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IRMAK CANEVİ & ZEREN GÖKTAN “0 536 075 56 83” November 23th, 2017 – January 6th, 2018

KRANK Art Gallery hosts Irmak Canevi and Zeren Göktan’s collaborative exhibition, titled “0 536 075 56 83”. Through a self-initiated process the exhibition locates, makes a title from and transforms a telephone number among the many that we come across within the fabric of the city, into a work of art. The number that gives the project its name also operates as a portal opening on to the sound installation* that is the only artwork on which the two artists have collaborated.

In the background we can see the remains from a demolition. Perhaps the houses that were erected overnight were destroyed again in just one night. There is a truck full of goods and chattels; it’s parked, its door is open and there is a plastic chair in front of it… Written on the wall next to this junk removers’ truck that hauls all the adventures of the visible and its perception through preserving a difference that cannot be counteracted or suppressed, is a phone number: “0 536 075 56 83”.

Utilising the city in which they live as the space of their artwork and its every detail as their material, the artists prefer to gaze at the city from a quiet place where they have muted its sounds. Children in Zeren Göktan’s photographs and the installations made using coffee cups by Irmak Canevi make room for themselves at the periphery of the big city that keeps bustling not too far away, while also providing us with clues as to where they originally come from. When the viewer dials the number that is also the title of the show he starts to hear the old sounds of this new fictitious world.

The inspiration behind Irmak Canevi’s title for his installation “Caffeine Makes For Busy Bees / Arılar da Kafein Sever” is a study where it was found that bees too can not start their day without caffeine. Its source of material is found in the coffee cups he drinks his coffee from, every morning before starting work at his studio. The emptied paper cups are cut and filled with concrete and wax, and transformed. The coffee cup is no longer an object that we can use, but rather an object of Canevi’s work of art that provides us with the conditions of making use of the parody of that work. Exploiting a ready-made functional object of the present-day consumer society, Canevi puts this object through a process of deconstruction. While Marcel Duchamp, one of the masters of modernism, entrusts the deconstruction of such a ready-made object to the viewer, Canevi performs this act himself as part of his practice of art, and thus, through a series of contrivances, consumption is transformed into production; garbage into still life, and as such into a work of art.

In his series “Masters at Work / Usta İşi” Canevi reconsiders the details of the street that he has recorded. The artist makes a model from the photographs of the nexuses of the city that could be described as ‘haphazard’ or ‘flawed’, through making use of unusual compounds of materials. He challenges the viewer by overlapping art and an image that should not belong in the realm of aesthetics. Each meticulously showcased ‘lyrical praise’ constitutes one part of a new whole. Adopting the dreams of a disheartened city planner, the artist proposes a different narrative of transformation and regeneration.

In her photograph series titled “Arka Bahçe / Backyard”, Zeren Göktan takes inspiration from a backyard that everyone has had in their lives where the belongings that we part with are disposed of and forgotten. While we have created countless games in these gardens where our first experiences of our encounters with the outside world took place in our childhoods, having discovered the faculty of imagination the human being yearns for this world of playfulness that one strives to keep alive in their memories as years go by. In her photographs, the artist makes a present of her dreams to the children she has posed in places that seem inaccessible or even dangerous to approach. Looking from a high vantage point everything has become smaller and the realm has broadened because of the child’s point of view. Because the World is transformed into a toy when viewed from high above. Rather than digging deep like Alice in Lewis Carroll’s “Alice in Wonderland”, Göktan’s children are out to explore the surface. The subject has abandoned the perspective made available to her. Now everything that is visible, that is, all information available, is right in front of her eyes. The games they create are games without set rules, like those of Alice, with no clear winners and losers. The whole atmosphere makes us witness the moment when the minor game of the human being and a major game coincide, when the human game and the divine game intertwine.

In “0 536 075 56 83” exhibition, KRANK Art Gallery invites the spectator to the magical world of games that Canevi and Göktan have created in silent gardens that they have dreamt of, like children challenging the world of adults that becomes smaller and smaller as one ascends. This game that exists only in the mind and culminates in nothing other than a work of art, also renders thought and art into a reality and causes them to induce a perturbation in the reality of the world.

*We thanks Benjamin Fenton for sound editing.

