Versus Art Project, ISTANBUL
10.01 - 23.02.2019
Versus Art Project, is pleased to announce the first solo exhibition of artist SABO, titled Paracetamol between 10.01 – 23.02.2019.
Taking its name from one of the artist's early childhood experiences, the exhibition takes a look into the role time plays in the transformation of image in one's memory.
Starting off with the images traced in his mind from early childhood memories, the artist combines his experiences with these images in his subconscious. Various compositions appear as a result, each open to the spectator’s own interpretation. SABO opens the doors to a new world where he applies graphic elements through painterly language, with a humorous tone.
The oil compositions in the exhibition, which allude to reality, but carry fictional elements, seem to be much like the very unsettling feeling one feels the moment when he wakes up from a strange dream. SABO’s paintings carry fantastical, fictional, story-like traits.
Although figures play a prominent role in the work of the artist, the space and its surrounding elements contribute to the narrative as much as the figures do.
The work of SABO is fantastical and fictional; the audience is first invited into the storyline by the figures, and throughout the journey, the spectator follows a path complemented by detailed spaces and objects. This journey is anything but single dimensional as it feeds off of the spectator’s own imagination, and creates alternative storylines accordingly. Thus, the initial narrative created by the artist becomes richer in time.
Art, although seen as a form of expression of creativity with a bit of aesthetic concern, is also one of the tools one uses to solidify and visualize the images and experiences embedded in one’s memory from early childhood. Humans have a tendency to remember traumatic events in their past different than how they actually occurred. Whether it be a natural hazard, an illness, a loss, or some of the happiest moments they have experienced, all memories are masked with a thin veil up to a point, and all the emotions felt at an extremity are then neutralized. Reality and experience becomes intertwined, and hybrid images are born.
SABO presents the spectator with a new universe with these hybrid images. Everything the artist has experienced, specific pages from books he has read, scenes from movies that have been traced into his subconscious, are all instances where the spectator may find a piece of themselves as well. All of the compositions in the exhibition, which allude to reality, but carry fictional elements, seem to be the much like the very unsettling feeling one feels the moment when he wakes up from a strange dream. This dream, under the effects of Paracetamol, always comes to a close, with unexpected turns.
İdil Deniz Türkmen
Photo by: Kayhan Kaygusuz
American Hospital Operation Room Art Gallery, ISTANBUL
01.12.2018 - 02.02.2019
AIDS broke out in the 1980’s, and soon became a deadly, global epidemic. It led to an increase in conservative voices and to the marginalization of the disease when the common ways of contamination were considered.
Since the end of the 80’s, activists and artists have collaborated in order to protest the Reagan administration, which kept quiet about the epidemic in North America, and mourn their friends who died of it. The contagious disease that was supposed to divide the masses brought them together. Today AIDS art has come to be used to express a whole artistic period and its practices that try to be democratic. AIDS individualized and politicized the art scene, which had been fraught with theories. The object of art was transformed into a body that was shared and distributed and got transformed into an ideological virus out of an art gallery.
Since Mürteza Elgin, the first sensational AIDS case in the Turkish media , HIV/AIDS has always been known for scandals, regardless of high rise of infection rate in the country, HIV remains as a taboo and a stigma in the public opinion. “Positive Space” interests in attributing a collective face to the virus and doesn’t care about protecting the ‘sterile’ other. The title is derived from a term used for the focal point of visual art compositions. It asks the spectator to get involved and is opposed to presenting a negative space to them. It mixes works of art, brings the background to the fore, and subjectifies everything visible. Just as Albert Camus said, “But what does it mean, the plague? It's life, that's all.” And so, “no one, no one on earth is free from it.”
“Positive Space” also opens discussions about themes, directly related to HIV/AIDS, such as visibility and stigma, victimhood and guilt, pleasure and disease as well as subjective bodies recording, separating, accepting and rejecting, infecting and spreading in opposition to ideological and medical bodies. Even though the exhibition affirms ‘positivity,’ it reserves the right to see AIDS as a metaphor. The unrepressed HIV does not destroy the cell, it attacks and emaciates it, just like masculine domination or bio-power practices do. “Positive Space” looks for new contamination technologies against these practices.
