Ülkü Süngün2022-09-29T13:28:41+00:00
Portrait Sinje Dillenkofer - Kubus. Sparda Kunstpreis 2019

Ülkü Süngün

b. 1970 in Istanbul

lives in Stuttgart

2012 Studies in sculpture at the State Academy of Fine Arts in Stuttgart under Werner Pokorny, Udo Koch and Felix Ensslin (Degree Diploma in Fine Arts)
Process engineer in the development at United Technologies Research Center GmbH, Aachen, and Lufttechnische Gesellschaft AG, Stuttgart
1991-1998 Studies in process technology at the Technische Universität Clausthal-Zellerfeld, Imperial College of London and at the Rheinisch Westfälischen Technische Hochschule Aachen (Degree Diploma)
1989-1990 Studies in chemical engineering at the Universitiy Istanbul
2021 #take care Fond DaKu Residency
2020 10 qm / Corona Katalyse, Landeshauptstadt Stuttgart
Atelierstipendium Künstlerhaus Stuttgart
Ifa-Ausstellungsförderung Tiflis
2019 Reisestipendium IFA (für Einzelausstellungsvorbereitung in Tiflis)
Residency 2019 im Zeitraumexit e.V., Mannheim
Nominierung für den Landeslehrpreis Baden-Württemberg seitens der ABK Stuttgart
Atelierstipendium Künstlerhaus Stuttgart
2018 Atelierstipendium Künstlerhaus Stuttgart
Förderkoje Preis der Freunde der ABK Stuttgart zum Rundgang für mitteperformance_camping
2017-2019 Brigitte-Schlieben-Lange-Programm Stipendium für künstlerisches Vorhaben, Ministerium für Wissenschaft, Forschung und Kunst Baden-Württemberg
Shortlist Stiftungspreis für Fotografie, Stiftung Alison und Peter W. Klein, Eberdingen-Nussdorf
2015-2018 Mathilde-Planck-Lehrauftragsprogramm Förderung, Ministeriums für Wissenschaft, Forschung und Kunst Baden-Württemberg
2014 Förderung durch das Debutanten-Programm (vergleichbar Meisterschüler*in) der ABK Stuttgart und des Ministeriums für Wissenschaft, Forschung und Kunst Baden-Württemberg
2011 1. Preis des Gedenksteinprojektes zu Deportation vom Killesbergpark, Stuttgart. Eingeweiht am 26.4.2013
2021 Anlatsam Roman Olur – Die besten Romane schreibt das Leben, Contemporary Art Gallery, Historical Museum Tiflis
2020 Gemeingut Jungbusch, Zeitraumexit e.V., Mannheim
2019 Cruising, Nachtwandel Festival, Zeitraumexit e.V., Mannheim
2015 Anlatsam Roman Olur – Die besten Romane schreibt das Leben, Villa Merkel / Bahnwärterhaus, Galerie der Stadt Esslingen
2021-2022 Kubus. Sparda-Kunstpreis, Kunstmuseum Stuttgart
Offener Prozeß, ASA FF e.V., Chemnitz
eMotions, Haus der Geschichte Baden-Württemberg, Stuttgart
Technoseum, Mannheim
Spielart Festval 2021, München
Kunstverein Neuhausen
Clinch Festival, Hannover
Impulse Festival, Köln, Düsseldorf, Mülheim an der Ruhr
2020 IMPLANTIEREN Festival 2020- site specific performance festival, Frankfurt, Darmstadt, Offenbach
2019 Çevirmek-Übersetzen, Festival Wochenende, Zeitraumexit e.V., Mannheim
2018 NSU Tribunal Mannheim, Kunsthalle Mannheim
Körper. Poetik. Performance, Symposium, ABK Stuttgart
Ch[a]rita, Dar Bellarj und Le 18, Marrakech
New Narratives 2: Ökonomien anders denken, Kunstgebäude Stuttgart
2017 BAZAR, Zeitraumexit e.V., Mannheim
Supercopy, Port 25, Mannheim
Open Minded, Kunstwerk, Sammlung Alison und Peter W. Klein, Eberdingen-Nussdorf
2016 Geschlechter. Rollen. Identitäten//Genre(s). Rôle(s). Identité(s), Le 18, Marrakesch
Du und Ich, Hospitalhof Stuttgart
Crossing Media: Good Space-politische, ästhetische und urbane Räume, Villa Merkel, Galerie der Stadt Esslingen
2015 Ich bin da. Künstlerische Perspektiven zum Thema Flucht, ehemaliges Kloster St. Klara, Regensburg
2014 #10: Ankommen, Kunstwerk, Sammlung Alison und Peter W. Klein, Eberdigen-Nussdorf
Über die Grenze und trotzdem begrenzt – Asyl in Kirchheim, Haus der Geschichte Baden-Württemberg, Stuttgart, Städtische Galerie im Kornhaus, Kirchheim/Teck
2013 no place to hide: Ort Kontrolle Produktioen, Agentur für Arbeit, Stuttgart
Gedenkort für deportierte Juden und Jüdinnen am Killesbergpark (Erinnerungskörper)
2011 Wie geht’s dir Stuttgart? / Stuttgart, how are you doing?, Künstlerhaus Stuttgart

