SÜMER SAYIN

interview

2012-02-13T01:30:00.000-08:00

http://www.ekavart.tv/sergiler/diger/bir-an-icin-for-a-moment-sumer-sayin

SOLO SHOW: Sümer Sayın | Bir an için / For a moment @ Art ON | 28.01.2012, 18:00, 2

2012-01-24T07:29:00.000-08:00

Umut ve Entropi

Sümer Sayın'ın işlerinin bütünü çoğu zaman sanatla ilişkilendirilen durağanlığa direnir ve harekette var olur. Mesafeleri aşan değil ama kendi etrafında dönen ve yinelenen bir harekette… Durumlar ne kadar uçucu ya da ne kadar kaotik olursa olsun, döngüsel yinelemenin davranışı iyileştirme gibi bir niteliği de vardır. Birden çok elemanın belli bir noktaya kadar tahmin edilemez aralıklarla hareket edişinin izlerini saptamak, bu elemanlar asla son bir pozisyon almasa bile izleyicinin beklentiler geliştirmesine izin verir.

Bu fikirler sanatçının iki metre genişlikteki kinetik heykeli YES'te beliriyor. Entropik bir aktivite üreten bir grup köşegen form gri bir ahşap konstrüksiyon üzerinde ılımlı, belirli bir kargaşa yaratırken, bu sürecin şaşırtıcı ve kısa bir anında, herşey yerli yerine oturduğunda birbirinden bağımsız elemanlar hizaya geliyor ve nihai olumlamayı meydana getiriyor. Harfleri meydana getiren elemanlar dijital saat veya işaretlerdeki segmentler gibi görünüyor. Heyecanlı olmaktan ziyade robotik bir şekilde, kaosun içinden çıkan az ve öz bir onaylama eninde sonunda düzensizliğin içinde parçalanıyor. Bir nikahtaki gelin gibi sizi sihirli kelimenin belirmesi için bekletmek istiyor.

Ama bu kesinlik sözleri aceleye gelmiyor. Sergideki diğer bir eser, 4 adet başına buyruk dönen harften oluşuyor. Bir araya geldiklerinde geçici olarak EVER kelimesini oluşturuyorlar. Sonsuza dek oluş halinde olmak ve olmaya devam eden EVER. NOW kelimesini oluşturan daha önceki bir işin devamı. Aslında, bu üç işte ortak olarak bulunan şey estetikleri, sergileniş biçimleri ve yapısal kompozisyonlarının dışınnda kelimeleri biçimsel ve anlamsal olarak manipüle etmeleri.

Sanatçı yıkımsal ilgisini sadece kelimelere yöneltmiyor. Klasik Taocu sembolü olan Taijitu, yaygın olarak yin yang sembolü olarak bilinen birbirini tamamlayan güçlerin dinamik etkileşiminde ulaşılan dengeyi temsil eden ''yüksek üstünlük diagramı''nı Balance başlıklı video loop'u için yapıbozuma uğratarak parçalarına ayırıyor. Siyah ve beyaz, şeker renklerinde bir fon üzerinde zıt yönlerde hareket ediyor. Şekil son derece düşük bir tempoyla dönerken yavaş yavaş ortadan ikiye bölünmüş garip birleşim yerleri ve bölümleri olan yarısı beyaz yarısı siyah bir daireye dönüşüyor. Eski ekran koruyucu estetiğini ödünç alsa da, bu işin 1926 Duchamps filmi Anemic Cinema ile daha eski bir atası var. Burada roto-rölyefler hareket halinde gösterilirken, döndüğünde bir vertigo hissi yaratacak şekilde tasarlanan çizimler, anlamı belirsiz kelime oyunları ve aforizmalarla kesişirken izleyicinin hayalgüçlerini harekete geçiriyordu.

Sayın'ın kesinliği ele alış şekli de faklı bir tür vertigo yaratıyor, ve bir çok yönüyle kaostan gelip, rastgele, kısa ve uçucu bir şekilde belirirken anlamdan saçmalığa doğru yol alıyor. Kesinlik bu şekilde geldiğinde her seferinde bir insanda bir iz bırakabilir ve umut uyandırabilir, tabii berrak anlar biraz daha uzun sürebilseydi.