The exhibition, curated by Alper Turan, brings together the works of artists that use different media like video, oil painting, collage, sculpture, installation, and photography, and aims to decipher HIV/AIDS, which is an ‘epidemic of meanings.’
The exhibition may be visited between December 1, 2018 and February 2, 2019 in American Hospital Art Gallery “Operation Room.”
Participating Artists: Ardıl Yalınkılıç, Artık İşler, Can Küçük, Ceren Saner, Furkan Öztekin, Elmgreen&Dragset, Güneş Terkol, İz Öztat, Leyla Gediz, Nihat Karataşlı, Onur Karaoğlu, Özgür Erkök Moroder, Pınar Marul, Sabo, Sadık Arı, Serdar Soydan, and Ünal Bostancı.
Graphic Design: Umut Altıntaş
Exhibition Design: Doruk Çiftçi
oil on paper // 70x50 cm // 2018
Red Bull Art Around, Arnavutköy / Ghosts, ISTANBUL
4 - 20 May 2018
In it's third year Red Bul Art Around takes place in Arnavutköy between 4 - 20 May, 2018. Curated by Collective Çukurcuma (Mine Kaplangı, Naz Cuguoğlu, Serhat Cacekli) Red Bull Art Around Arnavutköy brings the works of 14 artists together around the theme of “Ghosts" departing from the Derridean concept of “hauntology". The exhibition connects a never-ending nostalgia feeling towards the past with an unrealized imaginary of future. With reference to those dreams which had once been dreamt of and later got detached in some way from our collective memory, the exhibition raises the question: “How many different ghosts do we hold inside?”
With the works of Canavar, Can Büyükberber, Bahar Yürükoğlu, Pınar Yoldaş, Ali Emir Tapan, Ilgın Seymen, Uğur Engin Deniz, Sabo, Begüm Yamanlar, Guido Casaretto, Eda Aslan, Pınar Marul and Ceylan Göksel the neighborhood of Arnavutköy is at the center of “Ghosts” and the exhibition moves on a trajectory following this neighborhood’s past, destruction, annihilation, rebirth and hidden parts.
Together with Zeynep Kayar's photograph selected as a result of an open call which addressed the art students, 14 different works created for the specific spots of the neighborhood and in parallel with these works; conversation meetings with the artists and curators, night tours and “spooky” video screenings are organized as parts of the exhibition program this year.
May 10, Thursday
20.00-21.00 Conversation with the artists and curators: Bahar Yürükoğlu, Sabo, Eda Aslan, Pınar Marul, Ilgın Seymen & Collective Çukurcuma (Naz Cuguoğlu, Mine Kaplangı, Serhat Cacekli)
21.00-22.00 Night Exhibition Tour with the Curators
May, 12 Saturday
20.00 – 21.00 Performance: ‘This is the end, beautiful friend’, biriken
May, 13 Sunday
20.00 – 21.00 Performance: ‘This is the end, beautiful friend’, biriken
May 17, Thursday
20.00-21.00 “Spooky” video screening (TBA)
21.00-22.00 Night Exhibition Tour with the Curators
May 20, Sunday
14.00-15.00 Exhibition Tour with the Curators
Photo by: Nazlı Erdemirel
Signs of Time
K’AAD, KAAT, KAYIT, KAGIT
13 May - 10 June 2017
Artists: Sena, Sabo, Huo Rf, Ecem Yuksel, Burak Ata
Signs of Time presents an installation made of handmade paper for the exhibition BAHAR ( The Istanbul Off-site Project For Sharjah Biennial 13 ). The collective production and collaboration of the artists transforms into a collage made of paper. The conversations of the group of artists who got together regularly for two months turns into a surface. Used papers, newspapers, magazines, grain, seed, clay, pulse, water, glue, vegetables, plants, leaves, interventions on already produced papers and writings become a new production as the artists' materials.
