Deniz Uster (b. 1981 in Istanbul, Turkey) lives and works in Glasgow, Scotland. Uster is an interdisciplinary artist, whose social practice is rooted in anthropological and ethnographic research, interwoven with science-fiction.
Concepts of manual labour and displacement usually accompany the futuristic myths Uster depicts in her films and installations. Absorbed in non-Western futurities and cultural heterogeneity, her work and research investigate the possibility of an alternative temporality, which contests the linear character of the time conception, hence horizontal chronology is approached as a conservative framework. She is inspired by the voids institutional history provides and she embodies these gaps with alternate fictitious occurrences adhered to what is already narrated as the history we know.
Solo shows include: The Polity of Φ: The Consulate (in collaboration with Alberta Whittle), Intermedia Gallery, CCA, Glasgow, UK, (2016); The Polity of Φ: The Call (in collaboration with Alberta Whittle), The Call, Glasgow Project Room, Glasgow, UK, (2016); Invited and Volunteered, Rampa, Istanbul, Turkey (2011); Encrypting Signs on the Fabric of a Rhizome (in collaboration with Tom Harrup), La Giarina Gallery, Verona, Italy, (2011); Light Courses, Elgiz Contemporary Art Museum, Istanbul, Turkey, (2010).
Group exhibitions and screenings include: Reality as a Method for Fiction, Juan Downey Centre for Digital Art, Puerto Varas, Chile, (2015); We Can’t Be There. Emergency Provisions for (Un)Anticipated Futures. Film screening and Panel Discussion, ICA, London, UK, (2015); Bulusma-Reunion, Sabanci Museum, Istanbul, Turkey (2015); 20XX: Relics, Co-Pilot, Istanbul, Turkey, (2014), We All Live on the Same Sea, Sirius Art Centre, Cobh, Republic of Ireland, (2014).
For more information visit denizuster.com.
Citadel proposes ecological, alternate mechanised cities in transit, which evade the authority of traditional infrastructure and class. The exhibition includes a scaled model of a moving city, an audio piece authored by Gurcim Yilmaz, drawings and public engagement events.
The 1960s cold war era witnessed Ron Herron’s idea of ‘Walking Cities’, conceived as ‘arks’ that would provide post-apocalyptic protection to surviving communities. As opposed to Herron’s revolutionary attitude, Citadel depicts a slowly-evolving anarchist utopia, a consequence of automation.
Supported by the Hope Scott Trust.
Fri 20 April – Fri 1 June
Mon – Wed & Fri – Sat, 10am-5pm
Closed 16 – 21 May