Fabrika Zine

Fabrika Zine

When we say independent art organizations, one of the main concepts is, of course, "independence". What does independence mean to you? As an art formation, what do you feel like you are dependent on, and what do you think you need to look out? 

When it comes to independence, I think of the concept, relief. While taking creative decisions, independence means not to be subject to rules/restrictions set by others. Apart from this, it means avoiding standardization for me, which I think is a crucial factor in producing unique works. 

As a result of the period we live in, I can say that I see social media as a "must". Although I feel antipathy the idea of regularly producing content on any platform for myself, I care about the active use of Instagram to make Fabrika accessible fo anyone curious about it. 

"Looking out" is a concept that I consider positively. I can say that the only element Fabrika looks out is the people who have grown up in Turkey, live here, have an active relationship with here, interested in photography, think about photography, have a desire of producing their work in this field.  


What do collectivity and organization mean to you? 

I have never thought about the concepts of collectivity/organization in detail. Perhaps because of the generation I am a part of, or as I love living in my own world. However, collaboration and immanent work ethic, and the relationship of mutual love/respect that develops while working together are the things that I appreciate very much. For this reason, there have been various collaborations in the previous issues of the Fabrika, and it continues the current one in preparation. Hopefully, these collaborations will last. 


Why did you choose to establish or take part in an independent organization? 

When I decided to establish an independent organization, I was about 16-17 years old. It was a period that I -without exaggeration- could not breathe related to photography. I was interested in photography for two years, and I was incredibly passionate. I was full of huge energy, and I had the desire to share it with people around me. I am talking about people who concern photography, produce photography, make unique productions in this field. Beside that desire, I could not find any satisfying formation for people who have just started/love photography but who do not know what to do with it. I had pissed off. 


How many people does your team consist of, and how are the division of labour and job definitions?

We do not have a team. I prepare the content for each issue myself. Sometimes, I receive design support. For instance, in the last issue, we worked with graphic designer Mert Batırbaygil from Ankara. 


The organizations arise from the individual desires and needs as well as the needs of the art environment. Therefore, the wishes and opinions of individuals become a significant factor in the structure of an organization. How much did your organization depend on the individuals part in and how did you balance between these two?

I really like these questions! I have often asked myself these questions since I began to publish the Fabrika. As I mentioned before, Fabrika has emerged as a result of my own needs. But I believe that these are shared needs by the fresh photographers. It is useful to emphasize this. 

My most significant criterion when preparing the content of Fabrika is to make sure that I do not select the pieces according to my taste. To achieve this, while looking at a photography project, I pay attention to how it is created in terms of content and aesthetics, how it is elaborated, what kind of concerns the person who produces that work has. I believe these criteria are pretty universal. 


Do you have close contact with other independent organizations? What kind of collaborations do you have?

Of course, I have. I can especially count the KartonKitap, Ka Atölye, Zone Mag, and Fail Books. The organizations that I am blissful to both exchange ideas and collaborate during the preparation of issues. Last year, together with Fail Books, we prepared a project consisting of photo zines produced by 16 artists. The artists participating in the project have interacted with Fabrika over the years and can be considered as emerging or underdog photographers. An exhibition of the produced zines was held in poşe. The importance of this cooperation for me was to seek answers to the questions which forms Fabrika such as "What is the Turkey photography?", "What are the current works?", "Can we talk about Turkey Photography?" in a more layered medium. I believe I did this too. We will collaborate with Ka Atölye for the next issue. I should say that it is an overexcited process. I cannot wait for the result to come out. 


What kind of collaborations do you think the independent organizations can have and do? 

Under the current circumstances, I think the best thing that independent organizations can do is to come together and discuss, share the ideas, read and analyze a lot. At this point, I love the events of poşe, salut to them!


How do you provide your economic sustainability? 

Until the fifth issue of Fabrika, I had always used my pocket money. The fifth issue was supported by Fail Books. There will be sponsorship in the next issue, too. 


What are the effects of independent organizations in the current economic and social conditions of Turkey?

I kept thinking about how I can answer this question. However, perhaps as I am so into it, I cannot approach "Art of Turkey" as a cluster or a concept. "Art of Turkey" moves my senses when I think about it. 


We are curious about your opinion on the future of independent initiatives. What do you think about this subject, and do you have any concerns? 

The existence of independent initiatives makes you relieve. It emancipates you from experiencing the same things all the time, and it gives room to different voices. But on the other hand, it can be very tiresome to make everything based on fishing around and volunteering. I feel the lack of a set of constants, financial guarantees and rules. Also, I do not think it is beneficial for anyone to approach institutionalization as a taboo.