Andreas Schlaegel

Hope and Entropy

Much of Sümer Sayin’s work resists the stasis often associated with art; it exists in motion —not to cover distance, but in rotation and in loops. A loop has a specific quality in that its repetition can condition behavior, no matter how volatile or chaotic the circumstances are. Detecting traces of a loop in a situation of multiple elements that move with more or less unexpected intervals allow the viewer to build up expectations —even if things never assume one final position.

These ideas reverberate in the artist’s piece YES, a 2 meter wide kinetic sculpture. Producing entropic activity, a mob of black rectangular forms rotate on a grey wooden construction, creating a kind of moderate, determinate havoc until, in one surprising and brief moment of this process, when things just click, and everything seems to make sense, the individual elements align and form the ultimate affirmative. The individual elements that make up the letters look like segments in digital watches or signs. It is robotic instead of enthusiastic; a laconic confirmation emerging from chaos that eventually disintegrates into disorder. Still, it makes you want to wait, like a bride at a wedding, for the magical word to appear.

But these words of certainty take their time. Another piece in the show consists of four complete letters rotating individually. When they converge, they temporarily form the word EVER. Forever becoming as well as being, it is an extension of an earlier piece that forms the word NOW. However, what these three pieces have in common, is not only their aesthetics, reminiscent of official displays, and structural composition, but their formal manipulation of the words and their meanings.

The artist does not limit her subversive interest to words alone. In her take on the classic taoist symbol Taijitu, the "diagram of the supreme ultimate" (commonly known as the yin & yang symbol), that signifies a balance achieved in dynamic interplay of opposing but complementary forces, she deconstructs it for her video loop Balance, taking apart the components —the white and black move in opposite directions and are set in motion against a background of candy colors. As it rotates at a painfully slow pace, it gradually transforms into a circle that is divided right down the middle, half black, half white, with awkward intersections and segments. Even if it borrows the aesthetics of obsolete screen saver graphics, this work has a much earlier ancestor in Marcel Duchamp‘s 1926 film Anémic Cinéma. This shows his “Roto-Reliefs” in action, drawings on discs that were designed to evoke a sense of vertigo when spinning. Intersected with rather ambiguous puns and aphorisms, they fuel the viewers‘ sense of imaginative conjuration.

Sayin’s take on the absolute creates another sense of vertigo, and in many aspects, the absolute comes from chaos, appearing haphazardly, briefly and fleetingly, moving from sense to nonsense. But when it does, and every time it does, it can leave a mark on an individual, and inspire hope, if only the moments of clarity would last a little longer.

Andreas Schlaegel

İkametgâh Kadıköy, Açılış: 25 Ocak, 18:00

2012-01-22T01:16:00.000-08:00

http://ikametgahkadikoy.blogspot.com/

“İkametgah Kadıköy / Bağımsız ve Birlikte”

"İkametgah Kadıköy" Anadolu Yakası’ndaki üretimi ve paylaşımı çıkış noktası olarak alıyor. Bağımsız ve Birlikte söylemiyle bu yakada üreten sanatçılar ve sanat alanlarını kolektif bir etkinlikte birleştiriyor. İstanbul'un sanat alanındaki eksik parçasına köprü tutarak şehrin iki yakasını bir araya getiriyor.

Anadolu Yakası’nda yaşayan, üreten sanatçılar kavramsal ve biçimsel bir çerçevenin içine girmeden resim, video, ilüstrasyon, fotoğraf, yerleştirme gibi farklı disiplinlerdeki işlerini 5 ayrı mekanda sergileyecekler. Sergilerin yanısıra çeşitli performanslar, konserler ve paneller ile de izleyicilerle buluşulacak.

25 Ocak-19 Şubat 2012 tarihleri arasında ilk kez gerçekleştirilecek etkinlik, Asfalt, Hush Gallery, İstanbul Hatırası Fotoğraf Merkezi, KargART ve Piha Kolektif Sanat alanlarında tüm sanatseverlerin paylaşımına açıktır.

