• Bio
  • Works
    • Cleaning Operation | 2019
    • Fear | 2019
    • Target – Estonia – Tallinn | 2012
    • Countrerattack | 2011
    • Comeback | 2011
    • Colorful World | 2009
    • Circle of Life Sudan-Khartum | 2007
    • Performance -Sudan – Khartum | 2007
    • Every Stone Wants To Be Free, İnstallation | 2005
  • Texts
    • Homelessness and Rootlessness and Nomad Art in Contemporary Art
  • Curatorial
    • So Near Yet So Far – 2020
    • The Heirs | 2020
    • Under the same sky | 2019
    • The Street Heals Me 2019
    • 28th İstanbul Art Fair – Experience | ARTIST | 2018
    • The Settlement Of The Time – İstanbul | 2017
    • Êzidxan – Vienna | 2017
    • Geography is not Destiny İstanbul | 2016
    • Restrictions Of The Earth – Vienna | 2016
    • Restrictions Of The Earth- İstanbul | 2016
    • Women and Diyarbakır Prison Nr 5 | 2015
    • Drawing Form Memory of Anfal / Kurdish Genocide – Osman Kader Ahmed | 2015
    • North Kuzey Bakur | 2014
  • Contact

Barış Seyitvan

  • Bio
  • Works
    • Cleaning Operation | 2019
    • Fear | 2019
    • Target – Estonia – Tallinn | 2012
    • Countrerattack | 2011
    • Comeback | 2011
    • Colorful World | 2009
    • Circle of Life Sudan-Khartum | 2007
    • Performance -Sudan – Khartum | 2007
    • Every Stone Wants To Be Free, İnstallation | 2005
  • Texts
    • Homelessness and Rootlessness and Nomad Art in Contemporary Art
  • Curatorial
    • So Near Yet So Far – 2020
    • The Heirs | 2020
    • Under the same sky | 2019
    • The Street Heals Me 2019
    • 28th İstanbul Art Fair – Experience | ARTIST | 2018
    • The Settlement Of The Time – İstanbul | 2017
    • Êzidxan – Vienna | 2017
    • Geography is not Destiny İstanbul | 2016
    • Restrictions Of The Earth – Vienna | 2016
    • Restrictions Of The Earth- İstanbul | 2016
    • Women and Diyarbakır Prison Nr 5 | 2015
    • Drawing Form Memory of Anfal / Kurdish Genocide – Osman Kader Ahmed | 2015
    • North Kuzey Bakur | 2014
  • Contact

Target – Estonia – Tallinn | 2012

The performance “Target” was made in Tallinn, Estonia. It was made in front of the Estonian Parliament in town where there is a compass on the ground. With this performance, Seyitvan wanted to question the contradiction between the north and the south on a social, political, and economical level. While the north refers to wealth and democracy, the south always implies to wars, poverty, and struggle. Whereas the artist here targetted the south where civilization began. In the same way in Turkey, the south implies oil and trade but also the war. Therefore people always wanted to go down to the south to occupy. This performance shows the south as a targetted point. 

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