456:
publications, periodicals, and project publications with an online inventory. The artists' books in the collection are produced in large editions and circulate outside of mainstream art channels. This can be considered as an extension of her artistic research on the collection, organization, and dissemination of information. To develop the BAS Collection, Cennetoğlu prioritizes diversity over personal taste as she has an open acquisition policy when buying, accepting, and bartering artists' books. The collection is open to the public.BAS has hosted exhibitions, including
333:, first published in 1998 by Mezopotamien Verlag, Neuss. Ersöz was a chemist turned editor turned guerrilla—a Kurdish fighter who kept a journal as an act of resistance between 1995 and 1997. In her diary, she writes about her experience as a fighter as well as her observations in nature, poetry she likes, and the difference between being an intellectual and a fighter. She was killed in 1997. As part of the exhibition in Kassel, Cennetoğlu also created a related work, replacing the usual inscription of "Museum
298:: composition, color, assumption, negotiation, operation, vanity, adjustment, excursion, caution, love, seizure, exploit, act, invasion and replacement. Cennetoğlu created subjective categories to organize her photographs along with a few found photographs, challenging the assumed hierarchies of value. For the duration of the exhibition in Venice, the viewers were encouraged to order and download the featured photographs from the Internet free or charge.
240:"Governments don’t keep these record for the public; they don’t want the public to see these records because it exposes their policies, so you have NGOs trying to put data together, and that data is incomplete and fragile, but there again someone has to do it. And I want to contribute to that with what I have and what I do—but not by aestheticizing it. You cannot represent this kind of darkness through art."
266:, London. On August 1, 2018, the posters in Liverpool were anonymously destroyed and removed. Some suggested that a council worker may have mistaken the work as an illegal poster and taken it down, but a spokesperson from the city council refused the allegation. The work was reinstalled on August 5, 2018, but was vandalised again shortly afterwards.
347:
email, all of her video works, their documentation, exhibitions, as well as images from her private life. Considered as an act of "vulnerability and rebelliousness", the work is an investigation of collective histories through the images the artist has collected over 12 years. The title was inspired by
341:
1 January 1970 – 21 March 2018 · H O W B E I T · Guilty feet have got no rhythm · Keçiboynuzu · AS IS · MurMur · I measure every grief I meet · Taq u Raq · A piercing
Comfort it affords · Stitch · Made in Fall · Yes. But. We had a golden heart. · One day soon I’m gonna tell the moon about the crying
346:
Cennetoğlu's most recent work is a 128 hours and 22 minutes long film work that comprises an unedited archive of all the digital images the artist has amassed between June 2006 and March 2018. The film features all the photographs and videos the artist took, the images she received on his phone and
230:
featured data about 7,128 individuals when first exhibited in
Amsterdam in 2007. As of May 2018, it includes 34,361 cases. Cennetoğlu does not consider the project "an art piece"; she does not edition it, sell it or sign it. Although she doesn't consider this project an artwork, she acknowledges a
306:
In the early 2010s, Cennetoğlu started creating bound collections of daily newspapers printed in one day and has produced different editions of this work in several countries, including Turkey, Switzerland, and
Germany. The work offers a juxtaposition of information in an unconventional way, and
455:
In 2006, Cennetoğlu initiated an artist-run project called BAS, which roughly translates as "print". The space currently hosts a collection of artists' books and ephemera on permanent display, which has grown from her own collection. The collection comprises three main categories: artists'
235:
and her artistic practice, as her artworks deal with witness-bearing. This work exemplifies how
Cennetoğlu assumes different positions such as caretaker and a facilitator—not only an author—when she deals with lists and archives.
307:
questions the politics of representation through print media. The artist calls it a "re-contextualization" of the newspaper and "an almost monumentalization" as the archiving of printed matter is meant to be temporary.
436:, which was scheduled to open in June 2024. The artists cited that the institution "declined to accommodate an artistic gesture we proposed, which aimed to align with the collective solidarity with Palestine."