- Kagit means paper in Turkish and the title of the work has been inspired by its pronunciation in different dialects.
Paper is a multi-purpose material, which can be used in many areas. It is most commonly used as a writing and a printing tool, but it is also used in industrial and construction sectors, as a cleaning and packaging material and as a food additive in some of the Asian cultures.
Since paper is mostly used as a printing tool, it is also referred as a document. Besides, those materials used in stock market, such as bills or stocks can also be named as paper. It is also common to refer to a banknote as paper.
Turkish translation of paper, ‘kağıt’ has its origin in Farsi, and the word is pronounced differently in various subdialects in Turkey. For exampe, “k'aad” in Rize, “kaat” in Ordu and its surroundings, and “kayit” in the South-west part of Anatolia.
Signs of Time, an artist collective, will be at Abud Effendi Mansion with their installation, K’AAD, KAAT, KAYIT, KAGIT, with which they elaborated on the term paper. *http://www.wikiwand.com/tr/Kâğıt
Curated by: Zeynep Oz
Photo by: Nazlı Erdemirel
an artist collective exhibition
19 February - 26 March 2016
Artists: Bora Akıncıtürk, Turan Aksoy, Ferzan Aktaş, Burak Ata, Basako, Damla Baş, Zeynep Beler, Antonio Cosentino, Cemal Demir, Ali Elmacı, Tarık Gök, Şakir Gökçebağ, Horasan, Hüseyin Işık, Burak İşseven, Merve Morkoç, Ali İbrahim Öcal, İrfan Önürmen, Ferhat Özgür, Burcu Perçin, Sabo, Meltem Sarıkaya, Nejat Satı, Erinç Seymen, Tunca, Tolga Tüzün, Selahattin Yıldırım, Erdoğan Zümrütoğlu
“Dear audience; the pieces you’ll see in this exhibition are a fiction of the creator’s issue of building a world on his own. It’s a feeling of reproduction and existing. Each artist attends this exhibition with their own fiction and creation process, trying to make sure that this process is known and sensed, without any imposition, struggling to contour that state of existence in this world.”
The new exhibition that is going to be at Mixer’s new gallery, Sıraselviler Caddesi No:35 brings a diverse artist group from different disciplines. When one thinks about the act of ‘Masturbation’, the pleasure that artists are having during the creation process, it’s a reference in its own as an act, to the meaning of this word. It can also be seen as an act of converting a solo action to a collective situation. ‘Masturbation’ generally requests artists to work with different mediums than their usual medium; hence the exhibition is of a multidisciplinary experience. The show will include a wide range of artworks; varying from painting to video and performance. The exhibition aims to create a farceur encounter and some kind of a facedown moment. It also aims to sense one’s state of loneliness’ and dilemmas like safety and unsafety, tranquility and uneasiness simultaneously.
The Artist’s lonely existence during the creation process and isolation from the outer world-although not absolutely- is some kind of a rebellion moment. ‘Masturbation’ is looking for answers as if this reckoning can be converted to a rebellious act. It determines to exhibit this singularity on a plural platform with the help of the parallelism between the artist at the creation process and the act of masturbation.
20 November - 9 December 2015
"Very strange," she said, "I think I'm shrinking, now I can go through that door."
Alice in Wonderland, Lewis Carroll.
Some people think that what Alice experienced in worderland is a fantasy while others think that it is utopia or the definition of the 'strange', the 'non-standard.' In the context of this exhibition, it is, first of all, the everyday, ordinary way we exist. In another sense, our daily life consists of adapting to what is outside of our borders, simply obeying. Our mind usually perceives this adaption as ordinary. In other words, we distort our minds, behaviors and sometimes bodies to comply with what is existing, that we encounter at every corner. As Alice grows smaller, we open up and shut down with our mind and adapt our self, walk, attitude according to the environment.
