Von Ali Karan am 25. November 2015 um 08:54

2/5 BZ @ ââ NO-ISBN on self-publishing ââ book
( interviewed in 15th January 2015 - Wien )
Gezilla vs. Isistanbul: In   an interview, Serhat Köksal a.k.a. 2â5bz
talks about the fanzines he  produces and their connection to Turkish
traditions of dissidence with   poets and musicians.
NO-ISBN â On Self-publishing investigates   extraordinary books that
withdraw from the international book trade. A   register contains
1,800 items that have three features in common: they   are recent,
printed on paper, and circulate without an ISBN.
Question - Serhat, you are working with quite different media and in a
do-it-yourself style. How did you develop your practice and your
Answer : During the 1980s, I started playing in bands with friends, we
did amateur concerts until the late 1980s. Around 1991, I began to
produce publications, stickers and posters, which I combined with my
music. Beyond that, I was already producing different kinds of works
and sharing them with the people around me, like the cartoon that I
designed on my note-book in 1982.
One of the main reasons for the military putsches in Turkey took place
was that neo-liberalism had started to shape the political landscape
in the rest of the world. Thus, the horrible consequences of military
putsch was integrated to the results and aims of neo-liberalism. Then,
many private TV stations were founded in Turkey, and what I call our
âfake freedomâ commenced.
As a result, for the first time, we saw the faces of politicians who
gave election speeches on TV. Until then, they only spoke on the main
squares of towns, during election campaigns. In the early 1990s,
political discussions and propaganda on TV was something new. I
noticed that, and I wanted to react to it, I wanted to offer
resistance and to speak out. Like the folk poets when they see the
politicians on their home-towns and response to their fake attitude
and lies with their music and satire. I used the copies of Turkish
movies from the 1970s I own, films I saw as a child between 1974 and
1975. â And thatâs how I constructed my own, fictitious army of
characters from Turkish films of the 1970s. Together with my music
tapes, I gave away this poster in size A3 (âWe will bring you to
accountâ). This poster was an open response given by a virtual army of
famous film characters, to what was happening in our real lives. In
the early 1990s, a journalist was killed under orders of the
governments and the secret services, as many others. That journalist
also exists as a figure on the poster. Dramaturgically this army was
punishing those who were responsible for the deaths. I neither used
this technique of collage just because I liked the aesthetic of it,
nor to popularize these charming aesthetic of these popular figures.
It has served me as a tool to create a reflective speech area, where I
could express my concerns within the image as well as the sound. It
was very popular at that time: only two or three shops in two or three
cities sold it, but 1000 copies were sold. It was even world widely
distributed. Also, many people made copies from the original. It was
the same amount and same way of distribution for the next yearâs tape.
Question : So this is how many people, who own that poster and
cassettes and have it in their living room, or bed room, remember the
story of these journalists, intellectuals, folk singers, massacred
people, among many others. By distributing your work to thousands of
people, your work is also successful in creating some kind of cultural
Answer : âOpua Dışınâ âDuÌzenin Yedi Ceddineâ is another cassette
created in 1994. It contains more material on resistance. This time, I
cut the main characterâs head off, made him anonymous. We can say that
there is also a strong connection with today. What we experience today
with âhalal autonomous jihadistsâ, being used as a new kind of cheap
work power, cutting the heads off, serving the rulers at most, is not
something new for this geography. People suffered from the same
tyranny since thousands of years. On âOpua Dışınâ there was also a
character, who experienced this tyranny but continues to fight with
his enemies in the other world, even after his head being cut-off.
The car on another poster from early 1990s, a white Renault, is very
typical for the activities of the secret service in Eastern Anatolia.
At the time when I made the poster, I lived in Tarlabaşı, a quarter
of Istanbul. I lived close to the police station, and also close to
IÌstiklal street, where the police was very active. We noticed the
white Renaults, and started to write down the numbers of the licence
plates. Afterwards, I published them in my magazine. These cars,
especially the white Renaults, were also common in the Kurdish areas
of Eastern Anatolia. They were used by the âdeep stateâ to abduct
people. Many who were taken by these cars were never seen or heard
from again. They were murdered. Thus, the publication served as a
warning too, as another element on the cultural memory .....
( more at http://2-5bz.tumblr.com/post/133900829103/25-bz-no-isbn )


Gezilla vs. ISIStanbul: Serhat  Köksal (a.k.a. 2/5 bz) spricht im
Interview über die von ihm   produzierten Fanzines und ihre Verbindung
zu türkischen Traditionen der politischen Regimekritik durch Dichter
und Musiker.
2/5 BZ will  perform audiovisual performance  in
transmediale festival in Berlin
& Dresden Academy of Fine Arts
begin of February 2016

 audiovisual performance @ BERLIN transmedaile / zku   4.9.2015




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