178:, an Amsterdam-based network in support of migrants and refugees. The work is a collection of data about thousands of immigrants, asylum seekers, and refugees who died on their way to or at the border of the
482:
Alongside BAS, Cennetoğlu collaborated with artist
Philippine Hoegen to establish Bent, the publishing project that focused on commissioning artists' books by artists from Turkey. The first publication was
34:, and printed matter to explore the classification, appropriation and distribution of data and knowledge. Her work deals with listings, collections, rearrangements, and archives. Cennetoğlu co-represented
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429:, New York (2013); Manifesta 8, Murcia (2010); The Pavilion of Turkey at the 53rd Venice Biennale (2009); 3rd Berlin Biennale (2008); 1st Athens Biennale (2007); and 10th Istanbul Biennale (2007).
475:
In 2014, collectorspace, an
Istanbul-based nonprofit, collaborated with Cennetoğlu and the BAS Collection to work on an exhibition with a newspaper project borrowed from the collection, titled
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In
February 2024, Cennetoğlu, alongside artist Pilvi Takala, released a statement regarding her decision to join Strike Germany and withdraw from her solo exhibition at
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since 1993. It is presented in multiple forms, including posters, billboards, newspaper supplements, and public screens, in various cities, including
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and got involved with artists' books. In 2005, she moved back to Turkey. In 2016, she was a guest at the DAAD Artists-in-Berlin
Program.
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is a work that comprises 82,661 words in mirror image placed on 145 press-ready lithographic limestone slabs. It draws from
258:, June 20, 2018. Subsequently, it was exhibited in the form of posters at Great George Street in Liverpool as part of the
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2098:"Banu Cennetoğlu: Corrections and Clarifications from the BAS Collection - Classroom - Art & Education"
1929:"Streit um Gaza-Krieg: Künstlerinnen Banu Cennetoğlu und Pilvi Takala canceln ihre Ausstellungen in Berlin"
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1350:"Sampling the Document or Documenting the Sample: An Interview with Banu Cennetoglu | Art21 Magazine"
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1203:"Project Documenting the Deaths of Over 34,000 Refugees Mysteriously Removed at Liverpool Biennial"
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811:"'Being safe is scary': At Germany's documenta 14, chilling reminders that history repeats itself"
1955:"Berliner Kunstraum n.b.k.: „Wir lehnen die Übernahme vorgegebener politischer Einstellungen ab""
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1981:"Two Star Artists Pull Shows in Berlin, Claiming Museum Would Not Exhibit Pro-Palestine Gesture"
1301:"List of 34,361 dead refugees and migrants goes back on show in Liverpool after being destroyed"
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525:"First Comprehensive Solo Exhibition in Switzerland of Works by Turkish Artist Banu Cennetoglu"
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for the
Pavilion of Turkey at the 53rd International Venice Biennale, Cennetoğlu produced
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2012:
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and printed material as artwork. In Turkey, she is "best known as an apostle of the
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1070:"Banu Cennetoğlu: 'As long as I have resources, I will make The List more visible'"
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114:(2006–ongoing), an Istanbul-based artist-run initiative that collects and displays
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1179:"The List: the 34,361 men, women and children who perished trying to reach Europe"
1578:"Banu Cennetoğlu Uploaded 12 Years of Her Digital Life into a 128-Hour-Long Film"
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where she worked on documentary and fashion photography for publications such as
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in 2009. Her work has been shown at numerous international institutions such as
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1497:"Documenta art exhibition more political than ever | Arts | DW | 09.06.2017"
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2122:"Sanatçı Kitapları Koleksiyonu // BAS Artists' Books Collection « BAS"
1252:"ArtAsiaPacific: Banu Cennetoglus Work Removed From The Liverpool Biennial"
1327:
Banu
Cennetoglu, 'Catalog' (2009), 53rd Venice Biennale, Turkish Pavilion
294:, comprising 450 photographs organized in fifteen categories inspired by
248:
edition. The 2018 edition was printed and distributed as a supplement by
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Cennetoğlu received a BA in psychology and then studied photography in
1277:"Art project listing names of dead refugees and migrants is destroyed"
974:"Newspaper identifies 33,293 people who've died seeking shelter in..."
