Ekrem Serdar

Selected curatorial projects

A gallery viewing of Squeaky Wheel's exhibition, The Image in its Absence. Several projections and a circular text installed on a wall are visible.
The Image in its Absence | Azza El-Hassan, Carolina Ebeid, Crystal Z Campbell, Noor Abuarafeh (2024)
An illuminated blue billboard at night, featuring a haiku by Jason Livingston: "The sun the moon they Know no nation, no borders No State knows the sky." You can see buildings from downtown Buffalo lit up behind the billboard.
Jason Livingston, with Phoebe A. Cohen: In the Sun’s Absence (2024)
Documentation of Emily Watlington's lecture The Radical Accessibility of Video Art (for Hearing People). Emily is sitting by a desk with a table lamp on the left, and an ASL interpreter is on the right. Behind them is a projection of Alex Dolores Salerno's film El Dios Acostado.
[Speaking in Foreign Language] (2023)
A projection of Jordan Lord’s video How Is It That You Frame Old Glory in Your Mouth?, showing a pier on sparkling water on a bright, sunny day. Captions on the bottom state “and a broken pier, which hundreds of seagulls rest on and fly away from.” A person is watching the film.
Jordan Lord | The Voice of Democracy (2023)
Zain Alam reciting the azaan as part of his performance, I am sounding a sacred space. He is standing on a prayer rug with his shoes off and his hands are by his ears in front of a microphone. People are sitting on chairs and listening to him.
Zain Alam’s I am sounding a sacred space (2023)
A magenta lit photograph showing a screen, and red and blue racing car seatbelts strapped at a vertical diagonal across the space. On the screen are the words "GLAND PRIX" overlaid on a backdrop of moving flesh. A window reflects another screen on the bottom of the image, with the following mirrored word "SCREWED" overlaid on top of a spinning set of giant motor wheels.
Jenson Leonard: Gland Prix (2022)
A photograph of Squeaky Wheel’s window gallery, covered in a blue light. Two vertical screens are visible, with rose petals on the floor.
SHAWNÉ MICHAELAIN HOLLOWAY: i would’ve said goodbye if i thought you loved me back (2021—2022)
A photograph by Carolyn Wachniki of SPACE Gallery. A large sculptural textile work by Eniola Dawodu is hanging from the ceiling. You can also see clothing made by Charlie Best, and a variety of screens and ephemera by Betty Yu.
Punctures: Textiles in Digital and Material Time (2019—2020, 2021)
A still from Dark Matters by Johann Diedrick. A purple, spiky globe depicting sound files is in the center of the screen. On the top left is the text "twenties. indian. 861/1484". On the bottom is the text "Don't you see what a wonderful thing this can be?"
Johann Diedrick: Dark Matters (2021)
A gif of a screencapture featuring several mouse cursors and typing. There is text placed in little colorful boxes. They all respond to the question "What does 'COVID' look like in the future to you?"
Timelines of Care (2020)
A grid of nine videos from a live recording. There are people cooking, animations of the same people cooking, and other people speaking.
Public Visualization Studio: Passing through the Heart (2020)
A gallery room. There are projections on the wall and television screens playing videos. Various collages are on the wall, as is an Ipad. A glass podium is in the middle of the room.
Black Quantum Futurism: ON THE EDGE OF THE BUSH / A LONG WALK INTO THE UNKNOWN (2019)
A mannequin's hand holding an ipad. There is a white chain holding them together, on top of a podium. The Ipad is showing a 3D animation of an office.
Yvette Granata: #d8e0ea: post-cyberfeminist datum (2018)
A photograph of a room with a projection. Within the projection is also a television. The projection is showing a bouquet of flowers. The screen is showing the layout of a court room.
belit sağ: Let Me Remember (2018)
A film still of a tiled floor from Nazlı Dinçel's film "Shape of a Surface". Two legs and feet can be seen on the left.
Shape of a Surface: Recent work from Turkey (2017)
Four computers on a table with Angela Washko's video game ready to play. On the wall are grids of images from the video game.
Angela Washko: The Game: The Game 2.0 (2017)
A blue room. The entirety of one wall is covered in a lava like projection of flesh. In the corner is an elliptical machine, with three lcd screens. In the middle screen is an animation of a Black person. The other two screens are blue.
Sondra Perry: flesh-out (2017)
A photograph of a tiny screen in the middle of the image, looking down a large glass-like tube. On the screen is a person with a red backdrop.
Kathy High: Soft Science (2016)
A photograph of a room. A microphone is hanging in the corner. On the wall, is a projection of linguistic symbols like exclamation marks, and of Chinese language characters.
Wenhua Shi: A Year from Monday (2016)
A photograph of a screen with a film, Permutations by Theresa Hak Kyung Cha, projected on to it. On the screen is Theresa Hak Kyung Cha's sister, looking directly in the the camera.
Tell Even Us: Videos by Theresa Hak Kyung Cha (2015)
Documentation from "SPONECK!" a screening in Istanbul in 2011. Eytan İpeker is pointing towards the screen.
Küçük Sinemalar: Experimental Cinema from Turkey (2008—2014)