gallery in Ankara, Galeria Zero, International Video Art Festival in Public Spaces of Russia, Buffalo Infringement Festival, Extrapolations, Cologne Online Film Festival.

Upcoming exhibitions include a solo show in Istanbul at The Akbank Center for Culture and the Arts.

She is the recipient of various awards including a teaching assistantship and academic scholarship from Department of Visual Studies at University at Buffalo, a first prize at a short film scenario competition held by EGE Forests Foundation and a first prize for her stamp design on children rights distributed by Turkish Postal Service.

She has given lectures at the Department of Visual Studies at University at Buffalo, the Department of Communications and the Department of Media Study at the Canisius College.

Arzu Ozkal Telhan has delivered papers on subjects related to body and technology in relation to public space.