Through such a reading, it is possible to regard Alice as a dystopia rather than a utopia. In between the lines, we can read the normalization of the irrational, the appearance of the deformation as a way of living, and the acceptance of the involuntary without questioning.
On the 150th anniversary of Alice in Wonderland, ALICE exhibition curated by Sine Ergün will take place at maumau, Studio KEIN, and Space Debris between November 20th to December 9th, 2015.
Artists: Mona Aghababaee, Rafet Arslan, Cins, Fulya Çetin, Itır Demir, Sana Ghobbeh, Cansu Gürsu, Agustín Rincón Méndez, Motus.Lumina, Özgü Özbudak, Ana Bravo Pérez, Mariela Pessah, Sabo, Krystallia Sakellariou, Byron Toledo, Marieke Warmelink, Atalay Yavuz, Gülhatun Yıldırım.
Curated by: Sine Ergün
Signs of Time
Artists: Ecem Yüksel, Sena, Burak Ata, Huo RF, Sabo
Contemporary Istanbul Art Fair 2015
12-15 November 2015
Signs of Time
CROSS THE EARTH, HER HEAD IS ON THE BALCONY
9-31 January 2015
Artists: Burak Ata, Sabo, Burak Dak, Sena, Huo RF, Nihat Karataşlı
Signs of Time artist collective are proud to announce their third exhibition, Cross the Earth, Her head is on the Balcony, at Pi Artworks Istanbul. The collective, which included Huo Rf, Sena, Sabo, Burak Ata, Burak Dak was founded to bring together young artists together who shared an admiration toward each other’s work.
The exhibition’s title comes from a verse in French artist, poet and filmmaker Jean Cocteau’s poem Discourse For the Big Sleep. It focuses on the recent works of five artists from the group. Their different subjects and, stylistic approaches are brought together under the curatorial concept of; the reality, the actual and self-reckoning.
Cross the earth, her head is on the balcony also includes a project partnership with new media artist Nihat Karataşlı. Karataşlı will analyze the relation between the audience and the exhibited work with a new experimental method, which will be a visual installation showing this experimentation and collected data during the exhibition.
Wake up in the morning. Look outside. What are the signs of time? An endless concrete jungle… Cars, cars, cars, traffic, traffic, speed… Unexpectedly blossomed mimosas and trees with their summer clothes on in the middle of winter. Walking people stare at bright screens in their hands. People take photos as they kiss; they see and show everything. Garbage collectors on other side; ignored by everyone, like they are from a different universe. Shopping mall bags, sales, percentages, opportunities and the “must-haves”… Look inside from the balcony. See the window wiper, breast feeder, latecomer, eater, beaten, rape victim, women endured in silence. See the shouter, lover, threatening, acquisitive, love maker and the impotent. See the ball player, hungry sleeper, iPad gamer, children eating organic broccoli.
With “Cross the earth, her head is on the balcony” Signs of Time stands as a hope against world’s insoluble chaos. The collective serves as a light leaking through the doorway, and proves that we can still walk, produce and resist together. Signs of time is a handful of people, an inner, sincere and confident circle that prefers to remain as it is and only cares about widening this circle rather than branding itself: Huo RF (Ümit Özdoğan), Burak Ata, Sabo, Burak Dak and Sena.
With ‘Salon des Refusés’ series, Burak Ata cares about painting both at individual and professional levels. The first painting of the series seems to depict a handful of young men playing basketball in an ordinary neighborhood. However, the self-portrait of the artist that resembles anamorphic skulls in Holbein’s ‘Ambassadors’ and the open-seeming basketball field that looks like an uncompleted steel construction due to the red perspective lines makes things complicated. Thus, the second look makes you discover the soul of Rogier van der Weyden’s ‘Pieta’ within the Renaissance painting-like trio, and the depth nourished by the mural as also applied by the artist in his previous works. Moreover, the work opens up like a ployptyque and reveals her uniforms like an icon.
