29 Dec 2013

Globe, balls and wig

Globe, balls and wig - 2013

This site specific related video work re-visiting to edge of the seaside Cornwall old mining factory area. In the past this geography was highly productive for mining (tin) and important for English economy. They stopped to using so many mining factories and now more tourist attraction to Cornish coast.
The man made object old, rusty, broken, useless and un-working machine giving us sense of power. Already set up and atmospheric dramatic scene creating for us theatrical perception.
Bring it to this surreal space foreign, unrelated metaphorical probes (globe, ping balls, wig and hat, which is they are not related to space and try to create queer twist and play around this highly masculine environment. 
This work about how individual can be perform and act in historical old, unstabled , broken space? balls coming out from mouth and coming back to the mouth like oral saying and turning and playing with globe around old machine trying to re-generate and re-telling to new possibilities.

3 Nov 2013

Car Lift

Car lift | 2013 | HD video | Single channel | 2:44 min | courtesy of the artist

Performance video work
Car lift,  one single gaze with a single  camera and performing in the Industrial estate near my home town, Torbali - Izmir.  Figure is lying up, down position and posing sense of erotic offering attraction to the viewer.
Industrial space generally occupy with masculine, macho and mainly man workers. Single screen film showing with slow and speed motions.
As a voice saying all the time in Turkish language kind of dialog with other person and they are asking: "Kaldirayim mi? (Can I be lifted? Answering: Kaldir (Lifted)
Also there is  sense of erotic in the saying like Can I be erected? Erect. This repeating of the same words  are giving sense of how we are listening to the same words in everyday life from politicans they are lifting up important files to the shelfs and they are not resolving the issues of human life. They are all the time doing Lift or put away...

22 Jun 2013

Now In History

Now in History by Ilker Cinarel
Gaslighting Show - June 2013 -UK
It broke my heart when I saw images from my friends posted on facebook. For five days the Turkish press hadn’t shown the images of what is happening there right now. Instead, the TV news channels show penguins. Now the penguin is a symbol in Turkey.
Being censored and suppressed under this authoritarian and dictatorial regime is not good. Growing up as a gay man in Turkey I know these feelings. There is not enough freedom in my homeland. Three people killed, fifty thousand injured. 70 lawyers arrested. There is so much taboo and tradition. Now, at last, a young man protesting plays piano in Gezi Park.
It is happening in Turkey now: people fighting for freedom and democracy.   So many people and my friends are hurt and police attacks them with tear gas, orange gas and water cannons.
I have been collecting these press photographs since the protests in Taksim square began on the 29th of May 2013.  They are iconic images now in Turkey and all around the world. These are images of my friends, my family, my fellow Turkish citizens and… penguins.

13 Jun 2013


SQUARE EYES involves the screening of international and regional video art within the CAZ project space and reciprocal screenings within partner spaces around the world. CAZ provides a space for artists to exhibit work, reach new audiences and network locally and internationally.



The Exchange Gallery, The Engine Room Princes Street, Penzance, TR18 2NL
You are cordially invited to join us for this free video art screening...
SQUARE EYES - DUBLIN will feature video art from Dublin, Ireland and from the South West of England. The videos from Dublin have been selected by artists/curators Niamh Murphy and Méabh Redmond and the videos from the South West have been selected by Ian Whitford of artist-led space CAZ.
This screening will take place in the Exchange Gallery, Penzance with a reciprocal screening in The Market Studios, Dublin.
SQUARE EYES involves the screening of international and regional video art within the CAZ project space and reciprocal screenings within partner spaces around the world. The intention is to provide a space for artists to exhibit work, reach new audiences and network locally and internationally.
The Exchange bar will be open serving refreshments and snacks throughout the event.


Ann Haycock 'Thirteen Lines' 1:00
Daryl Waller 'Skin' 1:55
Delpha Hudson 'Life Sentences' 6:00 
Tom James Bond 'Monolith' 1:17 
Fred McVittie 'You Looking At My Cakes' 0:55 
Ken Turner 'People In Danger' 2:23 
Neil Rose 'Goatboy (A1) Demon Box' 6:01 
Cathy Preston 'Not The Piercing' 1:35 
Susan Bleakley 'Stone Matter' 3:24
Ilker Cinarel 'Men Hugging' 3:37
Anna Sadler 'Wonderweb' 2:30 
Beth Emily Richards 'The Handcuff King' 7:02
Ellie Swingler 'The Key' 6:12
Steve Nice 'Toilet Time & Relative Dimention In Video Space' 2:15
Angela Darby & Robert Peters 'I Aint No Kinda Hustler' 0:47
Charlie Deadman & Kerrie O'Brien 'H1' 1:21
Adam Gibney'Still Life With Oranges' 1:18
Stephanie Golden 'Connected Viewing' 2:22
Lynda Phelan 'Animalicious' 0:27
Andrew Benson 'Sparkle' 4:22
Kevin Ryan 'It's More Important Than That' 5:00
Mario Santamaria 'Modelcam' 1:45
Thomas Parkes 'Untitled' 4:21
Jonathan Mayhew 'some_but_not_all_my_spam_(ka$h4gld)' 3:19
Francis Fay 'The Pilgrim' 4:14
Aine Belton 'We Destroy The Things That We Love' 1:31
Sarah Lundy 'Personal Apocalypse' 6:57