İkametgah Kadıköy - Asfalt Art Gallery sanatçı listesi:

Ada Tuncer, Ahmet Doğu İpek, Bahar Kocaman, Başak Mangör, Cins, Funda Karadağ, Güneş Oktay, Hüma İnciören, Kemal Tufan, Melike Kılıç, Mustafa Karasu, Nilhan Sesalan, Orhan Cem Çetin, Rafet Arslan, Sadi Güran, Selcen Aksel, Sümer Sayın, Şerif Karasu, Tülin Onat

NOW @ Art ON, Contemporary Art Fair Istanbul, November 23-27

2011-11-27T14:44:00.000-08:00

Akaretler Art & Design Day

2011-09-26T05:03:00.000-07:00

KAZAKİSTAN–TÜRKİYE: Bir Manzara Projesi

2011-09-24T02:11:00.000-07:00

http://www.amongotherthings.org/?p=457#more-457

The Knowledge Series 3: Recollection @ Plato Sanat

2011-09-23T14:47:00.000-07:00

28 September - 20 November 2011

The Knowledge Series 3: Recollection is the third and last part in an exhibition triptych at Plato Art Space, which discusses art’s relationship with the production, mediation and recollection of knowledge.

The exhibition proposes an alternative exhibition structure, it gives the opportunity to see the works from the two previous exhibition in the form of an archive.

Özlem Sulak’s videos deal with personal memory, story and history, and how the private is merged with the public. Genco Gülan’s works in the exhibition discuss the way history is shaped and written, he questions the way knowledge is produced and stored by revealing the weakness of its communication and preservation. Konsortium’s work deals with our current perception of modern utopia, which is now nothing more than a formal pattern of art history.The publication houses, which form the collective Bandrolsüz (Bakkal Press, folio, Onagöre, REC Collective and Too Many Books), show alternative forms and concepts for creating artists’ books and reproductions.

Artists: bandrolsüz, Genco Gülan, Konsortium, Özlem Sulak
Curator: Marcus Graf

artON @ artBEAT Istanbul, September 14-18

2011-09-11T02:06:00.000-07:00

CROSSROADS @ art ON

2011-08-24T14:47:00.000-07:00

ACILIS: 10 Eylül, 18:30

OPENING: September 10, 6.30 pm

Sanatcilar / Artists: Hüseyin Murat Aksoylu, Morten Andersen, Idil Ilkin, Olcay Kus, Sümer Sayin

http://www.art-on.co

CROSSROADS

Art ON, 10 Eylül – 12 Ekim tarihlerinde galeri sanatçılarından Hüseyin Murat Aksoylu, Morten Andersen, İdil İlkin, Olcay Kuş ve Sümer Sayın’ın katılımıyla gerçekleşecek “CROSSROADS” isimli karma sergiye ev sahipliği yapıyor.
Mart ayında kapılarını açan Art ON, ilk kez yalnızca galeri sanatçılarının yer aldığı bir karma sergiye ev sahipliği yapıyor, sergiye katılan sanatçıların da işleri ilk kez bir arada görülebiliyor. Bu anlamda “CROSSROADS” sergisi hem bir dönüm hem de bir kesişme noktası.
Önümüze sunulan entelektüel birikim, bilgi ve deneyimlerin, yaşadıklarımızı yorumlamamızda sınırlı tepkiler göstermemize neden olduklarını eleştirerek, işlerinde objelere kimi zaman birbirleriyle kimi zaman kendisiyle ilişki kurup yeni anlamlar yükleyen Hüseyin Murat Aksoylu; sokak sanatının galeri ve evlere entegre edildiği günümüzde, kozmik grafiti olarak adlandırılan soyut çizimleriyle Avrupa genelinde dikkat çeken Morten Andersen; kitle iletişim araçları aracılığıyla sorgulama ihtiyacı duymaksızın içine çekildiğimiz hayat tarzları ve tüketim alışkanlıklarımız üzerinden günlük hayatlarımızın monoton ritmine odaklanan fotokolajlarıyla İdil İlkin; her gün şehir duvarlarına yapıştırılıp yırtılan afişler, ilanlar, grafitiler, yazılar ve sürekli tekrar eden bu hareketliliği tuvale yansıtarak, sokaktaki örneklerinin aksine ilk bakışta kolayca anlaşılamayacak görseller yaratan Olcay Kuş; bilim, müzik, harita gibi farklı alanların araçlarını görsel sanatlara entegre ederek önceden tanımlanmış temsilleri yapıbozuma uğratan ve işlerinde farklı algılar kurarak sistemleri araştırmaya yönelen Sümer Sayın “CROSSROADS” sergisinde kurgusallıktan ziyade deneysel bir görsellik oluşturacaklar.
12. İstanbul Bienali’ne eş zamanlı olarak, Art ON sanatçılarının grup sergisi “CROSSROADS”, 10 Eylül – 12 Ekim tarihleri arasında, Salı – Cumartesi, 11.00 – 19.00 arası Art ON’da ziyaret edilebilir.

