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Apartment Project, an art initiative producing contemporary art projects since 1999, presents 'All About Lies' bringing together work - paintings, drawings, videos and objects  by 60 participants from different disciplines to be exhibited in its 23m2 space.
In the exhibition brochure the project's  coordinator Selda Asal describes it briefly:

When you stay abroad for some reason or other people usually prefer to ask you questions about politics rather than trying to understand your exhibition or talking about art. This is the moment when Turkey - a country that has made a rule of giving evasive answers - weighs down on you with all its sins and good deeds. Things we were taught, that were transmitted to us, things we learned through our own efforts, those we learned from writers we trust, things we know, the many things that are veiled etc. etc..a complex process lies, truths, slight truths, lightened truths, strategically reformulated truths, presupposed truths.

This exhibition is about expressing, being able to articulate lies, pretenses and illusions we are always entangled in at the points they touch us.



In a two and half month June ,July ,August  2006  studio workshop, entitled “All About Lies”, sixty two participants from different disciplines and countries used varying approaches to explore concepts about lies and/or the fake. When the workshop images and texts, dealing mainly with political lies from Turkey in the 1980s, were adhered to the walls, floor, ceiling, and windows, the space became illegible and chaotic.  This created confusion did not just refer to a political situation, it also included personal situations, social environment and even experiences from strange, confused, blurred family interactions common in Turkey during the 1980s when it was necessary to refrain from presenting individual expressions strongly or openly. The project coordinator, Selda Asal, commented on the show by saying, ”I tried to use chaos and confusion to lose the trace of what I was saying, but at the same time to say what I wanted to say.” Both the content and form of this exhibition related to misrepresentation.

Daha  çok politik yalanlara ve 1970 lerin sonları ve 1980 li yıllara odaklanan  bir sergi olan

 “Yalanla ilgili herşey”  de  birçok resim , yazı bu sergi mekanının tüm duvarları, pencereler, tavan ve tabanında yer almıştı.“Bu  projenin tasarım ve  koordinasyonunu sağlayan  Selda Asal’ın   sergiye ilişkin  açıklaması sergi broşüründe  kısaca söyle yer alıyor “Yurt dışında yapıyor olduğunuz  sergilere gelen insanlar genelde yaptığınız  sergiyi anlamaya calışmak ,sanat konuşmaktan  çok ,size  politikayla ilgili sorular sormayi tercih ederler.Bu ,kaçamak cevap vermeyi prensip edinmiş  Türkiye’nin, tüm günahları  ve sevaplarının bir anda üzerinize çöktüğü zamandır…

Yalanla ilgili herşey, Hiçbirşey yolunda gitmiyor gibi  projelerinde atölye calismalarina  dayanan bir yol izleyen Apartman Projesi,  sorular uzerinden hareket eden, icersinde bulundugumuz durumu,zamani sorgulayan bir mekan. Biz kimiz, ne yapariz, spesifik meselelerle ilgili nasil düsünürüz, bulundugumuz cografyaya dair sorumlulugumuz

nedir?  Biz’i , ben’i ,tepkimizi, tepkisizligimizi kendi anlatim dilimiz olan resim, video, ses, yerlestirme uzerinden nasil anlatabiliriz? Hepbirlikte atolye calismalari yaparak bir projeyi nasil olustururuz, bircok farkli bakis acisi ve farkli

malzeme kullanan sanatci ve diger disiplinlerden katilimcilarla proje nasil bir surece girer? Bu

farkliliklarla baslangictan cok daha uzak, bilinmez yerlere gecebilir miyiz? Bu deneysel surec nasil yasanir ?

Apartman Projesi soru yada soruların belirli bir yanıtını bulmaktan çok projelerin deneysel süreçleriyle daha çok ilgileniyor,.

Emily Hermant

The Lies Project

http://theliesproject.org

The Lies Project is a web-based work by Emily Hermant that explores the act of lying as currency and tool in the transactions and constructions of our culture. The Project invites viewers to lie and to intervene in others‚Äô lying by altering the quality and content of their lies. In soliciting and encouraging lies, and in allowing them to be manipulated by the viewer, The Project fosters an interactive, anonymous, and strangely intimate virtual community built entirely out of lies.

Hermant‚Äôs web work is a virtual continuation of her earlier work, which used textiles to explore notions of exaggeration, embellishment and tall-tale telling. In the previous installation, hundreds of lies were collected and embroidered, then pinned just off the walls of a gallery, and finally illuminated to create a prominent shadow behind the embroidery of each lie. The shadows cast were more visible to the eye than the embroideries themselves--challenging how we read both lies and truth.

The artist continues her interest in constructions and perceptions of truth by transplanting The Lies Project into cyberspace. In this virtual context, the physical and tactile qualities of the embroidered lies are translated into moving text and images; this creates an environment where viewers experience the intrinsic creativity of lying. The Project also poses questions to participants as they lie in order to break anonymity and to provoke their interest in accountability. As a result, the project creates, reveals, and explores‚Äîsometimes with humorous and absurd effects--the deceptions that weave together the world wide web.

+ Emily Hermant is a textile and installation artist. She holds a BFA with Distinction in Studio Arts [Concentration: Fibres] and Religion from Concordia University. Her work has explored ways of integrating traditional notions of textile production with new technologies. Hermant‚Äôs recent interest in working on-line has been to examine the transition, translation, and integration of these traditional and virtual practices. She is currently working on an installation that explores issues around privacy and the body, public space and militarization. Hermant lives and works in Montreal.

Mary Zyguri & Matteo Fraterno

Morality and Identity: the State of Eternal Verities.

Nationalism treats national identity as a system of absolute values, in which the relativism of ethnic shifters has been transformed into a set of reified eternal verities: the state has always existed .This process of reification follows the fate of the more general class of moral-attribute shifters, but it does so within a specific and identifiable political context. Nationalism deprives the essentially moral terminology of identity of its relativity, imposing upon it a definitional fixity that sometimes creates genuine difficulties and embarrassments ‚Äìas, for example, when the Greek state is forced to specify that Muslim citizens are eligible for police (army) service because , although popularly known as Turks, they are in fact Greek citizens .Indeed, it has become rather dangerous for any Greek Muslims to call themselves Turks because of the official denial of ethnics minorities‚Äô existence. Here all citizens is implicitly called into question and has to be reinforced by a very explicit official statement.

Nadia Tsukulidze

Statement

When do we lie and why are we afraid to speak up? Are we afraid of conflicts, pain and being judged? Are we afraid of being emotional, sentimental or pathetic or is it really that it’s just so more comfortable to carry across the stream that society channels us into? We often discuss politics and global problems and yet often the case we do not have the courage to talk to people next to us “ to share pain, analyze the problem and try resolving it. I don’t think we can change the whole world but what we can do is change the world inside us and let people standing next to us help. Human being is a social creature and language is supposed to be means for communication and yet it is obvious people miscommunications.

I discovered pain in my heart and I was afraid to talk about it. It was relationship with my father that I associated whole Georgian society with. I started writing letters to my father and sent them out to friends. I got different reactions and thoughts as a feedback. We talked and discussed it a lot. It got the whole thing on the move“ people shared their experiences some of which were very personal. I realized that’s how society functions something like a œmind mapâ€�. Sharing experiences makes us richer. I discovered the movement and transformation. 

Basim Magdy

Two Days to Apocalypse   /flash animation video  duration: 3:40

www.likeyou.com/basimmagdy , www.artnews.info/basimmagdy