15 May 2013

Issue No:I - Open Relationship

Issue No:I - Open Relationship

Live Performance - April/2013
Duration: 20 min.
Space: Klup Kulah - Karakoy / Istanbul - TR
Performers: Ilker Cinarel
            Kadir Ulus
            Mustafa Adiguzel

10 May 2013

Unexpected package

Unexpected Package is a video, performance and installation that explores sexuality and gender within the masculine culture of Turkey. It examines my relationship with my own gender as well as the cultural expectations of being manly in a man's world.
The overtly masculine and authoritarian place that I grew up in forbids some more private feelings, which is perhaps why my practice has lead me towards trying to establish personal boundaries and to discover what are the permissible social edges.

6 Mar 2013

Square Eyes - Istanbul & Falmouth


The Exchange, Tremough Campus, PenrynTR10 9EZ

You are cordially invited to this free
video art screening

Click here for full Pdf programme...
SQUARE EYES - ISTANBUL will feature video art by students from The Kultur University, Istanbul and from the South West of England and artists from Istanbul and the South West of England. The videos have been selected by video artist and lecturer Ferhat Ozgur at Istanbul Kultur University, Curator of Square Eyes, Ian Whitford of artist-led space CAZ Penzance and Phil Rushworth of the University of Exeter/Falmouth University partnership and curator of Confluence 2013.

A full programme of work will be available on the day and byclicking here... There will be a free bar with alcoholic, soft drinks & snacks during the event.
SQUARE EYES involves the screening of international and regional video art within the CAZ project space and reciprocal screenings within partner spaces around the world. The intention is to provide a space for artists to exhibit work, reach new audiences and network locally and internationally.
Confluence is a new public contemporary art programme for the Tremough Campus that aims to reflect and engage with both Falmouth University and the University of Exeter with a range of exciting projects. SQUARE EYES ISTANBUL is the first Confluence evening event that will bring students, artists and the public together to enjoy engaging art in a social environment.

Minibus: A limited number of spaces are available on a return trip to Tremough Campus from Penzance & Falmouth. please contact CAZ if you would like to book a place.
For more information about CAZ: www.cazart.org.uk
For more information about Confluence: www.fxplus.ac.uk/confluence
Contact CAZ: info@cazart.org.uk

16 Feb 2013

Decentralised Networkers Congress 2012

Decentralised Network Congress 2012

Autonomous Zone
CAZ Autonomous Zone Presents...
The Engine Room, The Exchange, Princes Street Penzance, TR18 2N, Fri 2nd - Sun 4th November

 DNC Mail Art 
Please join us to open letters and packages containing original art works sent to us by artists from around the world, to view the mail art, to make replies, and to use facebook and twitter to share actions and thoughts with our international collaborators.
This event is part of a network of projects taking place in Penzance (UK), Odzaci (Serbia), Ponte Nossa, (Italy), Roanoke (USA) and in Buenos Aires (Argentina). These gatherings and the communication between them is intended as a celebration of the 20th anniversary of the original Decentralised Networkers Congress and to reactivate and expand local/global artists networks. 

Friday 2nd November
10:00am – 1:00pm - Opening mail art and making replies
1:00pm - 2:00pm - Buffet in cafe
2:00pm - 5:00pm - Group installation of mail art exhibition
Saturday 3rd November 
11:00am – 12:00pm - group mailing at Penzance post office. 
1:00pm - 5:00pm – digital media performances by Ann Haycock, Ilker Cinarel, Anna Sadler, Janet Mc Ewan and Rebecca Weeks with multiple international collaborators in engine room.
Sunday 4th November
The performance jam continues from home over facebook, twitter and skype. The mail art will remain installed in the engine room until the following weekend enabling people to drop in and see the variety of works.

Join the feed... 

Cornwall Autonomous Zone Website: www.cazart.org.uk
For more info email: info@cazart.org.uk 
Autonomous Zone

14 Feb 2013

Moment Upon Moment - Test Bed 1 Gallery - London



Moment Upon Moment - 2012 
Performance - [hazad tape, prisoner’s overall, chalk, glitter]

This live art project with a duration of two and a half hours was made for the ‘acts of.....’ event in London October 2012.
The piece represented a liberation. From a prison of restriction to the freedom of a very personal identity.

12 Feb 2013

Act (2) of ...

