|
|
 |
“Even though the artwork acts as a bridge between the artists and audience the varying perceptions of the audience provide the creation meanings other than the artist’s. Rather than seeing artworks created with ready materials or objects, as modern or post-modern, I perceive them as an effort to communicate with the audience but mostly as artist’s reflections of the world we’re living in especially since Goya.”
Tomur Atagök
|
 |
“That very specific gesture of Ömer Uluç is a repetitive, non-expressive gesture, but it is not, as is the case elsewhere in contemporary painting, a simple imprint; it is a gesture of embracing. It liberally and generously embraces space, and does not limit itself except to catch the figures. In fact, those figures are contractions of that space.”
Catherine Millet
|
 |
“(…) Altan Çelem’s moves like a single chess player without an opponent and failure, he feels sensitive commitment to his audience interpreting the images and showing the effort to meet at the same denominator by recognising intelligent fictions.”
Levent Çalıkoğlu
|
 |
“Gülsün Karamustafa has an intuitive freshness which carries the same charge as her own life. She is able to transcribe this congenital impetus into visual representations, from which she draws a sort of radical realism..”
Teresa Macri
|
 |
“Even though Önürmen’s paintings avoid narraling a story of their own accord, exceedingly dramatic stories emerge when they are brought together. The inexorable, overwhelming loneliness endured by people who have drifted quite far apart from each other is emphasized, in a collage-environment based on discontinuities and withdrawals.”
Emre Zeytinoğlu
|
 |
“(...) Karakoç views the measure of modernity in painting as an integral part of a holistic approach to modern art. Such an approach leads us to the fact that modernity passes through total familiarity with today's values. As all artistic phenomena going back at least a hundred years demonstrate a formation around the dichotomies of human-nature and individual-society, the importance of such a wideangled approach to art today becomes evident.”
Kaya Özsezgin
|
 |
Mustafa (Horasan)is in a manner to emphasize his painting activity in almost all of his works. Lines are as important as colors and surface is as important as texture. However, the experimental approach, the risky and hidden relation between the paint and the photocopies create a new reality which we do not really understand after all the improvements.
|
 |
“What fascinates me in the object is the continuous motion with no apparent starting or ending point which even the eye is deficient to follow. It is not static, mature or complete. It is maturing. It twitches and twirls with agony. My hand should twirl and mature with it and surrender to this whirlpool.”
|
 |
“Considering Füsun Onur’s art either as a stage or a game, here, it is obvious that she wants to save the audience from being an extra and invites them to the game or to the stage. Füsun Onur gives a superior position to the audience because she knows that mutual relation between the artwork and its audience contributes to defining the language of the work or the exhibition and sometimes even reconstructs that language.”
|
 |
With me, drawing is not such a conscious process. There is no linear order. I do not first draw figures then pass on to sketches or to painting. In the beginning I directly draw on canvas. Recently I have drawn what I wanted on canvas and it changed completely when I passed on to painting. What seems more linear or more illustrative for me appears after painting up to a point.
|
 |
The most striking value of Antonio’s paintings and ready-made objects is that they catch the dynamism of life. He depicts by seizing scenes, which reflect the unstoppable speed of life within the city streets. The works of Cosentino are pieces from life which flow away from his surroundings and into the journey of the transformation, with visual and plastic values, into a picture based on the way his feelings effect him.
|
 |
The way Serdar analyzes parts of the body piece by piece, the way he freely morphs, deforms, making fantasy additions, exaggerations and deductions transforms the mass of plastic that remains or emanates, into a representation of a unique odyssey of aesthetics.
|
 |
To unravel Adil Salih’s drawing is almost like observing the pieces of a picture puzzle. When you just say “it is over”, from one corner a figure is smiling, even in a painting at which you have looked at many times you rejoice discovering again a detail for the first time. On his canvasses there is such a striking exciting activity, when everything being so monotonous in the surrounding, one wishes to become a color, a figure, a movement in a Adil Salih’s painting.
|
 |
Between all that has been narrrated and Mustafa Pancar’s paintings there is a very interesting relation. The paintings embrace the random images taken by a cameraman without a predetermined program while he lazily wanders in the city: The opening ceremony of a private school, people in Taxim Square, views from a city bus, an interview with poet Can Yücel, internet cafes, art galleries, documentary films, comic strip sequences, etc…
|
 |
“The observer sees the work which the artist defines as “complete”. Not what they do and redo, or create and destroy, nor do they see the phases the work goes through. The only witness of the process of the painting, from beginning till end, is the artist who creates it. During this process the artist composes the work sometimes consciously and sometimes leaves it to its own flow.”
