at ARTIST 2017 – TÜYAP
4-12 November 2017
“…”
Bazı cümlelerin sonuna üç nokta koyarız; söylemediğimiz, söylemediklerimiz için. Bu bazen, okuyanın zaten bildiklerini ifade etmeye yarar, bazen yazanın da bilmediklerini. Bazen sadece yazmaya üşenmektendir ya da okuyanı sıkma korkusundan; bazen endişeden, korkudan, ifade edememekten. Bir cümlenin sonudur, cümleyi yeni bir anlam ekleyerek tamamlar.
Ama kendi başına duran üç nokta daha büyük bir bağlama gönderme yapmak durumundadır. Cümlesi olmayan bütüne; herkese aşikar olan söylenmeze, söylen-e-meze; sessizliğe!
amberPlatform “…” başlığı ile ortak sessizliğe değiniyor; bir yandan sessizleştirme, susturma, gürültüye boğma, üstünü örtme, erteleme, önemsizleştirme, yok sayma gibi baskının saklı/görünmeyen/dolaylı biçimlerini göstermeye çalışırken öte yandan sessizliğin nasıl bir imkansızlık olduğunu vurguluyor; bazen bir iç sıkıntısı, bazen gergin bir bekleyiş, bazen umutların büyütüldüğü bir küvez, sessizliğin bir yenilgi değil bir strateji olduğunu sanat aracılığıyla seslendirmeyi hedefliyor.
Artists:
Ali Miharbi, Seçil Yaylalı, Sümer Sayın, Anti-Pop, Fatih Aydoğdu, Zeynep Nal, Melike Nal, Tuğba Nal, Selin Özçelik, Nagehan Kuralı
Curator:
Ekmel Ertan (amberPlatform)
İŞLER / WORKS
Sümer Sayın Bir Saatlik Sessizlik / One Hour of Silence
Sandglasses, metal), 45 x 45 x 7 cm, 2016
Six 10-minute sandclocks are installed in a circular form, to create a time frame that equals 1 hour. While time is extended in a circular way by the attachment of sandclocks to each other, their function is eliminated to create a non-flowing process, in other words, a frozen time frame.
Anti-pop Son Dakika / Last Minute
Video animasyon / Video animation, 20’’, 2016
Last Minute is an artwork on the methods of silencing the media through jamming in the noise, multiplying and rendering meaningless; it reveals a tactic that we have become incapable of seeing by habit.
Fatih Aydoğdu Internal Affairs / Içişleri
Wooden-Instrument-Object / Tahta-Enstrüman-Obje, 2013
“Internal Affairs” is a model, designed to question the hegemonic mechanisms of the autocratic systems that create the political agenda, while at the same time abolishing social responsibilities and democratic structures. While it refers to the given leading models and ideological structures, it poses questions about collective helplessness and its systematic spread, which is only about maintaining one’s own power. This well-known instrument, which is used for making sound or music under normal circumstances, is mirrored into its own self, so neither you can hear its sound, nor will you be able to make any interaction with it. The instrument is turned into a closed system that is only preoccupied with its own internal affairs.
Selin Özçelik, Nagehan Kuralı Kadın Dediğin vol. 1 / Woman – Vol. 1
Cutout letters, interactive installation, 2017
When have we started legitimizing ‘a laugh’ whether from a man or a woman? ‘Woman – Vol. 1’ is an interactive sound installation which takes a stereotypical gender perception as a core point and positions the visitors interactively just in the center. You do not have to be afraid of the rising laughter as you come closer.
Ali Miharbi Hasta Başı Monitörü / Patient Monitor
Monitor stand with casters, PC, Internet connection, 2017
Patient Monitor uses a readymade software to analyse data transactions with the Wikipedia server and draws the graphics of access to Wikipedia from Turkey, which points the relation between the access to information and the health of the society.
Seçil Yaylalı Unguentarium
Glass bottle, sprouted weath, 2010-2017
A tear catcher or tear bottle was used in ancient times to collect the tears in order to show the mourning. The pain can be reflected in different modes and it has a huge range of outcomes. Tears are among the most direct ones. In history we come across with ancient objects from different civilisations that have the function to collect tears. They can be both a mourning gesture and a symbol of hope. Instead of tears, these ancient tear bottles have been filled up with seeds. Seeds symbolize both the final stage of fruit/life and the potential new life of the tree.
Zeynep Nal, Melike Nal, Tuğba Nal Eşi̇kteki̇ler / Ones On The Doorstep
Mixed material, 2017
“Ones on the doorstep” is a series of lyric artworks in praise of the emotions, dreams, hidden stories and the voices behind the silent image of the vulgar, refugees, beggars, street children, prostitutes, mentally ill, losers, the disconnected and other unfortunate people that the society has ignored, alienated, marginalized, ignored, tuned out and tossed out. These art works, which are designed as wearable technology in the form of jewelry as a symbol of beauty, invite the spectator to approach, touch and explore the so-called ugly.