Irmak Canevi

The materials used in Irmak Canevi’s work are, in his own words, “as unimportant as the artist.” On the other hand, what is important is the process of giving them form. Rendering materials to be ordinary in this way means everything can be used in the artistic practice. From this aspect, in the works of the artist we can read a “lyrical praise” about the way things come together. How and where one element is combined with another is an act that consolidates the holistic evaluation of this montage. This way of balancing the means and ends places an emphasis on the process and the craft, as opposed to the result –the work of art as the final product–and presents the work almost as a political stance.

Zeren Göktan

Pursuing the possibility of a new and fictional language in her works, Zeren Göktan also evaluates the codes of the society and the culture in which she lives in her artistic practice. The point of view that she employs in her projects, which have a fictional and sometimes even a spontaneous tone, aims to make visible the conditions in which an individual lives, as well as their problems and sensibilities concerning their era. Göktan’s subjects, in terms of the narrative she delves into, and the scene compositions, gestures and mimics, which she attends to in the finest detail, all originate from the meticulous and scrutinizing component of her identity as an artist. Through her works she offers an intimate landscape for the spectator to gaze at, without the use of a didactic or clichéd language, and gracefully looking out on to challenging issues.



KRANK Art Gallery hosts Güneş Terkol with the exhibition ‘Home is My Heart’. Terkol’s banner project prepared for Art Night London and its documentation that will be exhibited for the first time in Turkey could be viewed at the gallery until Saturday, November 18th. In addition, Bige Örer will perform an artist talk with Güneş Terkol at November 13th.

An annual contemporary art festival in London, Art Night has launched a project in which a leading cultural institution and an independent curator are invited to an extraordinary location in London to work on a project that explores the history, culture and architecture of that area. Art Night, which was held this year in East London on July 1st, was curated by Fatoş Üstek and realised in collaboration with the Whitechapel Gallery. Following a one-month residency in London, Güneş Terkol, who was invited to the project from Turkey, was commissioned to create a new work for the Art Night. In Terkol’s 7th Banner project, Home is My Heart / Evim Kalbimdir, which was realised as a socially engaged practice, diverse groups of participants collaborated with the artist. Terkol worked with a group of residents from Middlesex Street Estate. One of the two housing estates allocated to immigrants in the City of London, Middlesex Street Estate consists of a 23-storey tower block and a square of family flats and bedsits built between 1965-1970 by the Corporation of London Architect’s Department, with playgrounds and garages, all arranged around a podium landscaped by the residents. The Estate contains 270 properties, 70% of which are being used as social housing by various minorities for several generations.


Through a series of sewing workshop the participants produced a large-scale banner of 1.4 m x 3 m, titled “Home is My Heart / Evim Kalbimdir”. The banner that was embroidered onto a backdrop designed by Güneş Terkol reveals the residents’ hopes, dreams and their relationships with the neighbourhood and their neighbours through a poetic narrative full of emotion and labour. The resulting work was installed in the window of Sir John Cass School of Art, Architecture and Design (The Cass), one of the six schools of London Metropolitan University.


Within the scope of the project there was also an audio-visual performance. A processional chorus, called the ‘Bird Band’, organised with the participation of the residents, walked the streets of the city playing bird whistles and carrying the banner.


Another exciting outcome of the project was that the banner was enlarged to 4 m x 12 m with the support of the City of London Cooperation and made into a permanent mural on the exterior wall of the Middlesex Street Estate.


As part of the project, Terkol’s “Desire Passed by Band / Arzu Yalayıp Geçti Bandosu” series created in 2010 was also exhibited. Each one of the life-size depictions of 27 fictional characters from a variety of diverse social classes in the series represented an individual from society, and by being placed together their social identities were emphasized. By exhibiting “Desire Passed by Band” alongside “Home is My Heart” in the windows of The Cass building on the occasion of the Art Night, the harmony of social togetherness was underscored through two separate bands created at different times.


“The banner is important to me as a concept because before when people used to protest, they would get together before the protest to create a banner, this allowed them to discuss ideas and politics with each other,” says Güneş Terkol, whose works created with found materials, particularly soft textured materials, are shaped by the personal history, the environment, the relationships, and the social conditions that she encounters. Her ambiguous characters are the protagonists of a story without a definite beginning or an end, in a narrative with no narrator. These stories appear in her sewing pieces, in her sketches, and sometimes in her musical performances.