The group show of gallery artists Huseyin Murat Aksoylu, Morten Andersen, Idil Ilkin, Olcay Kus and Sumer Sayin will be on display at Art ON, between September 10th – October 12th.
Art ON, opened in March 2011, is hosting a group show, including exclusively gallery artists for the first time, also a first that the works of these artists will be exhibited together. In this sense, “CROSSROADS” is both a turning and an intersection point.
Huseyin Murat Aksoylu, criticising the fact that intellectual knowledge and life experiences affect the way we interprete our surrounding and limit our reactions, assigns new meanings to objects building new connections between them and himself. Morten Andersen, with his remarkable abstract drawings called cosmic graffiti, adapts street art to the gallery space and interiors. Idil Ilkin, with her photo-collages, focuses on the monotone flow of our everyday lifes, our consuming habits and unquestioned lifestyles imposed by mass media. Olcay Kus, inspired by the continuous change on the walls in the city, of glued and removed posters, notices, graffities, etc. reflects this constant movement on canvas creating images that are not easy to distinguish at first glance in contrast to the ones on the street. Sumer Sayin, adapting the tools of different fields such as science, music, mapping to the field of visual art, deconstructs the pre-defined presentations and constructs new perceptions through the exploration of systems. The artists together will create an experimental visuality rather than a fictional one with "CROSSROADS".
Concurrently with 12th Istanbul Biennial, “CROSSROADS”, the group show of Art ON artists will be avaliable for visit 11 p.m. – 7 p.m., Tuesday - Saturday, between September 10th – October 12th.

august 16 - REHEARSAL performative concert @ PIST

2011-08-17T02:23:00.000-07:00

Participants to Mogens Jacobsen's TELEMATIC STREET PERFORMERS / WI-FI TRASH RECYCLING workshop:

Armagan Diktepe

Aylin Yilmaz
Dila Gumus
Gulsen D. Akbas
Hursu Oke
Mehmet Erkok
Ozge Genc
Sarah van SonsbeeckSelma Hekim
Sumer Sayin

for the video:

http://www.facebook.com/video/video.php?v=10150278483207936&comments

Opening // June 22 @ Plato Sanat

2011-06-12T14:35:00.000-07:00

This exhibition will include works by Atılkunst, Jenny Eichler, Engin Gerçek and Ardan Özmenoğlu in addition to the works by the artists from the previous show. I will be showing new small map paintings.

http://www.platosanat.org.tr

The Knowledge Series 1: Production // April 27 - June 6

2011-04-17T08:42:00.000-07:00

What A Wonderful World

Within the System 3 - detail

Intervals 1 & 3

Installation view

from the exhibition "Kat|Fold"

2011-03-28T13:48:00.000-07:00

http://www.elgizmuseum.org/sergiler_artvarium_guncelsergi.html

sabit takip/constant quest - sculpture installation 2011

asgari kontrol/minor control - woven digital prints 2011

Kat | Fold @ Proje 4L

2011-03-17T08:00:00.000-07:00

PROJE4L/ELGIZ CAGDAS SANAT MUZESI’NDE PROJE ODALARI BAHAR SERGISI

KAT
Kurator: Nazli Gurlek

Proje 4L / Elgiz Cagdas Sanat Muzesi

23.03.2011 – 21.05.2011
Acilis 23.03.2011, 18:00-20:30
Sanatcilar: Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun, Hale Tenger, Ignacio Uriarte