Arzu Başaran
|
 |
“I am always interested in the memories of my childhood which are carried until today. While the inner adventures carry the tracks of the past to the future, the memories, which were scattered among the alienation and familiarity concepts, call us to the new games in our life, presented like a puzzle. This game is built up by desires, loss, dreams and shadows. We have to venture the power in order to play.”
|
 |
Most of Hakan Gürsoytrak’s paintings seem to be taken from photos ineptly shot and shabbily framed. The sides of the paintings finished sometimes with framing lines, sometimes left empty signify a haphazard genesis. Works created by obscure, worn grey tones and stubby brush jabs, not fully finished similar to what they portray, one on top of another.
|
 |
That day, it was not possible to understand where the light coming from. Shadows disappeared and all the things I saw, standing two dimensional conditions. I said “I hope all is well!” and took the first step, then as there was formed a curtain but it is not possible to go inside. I stepped back; and suddenly felt as I was in an emptiness, then started to watch. All of a sudden, I saw the Cat-people whose I know well.
|
 |
"In the natural course of the model of production he envisages, and from the standpoint of comfortably preserving the delicate balance between the figure and syntax, Temür Köran occupies a distinct position among his own generation."
|
 |
While struggling with his inner problems, he both tends for a more primitive method by abandoning the paint and the way it spreads on the canvas, and also does not cease from producing works to be placed on the wall and are related to the canvas. Trying, in the first place, to find the memory of the earth through materials like earth, clay, marble dust, iron dust, he goes further down into the earth and chooses the tree cellulose as a material for his work.
|
 |
The forms which I develop are hollow. This is a means of communication, like the thousands of veins whitin us and the tousands of communication network on the earth. I draw, and have been drawing so long that the act is an extension of my body and the womb of all my works. If only desire could be made so simple. A pencil and a piece of paper, all we need.
|
 |
“...I didn’t start off with ironic paintings in mind. That’s my world view as a consequence of the experiences through years. I take life seriously but I cannot put up with the absurdities under that somber appearance. A little bit of irony, of humor, probably is a reaction against the graveness and stupidities in life... Look at the gossip shows on private TV channels; the wedding parties of rich people, who is with whom and where, paparazzis...
|
 |
Resul Aytemür supports by all his works the reality that the painting on canvas is realized primarily with oil paint, in equivalent measure of a material wall’s solidity. In other words, with his paintings Aytemur undertakes the allegation to prove the necessity of the reproduction of the color used on the painting, apart from the actual reality of the represented one, with the unique reality that is envisaged by its applicator.
|
 |
The most remarkable part of Berna Türemen’s personality and art are the cats that she uses in her paintings as an important motive in her house and slips off from similar friendly appearence like the cats to cling to these events, subject and painting to over-analyze them and make the most merciless determinations, critics as a phrase, thought and painting with a courage, stability and faith.
|
 |
At the very beginning Ali İsmail Türemen stood confronting and outcropping of land – a primordial world. Everything he aspired to he would extract from it, from this world of primitives. It is a world that we are aware of yet we do not recognize it. We do not recognize it because nothing concerning it has yet been discovered – not even its name; it is a virgin land or continent that is as yet unclaimed. We might however call it a world of massive shapes for that is the first thing about it that draws our attention.
|
 |
When we stroll in time channel, Abdurrahman Öztoprak appears in front of us. He also seems spiritually and temperamentally more like Mondrian and Vermeer, for example, than his contemporary, Ernst Wilheim Nay who works on the abstract movement like him. Nay is in the darks, is cacophony and chaos. However, Öztoprak is in the lights, is measure, harmony cosmos.
|
|
|
 |
“Classic artists have employed Golden Symmetry to place on the canvas their figures and lines so that every part of the picture is related to the rest in a pleasing way determined by the golden ratio creating unity.”
Ateş Gülcügil
|
 |
Murat Akagündüz, Haluk Akakçe, Merih Akoğul, Erdağ Aksel, Gülçin Aksoy, Selda Asal, Arzu Başaran, Kezban Arca Batıbeki, Bedri Baykam, Cemil Erim Bayrı, Selim Birsel, Taner Ceylan, Antonio Cosentino, Ergin Çavuşoğlu, Elif Çelebi, Altan Çelem, Orhan Cem Çetin, Server Demirtaş, Sinan Demirtaş, İsmet Doğan, Ahmet Elhan, Extramücadele, Tayfun Erdoğmuş, Saim Erken, İnci Eviner, Mürteza Fidan, Leyla Gediz, Melih Görgün, Hakan Gürsoytrak, Mustafa Horasan, Gül Ilgaz, xurban.net, Şirin İskit, Temür Köran, Sıtkı Kösemen, Murat Morova, Hakan Onur, Ahmet Oran, Ömer Orhun, İrfan Önürmen, Denizhan Özer, Ferhat Özgür, Serkan Özkaya, Günnur Özsoy, Fatma Tülin Öztürk, Seza Paker, Mustafa Pancar, Seçkin Pirim, Neriman Polat, Seyma Reisoğlu, Barış Sarıbaş, Gülay Semercioğlu, Mukadder Şimşek, Yusuf Taktak, Canan Tolon, Nazif Topçuoğlu, Mürüvvet Türkyılmaz, Alp Tamer Ulukılıç, Emre Zeytinoğlu, Müşerref Zeytinoğlu
|
 |
When the idea of bringing together an unison of artists’ works, “linked through a concept’ or ‘is covered by a concept’, ‘under the supervision of a group of curators’, was considered in context of the 11th Istanbul Art Fair, this was the first concept that appeared on my mind... what I aim at is perhaps to underline the fact that instead of the chic ladies portrayed in Çallı İbrahim’s paintings, the elegant men, the writers and artists we trail in old photos; the new owners of this place are the representatives of a conservative administration, fair exhibitors, penniless lovers, chestnut sellers, paper handkerchief selling street kids, thinner addicts, robbers, beggars...
