Formed as an artist initiative in 2012, the Un-Known atelier is being actualized a work, research, production and exhibition space. This initiative, of which Jaona Kohen is the founder, is operating as an alternative space, where artists can be free both when they are creating and also during the exhibition as well as including the collective works of periodically changing artist teams. 

Could you please tell us a little bit about the process of development as an idea and actualization of Un-Known? What was the reason behind choosing the name Un-Known? 

Un-Known was an idea, which developed during my university years; but I was planning to actualize it in a more settled period of my life. Fortunately I have realized a signal in me to do this and set to work. The construction period was not an easy one; I had to learn a lot of things I don't know very fast. Looking back, I realize that those were really educational times. 

The "Un" prefix has got an anti attitude. "Known" is in its known meaning. Yet, when it becomes "Un-Known" what you don't know, but we know in us as well as presenting a stance leading the unknown to known. 

We don't write the name of the space and do not give an address when they ask in the fairs.  We like to present the unknown in places that are known a lot as in written media and social media. In fact it is like we exist, but at the same time we don't.

What directed you to form Un-Known?

To be in contact with people, who feel what I feel, to from a platform to share ideas and  to learn new things. I can say that it is to create a space that is going to gather people, who are longing for a single to turn into us and to provide a smooth transition to the bridge in between dominant art market and non-established, emerging artists.

How do you finance Un-Known? How do convince the sponsors when you are looking for funding? 

In fact there aren't many places where you can look for a funding.  My collectors are the ones, who support me.
They help, but in normal circumstances I invest whatever I earn from my own art. Unfortunately, neither foundations nor funding bodies want to help to emerging initiatives. That is why it kind of hard.

If I need to tell as a lived experience: a foundation was going to give funding for initiatives.  We worked for months and prepared presentation files; they said that "your presentation was very beautiful". When we were sure that we will be one of the three people, who will get it, we had an e-mail stating that we didn't. The winners were the initiatives, who don't need money and has been around for years -the initiatives, which the artists involved are represented by important galleries. Yet, one of friend, who was among the winners, was making various production researches  in a manner of "what should we do with this money now?". But in the meantime, we had a rent to pay.

We prepare a file when we are going to the sponsors; but I did that only once. Usually then names I am interested in try to support my art anyway. Therefore I don't force for more.

We are not an initiative, which can easily be understood or read. Our medium and constructional understanding is quite different than the others. We address to classical Turkish art environment. I think this needs a familiarising and perception period. In other words, it is going to take some time to explain that we are new composition.

What are the advantages that an art initiative like Un-Known, provide for the artist in the art world and market we are in?

There are a lot of advantages. People morally support you when you try to do something, when you remain on your two feet as an artist and make yourself hear. You get invited for projects and fairs. But surely the most important thins is that nobody interferes except yourself; you use all your initiative for what is right for you. If you wish to print a book, then you do it or you say that you are going to write this under that with a pencil. Since there is none to interfere, you can get into practice immediately. And you get the opportunity to work with wonderful people, who are both inside Un-Known and people who get involved outside of Un-Known. I think what excites me the most is to learn new things and to be able to work with new identities.

What are the difficulties of being a part of an initiative rather than working with a conventional galleries?

Since you are a part of an initiative, not working with galleries can't even be thought of. This is understood wrongly most of the time. I work with galleries and I love it too. However the problem appears when an initiative is being seen as a gallery. All the artist in the group can work with a gallery. At the end of the day, Un-Known is an atelier and the aim here ti produce art. Therefore, we are not a gallery and when artists find themselves appropriate for this, they should definitely work with a gallery. 

Have you ever wanted to be represented by a gallery before or after Un-Known? Have you applied? 

I didn't apply before the initiative; yet there were two galleries, who wanted to represent. They were just not appropriate for me in terms of artist lists and their space and it is really important to realize this. However, there were two galleries that I wanted to be represented by. We didn't have an agreement with them. I interpret the reason for this in various ways. I think first of all they couldn't get me and didn't do their market research well enough.

We, unfortunately, are a country, who invest on what is known. If you are a bit different, then they want something to understand you from. Preferably they don't want to go and get that something, either invest on it or spare time to look into that something. Unfortunately I haven't worked with a gallery yet. I usually retire into my shell after a one exhibition or project process. But, I am seriously looking for a gallery, with which I can have a proper and peaceful relationship.

You did exhibitions when Un-Known was active. How did you do the publicity, pr works of these exhibitions? Did you have trouble reaching people? 

Two exhibitions and a performance in two years. But, we can say that we had more inner exhibition and performances without the spectators. Also we attended four fairs and published two books and three magazines.

I don't get tired from PR and organization. I think we use social media good. I have got strong social relationships at the same time. As long as we explain ourselves good and shine in the vacancy of the market, it is not hard to find a place in media by means of  works we do. We make fantastic publications and send e-mails before the exhibitions or projects. I think we attract people like that.

The populace following us has increased since the first Un-Known exhibition. But we did work very well for the first opening. We send books, printed invitations, send e-mails to people, whom we wanted to see in the opening. We keep on doing the same since that day. Everybody -me to begin with-  in the initiative starts collecting money months for fanzine, books before each publication. Naturally we don2t have budget for everything we want to do and sometimes we need to postpone some things. But it is not important; we are doing the best we can.

How far is Un-known now from what you have originally dreamt about?

In fact it quite far away; yet it is also quite close in various areas...
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The far away part is that this structure, of which I am the founder, will turn into a crazy production platform and we will be blowing like the wind as any other movements that I have read in art history.

But, I have realized that I am the only one, who is running after this dream, and others so usually get lazy about it and give up fast. Therefore the new artist selection and construction of Un-Known 2015 is going to be a little bit different.

How will Un-known going to go on its path? Do you wish to colaborate with foreign artists?