Burak explains that he prefers portraying basketball since it is a collective game. Just like basketball players, members of Signs of Time always pass the ball to each other through constructive criticism. While the uniform numbered 63 makes a reference to ‘Salon des Refusés’, a collection of art works rejected in 1863’s Paris, each artist in Signs of Time are already accepted among contemporary art world through their unique themes and characteristic ways of painting. The only single thing that can be ‘hard to accept’ regarding Signs of Time can be their solidarity on producing and exhibiting together to be independent and stand up against the worsening conditions of the market.
We recognize Sena from her women-themed works that either fearlessly disintegrate or wisely combine elements of women. She is a unique artist that goes beyond her experience with being a woman and opens up her sense to all conditions of the feminine. This situation provides Sena a great intuition and a powerful way of expression. She is an extroverted artist that neither fears of portraying herself while being pregnant, nor elegize for Hacer, a pregnant woman thrown into a well and left for dead. Inspired by the story of Hacer, Sena discovers a well within and plunges into the water. Getting drowned is not inevitable anymore; the artist can decide the point to come back to the surface. It is only her hair and her roots that prevent her from reaching to surface by joining hands with her adventitious organic bonds. Just like the texture in the work of Sena, such powerful women knows how to get free from this volunteer imprisonment and send flowers to the surface to meet the light.
The similar conditions of being a woman can also be observed in ‘Trousseau’, which Sena figured for this exhibition. Familiar themes and figures such as vulva and black widow are portrayed in white plates and red, pink and black colors. The woman running with wolves, beside the potbellied women, who feels pressured to lose weight due to the dominant visual culture that forces women to be skinny. Eve, who claims both her diamond and her snake, is depicted next to women waiting for their wedding night and young girls sold for bride price. This trousseau, compiled by a sensitive woman makes the observer lose her appetite.
There’s a virus that impacts the world of Sabo. It is not known how, why or to whom this virus has impact; but the only thing known about this virus is that it causes physical disorder among infected.
Can such physical deformations be fetishized in time and be elements of desire? One inevitably recognises how being skinny was perceived as an indication of unhealthiness before it became fetishised in 20th century; or how psychological disorders of authoritarian political leaders turned into appreciated personality characteristics in time. When does racism turn into a virtue from being a cause of discrimination? When do inequality and injustice turn into tumors on people’s faces, which everyone sees but no one cares? Maybe this is why, ‘B. File Prisoners’ of Sabo are prisoned; the ‘Wanted Man’ is prisoned for the same reason and infected people threateningly look just like us.
Sabo prepared two canvases for this exhibition. The background of canvases is free from color. In his previous works, Sabo used to care about the background space as well, but this time he prefers setting the space free as an expression of freedom. The perspective, architectural elements and even colors of his previous works are faced with inexpressive and still figures at the forefront. Now, it’s time to focus on our selves and discover the defects within. Maybe that’s how we will find a cure to this virus.
A contemporary and hybrid specialty from Burak Dak to a hero... With a hand fan on one hand and a Kalashnikov on the other, this hero does not seem to care about his social environment. With all his glory, he is rooted both in the east and the west. His companion is a thirsty and horny stud; just like a freak that has horns of a unicorn and a deer and the feather of a lion. A strong western head that governs eastern animals… An ironic eastern man portrayed by Dak in clothes of Renaissance period…
How is this guy related with Adam of Quran? How will this guy put out the fire inside while leaving the olive tree beside him to death? The shadows on this hero’s face make the observer question how this guy will succeed by ignoring demands of the people he represents with an arrogant attitude.
The grotesque and absurd elements that Dak articulates into this traditional aristocrat portrait are deeply impressive. Dak used to disintegrate the parts of body in his previous works; this time he prefers bringing different identities, human and animal bodies from various geographies altogether by adding attractive artistic elements. The major dilemma in the artist’s work is the contradiction between the painting and the title of “The Dawn of Spring”.
