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Project Hey world hear my voice .Next Project...
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Hey world hear my voice
Collaboration with musician Serdar Ateser.

Le Musée Ephémère , La Saison Vidéo, LEspace Croisé , Roubaix, France

If , 9th AFM International Independent Film Festival, Istanbul, Turkey

'Hey, hear my voice!' is the fourt of the projects consisting the video films,sound installations and music videos done by the artist since 2004, with teenagers from Turkey, Germany, Sweden and Denmark.
This project, named ''Hey World! Hear my voice'' was composed by the local teenagers of Diyarbakır, between the ages of 16-18, who participated in a workshop that took place in the city, between the 5-17 th of November. The lyrics were written by the participation of guest musician Serdar Ateşer adn the final work was filmed as a music video by Selda Asal. The subject of the video, which is nine minutes long, is based on difficulties and dreams on a conseptual basis.
In the video, ''Com'on. Come here, I can not hear you!' which Selda Asal has done in June 2008, with the immigrant youth in Denmark, the theme was also about similar existence consepts.
For more information:
To watch the video 'com'on , come here, I can not hear you!' go to and write seldaasal2
This project was supported by Anadolu Kültür from Turkey and The Diyarbakır Art Center
This text was  written for the exhibition broschure.

The affectionate gardener of the culture greenhouse

Evrim Altuğ

Selda Asal's latest 8 minute and 48 second collective video project, Hey Dünya, duy sesimi, ben yaşıyorum! (Oh World, hear my voice, I am alive), was prepared in November 2008 in the city of Diyarbakır, Turkey, with youngsters of various ethnic groups of Turkey ranging in age from 16 to 18. With an empathetic approach, the work firmly situates the artist's right of individual expression within the process of creation, in the center of the language-sound-culture triangle, by handing it over to the next generation.

Asal is an artist who, with her pluralist, Democratic, and non-commercial approach to creation of art 'for society,' manages to express her instinct of womanhood in almost all her work, with a sensitivity, artisan-like approach to composition, and tenderness that does not degenerate into militancy. Even if her works might appear independent of one other, they are actually tightly woven together: the courteous stones of the intelligence and conscience of humanity embroidered on a base of sociological issues.

By blending together varied disciplines like poetry, music, performance, and visual aesthetics in her video project Hey Dünya, duy sesimi, ben yaşıyorum!, Selda Asal takes another important step along the 'freedom' axis of her work.

Supported by musician Serdar Ateşer, who provides an original acoustic design of the 'house/techno' genre, and with lyrics written by young people-Sezer Kılıç, Uğur Acil, Amed Aydın, Eren Kaya, and Erhan Çermik-living in Diyarbakır, 'Oh World, hear my voice, I am alive'  presents Ateşer's musical arrangement with the participation of more than 10 young people.

Thanks to its sincerity, the work looks like a young, genuine, acoustic manifesto of existence, within the council of global data, to which especially during the last 10 years the internet has brought a new interpretation of Democracy, of the culture of resistance, and of freedom of expression. Selda Asal, who creates her work beyond boundaries, using a mobile and analytical approach, is an artist who puts herself to the test by being careful to ensure that not just the birthplace of the 'work,' but also the place where it is being 'consumed' and thus recreated should be 'civilian,' autonomous, and devoid of material interests, and by re-presenting, insofar as possible, the place of her work's exhibition at the place where its 'birth' took place. From this point of view, it is also significant that the 'Oh World, hear my voice, I am alive!' video, which contains profound references to the local and global reasons underlying the chaos and social inequality that plagues the area, should have been exhibited in Istanbul, Turkey's biggest Kurdish city, and in Diyarbakır, with its Kurdish majority.

At the same time, with the rhythm and striking nature of its structure and words, 'Oh World, hear my voice '  is also an important social rehabilitation project that shows how 'youth' itself, which is witnessing the liveliest stage of multiculturalism, can be 'won back' as a 'ready-made work of art' via dialogue, and what's more and most important, without suffering any abuse. This is the source of the attractiveness of the 'nervous excitement' sensed from young people's optimistic but at the same time tempestuous performance.

'Oh World, hear my voice'  is a musical video with social content in which young people who are trying to survive in the world with all their hopes and dreams, and who are confronted with the inhuman existential contradiction of money, and with wars and injustices of all kinds brought about by money, express their self-confidence and anger with phrases like 'there is war, war in the streets, anxiety in me, great anxiety among people...' or 'it is ourselves, our mind, our words that create us.'

In the fragmented structure of this video that is noteworthy for its Turkish and Kurdish lyrics, it is possible to see very clearly the human bond and proximity that was formed during this joint art project between the young people, who created the lyrics during a workshop activity run together with the artist. These videos, which in this respect could be perceived as a cultural greenhouse created by Asal, make us come face to face with young people who on the one hand say, 'I do not want the artillery of war to touch us, I want to play,' and wear makeup and piercings, and on the other hand do not refrain from asking clear and universal questions like 'what are these screams about?'

Selda Asal, 'the affectionate gardener of the culture greenhouse ,' is someone, who likes to test, record, and remember the definition of her art using a comparative approach, like a psychologist or journalist would do, at the three basic levels of analysis: sensing, seeing, and hearing. Asal's attitude consists of going to the very roots of the universal 'cultural' wealth of her ideals and weaving it knot by knot, of disseminating in the true sense of the word culture into every sphere of life, and of producing and re-presenting her work as the fruit of these processes.

It is for this reason that it would not be wrong to say that Asal's videos establish miraculous bridges of dialogue between life and herself, notwithstanding the closed-circuit and elitist abyss that has somehow appeared between art and life. It is also clear that if it does not transform life, the individual, who essentially shapes and forms life, or at least the state of awareness, no artistic work will have any value -whether commercial, academic, or symbolic. From this standpoint, the legitimacy of a work of art that does not draw its power from life, and does not recreate life, is debatable.

Therefore, it seems appropriate to perceive Asal's video, or more generally, her attitude towards art, as a kind of social recycling project, and her works as a recycling instrument. The fact that this work with a spirit of empathy and psycho-ecology, which begins to change the 'outside' by listening to the 'inside' one by one, 'has ended' with a To be continued..., and that the works have long become part of the YouTube universe, are clear signs of this global perception.

Project.Camera.Post Production : Selda Asal
Music :Serdar Ateşer

This project is  collaborated with musician  Serdar Ateşer  and with the youngsters from Diyarbakır.
 'Hey world, hear my voice, I'm alive!'
is the Swedish contribution to the European year of
intercultural dialogue (2008).
The project is a collaboration and exchange
 between Sweden and Turkey and is one of
seven EU profile projects that is also receiving
support from the Swedish Ministry of Culture, Intercult,
Anadolu Kültür and Diyarbakır Cultural Center.

The text for the broshure is written by Evrim Altug .
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