New Suggestions, New Proposals 5
The "New Suggestions, New Proposals" exhibition is aiming at discovering, introducing and supporting budding young artists striving to enter the medium of arts. Ever since its beginnings, young artists have taken advantage of this possibility.
Graduates just out of the Fine Arts Schools on the way of becoming professionals artists, are aware of the difficulties and obstacles awaiting them, but have no qualms about their chances of being accepted, because they are fully conscious of the achievements expected from them in a present world frequently shaken by social breakdowns, politico-economic depressions, and environmental catastrophes. We have a duty to learn and understand how and why these young people perform their arts under such difficult conditions in a world for whose state, we are all ultimately responsible... we have to keep our awareness of these responsibilities permanently alive in order to enable us to respond to our urges of guessing and imagining the future...
By using their knowledge, talents and experience in the frame of contemporary systems and methods, by imitation, transformation or just by their own interpretation, as it has always been done by generations of previous artists, they too try to create new ways of representing our world. Understandably, these efforts are the causes of countless breakaways, renewals and sharp turns from traditions. And it is very important at this point, to distinguish and understand, the differences between a state when such changes have been accepted and "institutionalized", and the moment when they actually occur. The first shows the distance between the person who by never leaving the consumption and communication system, has abandoned his soul and body to outside influences; while the second is the active participation to the enriching process of art creation by someone who has no intention of abandoning himself to outside influences.
Those who wish to see and learn about the works of young artists must not expect traditional styles and classification; they have to forget their prejudices and avoid rigid interpretations; on the other hand, they should not look for bewildering novelties, and neither seek direct connections with current political or social events; on the contrary, they must look for the knowledge and the experience of the artist, inspect the degree of comparison and assimilation involved in his work; they must question the reasons that made him do, search for its moral values and esthetic qualities, and most of all, single out its importance to our present era or moment. These are all considerations through which the artist has lived during the process of creation. Understandably, nowadays, works of art are no more presented to the viewer as "ready to wear" prescriptions; all what young artist can do at this stage, is to present their "suggestions"; which will be realized only after they are accepted first to daily, and later to the social lives. This is quite a long process requiring time and continuity. By offering young artists the chance to exhibit their works in an "Institutional" gallery, the Borusan Art Gallery provides them with a possibility of illustrating and explaining their suggestions to a much larger public.
This is the realization of the fifth of an exhibition series at the Borusan Art Galleries, whose opening has been notified to Art Faculties all over Turkey: even though participation was less than expected, such a result must not be discouraging. The primary object was to create connections between the Istanbul and Anatolia universities. The submitted entries have been selected by an evaluation committee consisting of Mimar Sinan University artist Melih İ. Görgün, Mimar Sinan University artist Tayfun Erdoğmuş, Borusan Holding General Manager Agâh Uğur, Borusan Art Gallery Manager Binnaz Tukin, designer and artist Ahmet Öktem, and Beral Madra.
On the eve of the 21st Century, studying the thoughts, the sentiments and the tendencies of the younger generation will doubtless give us some hints on the manner by which they intend to model Turkey in the near future. Those who select the profession of "ARTIST" nowadays, have made a choice requiring the accumulation of eclectic experience, and by the nature of art itself, have placed themselves in a privileged position. It is this privilege which provides them with the liberty of acting and producing their work in an unfettered way, and the manner by which they use their responsibilities is already visible with their early works. A timely exploration of these developments which will soon influence the future of the whole society is the primary aim of the present summer exhibit at the Borusan Art Gallery. Ebru Dincel, Olcay Dursun, Fatih Sungurtekin, Sükran Pala, Mukadder Simsek and Gözdem Yildirim grace the Borusan Sanat Gallery with their works for the pleasure and scrutiny of the art loving public.
Ebru Dinçel uses readily available materials from his regional environment (such as dried gourds, and liquorice roots) to realize a "nature morte" illusion. Olcay Dursun also uses natural materials such as orange peels, and this more than a coincidence, must be considered as a natural reaction from young artists against pressure from technology. By adorning orange rinds with various designs, Dursun creates a "knitted curtain" recalling the relation between a "woman's work" and an "artist's efforts". Whereas Şükran Pala, undertakes a "pursuit" mission in the area where he lives and, as a curious and observant artist that he is, tries to find in our daily lives, examples of inviting personal occupations, while at the same time underlining the attractiveness of the pursuit itself. By tracking the spots of the magnetized photographs on the area map, the viewer may follow the route of the pursued person, or recreate a different story by moving it around according to his own wishes. The postcards by Fatih Sungurtekin gives an impression of the links (and breaks) existing between the past and present. The postcards illustrate the fast changes which have occurred in the city, while at the same time provoking the shock of our memory which resists such substitutions. Every postcard gives the stamps of the old and new appearances of the same spot. With her glass corridor built at the entrance of the gallery, Gözdem Yıldırım aims at confusing the viewer by juxtaposing such perceptions of inside-outside, reality-reflection, city-nature. Mukkader Şimşek, achieves performances illustrating experiences with her body. Such as visions of claustrophobic acts like the apparently impossible forcing a human body in a glass box; the presentation of all stages in the construction of a rope sculpture, as well as photographic or video images of performances which upset our conceptions of time and motion.