Güneş Terkol has seven banner projects, including “Home is My Heart”. These banners that have emerged as a result of workshops she has organised in different geographies from China to Antakya, from Istanbul to Berlin, in a sense depict the dreams, the fears, the worries about the future, and the current situations of the women, the immigrants, the young people, and various other fractions living in these different geographies.


About Güneş Terkol


Believing in the importance of collective production, collaborative work and gathering for a common purpose, in addition to her individual practice, the artist has been producing collaborative works together with the art collective Ha Za Vu Zu since 2005. Three artists from Ha Za Vu Zu; Oğuz Erdin, Güçlü Öztekin, and Güneş Terkol continue producing performances with their new group, GuGuOu. In 2016 participating in an artist residency program at Cité des Arts in Paris, the works of Terkol were last presented at the 32nd Sao Paulo Biennial and at the group show “All Fun and Games Until Someone Gets Burnt …” at the Manhattan Loft Gallery, London.


Artist Residencies; 2013 ISCP, New York; 2011 OrganHaus, Chongqing; 2010 Gasworks, London

Solo Exhibitions; 2015 LISTE, The Young Fair Basel; 2014 “Holographic Recording” NON Gallery Istanbul; 2012 Frieze Frame, Frieze Art Fair London; 2012 “The Main Forces That Stir Up Action” NON Istanbul; 2008 “No Ceremony for Transition” Apartment Project Istanbul

Group Shows; 2016 “O zaman renk!” Artnivo Istanbul; 2015 “Passion, Joy, Fury” MAXXI, National Museum of XXI Century Arts Roma; 2015 “Stay with me” Depo Istanbul; 2014 10th Gwangju Biennale Korea; 2013 “Better Homes” Sculpture Center New York; 2013 Whitechapel Gallery London (with Ha Za Vu Zu); 2012 “Who told you so?! #4 Truth vs. Family” Onomatopee Eindhoven; 2012 “Signs Taken in Wonder” MAK Vienna, Curators: Simon Rees and Bärbel Vischer; 2012 “What a Loop” Berlin (with Ha Za Vu Zu); 2011 “Dream and Reality” Istanbul Modern Istanbul; 2009 10th Lyon Biennale, (with Ha Za Vu Zu), Curator: Hou Hanru; 2009 “BREADWAY, Urban stories: The X” Baltic Triennial of International Art Vilnius (with Ha Za Vu Zu); 2007 10th Istanbul Biennial, Curator: Hou Hanru (with Ha Za Vu Zu); 2007 “sobe!” Bilsar Istanbul, Curator: Leyla Gediz; 2007 “We Are Getting Vocalized” Galerist Istanbul (with Ha Za Vu Zu)




ASLI ÇAVUŞOĞLU “PATCHWORK” Exhibition May 5th – July 1st

Krank Art Gallery hosts artist Aslı Çavuşoğlu in a new exhibition, “Patchwork”, curated by Ali Akay. Through the intersection of three different artistic works; Red / Red a work focusing on an ancient red colour, artificially produced gems (The Stones Talk), and imitation jewellery exposed on photographic paper, the artist reveals a history that seems to belong to a realm of simulacrum.

In her solo exhibition “Patchwork”, Aslı Çavuşoğlu prepares a jigsaw puzzle consisting of the fragments of three of her works. The first piece of this jigsaw puzzle in the gallery is a variation of her work Red / Red, realised during the 14th Istanbul Biennial. This work that presents a story through colour was created using a special red pigment that has been used since 7th century BC, obtained from an insect living on the banks of the Aras River. This insect, called “Ararat Cochineal”, is on the verge of extinction on the Armenian side of the Aras River. On the Turkish side, the technique of producing this dye, used mostly by Armenians living in Anatolia, ceased to exist after 1915. The insect that lives on the roots of a plant found on the banks of the Aras River, in a sense, serves as the border between Turkey and Armenia, and tries to cling to life on both sides. Red, as a colour, exists as a way of creating a “common space”. The colour red, produced by a centuries old technique, alludes both to vitality and to death. In the words of the artist, this special red is able to generate a certain energy on its own and draw us towards it.

In pursuit of the only person in the world still producing this dye, Çavuşoğlu found herself at the Institute of Ancient Manuscripts in Yerevan, and produced drawings and notebooks inspired by the manuscripts and traditional Armenian miniatures at the institute. While the work tells the story of the disappearance of this pigment on both sides of the river, it also initiates a new discussion about the contemporary use of tools of material culture through the way it shares the knowledge about the production of the pigment once again.

