Artist Exchange & Collaboration Experiments.

The main intention of The Triangle Project is to create relationships, collaborations, interaction, exchange, awareness and new perspectives between creatures all over the universe. However most of the time between Copenhagen, Istanbul and New York.
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In connection with The Triangle Project collaboration with INKONST on April 5th, there will also be a performance at Inkonst's theater space.

Dressed in simple black attire, they roam on the stage, lost and alien, through the fragile borders of a labyrinth of bottles, accompanied only by age-old restlessness and by ancient chants.
Ashura puts on stage the relationship with the “other”, the neighbour, aggressiveness, the domination of cultures, the adventure of exile, the tragedy of migration. It is the story of Anatolia, a region in Turkey that was once multi-lingual and multi-culture, where the large monotheist religions cohabited, met and clashed: a 20th century land reduced to socio-cultural standardisation.

But what makes this “stage concert” exciting is how Mustafa and Ovül Avkıran have succeeded in creating a meta-historical narration by bringing together traditional dance with gleanings of contemporary theatre, ritual movements with demographical statistics, sacred voices with profane uttering. Harmonising the whole with music: songs whose common denominators are the rhythmsand modes of folklore, but from which chants in Copt, Armenian, Hebrew, Zazaki, Turkish, Kurd and Greek rise, thanks to perfectly pitched voices that are very different in terms of style, like those of Sema and Harun Ates, the famous Turkish contralto.

“Ashura” is the dish Noah prepared after the deluge. For various reasons, the day of the Ashura is a religious recurrence for Jews and Muslims, for Armenians and Zoroastrians. “Its name is as old as the history of man,” Avkıran explains. “It comes from the past to show us that the routes of exile are today on the move”.

Mustafa Avkiran was born in 1963 and is a theatre director and actor.

Ovül Avkiran was born in 1971 and is a choreographer, dancer and actress. In 1995 they established 5.Sokak Tiyatrosu (Theatre of the fifth street) that is today one of the most acclaimed Turkish companies on the international scene. 5.Sokak Tiyatrosu is the founder of “garajistanbul”, a newly established contemporary performing centre in Istanbul.



The Triangle Project
will be hosted by Palle Tenfalk at his monthly party at INKONST that is the best location in Malmö for both DJ's, Clubbing, Stage performance and audience.

Clara Norell at LEONARD CULTURAL CENTER on Möllevångstorget will also host a exhibition, concerts, food performances and music and spoken words performances.

The posters are of course designed by Romeo Vidner, who also designed The Triangel Posters and flyers in Istanbul. More info on Malmö soon to come!

The Danish-Argentinean artist couple Thyra Hilden & Pio Diaz destabilize European cultural history by setting buildings and monuments on fire.

The duo set the monuments of western cultural history on fire in their joint and ongoing video project “City on Fire.” With their seductive and spectacular artistic gesture, they reveal the fragile and transitory nature of these man-made constructions, and thereby destabilize prevailing order. The old monuments serve as weighty expressions for western culture and identity, and have to a certain extent functioned as templates for later constructions in cultural history. As such they constitute a physical foundation for western self-understanding, which the two artists unpack and recast in their edgy work.

City on Fire first came into being in 2005 when artists Thyra Hilden and Pio Diaz created their first installations in Rome. From the outset, it was the artists´ intention to re-create the installation at other venues of great symbolic significance in the Western world. Still, the symbolic value of Rome as the first site was particularly important to Hilden and Diaz.

Aesthetic manifest

The subtitle of the project is ‘Burning the Roots of Western Culture’ and even if City on Fire is not a political instrument – rather it is an aesthetic manifest – the very substance of the work holds the desire to highlight the roots of Western culture and the destruction connected with it. A destruction that we still witness today.