Proje 4L/Elgiz Cagdas Sanat Muzesi, Nazli Gurlek'in kuratorlugunu yaptigi Kat adli grup sergisinde Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun, Hale Tenger ve Ignacio Uriarte'nin yapitlarini bir araya getiriyor.
Proje 4L / Elgiz Cagdas Sanat Muzesi tarafindan Proje Odasi icin bir sergi hazirlamaya davet edilen Nazli
Gurlek, sergiyi muze koleksiyonunun sundugu imkanlar uzerine kurdu ve Hale Tenger'in koleksiyonda yer alan Otoportre (Kirik Plak/Perpetual Motion) (2005) adli yapitini serginin kavramsal cercevesini esinlendiren is olarak secti. Kat, Tenger'in ''otoportresi'' ile Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun ve Ignacio Uriarte'nin islerini bir araya getirerek iliskilendirmeyi amacliyor.
Hale Tenger'in yapiti bir hurdaci dukkaninin fotografinin yaninda Perpetual Motion grubunun surekli sessizce donup duran Keep on Dancing plagini bir araya getiriyor. Sanatcinin, zamanin akisina dair oznel deneyimini birikmis imge, nesne ve anilar ile gorunur kilmasi, bizi, onun oznellik arayisiyla kisisel olanin karmasik dunyasini arastiran Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun ve Ignacio Uriarte'nin isleriyle yakinlik aramaya itiyor.Emrah Sengun'un heykelleri, sanatcinin topladigi ve bir araya getirdigi rastgele kirilmis ve catlamis seramik ve kil parcalarindan olusuyor. Francesca Grilli ve 87 yasindaki dedesi Giordano Bruno'yu bowling oynarken gosteren video insan iliskilerinde kalitim, kimlik ve mesafelesmenin anlamlari uzerine dusunuyor. Asli Cavusoglu, anonim bir grafitiyi sokaktan koparip galerinin icine neon bir obje olarak tasiyor. Bu obje, anonim yaraticisinin maskeledigi ''devrim'' ifadesini iceriyor. Ignacio Uriarte, standart ofis yasamindaki yontem ve araclari kullanarak sanat yapiyor, ''rutinin'' icinde sanatsal yaraticiligin imkanlarini arastiriyor. Sumer Sayin bir dizi obje ve basili malzeme ile parcali, kaygan ve tedirgin edici bir mekan yaratiyor, bireyin hem dogal hem de kurgulanmis cevreyle iliskisine dair sorular soruyor. Joana Kohen'in yerlestirmesi ise hem kiskirtici, hem utangac, hem duyumsal, hem de rahatsiz edici.
Sergide bir de ses sistemi yer aliyor. Sergilenen islere, sanatcilarin kendi secimi bir sarki eslik ediyor. Bu sarkilarin farkli dayanak noktalari, ozel tanimlama bicimleri, veya islerin gorselligiyle yuzlesen gizemli katmanlar olusturmasi amaclaniyor.
Kat, Proje 4L/Elgiz Cagdas Sanat Muzesi'nin yeni fikir, tema ve egilimlere ayrilmis bolumu olan Proje Odasi icin bagimsiz kurator Nazli Gurlek tarafindan tasarlandi. Sergi 23.03.2011 - 21.05.2011 tarihleri arasinda Proje 4L/Elgiz Cagdas Sanat Muzesi Proje Odalari'nda gorulebilir.
Sergi brosuru Vahit Tuna tarafindan tasarlandi.

