Sarp Keskiner is a Turkish editor,
columnist and producer; he has
been active on the publishing and
broadcasting scenes since 1994. He
is also a cultural manager; he has
been designing and implementing
interdisciplinary projects in
collaboration with national and
international cultural networks since
2000. Currently he is providing
consultancy to independent cultural
venues, community centers, art spaces
and municipalities; in his work, he
takes local memory, intangible cultural
heritage, networking and capacity
building to the focus.



  1. As an author, editor and composer; societal and cultural surrounding that I am currently in

matters a lot to me, as I take inspiration from various elements around me and those elements

may vary from architecture to culinary; from sounds to narratives; from calligraphy to flora or

insights and remarks that I come across. You’ll never know what may bring inspiration to lay

down the core of a creative idea, so I keep myself open to any stimulations and go with the

flow to distil unique ideas, before I bring an idea into a shape and to the ground. As a cultural

manager and a producer, I take openness and the approach of going with the flow as essentials

of efficient networking, fully understanding of local patterns, determining needs, priorities,

abilities and limitations that frame the given conditions. I always look for where the dots lay

around waiting to be connected so that I will have the ability to create a mind map, before

designing a place-specific project or a program. Starting with a mind map is crucial in order to

decide on the most relevant space, to determine which assets and tools I may put in use and

what kind of network I need to execute the project or program. Thus; societal and cultural

habitats are natural arbiters of my creative process.

  1. The place of my current residency sure is the most determinant fact as I keep changing

places all the time, due to my daily routines and my professional schedule. This sure brings the

challenge of adaptation to the “next stop”; though the town, the city or the country that I

temporarily reside always brings new ideas to me. Also, regarding the saying in Turkish and

paying a respect to it; “the process of being on the road matters more than the place where

you destined to arrive.” Nonetheless, changing the country that you live in, even if it is a

temporary residence, brings you a lot of new experience, teaches you new social patterns to

enrich your way of handling, understanding and doing things in general as the change of

environment enhances your toleration, your resilience and your ability to build new kind of

collaborations. Thus, as a founding member of various arts and culture initiatives and

collectives in Izmir 1 , Turkey; where ever I go to reside, I always prefer to be a part of a

community which operates with a collective manner based on solidarity, so working with

Qendra Multimedia and Termokiss 2 community was the best opportunity up to me.

  1. First of all, I’m thankful to READ program to give me the chance to create and network in

Prishtina, Kosovo. Also, again I’d like to thank to Qendra Multimedia and Termokiss, for

establishing me a creative, comfortable, fertile ground to bring the exhibition of our project,

“Pedestrians on the Stoney Bridge” to this beautiful, lively city. “Pedestrians on the Stoney

Bridge” is a multi-faceted, inter-disciplinary project designed by Şafak Ersözlü 3 that included

public contemporary performances executed on historical public bridges in five towns of Izmir,

Manisa and Balikesir (Turkey) and an exhibition displaying various outputs of the project such

as a sound design of my own that brings interviews made with displaced people and Unal

Ersozlu’s poems. Regarding historical heritage and public memory, we took stone bridges as

trans-cultural assets that carry the narratives of communities; as spaces that enable random

encounters where tolerance to the “other” is mandatory. Nonetheless, we chose public

bridges on purpose in order to enable the maximum of accessibility of audience with consists

locals coming from various backgrounds, ages and genders. Thus, using those bridges gave us

the chance of putting an emphasis on equality, diversity and transition of identities. Family

photos that accompany the sound design made from the interviews are taken as a medium that

bridge the gap between yesterday and today. Video documentaries of the public

performances produced by Jack Nelson (UK), Metehan Kayan, Yazi Ece Koz (both were also

performing artists on this project) and the soundtracks composed by Nick Rothwell (UK),

establish the audiovisual groundwork of the exhibition.

Bringing the exhibition to Prishtina also led the way to completion of a touching cycle, as

curator Safak Ersozlu and his poet father Unal Ersozlu found a chance to visit their ancestral

homeland, Vushtrri. That brought a completely different vibe to the output, as we added three

poems to the exhibition that are written by family members on the way back from their

pilgrimage while I found a chance to enhance the content with my installations, photographs

and interviews that I made with creative individuals based in the city.

As a result, READ gave me the opportunity to be a part of the society in Pristine and I am

amazed with the creative, lively, innovative scene in the city while building a brand-new

network which courage me to design cultural exchange programs that aims at bringing the arts

and cultural clusters of Izmir and Pristine together, in the near future.

[1] @konserveproject – – – – – –