|
 |
…the body seemed contained in a miraculous glass cabinet through which no sound could penetrate, and the mind, freed from any contact with facts, was at liberty to settle down upon whatever meditation was in harmony with the moment.
|
 |
In 1912, "Concerning The Spiritual In Art", theoretical book of Vassily Kandinsky (1866-1944) was published. This was followed by Mondrian’s (1872-1994) book titled "Natural Reality and Abstract Reality" (An Essay in Trialogue Form), which was printed in 1919-20 period. These two books explain behaviouristic patterns of Art and Artistic ethics of the two leading artists. The book signed by Kandinsky, "Concerning the Spiritual In Art, narrates the concepts of content of the Abstract art and the question of what Abstract art is. Using his own unique style, Kandinsky was recounting the Abstract art theory, which was founded and developed by his own artistic accomplishment. This book is like the manifesto of Abstract art, which had received great reactions and influenced many artists.
|
 |
This drawings series in which Avni Arbaş’s subject is Nazım Hikmet, reflect the excitement and fervour of the painter - who had up to that time kept track of the poet from a distance – finding at last the poet in the range of his sketch-book and pencil, as well as providing us with credentials of the process of how he studies a personality that interests him and how he approachs his subject and decides on the design of his future paintings with such prepatory works.
|
|
|
 |
“He received awards in several contests and his paintings have been continuously attracting interest. The most attracting items from his first private exhibition are the ones with wide surfaces where the artists unique brush strokes creates static, emotional expressions made out of thick layers created with a spatula.”
Erkan Doğanay
|
 |
“It has layers of reference to the history of art, and to the history of writing and also to my personal life. This is like the common point of them all and I like this. In fact it is very simple. As a result there are three lines, I can call this minimalist symbolising. It is like gathering many things at one point.”
|
 |
“(...) he does not appeal to the centuries-old ideal of bringing to light what lies within the mass or to a method of introducing the beauty of the material to the form and narrative. On the contrary, he constructs a movement with the potential to progress with a rhythmic oscillation within the three -dimensionality of the world (but mostly on horizontal and vertical axes). These designs are the product of a rich imagination where a structural and mathematical ideal meets a romantic-creative sensibility.”
Levent Çalıkoğlu
|
 |
Consequently, poetic catharsis observed in the paintings by İlke İlter seems to be the product of the monologues entered into with subjective passions both in the individual’s introvert adventure and at the point of perceiving the aesthetic offered by life itself. Here, while İlter sets up her own fictitious stories with a transparent subjectivity, she refers to the emphasis that the individual seeking for freedom is in fact related with an excessive irregularity.
|
 |
As it can easily be guessed by the title, this installation is a group of wooden sculptures of insects, rather hybrid – insects, that startle the viewer with their human features. If one considers the clues in Kale’s earlier work displaying his interest in all living beings, the meanings he attaches to his hybrid – insects do not seem exaggerated at all.
|
 |
Ömer Emre Yavuz mostly prefers to use industrial material, scrap/old irons; he also tries to be as far away from breaking, twisting and hammering the metal as much as possible. He realises his forms intuitively by bringing together industrial materials and scrap/old irons, and tries to comply to the nature of the material. After this surprising production, forms signaling “the monstrosity of industry” come forth.
|
 |
Beyza Boynudelik’s works are the realizations of everyday’s life’s events,the view of the city as a living organism,the imaginable world under water and figures who are in continuous contact with each other.She possesses the fresh sensibility for subjects which would concern and help her to improve her artistic experience.
|
|
|
 |
Eczacıbaşı Virtual Museum will be hosting the artworks of the 20th century Austrian symbolist artist, who was also a prominent member of the Vienne Secession movement. The exhibition which will be containing works of different themes and techniques will be on view in the ‘International Art Collection’ section.
|
|
|
 |
"Though her study of sculpture at the Academy of Fine Arts in Istanbul concentrated on traditional forms and masses, on her graduation she immediately turned away from solid forms and mass, and embarked upon an attempt to accentuate the empty space as defined by simple geometrical forms. Since then, Seyhun Topuz has taken a constant and persistent interest in all possible relations of geometric forms, their fragmentation, reintegration and multiplication, and the "empty space" created by these processes."
|
 |
“An artist does not work under the influence of a movement, the artist works to create a movement. In the world today art is under the influence of metaphysics, but the art that we understand is not metaphysical but physical art, rational art, in other words art which is executed by forcing the limits of material.”
|
 |
“As a result of his reasoning, his heart and unending energy, Hadi Bara has been a first class artist of the 20th century. He must be commemorated as an exemplary artist who never gave up thinking, doing research, producing, discussing and sharing his experience and knowledge.”
|
 |
| |