Graduates just out of the Fine Arts Schools on the way of becoming professionals artists, are aware of the difficulties and obstacles awaiting them, but have no qualms about their chances of being accepted, because they are fully conscious of the achievements expected from them in a present world frequently shaken by social breakdowns, politico-economic depressions, and environmental catastrophes. We have a duty to learn and understand how and why these young people perform their arts under such difficult conditions in a world for whose state, we are all ultimately responsible... we have to keep our awareness of these responsibilities permanently alive in order to enable us to respond to our urges of guessing and imagining the future...
By using their knowledge, talents and experience in the frame of contemporary systems and methods, by imitation, transformation or just by their own interpretation, as it has always been done by generations of previous artists, they too try to create new ways of representing our world. Understandably, these efforts are the causes of countless breakaways, renewals and sharp turns from traditions. And it is very important at this point, to distinguish and understand, the differences between a state when such changes have been accepted and "institutionalized", and the moment when they actually occur. The first shows the distance between the person who by never leaving the consumption and communication system, has abandoned his soul and body to outside influences; while the second is the active participation to the enriching process of art creation by someone who has no intention of abandoning himself to outside influences.
Those who wish to see and learn about the works of young artists must not expect traditional styles and classification; they have to forget their prejudices and avoid rigid interpretations; on the other hand, they should not look for bewildering novelties, and neither seek direct connections with current political or social events; on the contrary, they must look for the knowledge and the experience of the artist, inspect the degree of comparison and assimilation involved in his work; they must question the reasons that made him do, search for its moral values and esthetic qualities, and most of all, single out its importance to our present era or moment. These are all considerations through which the artist has lived during the process of creation. Understandably, nowadays, works of art are no more presented to the viewer as "ready to wear" prescriptions; all what young artist can do at this stage, is to present their "suggestions"; which will be realized only after they are accepted first to daily, and later to the social lives. This is quite a long process requiring time and continuity. By offering young artists the chance to exhibit their works in an "Institutional" gallery, the Borusan Art Gallery provides them with a possibility of illustrating and explaining their suggestions to a much larger public.
This is the realization of the fifth of an exhibition series at the Borusan Art Galleries, whose opening has been notified to Art Faculties all over Turkey: even though participation was less than expected, such a result must not be discouraging. The primary object was to create connections between the Istanbul and Anatolia universities. The submitted entries have been selected by an evaluation committee consisting of Mimar Sinan University artist Melih İ. Görgün, Mimar Sinan University artist Tayfun Erdoğmuş, Borusan Holding General Manager Agâh Uğur, Borusan Art Gallery Manager Binnaz Tukin, designer and artist Ahmet Öktem, and Beral Madra.
On the eve of the 21st Century, studying the thoughts, the sentiments and the tendencies of the younger generation will doubtless give us some hints on the manner by which they intend to model Turkey in the near future. Those who select the profession of "ARTIST" nowadays, have made a choice requiring the accumulation of eclectic experience, and by the nature of art itself, have placed themselves in a privileged position. It is this privilege which provides them with the liberty of acting and producing their work in an unfettered way, and the manner by which they use their responsibilities is already visible with their early works. A timely exploration of these developments which will soon influence the future of the whole society is the primary aim of the present summer exhibit at the Borusan Art Gallery. Ebru Dincel, Olcay Dursun, Fatih Sungurtekin, Sükran Pala, Mukadder Simsek and Gözdem Yildirim grace the Borusan Sanat Gallery with their works for the pleasure and scrutiny of the art loving public.
Ebru Dinçel uses readily available materials from his regional environment (such as dried gourds, and liquorice roots) to realize a "nature morte" illusion. Olcay Dursun also uses natural materials such as orange peels, and this more than a coincidence, must be considered as a natural reaction from young artists against pressure from technology. By adorning orange rinds with various designs, Dursun creates a "knitted curtain" recalling the relation between a "woman's work" and an "artist's efforts". Whereas Şükran Pala, undertakes a "pursuit" mission in the area where he lives and, as a curious and observant artist that he is, tries to find in our daily lives, examples of inviting personal occupations, while at the same time underlining the attractiveness of the pursuit itself. By tracking the spots of the magnetized photographs on the area map, the viewer may follow the route of the pursued person, or recreate a different story by moving it around according to his own wishes. The postcards by Fatih Sungurtekin gives an impression of the links (and breaks) existing between the past and present. The postcards illustrate the fast changes which have occurred in the city, while at the same time provoking the shock of our memory which resists such substitutions. Every postcard gives the stamps of the old and new appearances of the same spot. With her glass corridor built at the entrance of the gallery, Gözdem Yıldırım aims at confusing the viewer by juxtaposing such perceptions of inside-outside, reality-reflection, city-nature. Mukkader Şimşek, achieves performances illustrating experiences with her body. Such as visions of claustrophobic acts like the apparently impossible forcing a human body in a glass box; the presentation of all stages in the construction of a rope sculpture, as well as photographic or video images of performances which upset our conceptions of time and motion.
