[popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] constitute art IRL. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] are those graphical, spatial, and medial forms that can still be found in [popup url="http://goo.gl/NvaU1"]Istanbul[/popup]. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] contrast to the self-reproducing [popup url="http://en.wikipedia.org/wiki/International_style_(architecture)"]International Style[/popup] that is called contemporary architecture, design, or art. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] contrast to those forms that not only represent the global cultural system, but also global capitalism (for example [popup url="http://www.babylon.com/definition/m%C3%BCteahhit/Turkish"]müteahhit[/popup]). They have not sacrificed [popup url="http://junkjet.net/junkjet6preview.html" width="750"]local[/popup] identity to modernity, they are still somehow specific. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] contrast to the big player forms in attention, in appreciation, and in cultural reflection. They are not considered as intended or authored; they are not recognized at all – if ever, as [popup url="http://goo.gl/ug5qa"]trash[/popup] or [popup url="http://goo.gl/vArSr"]kitsch[/popup].

[popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] are [popup url="http://en.wikipedia.org/wiki/Leftovers"]leftovers[/popup], marginal, often too-small-to-be-noticed forms and spaces that live their life below radar level. They are usually not product of any adequate profession – be that art, architecture, or design. They have been there for the ordinary and common life. They have been there for a business that has already lost the competition within global economy, but that carries on. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] do not comply with aesthetic or qualitative standards and fashions.

But they are valuable in at least three points, referring to the international global style. They contain the local, the romantic, and the glamorous. Insofar, they are able to create an organic public sphere, open for participation, business, and talk. Thus, they embody spaces, essential for political, social, economic and aesthetic negotiation.

The Local > Istanbul > Domesticated Atatürks

Obviously, [popup url="http://goo.gl/NvaU1"]Istanbul[/popup] is being rebuilt in terms of modern, [popup url="http://en.wikipedia.org/wiki/International_style_(architecture)"]International Style[/popup] – architecture, design, and art are being leveled according to global standards. Yet, there are [popup url="http://en.wikipedia.org/wiki/Leftovers"]leftovers[/popup] in the ordinary everyday life, most interesting for their anti-form, their intention, and contextuality. They include more than a lot of professional works, although or because they are not representative, but do embody a sense of place; a sense of place imagining the city as collective, dense structure with elements that are open and responsive to their context; a sense of place that may be “the underworld of ‘low’ culture”, to quote the architectural theorist [popup url="http://en.wikipedia.org/wiki/Colin_Rowe"]Colin Rowe[/popup] [1]. Still, this sense of place produces collage forms that, for Rowe, are able to accommodate more than a limited clientele. Instead of endorsing a private and atomized society, these forms combine the naïve vision of an ideal (political) world with the management of the existing or not existing (money). These forms are “sufficiently two-faced,” combining statements and spontaneous [popup url="http://www.facebook.com/pages/Randomness/109256105759371"]randomness[/popup], individual and collective history. Of course, these forms may be politically debatable, economically irrelevant, and too small to be part of urban studies, but they show a deliriously sustaining [popup url="http://junkjet.net/junkjet6preview.html" width="750"]local[/popup] culture that has to face globalization and internationalization.

It is not so much the delirious images of Turkey’s national hero [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] that generate this kind of local culture. It is rather their context, how [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] has to sit through everyday life, how he is appropriated in that he has to share spaces with documents, family portraits, and timepieces; how the [popup url="http://www.facebook.com/pages/Atatürk/289998611042786"]Turkish superego[/popup] is domesticated as if he was a family member; how he is sometimes but a leftover and sometimes becomes a political statement.