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1017:"'The List' of 22,342 Migrants Appears on Public Screen in Istanbul"
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tagesspiegel.de/downloads/20560202/3/listeentireberlinccbanu.pdf
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Pavement Myth-The Life of the Pavement’s Wolf (1, 2, 3, 4, 5, 6)
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1904:"İstanbul Kültür Sanat Vakfı | Uluslararası İstanbul Bienali"
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892:"Künstlerin dokumentiert das Sterben von 33.293 Geflüchteten"
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2018 and in conjunction with Cennetoğlu's solo exhibition at
82:, Athens and Kassel (2017); Bonner Kunstverein, Bonn (2015);
1228:"List of Thousands of Dead Refugees Destroyed in Liverpool"
2041:
890:
Casdorff, Stephan-Andreas; Maroldt, Lorenz (2017-11-09).
503:(2009) by the artist collective Atılkunst, among others.
401:, Berlin (2017); documenta14, Athens and Kassel (2017);
1903:
1546:"Now Unreeling, an Istanbul Artist's Tumultuous Decade"
2219:
Corrections and Clarifications from the BAS Collection
327:
Gurbet's Diary. I Engraved My Heart into the Mountains
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439:
The artist is represented by Rodeo Gallery, based in
355:, a novel with thirteen subtitles separated by or's.
1374:"Guilty feet have got no rhythm. • Kunsthalle Basel"
337:" with "Being safe is scary"—as a tribute to Ersöz.
1696:"La Triennale di Milano » The Restless Earth"
949:"Artists | Liverpool Biennial of Contemporary Art"
840:"Artists | Liverpool Biennial of Contemporary Art"
1344:
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1095:"Banu Cennetoglu in Conversation with Ozge Ersoy"
244:The 2017 edition was distributed as an insert in
1603:"Intro | Liverpool Biennial of Contemporary Art"
1651:"Gorki - Herbstsalon | 3. BeЯliner HeЯbstsalon"
738:"Banu Cennetoğlu: Legacy of fragility | Bidoun"
462:Artists' books from Georgia and BAS Collection
409:, Fondazione Nicola Trussardi, Milan (2017);
8:
1627:"Stories of Almost Everyone - Hammer Museum"
1725:""…und eine welt noch" – Kunsthaus Hamburg"
290:(2009), a book that mimics the format of a
167:Since 2007, Cennetoğlu has been developing
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487:by Masist Gül, followed by artists' books
479:(2001–ongoing) by artist Anita Di Bianco.
925:"The List-Keepers Who Document the Dead"
110:(2003). She is the founding director of
1851:"3rd Berlin Biennale - Berlin Biennale"
1130:"Gorki - Herbstsalon | Banu Cennetoğlu"
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1880:"AB1 DESTROY ATHENS | Athens Biennale"
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413:, Kunsthaus Hamburg, Hamburg (2016);
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2195:"Sergiler // Exhibitions « BAS"
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659:"Kunstsammlung NRW: Banu Cennetoğlu"
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26:, 1970) is a visual artist based in
1472:"documenta 14 Kassel: the overview"
363:Selected group exhibitions include
152:Rijksakademie van beeldende kunsten
2254:21st-century Turkish women artists
2249:20th-century Turkish women artists
377:Kunstsammlung Nordrhein-Westfallen
278:, the two-artist exhibition (with
134:. From 1996 to 2002, she lived in
60:Kunstsammlung Nordrhein-Westfallen
14:
2221:. Istanbul: collectorspace. 2017.
1544:Mitter, Siddhartha (2019-01-17).
1452:"Diaries as a space of histories"
1068:Higgins, Charlotte (2018-06-20).
1979:Greenberger, Alex (2024-02-13).
434:Neuer Berliner Kunstverein e.V.
176:UNITED for Intercultural Action
1803:"Manifesta 8 « MANIFESTA"
1495:(www.dw.com), Deutsche Welle.
1021:Bianet - Bagimsiz Iletisim Agi
477:Corrections and Clarifications
405:, Redcat, Los Angeles (2017);
150:where she studied a.o. at the
1:
2172:collectorspace (2014-05-17),
1953:Feldhaus, Timo (2024-02-08).