The second fragment of the jigsaw is composed of pieces from another work of the artist, called “The Stones Talk”. The starting point of “The Stones Talk” are archaeological artefacts found at various excavations in Turkey, deemed “not worthy” of being exhibited, and considered to be “study pieces” that are not valuable enough to be “museum pieces” as they were incomplete or insignificant. Making copies of a selection of study pieces of her choice, the artist created new “wholes” out of these copies reproduced in different materials. Discussing the selective nature of the writing of history in her works, in “The Stones Talk” Aslı Çavuşoğlu reflects on the value system based on classification that we see at archaeological museums, while pursuing the potentials of creating narratives with archaeological and historical information, and telling polyphonic stories through objects.

The third fragment that constitutes the jigsaw in the exhibition Patchwork are pieces of historical Ottoman jewellery. The increasing Ottoman nostalgia in recent years is manifested in the so-called “Ottoman lifestyle”, and its most prominent example is the popular appeal of the television series “Muhteşem Yüzyıl” (The Magnificent Century). The outfits of the characters and their jewellery have become popular as symbols of the Ottoman lifestyle, and have artificially recreated the Ottoman heritage. In this part of the jigsaw, we see photograms of these jewellery, the cheap imitations that swarm the retail stores and that have become even more artificial through mass production. These were produced by exposing imitation jewellery on photographic paper. The photograms of these modern reproduction sets are the same as the photographs of the jewels in Ottoman archives, but with one difference; this time the photograms create a gap in our minds that would make room for new interpretations.

A history that seems to start belonging to a realm of simulacrum emerges out of the intersection of the three different artistic works. The simulacra that are no longer models, now consist of pieces that function on their own and compose their own models in an artistic fashion, and as such, become pieces of original artwork. While the pieces exist in a world desired to be perceived as reality, the artworks meet the viewer in an arrangement of a jigsaw puzzle named “Patchwork” by Aslı Çavuşoğlu. So now, the story writes itself from scratch, in the way it wishes.

About Aslı Çavuşoğlu

A graduate of Marmara University, Department of Cinema-TV, Aslı Çavuşoğlu (1982, Istanbul) lives and works in Istanbul.

Solo Exhibitions;

2016 Red/Red, MATHAF: Museum of Modern Art, Doha, Qatar

2015 Murder in Three Acts, The Market Gallery, Glasgow, UK

In Diverse Estimations, Gallery Miroslav Kraljevic, Zagreb, Croatia

2014 Aslı Çavuşoğlu: In Diverse Estimations Little Moscow, Risd Museum, USA

2013 Murder in Three Acts, Delfina Foundation, London

The Stones Talk, ARTER, Istanbul

Murder in Three Acts, Gallery NON, Istanbul

2012 Art Basel Miami

2010 How I Traveled Around the World, Gallery NON, Istanbul

Selected Group Exhibitions;

2017 Colori, Castello di Rivoli, Turin, Italy

2016 On Exactitude in Science, The School of the Museum of Fine Arts, Boston; Manifesta 11: What Do People Do For Money, Zurich; How Did We Get Here?, Van Abbemuseum, Eindhoven, the Netherlands; Cuenca Biennial, Cuenca, Ecuador; Replaced, RAMPA, Istanbul

2015 Surround Audience, The New Museum Triennial, NY, USA; His Master’s Voice: On Voice and Language, Montpellier, France; The School of Kyiv, Second Kyiv International Biennale, Kiev, Ukraine; How Did We Get Here, SALT, Istanbul; Salt Water, The 14th Istanbul Biennial

2014 Proposals on Monumentality, Green Art Gallery, Dubai; The Moving Museum, Istanbul; Il Delitto Quasi Perfecto, PAC Padiglione d’Arte Contemporanea, Milan, Italy; The Crime Was Almost Perfect, Witte de With Center, Rotterdam, the Netherlands

2013 Conversations, Darat al Funun, Amman, Jordan; Suspicious Minds, Galeria Vermelho, Sao Paulo, Brazil; Husumet, Rezalet, ARTER, Istanbul; Signs Taken in Wonder, MAK Museum, Vienna, Austria

2012 The 11th Baltic Triennial of International Art, Vilnius, Lithuania; Turkish Art Nice and Superb, TANAS, Berlin, Germany; Soundworks, ICA, London, UK