SPRiNG EXHiBiTON AT PROJE 4L / ELGiZ MUSEUM OF CONTEMPORARY ART PROJECT ROOMS

FOLD
Curated by Nazli Gurlek

Proje 4L / Elgiz Museum of Contemporary Art
23.03.2011 - 21.05.2011
Opening: 23.03.2011, 6 pm - 8,30 pm
Artists: Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun, Hale Tenger, Ignacio Uriarte

Proje 4L / Elgiz Museum of Contemporary Art hosts the group exhibition Fold, curated by Nazli Gurlek with works by artists Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun, Hale Tenger, Ignacio Uriarte.
Invited by Proje 4L / Elgiz Museum of Contemporary Art to prepare an exhibition for the Museum's Project Room, Nazli Gurlek decided to focus her research on the possibilities of the museum's collection, and chose one particular work from the collection, Hale Tenger's Self-Portrait (Broken Record/Perpetual Motion) (2005) as the source of inspiration for the exhibition concept. Foldpresents Hale Tenger's ''selfportrait'' in relation to both new and old work by Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun and Ignacio Uriarte.
Hale Tenger's ''selfportrait'' brings together the photograph of a second hand shop, and Perpetual Motion's record Keep on Dancing spinning silently non-stop. The experience of the passing of time through the use of accummulated images, objects and memories become the source of inspiration to question the existence of an affinity between her work and Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun and Ignacio Uriarte's manifold researches on the complex nature of self-representation. Emrah Sengun's sculptures contain assembled fragments of ceramics and clay that the artist has collected. Francesca Grilli's video work shows the artist and her 87-year-old grandfather Giordano Bruno conversing while playing bowling, and reflects upon heritage, identification and distance in human relationships. Asli Cavusoglu appropriates an anonymous graffiti sign from the street and brings it into the exhibition space as a neon object of art. The object contains the term ''revolution'' masked by its anonymous creator. Ignacio Uriarte looks for the possibilities of artistic creativity using the methods and tools he has acquired while working as an administrator, and with ''routine'' as his main focus. A number of sculptures and printed material brought together by Sumer Sayin creates an uneasy, fragmented, and slippery space, and question the individual's relationship with both natural and constructed environment. Joana Kohen's installation piece is simultaneously provocative, embarrassed, sensuous and disturbing.
A specially designed sound system is set inside the exhibition. Works are accompanied by each artist's song of choice from which to take bearings, special paths to recognition, or mysterious elements that confront the visuality of the pieces.
Fold is concieved by Nazli Gurlek, independent curator and critic, for the Project Room, Proje 4L / Elgiz Museum of Contemporary Art's dedicated space for for the latest ideas, themes and trends in contemporary art. The exhibition is on view at The Project Room at Proje 4L / Elgiz Museum of Contemporary Art between 23.03.2011-21.05.2011.
The exhibition leaflet is designed by Vahit Tuna.

a new life - detail

2011-01-29T07:28:00.000-08:00

Reverse Angle @ Akershus Kunstsenter, Lillestrøm, Norway

2010-10-27T05:53:00.000-07:00

http://www.akershuskunstsenter.no/utstillinger/aktuelle/

from the exhibition "Gittikçe"

2010-10-22T05:38:00.000-07:00

"circle game"

"intervals"

"Gittikçe" opening

2010-10-17T05:41:00.000-07:00

Açılış / Opening: 21 October · 18:30 - 20:30

Parti / After Party: 21 Ekim / October 20.30 - 22.30

Location: Architecte Simotas Binası / Architecte Simotas Building
Bican Efendi Sokak No. 10 Kuzguncuk
Istanbul, Turkey