[1]
[popup url="http://goo.gl/qr3Nm" width="750"]Colin Rowe, Fred Koetter: Collage City, Birkhäuser 1984[/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/metzger.jpg" height="750"][/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/furkanet.jpg" width="375" height="500"]
Butcher (Wholesale and Retail), Furkan Et Toptan & Parakende, Karlıtepe, Istanbul[/popup]

In the butcher shop covered with big prints of meat, especially red meat, there is only one exception: the poster with [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup]. The meat posters are draped with green vegetables like parsley or green pepper; [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] is draped with green plants. The meat posters have black wooden frames with a thin gold edge; the same frame is used for [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup]. The meat is dark red with white veins; the Turkish flag behind is also dark red with a white moon and star.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/husar.jpg" height="750"][/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/tavuk.jpg" width="500" height="375"]
Restaurant, Untitled Restaurant, Sarıgöl, Istanbul[/popup]

Half a bread chicken döner restaurant sells nothing else than half a bread chicken döner for 1.5 TL (0.63 €, 0,83 $). There exists nothing than chicken döner, a small television, tables, chairs and an [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] poster. Probably, before the Döner shop bought the new and bigger TV, the aparatus was placed in the opening next to [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup]. These ‘holes’ have been commonly made for TVs. Now, it provides a view into the kitchen.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/reiter.jpg" width="750" height="500"] [/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/destina.jpg" width="375" height="500"]
Flowershop, Destina Çiçek Evi, Gaziosmanpaşa, Istanbul[/popup]

The flower shop sells real and plastic flowers, and houses a framed [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] poster: he is sitting on his horse, the background shows a dramatic atmosphere – similar to the two photos of the owner’s sons hanging above [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup]. The florist says: “those, who do not like him, would avoid the name ‘[popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup]‘ and just call him Mustafa Kemal or even just ‘He’.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/stoffe.jpg" width="750" height="500"] [/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/bursapazari.jpg" width="500" height="375"]
Fabric Shop, Bursa Pazarı Tekstil, Eminönü, Istanbul[/popup]

Rolls of cloth fill up the downstairs drapery shop. There is one pillar that gives space to an [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] portrait. About ten vendors, all male, are working in the huge shop and there are almost only female shoppers. One of the vendors shouts loud, pointing to his friend: “he is the grandson of [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup], you should also take his photo”. The other one says: “we are all grandsons of him”.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/schneider.jpg" width="750" height="500"] [/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/yakup.jpg" width="500" height="375"]
Shirt-Tailor, Gömlekçi Yakup, Eyüp, Istanbul[/popup]

[popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] sits in one of his chicest outfits on the wall of the tailor in Eyüp region, known as the religious region in [popup url="http://goo.gl/NvaU1"]Istanbul[/popup] with the sacred mosque there. The tailor is just producing shirts for men. He complains about clients complaining: “Take this down. We don’t need him.” There are other images on the walls: a poster with Arabic text, and an image of the [popup url="http://en.wikipedia.org/wiki/Mecca"]Mecca[/popup] with people dressed in white.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/koefte.jpg" width="750" height="500"] [/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/sohretkoftecisi.jpg" width="500" height="375"]
Restaurant, Şöhret Köftecisi Since 1959, Sirkeci, Istanbul[/popup]

The owner of the restaurant (a grill house claiming to be famous with meatballs) is proud of his [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] ‘artwork’, “it is unique, nobody in the city has the same one,” he says. “I am happy that [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] is looking at me, while I am working. It is a coincidence that he looks right, placed in the middle of the wall,” he adds. The copper 2d-sculpture is the only decorative object hanging; all other elements are functional, pale in the one-space restaurant.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/local-big/evil.jpg" height="750"] [/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/baris.jpg" width="375" height="500"]
Barber (Hairdresser for men), Baris Erkek Kuaförü, Dörtyol, Istanbul[/popup]

In the small barber shop there are certificates, posters of sport cars, a lot of mirrors and a framed photocopied painting of [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] at the wall. The old hairdresser is sitting with his friend discussing the change in [popup url="http://goo.gl/NvaU1"]Istanbul[/popup]: “Everything has changed, and everything will change even more.” They worry about the current changes, especially the urban transformation and renewal projects ([popup url="http://goo.gl/whpwn"]kentsel dönüşüm[/popup]), “these are just superficial shows of the government, nothing fundamental as the modern changes of [popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup]” they maintain. The owner adds, “[popup url="http://en.wikipedia.org/wiki/Mustafa_Kemal_Atat%C3%BCrk"]Atatürk[/popup] is the person he likes the most in his life, just behind God.” In the melancholic barber shop, they listen to the most [popup url="http://www.youtube.com/watch?v=7tcLsJOiPYg" width="750"]melancholic music of Zeki Müren[/popup].