2011 Performa 11, New York, USA; 7 Works, Borusan Contemporary, Istanbul

2010 When Ideas Become Crime, DEPO, Istanbul; G Have a Look! Have a Look!, Formcontent, London, UK; Fantasy&Island, Frac Corse, Corsica, France

2009 This Place You See Has No Size At All, Paris, France; Interferencia, Bogota, Colombia; End Game, Gallery Loop, Seoul, Korea

2008 You can’t kiss away a murder, Galerist, Istanbul; On Producibility, Altı Aylık (Turkey) / Nuans (Germany), New Talents, Cologne, Germany; Hypnosis Show, Jessica Silverman Gallery, San Francisco, USA

2007 Be a realist, demand the impossible!, Karşı Sanat Gallery, Istanbul; TR 10º Kunst: Wilhelmsburger Freitag, Hamburg, Germany; Urban Pedestals_Cph, Copenhagen, Denmark

2006 Caiet de Geografie, Masa, Istanbul; Reserved, Pist, Istanbul; InforNATION, PiartWorks, Istanbul

2005 That from a long way off look like flies, Platform Garanti CAC, Istanbul



Krank Art Gallery hosts artist Elif Çelebi in “Not Withdrawn from the Ecosystem”, a new exhibition curated by Ali Akay. The artist fills the gallery space with her watercolours that reveal a holistic idea of nature encompassing all living things regardless of the distinction of human-animal-plant.

As a scientific discipline examining the life environment and interactions among living things, ecology constitutes a prominent feature in the works of the artist. The bonds between man and man, man and society, and man and animal belong to a line of thought that does not “hold on to memory” but strides onwards.

The destruction of the ecosystem by an industrialising sociality that asserts its dominion over nature and over the animal constitutes a conceptual part of the work of Çelebi.

Confronting the development of human thought with an aim of establishing domination over nature, through each and every piece in the exhibition “Not Withdrawn from the Ecosystem” the artist postulates that the possibility of transitivity between the living and the inanimate could only be attained through rethinking the system that is created by the bonds formed through the interaction of these entities.

In these works, in which she has an appreciation of the non-hierarchical and where she concentrates on an idea of nature that could exist without resorting to separation, the fluid effects of the material lets the drawings and colours transport the viewer to a world that is as alien as it is familiar. By way of the forms of the sexes that provide them with permeability, it is not sexuality but a poetica of ambiguous genders that is pursued.

Since beginning her pursuit of a life in art in the 1990s, the vast majority of Elif Çelebi’s watercolours and videos focus not really on advocating animal rights but on considering animals, as well as people and plants, to be regarded as living beings. These animals, which are part of her intellectual adventure in her own world, appear not as “herself or her possessions” but wrapped up in a concept that focuses on perceiving them as beings with whom we should cohabitate the world. In Çelebi’s works, narratives about her personal history undergo a process of arranging and re-experiencing the past, and concept of time-memory seems to be preserved within images through objects and things. The intermingling of meaning and object makes it into a world belonging not to the artist but to the viewer.

 About Elif Çelebi

Born in 1973 in Canada, after graduating from the Department of Painting at Marmara University Faculty of Fine Arts she completed her master’s degree and doctorate at Marmara University Institute of Fine Arts. She is currently an associate professor and lecturer at the Department of Painting at Marmara University.

Her solo exhibitions include “Nonsynchronous” at Maçka Art Gallery in 2013, “Animal Which We Become” exhibition curated by Ali Akay at Açık Ekran in 2012, as well as exhibitions at Room Gallery in Rotterdam and at Apartment Project.

The exhibition “Stay With Me” that was presented at Apartment Project Berlin and at Depo (formerly a tobacco warehouse) in 2015, “Re-Degeneration” at Sanatorium, “Chaotic Metamorphosis” at Proje 4L, the “Transfer” exhibitions at santralistanbul and at Münster, Aachen and Bochum in Germany, and the exhibition “Buradan Çok Uzakta: Bir Kamusal Alan Projesi” realised at Haydarpaşa and Ankara Train Stations are among the group exhibitions she participated in. Between 1999 and 2006, she also participated in various group exhibitions in Korea, Kazakhstan, Chile, France, Turkey, Kosovo, New Zealand, Bulgaria and Germany.