Sanatçılar / Artists

Caroline de Bruijn

Sibel Horada

Mathieu Latulippe

Tan Mavitan

Harika Esra Oskay

Katherine Pickering

Sümer Sayın

Ülgen Semerci

Stephanie Spindler

Burcu Yağcıoğlu

artist residency

2010-09-16T04:18:00.000-07:00

http://amongotherthings.org/

Sept 23, Black Door Istanbul

2010-09-15T14:43:00.000-07:00

inflation

http://blackdooristanbul.com/wp/files/

2.5 D @ Soapbox Gallery, Brooklyn NY, Opening: July 18, 4-6 pm

2010-07-25T09:15:00.000-07:00

flux thursday

2010-07-08T05:52:00.000-07:00

http://www.fluxfactory.org/flux-thursday/

MA final year show 2010, Oslo Art Academy

2010-05-21T02:15:00.000-07:00

the space between us

2010-05-06T03:34:00.000-07:00

Kasa Galeri - 10. Yil Sergisi / 10th year exhibition

2010-03-27T10:19:00.000-07:00

2010-03-09T11:51:00.000-08:00

chronic longing for a way out @ Galleri 21.24 , 21-25 january 2010

2010-01-25T06:59:00.000-08:00

a line installation made with a tube that is filled by fluorescent liquid

politics

2009-12-12T07:24:00.000-08:00

Straight Up, exhibition: "Sympathy For the Devil", Samtidskunstmuseet, Oslo

2009-11-16T08:34:00.000-08:00

a deep breath

2009-10-13T04:23:00.000-07:00

natural connections

2009-09-27T09:28:00.000-07:00

probability for an escape

2009-09-27T09:21:00.000-07:00

within the system - live in Skopje Biennial 2009

2009-09-13T14:41:00.000-07:00

http://www.bjcem.org/

http://bjcem.org/dettagli_artista.asp?id_artista=1384&edition=28

http://bjcem.org/content.asp?type=article&article_id=146

Skopje Biennial / Kasa Galeri, Geleceğe Esintiler

2009-05-10T14:16:00.001-07:00

kargart, 21-27 mart

2009-02-27T11:14:00.001-08:00

http://www.kargart.org/index.aspx

roots and buttes

2009-02-01T09:33:00.001-08:00

Galleri 21.25 / 15.01.08 "the third option: ...dreaming of dreaming..."

2009-01-16T10:18:00.001-08:00

open academy, oslo, 12-13 december 2008

2008-12-09T08:23:00.001-08:00

within the system / "One Night Only", exhibition in the academy's cafe, oslo, 27.10.08

2008-10-28T10:35:00.001-07:00

gizli özneler / hidden subjects

2008-04-26T06:40:00.001-07:00

athens video art festival 2008

2008-04-07T01:52:00.001-07:00

http://www.athensvideoartfestival.gr

galata perform

2008-03-25T10:24:00.000-07:00

27 Mart Perşembe 19:00-21:00

http://www.kargabar.org/viewNews.aspx?newsId=166

elele

2008-03-10T11:42:00.001-07:00

strc prst skrz krk

2008-03-10T11:10:00.000-07:00

destinations

2008-02-28T10:59:00.001-08:00

complex identities

2008-02-01T15:42:00.000-08:00

istanbul birds

2008-01-26T08:18:00.001-08:00

today

2008-01-26T08:07:00.000-08:00

2008-01-23T05:27:00.000-08:00

watchers

2008-01-20T15:58:00.000-08:00

through

2008-01-15T14:22:00.000-08:00

the absent moment

2008-01-04T16:22:00.000-08:00

In this video, the elements of time are explored by manipulating the order of actions, relatively to the stuructural reality of the space. So, the relationship between them is reconstructed according to the time's complex effect on us.

exhibition - apartment project 2006

2007-12-26T15:45:00.000-08:00

"Everything's gonna be allright"

"Nothing is Allright..."

exhibition - siemens sanat ( borders and orbits contest) 2007

2007-12-26T13:00:00.000-08:00

before the dream

2007-12-17T10:20:00.000-08:00

moment

2007-12-14T03:10:00.000-08:00

the confession

2007-12-05T06:39:00.000-08:00

This work consists of a diary including traces of writings referring to the secrecy and the temporariness of our memories and the difficulty to confess as much as the one to forget. First of all, considering language itself as a field of manipulation, the confession is a manner to manifest our realities through words. So, confessing can be considered as a linguistic action where we rewrite the reality, generally manipulating it delicately as how we would most likely prefer it to remember. However, avoiding from manifesting the confession, but leaving only the traces, could be the way to change ‘a lie’ for the readers into ‘a secret’, and a secret for me into a confession.

