iiinova — where your digital self keeps evolving

This program is supported by the festival, Ekrani i Artit 2025: Postcards from Elsewhere, Goethe Institute, Protocinema and SAHA Association, Istanbul.

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All you have to do is read the subtitles aloud to become the main character in a story of camaraderie, sex, betrayal, in the digital theater of love and life.

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Read Subtitles Aloud is part melodrama, part experiment, part game: a theatrical experience disguised as video art, where the fourth wall is broken and everyone becomes implicated in interpersonal entanglements.

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Onur Karaoğlu’s Read Subtitles Aloud, Chapter 2 (2020), I’m Glad You Exist is a participatory dialogue on cultural divides between former lover, that becomes a gentle invocation for connection despite, or even because of, miscommunication.

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-director of Orhan Pamuk's Museum Of Innocence in Istanbul. Karaoglu teaches classes on performance at Boğaziçi and Koç University. He received BA in Sociology at Boğaziçi University and MFA in Theater Directing at Columbia University in The City Of New York.

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-SPOT, Operation Room and Protocinema. He is one of the founding members of Studio 4 Istanbul that is producing theater, film works and performance space KÖŞE in Yeldeğirmeni which then turned into an international performance festival. Between 2014-2019 he worked as the -

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Since 2010, his original and adapted writing and directing pieces have been commissioned and presented by festivals and institutions such as Wiener Festwochen, Dancing On The Edge, Media Art Xplarotion and Volksbühne. His installations and video works were presented at Bahar-

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Curated by Mari Spirito, this program explores the nuances of cultural third spaces and honors what can be learned through confusion and misunderstanding. Onur Hamilton Karaoglu makes works in theater, performance and video.

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ONUR KARAOĞLU’s video Read Subtitles Aloud, Chapter 2 (2020) is screening in I’M GLAD YOU EXIST with Coleman Collins, Laura Parnes, and Diane Severin Nguyen, as part of Ekrani i Artit 2025: Postcards from Elsewhere in Shkodër, Albania, Friday June 20.

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This program is supported by the festival, Ekrani i Artit 2025: Postcards from Elsewhere, Goethe Institute, Protocinema and SAHA Association, Istanbul.

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- life free from undue influence, this work draws connections between diasporic fantasies of return, gospel music, and 19th-century nation-building projects, The Upper Room examines how spaces—real and imagined—are produced and reproduced through power, memory, and longing.

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Collins reconstructs forgotten historical events, highlighting the horror of conforming to unjust systems. He suggests that the human mind is the ultimate battleground, where behavior modification captures, and refuses to release, the imagination. Arguing at everyone deserves a -

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This sci-fi video essay explores the psychology of slavery—both of the enslaved and the enslavers—using AI to generate otherworldly characters and black screens with voiceovers that lead to an expected, yet startling, conclusion that doubles back on itself.

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In 2019, he participated in the Whitney Museum’s Independent Study Program. He lives and works in Los Angeles.

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Carré d’Art, Nîmes; and the Kunsthalle Wien in Vienna.His work is in the permanent collection of the Hammer Museum, Los Angeles. He received an MFA from UCLA in 2018, and was a 2017 resident at the Skowhegan School for Painting and Sculpture.

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Coleman Collins is a 2025 Guggenheim Fellow and Assistant Professor of Art at University of California, Irvine. Selected recent exhibitions and screenings have taken place at Brief Histories, New York; e-flux, New York; the Palestine Festival of Literature, Jerusalem/Ramallah;

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Curated by Mari Spirito, this program explores the nuances of cultural third spaces and honors what can be learned through confusion and misunderstanding.

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COLEMAN COLLINS video The Upper Room (2025) is screening in I’M GLAD YOU EXIST with Onur Karaoğlu, Laura Parnes, and Diane Severin Nguyen, as part of Ekrani i Artit 2025: Postcards from Elsewhere in Shkodër, Albania, Friday June 20.

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By removing the rapid, jarring movements from the original footage, these images are transformed into a contemplative exploration of the landscape, prompting a reevaluation of our connection to nature.

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The video explores how colonial histories have shaped the concepts of “native” and “non-native,” creating artificial landscapes and distorting the relationship between humans and the natural world.

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Hiding in Plain Sight centers on Heracleum Persicum, commonly known as Giant Hogweed, a plant native to Iran that was displaced during the colonial era. Once prized as an ornamental species, it is now categorized as “alien and invasive” in Europe and North America.

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It is curated by Mari Spirito, Executive Director and Curator of Protocinema, and features works by Abbas Akhavan, Liu Chuang, Aylan Couchie, Alice Gosti, Cansu Yıldıran, Anahita Razmi, Atalay Yavuz.

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ANAHITA NOROUZI’s Hidden in Plain Sight is being screened in THE SUBSTANCE WITH WHICH THE FUTURE IS MADE, the inaugural video art programme at Alserkal Avenue. Running through June 15th, this series is displayed outdoors on a large LED screen in The Yard after sunset.

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Abbas Akhavan: Feb 20 - Mar 5 Aylan Couchie: Mar 6-16 Liu Chuang: Mar 17-30 Cansu Yıldıran: Mar 31- Apr 13 Anahita Norouzi: Apr 14-27 Atalay Yavuz: Apr 28- May 11 Alice Gosti: May 12-25 Anahita Razmi: May 26 - Jun 9

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In the face of persistent, growing global violence—unbearable and inescapable—these artworks invite us to reflect on the act of being present as both a small yet vital response to our shared human experience and a crucial part of the fight for human rights.

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With each work running for two weeks, these video pieces explore the fragile yet powerful essence of presence as an essential part of building just and compassionate spaces to live.

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Curated by Mari Spirito, Executive Director and Curator of Protocinema, the programme features works by: Abbas Akhavan, Liu Chuang, Aylan Couchie, Alice Gosti, Anahita Norouzi, Anahita Razmi, Atalay Yavuz, & Cansu Yıldıran.

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Screening schedule for THE SUBSTANCE WITH WHICH THE FUTURE IS MADE, the inaugural video art programme at Alserkal Avenue! Running through May 30, this series is displayed outdoors on a large LED screen in The Yard after sunset.

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The act becomes repetitive, a commentary to the normalcy of accepting the conditions imposed on them without protest.

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Untitled (Festival) is set in an urban context, documenting a journey of an individual through a city filled with rubble and debris. It begins with the individual picking up a sheet of paper, lighting it up on fire and then throwing it to the ground.

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Features works by Abbas Akhavan, Liu Chuang, Aylan Couchie, Alice Gosti, Anahita Norouzi, Anahita Razmi, Atalay Yavuz, and Cansu Yıldıran.

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Running through May 30th, this series is displayed outdoors on a large LED screen in The Yard after sunset, and is curated by Mari Spirito, Executive Director and Curator of Protocinema.

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