The triptych work of Huo Rf is a self-portrait based around temporality; which can also be read as a diary of four years represented in three canvases. In this work, which Huo Rf titles ‘Part One’, the artist portrays the years that he spent by leaving his hometown and moving to İstanbul. A famous slogan of Gezi Park protests are also included in the canvas as a symbolic representation of deformation he went through when he got hurt. Lucien portrayed a flower that Freud loved when he died. His wounds, crudeness, edges, kitsch attitudes, love-besotted style, pleasure addiction, color and soul transformations were all transferred into the canvas by Lucien. Graceful lines, natural colors and thin stains indicate a staid fragility. Huo Rf filters his last four years and shares the remaining parts with only the ones that share his sensitivity. He was not the Huo Rf, as we know him today, when he first started working on this canvases. Recognising the fact that he will not be the same Huo Rf after this exhibition, he ordered three new canvases for ‘Part Two’. It is exciting to be a part of a life-long self-confrontation from its beginning.
The sincere exploration of Huo RF stems from a strong instinct that also impacts on the overall collective. This instinct derives from self-expression. By saying, “This is me, these are my thoughts, this is what I experienced and these are my expectations”, Huo Rf feels the sweet peace of self-expression. All the signs of time we see from the balcony find their own place in this space. The young basketball players of Burak Ata, Sabo’s infected but happy cell-phone addict people, Burak Dak’s freak that has the potential to bring on the spring after destruction, Sena’s women that will not enter the bridal chamber or get drowned, and Huo Rf’s artistic portrait in line with the soul of the time…
Pi Artworks Gallery
Signs of Time
Artists: Burak Dak, Sabo, Sena, Huo RF, Merve Morkoç, Burak Ata
Contemporary Istanbul Art Fair 2014
10-16 November 2014
30 May - 28 June 2014
Burak Ata, Sabo and Toygun Özdemir’s group show Parlor Party will be at Tankut Aykut between May 30th and June 28th, 2014. The opening will be on Thursday, May 29th, at 18:30.
Burak, Sabo and Toygun’s friendship started during their student years at Mimar Sinan University’s Painting Department, and has evolved into a series of collective works and presentations. Memory and transformation are common themes in their paintings, installations and video works to be featured in their first exhibition at Tankut Aykut.
In his series 36 Views of Gökova, Burak Ata reproduces the silhouette of Gökova using 36 different techniques and materials on canvasses of the same size. The series suggests a resistance to the vanishing memories of adolescence, an could be thought of as an exercise in remembering the fading images of youth using different techniques, combined with a pleasure derived from recreating memories through transforming them.
In his series B. File Detainees, Sabo documents cases of missing persons and violence in an unknown territory. In chronotophes that evoke a variety of fantasies, Sabo looks at faceless individuals who have become objects of violence and gives them identities in his portraits. The traces on his wall installation help us witness the past of a group of individuals.
Toygun Özdemir’s paintings and video works bring together images he has collected from his travels. His paintings are landscape abstractions in line with abstract expressionism, that aim to capture the resulting motion caused by rapid transit technologies by effectively freezing overlapping landscapes in a single frame and crystallizing travel memories.
Gallery Tankut Aykut
Video by: Toygun Özdemir
Signs of Time
Artists: Huo RF, Sena, Merve Morkoç, Burak Ata, Sabo, Burak Dak
25 April 2014
An Artist needs only an artist to survive
It is not a coincidence ‘Signs of Time’ is standing by itself as an artist initiative with the support of only by artists. Realised its first exhibition at Galerist on 2013 July with the collaboration of artists HUO Rf, Merve Morkoç and Sena, the artist group’s existence in the contemporary art scene has an important aspect. Because today, this group shows us it is possible to stand alone with the support only by themselves. On the other hand, Signs of Time also reveals that it is possible that an artist is capable of standing alone and creating. In signs of Time team, artists can curate and evaluate their shows, while they can also find galleries and venues to display their works. This is the total opposite attitude of an artist, who is attached to a gallery. With this attitude, the Signs of Time artists are supporting their own artistic development in freedom and this is the most important aspect of this group. Today, it is a vital need for contemporary art scene, to witness such a group, which consists of artists who are self-sufficient for their own creation. This approach gives artists freedom and this freedom also brings an environment that many Turkish artists are willing to live in. On the other hand, the group also gives us a brief point of view on the evaluation of artists’ works created in a free environment. As a result, Signs of Time proves us that an artist needs only an artist to survive and create.
