Serkan Ozkaya was born in Istanbul, Turkey in 1973. He mastered in fine arts at Bard College, New York. He has been an artist-in-residence at Ecole Regionale des Beaux Arts de Nantes (2000 2001), at Rooseum in Malmo with the IASPIS grant (2002). He is currently a Ph.D candidate in German Language and Literature department at Istanbul University, where he also earned his B.A. and M.A. Ozkaya is a fellow of the MacDowell Colony in New Hampshire.
His solo shows in the last three years include Loverboy (with Matts Leiderstam) at MiniGallery, Stockholm; Minerva Street at Galerist, Istanbul; Lives and Works in Utrecht at BeganeGrond, Utrecht; FOURINAROW at French Cultural Institute, Istanbul; New Art Museum at ICAP, Istanbul. Serkan Ozkaya is the founder of SlideShow Galleries, a chain storefront-space in Copenhagen, Istanbul, and Hudson, NY during 1999 2000. In 2003 Ozkaya initiated The Real McCoy video festival with bdv (bureau des videos, Paris) in Istanbul. With Radikal newspaper in Turkey, Ozkaya published his work Today Could Be a Day of Historical Importance.
Group shows within the last two years include "public.exe" at Exit Art, New York; "Side-Effects" Belgrade Museum of Contemporary Art; "Poetics of Proximity" Guggenheim Gallery, Chapman University, LA; "Ortung" 5020, Salzburg; "TOUTAZEUNETRIE" Galerie Loevenbruck, Paris; "Tirana Biennale"; "Fundamentalisms in the New Order" at Charlottenborg Museum, Copenhagen; "Look Again" at Proje 4L, Istanbul; "MUTATIONS/Rumour City," TN Probe, Tokyo; "Blanches Neiges," at Centre National de la Photographie, Paris; "Short Stories," at Fabbrica del Vapore, Milan. Ozkaya has occupied the Project Room at Rooseum Center for Contemporary Art, Malmo for six months in 2002 where he showed two new works and curated solo shows for the artists Kentaro Hiroki and Gregory Fleischer.
Ozkaya gave talks, participated in panel discussions, and conducted workshops at Malmo Art Academy, Rooseum Center for Contemporary Art, London University Goldsmiths College, Bilkent University, Platform Contemporary Art Center, Dulcinea Art Gallery, BeganeGrond (BAK), Charlottenborg Museum, Goteborg University, Valand School of Fine Arts, Helsinki Art Academy etc.
His books include Genius and Creativity in the Arts: Schoenberg, Adorno, Thomas Mann (2000) in which he discusses the modern idea of the genius and the creative subject in Schoenberg's "Moses und Aron," Thomas Mann's "Doktor Faustus," and Adorno's "Die Philosophie der Neuen Musik"; FOURINAROW (2001), the collection of the scripts and the dialogs of his four films "My way," "The Dollar," "Demolish Serious Culture," and "Niggers Don't Look Alike"; and It's not what it looks like! I can explain (2004), covers seven discussions initiated by Ozkaya around art and capital, archive, collectivity, appropriation etc. with the co-authors Carlos Basualdo, Huseyin Alptekin, Hou Hanru, Erden Kosova, Can Altay, Maria Hlavajova, Vasif Kortun, Koen Brams, Robert Fleck, Kristofer Pauteau, Alexander Brener, Barbara Schurz, Lene Crone-Jensen, Pia Valentin-Rehncrona, Daniel Gronberg, Charles Esche, Zhiyuan Cui.
Ozkaya's work has been widely
discussed and written about especially in Turkey, in magazines
such as Resmi Gorus, art-ist, Varlik, Sanat Dunyamiz etc, and
internationally in Art in America, Art Asia Pasific, C, Artelier,
Paletten etc. Some other recent essays are by Maria Hlavajova,
Vasif Kortun, Mika Hannula, Jean-Charles Massera, and Lilly Wei.
Erden Kosova is a Ph.D candidate at Goldsmiths College who extensively
writes on Ozkaya's artistic practice.