          Plap 2 - Cornwall based performance - live art group
          Artists:      Daniel Barnard
                        Ilker Cinarel
                        Ann Haycock
                        Paul Farmer
                        Anna Sadler
                        Rebecca Weeks
                        Ian Whitford

11 Feb 2013

Rolling Paper On The Desk


Rolling papers on the desk 
"To know of some is good; but for the rest, silence is to be praised; "
Ser Brunetto speaking of his fellow sodomites to Dante in the Inferno 1

Rolling papers on the desk is a title composed by John Cage and I have adopted it as the title of my project in response to his work.. The central threads of my own practice are that of sexuality and authority so naturaly the starting point of my research for this project was John Cage's private and personal life. I discovered early on about his relationship with the dancer and choreographer Merce Cunningham during the cold war era. Their lives and relationship were kept very secret and hidden within mainstream society however Jonathan Katz talking about Cage and Merce said “His sexuality was a kind of open secret within the avant-garde, and, as his fame spread, so too did knowledge of his personal life. Still, direct public acknowledgement of Cage's sexuality was, until quite recently, hard to find, consigned to the realm of gossip and understood to be tangential to his historical import and achievements. Cage himself, while never denying his sexuality, preferred instead to duck the question: when asked to characterize his relationship with Merce, he would say, "I cook and Merce does the dishes."3 During my research I felt that it was because of this subversive and secretive behaviour that he developed his anarchic attitude to Authority. He seemed to devise his systems of random chance and repetition in his work as an antidote to the cultural conventions, just as his sexual behaviour was flying in the face of normality. I therefore wanted to suggest these connections between sexuality, anarchy and authority in my work
My starting point was to understand the relation ship between the space (the room in which I was working), my own personal human biography and that of John Cage. My actions required me to take a stance and perform in a way that was opposite to any suggested authority or system. 
I brought some material from my own studio space to this other place: rolls of paper, glue gun, cotton, snooker balls and some gay magazines. I first placed rolls of paper in the  middle of the room, cotton thread to the corner, and played with these materials to create the accidental chance that comes with spontaneous making and combining this with ideas of relationships, vulnerability, sexuality and fear of authority and between people in society.
On other days I continued this process, I brought more plain paper, coins, and playing cards and still with the notion of chance, I used some of his ideas of interpretation , indeterminacy, tossing coins, finger prints etc. to create a variety of different installations within the space.  I made thumb prints on paper and tossed coins around the floor and made some coin prints on paper by rubbing them with graphite. I placed rolled paper around the floor and placed playing cards on the top of them and they reminded me of people marching or dancing through the space. I drew around them with cotton thread, allowing the drawing to wander freely.
This process was working well but the space still dominated the work and had an authority. It was indeterminate but I decided to respond to this context. The discovery of a very formal looking desk in the building inspired me to think that all the disordered components I had been using should be brought together with a counterpoint of the desk and the space. The desk in the space alone has authority and is severe. I cut pictures from gay magazines and used them like pin up boys, pinning the rolls of paper together like formal documents. By placing these rolls of paper on the table and giving each the face of a playing card my desire was to give each individual one a sense of freedom.
They were not any more silent rolls of paper, they were more powerful on the desk than on the floor.

I propose to perform in the space: every 4 minutes and 33 seconds I will sit in chairs on opposite sides of the desk, changing every 4 min and 33 seconds so that the total performance will be 9 min     and 6 seconds in duration. 
Please donate your thumbprint – I would like to liberate them 

1Dante Alighieri, trans. Allen Mandelbaum. The Divine Comedy, Inferno, (Berkeley: University of California Press,1987), Canto XV: 137. Interestingly, when Cage's friend Robert Rauschenberg illustrated this passage in his Dante Drawings he uncharacteristically opted out of the prescribed silence-- identifying himself as among the sodomites sentenced to wander over burning sands by outlining his own foot in red at the top of the page.

4 Feb 2013

Lay Down Garments

This performance exploring the invisible boundaries between the private realm and public space. In particular I am interested to investigate the unspoken and hidden rules that govern our social behavior. During the performance a narrative will unfold which lays out the exposure of private identities.

Location: St Ives Harbour 
Duration: 4 Hour

20 Jan 2013

DIY 9 - Being At The Edge

In particular  “being at the edge” means a lot to me. Despite now living and working in Cornwall I arrived in Britain from a very different type of culture that has always made me feel as though I am inhabiting a different space. It excites me to discover new landscapes and spaces that allow me to differentiate myself from the very different place that I left behind. I am therefore conscious of being an ‘outsider’ – being ‘on the edge’.  The way you describe this similar quality of Cornwall makes me yearn to discover how I might find different ways to connect with the Cornish landscape and it’s history.

The overtly masculine and authoritarian place that I left forbids some private feelings, which is perhaps why my practice leads me towards trying to find my personal boundaries and permissible social edges.
Mining also has a particular resonance for me as many times I have considered how mining poses a metaphor for my process, which tries to dig deeply into the hard and difficult subjects I encounter.
I am particularly interested in sexual histories and sexual energies within a place or particular context. The exclusively male environment of the mines implies a potent masculine sexuality that I would like to explore in this instance.