"in a diminishing singularity" @ alexandrina biennale

2007-12-05T00:47:00.000-08:00

Thinking that singularity has two opposites: plurality and nothingness; singularity’s diminishment denotes an increase in the plurality; while on the other hand, it means being closer to zero. Building a layered construction that controverses the additive conjunction of linear logic, “1” equalizes itself to its two opposites altering its degree of importance. Singularity, figuring as the absence of others, is closer to its lonesomeness every time it multiplies itself. However, it can never ignore its own presence to remain capable to demonstrate other’s absences to strengthen its presence. The ‘absence’,on the other hand, comprehending ‘presence’ as a condition of its existence, can never equalize nullity. 1’s appearance allows it to question other’s absence. On every page of this indefinite trip, letters of the phrase are cut by holes to attain the letter below. Every time the singularity reduces its letters (to express itself by a single element), it has to repeat itself to show its meaning, and every time it repeats itself, it loses its meaning by being cut. Plurality is the lonesome singularity’s death, which making 0 shaped holes, leaves traces of the nullity.

can it be? / it can be / be

2007-12-02T07:45:00.000-08:00

face to face

2007-12-02T07:43:00.001-08:00

Referring to the endless process of recognizing ourselves, I begin to embody my autoportrait in a reversed process of painting. As I clean the black surface with my hands to get my portrait, finally I have nothing but a white surface. Though this process of self-exploration seems fairly optimistic, finally the white surface I obtain is nothing but a blinding light. So, the process is reversed again.

wedding day

2007-12-02T07:28:00.000-08:00

who is it?

2007-12-02T07:16:00.000-08:00

zero

2007-12-02T07:03:00.001-08:00

shunya / reducing the aspect

2007-12-02T06:24:00.001-08:00

The names given to “zero” in early Sanscrit sources, have numerous different meanings. For instance, “nothing” and “everything” are the two meanings of the same word “Shunya” which is a name given to zero by Indian mathematicians. This multi-sensed number embraces the nullity and the infinity, the black and the white, and recreates its own dialectic sense. So, starting by 10, which already contains all its predecessors, I am reducing the written numbers by cleaning them (in a reversed process of time, but keeping the direction of writing) and the numbers begin to seem more clearly more they decrease. Finally, when all the numbers are consumed, I write “0” with a black marker -reversing again the time process to real- ...

the touch

2007-12-02T06:05:00.001-08:00

presence / bioform

2007-12-02T06:00:00.000-08:00

ambivalence dinner (collaborative performance)

2007-12-02T05:52:00.001-08:00

Firstly, I direct each person to sit down to his/her place in the dinner table, touching their hand by the velvet gloves –with needles- I put. Then, I sit towards my typewriter and read people their rights. The diners control their behavior in the consciousness that they are all the time on probation by the right teller (me). While the dinner, I type all of their talks (as much as I can catch their words) on the napkins, with mechanic gestures under a cold green light neutralizing the ambience. Then, every napkin (with writings that recorded their talks) is distributed to people around the table. Each one, clean his/her mouth to his/her own talks while the dinner; on the other hand, their napkins (and their talking records) are not clean anymore. Finally, the chat finds its own covered sense, escaping the domination of the rule teller, and every napkin is exposed on the walls after the dinner with the continuing sound of eating.

time coper

2007-12-02T05:43:00.001-08:00

This installation consists of a moldy cupboard, moldy shoes, grown mold in petri plates, a typwriter, suspended velvet gloves with needles, a notebook which contains traces of handwriting and in the middle of the notebook the date of the exposition day is typed. The work is based on the idea to regenerate the past in the present. All the objects, losing their pre-determined function, become part of a subjective meaning, the one which refers to rememberance and find their hidden sense in the present.

noting down the view

2007-12-02T05:14:00.001-08:00

light shock

2007-12-02T05:11:00.001-08:00

good day

2007-12-02T05:09:00.001-08:00

sweet kiss

2007-12-02T05:06:00.001-08:00

selfshock

2007-12-02T04:49:00.000-08:00

beyond their intention

2007-12-02T04:34:00.001-08:00

holes in my bed

2007-12-02T04:20:00.000-08:00

escaping myself

2007-11-17T14:25:00.000-08:00