GÜNEŞ TERKOL “A WHISTLE THROUGH THE WORLD: HEY, WAIT!” Exhibition December 15 – February 18

In a new exhibition titled “A LIGHT THROUGH THE WORLD: HEY, WAIT!”, curated by Ali Akay, KRANK Art Gallery hosts the accomplished young artist Güneş Terkol, currently continuing her work in Paris at the Cité des Arts. Her delicate and translucent works almost place us in “a world of fairy tales,” adopting an attitude that is evanescent like fairy tales on the one hand and quite convincing on the other, and this time inviting the viewer into an enigmatic puzzle unfolding in a world of magic.

Producing works about the relationships between gender identities through the use of sewing, video, drawings and sound; the artist believes that work is a relationship involving waste, contradictions and relations. In her works she pursues signs, stories, words and dreams that motivate her and that she finds harmonious, to create new narratives out of them. So in starting a new work, she studies the notes and drawings in her old notebooks, and the fabrics and photographs she collects.

The artist’s work is shaped by the social conditions in which she lives, the images she encounters, her personal history and the materials she finds. The artist, looking for means of expression beyond the act of painting, uses pieces of fabric she collects to this end. Instead of heavy, unwieldly and expensive materials, she prefers to use economical, casual, easy-to-carry and unfettering tools in her artistic practice.

She creates figures belonging to an ambiguous time and space through the use of black contours produced by stitching and colouring the fabric directly, and with these figures hollowed out from content –sometimes rendered as human figures in an animal-like form– she presents stories with no definite beginning or end. When the figures, people and objects that Terkol represents in an abstract fashion are combined with the ‘reality’ of the fabric and the situations we are accustomed to seeing that fabric in, the works of the artist render the objects we think we recognize alien. This alienation is further reinforced by another tension emerging from the technique of sewing on fabric, between the images and the visual form through which the images are represented. The use of sewing –an act associated with women– as a means to create fictional images, and the unconventional utilisation of fabric –considered decorative and ‘feminine’– suggests that the artist is questioning her gender and her relationship with where her gender is placed in society.


Just like in fairy tales, the works of art appear to be part of a world of emotion where winds blow, rain falls, lightnings strike, jinn and fairies fly about, or they crawl the ground like serpents. The jinn, as beings that are not living but alive, which at times become visible and sometimes disappear due to the dialectical relations between darkness and light, are separated into male and female jinn in Güneş Terkol’s world of fairy tales. One thing we should not fail to notice is the fact that the place where these stories and fairy tales carry us and form a knot, again appears to bear the hallmark of a question of morality. The stories in Güneş Terkol’s works seem to be embroidered as part of our world. The abstracted figures, each visible and so very figurative, appear in front of us and lure us into looking at them. They are attractive and have a charming ephemerality and strangeness about their physical materials. Although it looks like there is no place for fairy tales in this city transformed by the system of capital, there will always be a place for Dünya in the world of art. Besides, isn’t that the real power of art? The power to bring together dream and reality!

About Güneş Terkol

Güneş Terkol takes inspiration from her immediate surroundings, collecting materials and stories, which she weaves into her sewing pieces, videos, sketches and musical compositions. The protagonists of her narratives, humorously represented by Terkol in her work, are usually women adapting or refusing to adapt to the social and cultural transformations that affect contemporary Turkey. The act of sewing and using recycled fabrics becomes, in itself, an act of resistance which claims back a form of independent production and widens access to contemporary art. She also member of HaZaVuZu artist collective and GuGuOu group keeps working.

Güneş Terkol, born 1981, is a Turkish artist based in Istanbul. She graduated from Mimar Sinan University, Fine Art Faculty, Painting Department. She completed her master’s degree in Yildiz Teknik University Interdisciplinary Art Department.

Selected solo exhibitions include Holographic Recording at Gallery NON in Istanbul (2014) and Dreams On The River at OrganHaus in Chongqing (2010).  Selected group shows include the 2016 “ Live Uncertainty”, 53 nd Bienal de Sao Paulo, 2015 “Passion, Joy, Fury”, MAXXI,Rome 2015 Stay10th Gwangju Biennale in Korea (2014), Better Homes at the Sculpture Center in New York (2013), Signs Taken in Wonder at MAK in Vienna (2012) and Dream and Reality at Istanbul Modern (2011).
Terkol has attended the residency programs at ISCP New York, 2013; OrganHaus, Chongqing, 2011 and Gasworks, London, 2010.