1927:Feldhaus, Timo (2024-02-06).
1831:www.venicebiennial-turkey.org
762:"Banu Cennetoglu: BAS / Bent"
608:Musée cantonal des Beaux-Arts
581:www.venicebiennial-turkey.org
365:Musée cantonal des Beaux-arts
254:in a print run of 210,000 on
48:Musée cantonal des Beaux-arts
40:International Venice Biennale
2269:Turkish contemporary artists
1676:"It is obvious from the map"
1177:Needham, Alex (2018-06-20).
786:"Van Eyck - Banu Cennetoglu"
470:Artists' books by Sol LeWitt
1756:(in Korean). Archived from
1655:www.berliner-herbstsalon.de
1134:www.berliner-herbstsalon.de
389:Stories of Almost Everyone,
310:
2285:
1324:dmovies.net (2013-06-26),
1275:Pidd, Helen (2018-08-01).
491:(2006) by Aslı Çavuşoğlu,
403:It is Obvious from the Map
16:Turkish artist (born 1970)
2175:Banu Cennetoğlu, Istanbul
1674:khargraves (2016-12-19).
687:www.sculpture-center.org
146:. In 2002, she moved to
30:. She uses photography,
2102:www.artandeducation.net
2005:"RODEO Banu Cennetoğlu"
1754:www.gwangjubiennale.org
1305:www.theartnewspaper.com
1154:"The List | World news"
1047:(in German). 2015-12-12
896:Der Tagesspiegel Online
396:3rd Berlin Herbstsalon,
1855:blog.berlinbiennale.de
1256:www.artasiapacific.com
415:Burning Down The House
394:, Los Angeles (2018);
242:
174:in collaboration with
163:The List, 2007–ongoing
523:Villarreal, Ignacio.
451:Artist-run initiative
238:
663:www.kunstsammlung.de
499:(2008) Cevdet Erek,
411:… und eine Welt noch
387:, Liverpool (2018);
375:(2020); Ständehaus,
353:The Hour of the Star
311:Gurbet's Diary, 2017
74:, Liverpool (2018),
58:(2020); Ständehaus,
2264:Women video artists
1729:kunsthaushamburg.de
1093:Archive, Asia Art.
972:Reuters Editorial.
399:Maxim Gorki Theater
367:, Lausanne (2022);
246:Tagesspiegel Berlin
231:connection between
70:, New York (2019);
50:, Lausanne (2022);
2259:People from Ankara
2153:collectorspace.org
1884:athensbiennale.org
1827:"LAPSES / CONCEPT"
1750:"GWANGJU BIENNALE"
1584:. 14 December 2018
1550:The New York Times
1521:"TODAY IN HISTORY"
1001:has generic name (
711:www.documenta14.de
604:"Résister, encore"
577:"LAPSES / CONCEPT"
497:Sahil Sahnesi Sesi
472:(2009), and more.
421:, Gwangju (2014);
407:The Restless Earth
385:Liverpool Biennial
292:mail-order catalog
270:Catalog 2009, 2009
264:Chisenhale Gallery
260:Liverpool Biennial
90:, Gwangju (2014),
76:Chisenhale Gallery
72:Liverpool Biennial
2066:"Banu Cennetoğlu"
2009:rodeo-gallery.com
1700:www.triennale.org
1631:The Hammer Museum
1432:"Banu Cennetoğlu"
1398:"Banu Cennetoğlu"
1041:"Banu Cennetoğlu"
923:Donadio, Rachel.
790:www.janvaneyck.nl
707:"Banu Cennetoğlu"
683:"Banu Cennetoğlu"
552:"Banu Cennetoğlu"
466:KORIDOR 1988–1995
419:Gwangju Bienniale
349:Clarice Lispector
296:stock photography
256:World Refugee Day
104:Istanbul Biennial
100:Walker Art Center
78:, London (2018);
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315:Commissioned by
302:04.09.2014, 2014
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86:, Basel (2011);
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