At first, the project came to life when the three young artists, who are supported by Taner Ceylan, came together to create a common platform expressing their artistic beliefs and their anxieties. However, today it convinces that it is more than a project and let the artists to reach their goal, which is to declare their independence in light of the change that is taking hold of their generation and heralding a new era. The artist group shows us that it is not necessary to be attached to a gallery to display their works to public and by this, they open a new era to evaluate the free creation of art works.The new era of Signs of Time continues with a new exhibition and with new names, such as Burak Dak, Burak Ata and Sabo.
Adahan Istanbul Gallery -1
Artists: Sabo, Burak Ata, Burak Dak
4 June - 12 July 2013
The story of art production of hundreds of years is a concept that needs to be dealt with both as a source of inspiration and as a way of forming a unique language. The works by Sabo, Burak Ata and Burak Dak all three have just graduated from the Painting Department at Mimar Sinan carry the deep impact of this process in the works exhibited in their first exhibition. The three are forming their unique languages by addressing, specifically, this process. At this point, the collage technique and the repetition of elements that flow from one work to the other, carrying symbolism, weaves the productions of the three together.
Burak Ata has gone through a period in which he questioned the impact of Renaissance paintings that he encountered during his experience as an exchange student in Italy; he has gone through an intense period of production in which this impression was carried from the level of intuition to that of consciousness. Ata tackles once again Renaissance painter's approach to composition and the relationship between architecture and figure in paintings, focusing on the rested atmosphere of holidays, collaging forms, nature and figuration within specific, classical composition templates using his unique symbolism. He visualises the strange geometric, architectural and pastoral atmospheres that people under the burning sun, in holiday lethargy, assume, combining different styles in a unique blend at an extraordinary intersection.
Burak Dak's A4-size paintings on paper invite us to an atmosphere that is charged with symbols of paradise and hell descriptions of medieval paintings. At the center of his symbolic language that combines elements from our image world today to pop art to surrealism, is an incredibly meticulous and precise rendition of human bodies that also seem to be haphazardly divided into pieces. The act of breaking the body into pieces seem to contradict the meticulousness of the description of the body, recalling both the relationship that humans have formed with their own bodies as well as the violence directed towards the body and life. Burak Dak places the metaphors of the body that he has formed, inspired by a wide range of figures, including mythological half human half animal beings and popular figures, on the surreal decors, using the main axis of the exhibition the collage technique. The compositions that emerge enable us to discover different dimensions and elaborations of the story.
Sabo's exchange period in Italy was much more personal experience, in which he focused on people that he encountered in the flow of daily life. Sabo is inspired by the human states that can be as alienated, as awkward, in nature as they are in the city, focusing his collage technique this time on portraits. Faces, which are the most obviously personal element, become unrecognisable with exploding color and expressionistic interventions, visualising the energy that they internally carry, but repress in their relationships with the outside world and within webs of communication. The human figures, architecture and natural elements that he masterfully depicts in the realist tradition are carried onto a fantastic plane, centrally occupied by explosions of color and paint, while nature is abstracted, the expression is shifted from facial features to the abstraction of expressionistic stains.
These three young artists determinedly deal with the phenomena that trigger, seduce and impact them in the processes of perception, intuition, fiction and de-construction, summed up in this attempt to produce a unique language from here. In their first exhibition at artSümer, the three close friends invite the viewers to a unique experience within this whole of symbols, stories and moments that they lay bare in this first exhibition, inviting us to be a part of this dialogue, carrying their silent conversations into the exhibition space.
Video by: Toygun Özdemir
Design by: Ozan Şanal