Süngün sees herself as an artist with a political mission. She takes up topics on migration and identity politics in Germany in various media such as photography, sculpture, installation, and lecture performance. Her works have a documentary character, and she uses them to expose prejudices and sets decisive impulses on these topics through her artistic research.

Anlatsam Roman Olur / Die besten Romane schreibt das Leben

“Lauter Steine” (Nothing but Stones) and “Lacrimarium Europae” are part of the group of works “Anlatsam Roman Olur / Die besten Romane schreibt das Leben” (Life Itself Writes the Best Novels), which tells of the living conditions and fears of refugees in Germany. The staged photographic novel “Lauter Steine” describes the everyday life of the Georgian stonemason Sergio Pipa and his critically ill wife, Marina Tsertsvadze, who live in a refugee shelter. Sergio cuts reliefs in stones from the Lauter River, which he sells at markets to finance his companion’s medical treatment. Their hopes of a finding a therapy for Marina fail, however, because of the current asylum regulations, and they leave Germany. At this point, the documentary/realistic narrative structure shifts into the absurd/fictional. With the help of a magic file, Sergio transforms his wife into a stone object and travels back to Georgia with her in his suitcase. Süngün’s additional research on the subject of asylum flows into the installation “Lacrimarium Europae”. Various objects, pictures, and documents refer to the negotiation strategies immigrants engage to avert the threat of deportation or to have a positive impact on an open asylum process.

Gemeingut Jungbusch

The video installation “Gemeingut Jungbusch” (Jungbush Common Property) was created in Mannheim in 2020. In the city’s immigrant-dominated district of Jungbusch, the artist primarily researched the role of cultural institutions. Here, issues such as gentrification and the lack of political participation also play a major role. At the end of the project, Süngün presented the results of her research to the public in workshops, conferences, and an exhibition. The short films and music videos she made in connection with the project reflect the conditions in which the people in the Jungbusch district live.

Takdir. Die Anerkennung

The background to the performative work “Takdir. Die Anerkennung” (The Appreciation) are the racially motivated murders committed by the right-wing extremist terrorist group NSU between 2000 and 2006. Whereas many people are familiar with the names of the perpetrators, hardly anyone knows those of the victims, who have a migrant background. Süngün attributes this to reporting that focuses on perpetrators, which has an influence on our culture of remembrance. She therefore first teaches the participants of her performance the sound of individual letters and then the correct pronunciation of the names of the ten murdered people: Enver Şimsek, Abdurrahim Özüdogru, Süleyman Tasköprü, Habil Kılıç, Mehmet Turgut, Ismail Yasar, Theodoros Boulgarides, Mehmet Kubasık, Halit Yozgat, and Michèle Kiesewetter. The collective repetition of the names generates a common memory in which recognition and appreciation are expressed.

Das Benennen

Süngün repeatedly explores the meaning and function of proper names. Their correct articulation contributes to people feeling seen and respected in society. It is mostly immigrants who have to point out the correct pronunciation of their name or accept that it is mispronounced. Some even change their name as a result. The sound installation “Das Benennen” (The Naming) makes the visitor aware of the numerous ways of mispronouncing the first name “Evein”. The artist picks up on this cultural difference with the motif of red apples from a new and still unnamed variety. On the initiative of Süngün and fruit growers from Lake Constance, it is—following examination by the Federal Office of Plant Varieties—to be called “Ivie”, after the eponymous red hair ornament from Nigeria.

Transitional Objects

In her photo series “Transitional Objects” Süngün explores the question of what constitutes cultural identity and home from her own personal perspective. In Turkish stores in Stuttgart, she finds items that are commonplace for her but unknown to many Germans. She detaches the objects from their familiar context and uses them as the material of her sculptural arrangements, which survive only as photographs. They tell of Turkish culture lived in Germany, but only those familiar with the objects and their original function can decipher them.