Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the kundura hafıza with hundreds of photographs such as architectural drawings of the factory buildings, maps, kundura hafıza, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, kundura hafıza, job applications, certificates of quality, bills for goods etc.

How do you position Kundura Cinema in the context of cinema culture in Turkey and beyond? Kundura Cinema is part of a cultural placemaking project. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. Our mission is to create a new identity for this location, acknowledging the weight of history that comes with this site.

Kundura hafıza

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The artists who are invited to Vardiya for working at the archive in certain periods of the year for certain durations transfer their duties to the artist that will take over. The location of the cinema and our curatorial policy create natural filters and frames for audience development. How does the choice of films shape kundura hafıza different types of audience of your cinema space?

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Kundura Sahne probes performance practice with an inquisitive approach and creates space of encounter with its experimental and innovative fashion. While creating dialogues with strong local and international values, it embraces, encourages and supports research-oriented creative practice in interdisciplinary context. Nurturing the relation of research methodologies and creative techniques, it provides an interplaying dialogue for known concepts and rules; and takes part in creating works of art that are developed with proper methods. Based on the complexity of terms and definitions, it investigates ongoing peripheral connection and interrelationship of concepts such as stage, audience and actor, body and movement. It encourages change in creative styles and creates new setups. It focuses on documentary approach in the context and practice of research-based art making and narrative plotlines. It shapes and contours experiences and social narrations that we all are surrounded by. It progresses without making a classification according to technique, style and format and does not establish a fixed and limited perspective. It establishes an innovative and transforming language when defining documentary regardless of the genre.

Kundura hafıza

It explores Beykoz Kundura, which used to be a living space beyond being just a factory when its kindergarten, cinema and library are taken into consideration, with different methods for understanding its historical development within the context of tangible and intangible cultural values. It examines Beykoz Kundura as a space of life and the state of 'being interconnected' with selected archive materials and oral historical narratives. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It creates a field of research through art practice and provides participation and access to the archive by granting the artist the power of interpretation within the context of the main collecting and compiling principle of the archive. The artists who are invited to Vardiya for working at the archive in certain periods of the year for certain durations transfer their duties to the artist that will take over. The artist decides how to make the transfer in this creative process.

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The artist often works with archives, which are the tangible materials between life and death. It plans a working cycle with the artists, which protects, conserve, and guards the archive. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. Our focus at Kundura Cinema is on designing experiences. We aim to allow our audiences to design their own experience, and what is most important here is that we provide enough material to allow them to do this. First and foremost we hope that our audience will become a part of this ongoing journey, with their relationship to themselves and the space forming part of the placemaking process. Kundura Cinema is part of a cultural placemaking project. By the way, we still conserve the carbon arc lamp projector left from the factory time — this still welcomes visitors in the foyer of the cinema today. For this reason, our story began with the memory project, Kundura Hafiza, through which we were able to uncover untold stories, and gain a better understanding of the social history of this site and of our collective identity. Of course, we also have plenty of programmes with short films and also feature length creative documentaries along with classics. The artist lives and works in Istanbul. The artist decides how to make the transfer in this creative process. The cinema is a product of a core intention to sustainably repurpose this post-industrial site. The factory management used to transform the food hall into an indoor cinema after the end of shifts.

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Through our curation, we remind our audiences of this heritage and we encourage them to engage with the stories behind our programme. She earned her BFA. Although to a degree we determine the boundaries of the cinematic encounter, we also try to leave space for audiences to manage their own experiences. Symposium, Screenings, Talks. Our cinema and its surroundings complete each other. Known for works that emphasize process, Horada describes their practice as "artistic in terms of the transformation brought by time, continuity, and the interruption of the process. The self-repair of the organism and the long-term balancing of nature form the backbone of this narrative. We aim to allow our audiences to design their own experience, and what is most important here is that we provide enough material to allow them to do this. In addition, there are many documents are kept and conserved in the archive with hundreds of photographs such as architectural drawings of the factory buildings, maps, plans, technical drawings of machinery, shoe catalogues, correspondences, general instructions, invoices, job applications, certificates of quality, bills for goods etc. It is located at the former boiler house of the old shoe factory Beykoz Kundura, which is a place of significant industrial heritage in Istanbul. It plans a working cycle with the artists, which protects, conserve, and guards the archive.