Bellek ve hafıza referansında bir tarih sorgulaması

Şubat 01, 2017

HERA BÜYÜKTAŞÇIYAN
DENİZ GÜL
TUNCA
BURCU YAĞCIOĞLU
‘GÖREMEDİĞİMİZ TÜM IŞIKLAR’
13.01 – 11.02.2017
KÜRATÖR | DERYA YÜCEL

Burcu Ezer, Art Unlimited, Ocak-Şubat Sayısı 2017

İsimsiz, 2016, Asitsiz kâğıt üzeri yağlı kömür kalem, 110 x 280 cm - Untitled, 2016, Oil charcoal on acid free paper, 110 x 280 cm

Göremediğimiz Tüm Işıklar, Galerist, 2017

Göremediğimiz Tüm Işıklar, 11 Şubat tarihine dek Galerist’te izlenebilecek olan, dört farklı sanatçıyı tarih ve bellek kavramları ışığında buluşturan bir sergi. Hera Büyüktaşçıyan, Deniz Gül, TUNCA ve Burcu Yağcıoğlu’nun eserlerini bir araya getiren sergi, Derya Yücel küratörlüğünde izleyiciyle buluşuyor.

Göremediğimiz Tüm Işıklar sergisi adını Anthony Doerr’in aynı adlı kurgusal tarih romanından alıyor. Sergideki işlerin birçoğu da kitapla paralellik gösterir biçimde tarih, tarih yazımı, hafıza ve bellek üzerine kurgulanıyor. Hera Büyüktaşçıyan, Deniz Gül, TUNCA ve Burcu Yağcıoğlu işlerinde hem kişisel hem de toplumsal tarihten besleniyorlar. Derya Yücel küratörlüğünde gerçekleşen serginin adında geçen “ışık” geleceğe dair beslediğimiz, bazen görünüp bazen kaybolan “umut”u temsil ediyor. continue…

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All The Light We Cannot See // Göremediğimiz Tüm Işıklar

Ocak 14, 2017

Tunca, Untitled, 2016, oil charcoal on acid-free paper, 110x280cm

HERA BÜYÜKTAŞÇIYAN
DENİZ GÜL
TUNCA
BURCU YAĞCIOĞLU
‘ALL THE LIGHT WE CANNOT SEE’
13.01 – 11.02.2017
CURATOR | DERYA YÜCEL

Galerist is pleased to host the group exhibition “All the Light We Cannot See” between January 13th and February 11th, 2017. Curated by Derya Yücel the exhibition brings together the works of Hera Büyüktaşçıyan, Deniz Gül, Tunca and Burcu Yağcıoğlu. Taking its title from Anthony Doerr’s historical-fiction novel of the same name, the show aims to create an intuition about “light” as a metaphor for memory, future, knowledge, insight and hope as well as about the seen yet unapproachable, felt yet inexpressible and understood yet unexplainable character of light.

Between learning and knowing, knowing and understanding, understanding and interpretation, history, memory, and art are dependent on motion as machines that produce meaning. And a machine that does not move is pointless. However it is still the most compelling and cursed side of our age to look at history and judge it through today’s circumstances in spite of this early prophecy that has come about the construction of “knowledge” and the contradictions of history / memory. History is the object of a present-day fiction, and its relation to the reality that it claims to reflect is always questionable. Past transforms into a quotation on the agenda under the penetrating lights of our ultra-sensitive period. Today, analysis and criticism are an integral part of both the narrative of history and art, and it is not possible to expect passive, unbreakable, flawless and neutral representation in art, just as it is in the case of history / memory. However, it may trigger a kind of “knowing” process to recognize the meaning of fantasies and images in the perception of our present-day reality. Art can seize on the moment of glint that shines and dies away in the face of the mass of phenomena, it can grasp a future where light vibrates, and it can embrace a “moment” from the flow like a seed

continue…

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Rotunda I, II, III // Istanbul Modern

Aralık 02, 2016

Rotunda I (Triptych), 2016, charcoal and airbrush on acid-free paper, 120x220 cm

Rotunda I (Triptych), 2016, charcoal and airbrush on acid-free paper, 120×220 cm

Galerist is pleased to announce the acquisition of TUNCA’s trilogy of drawings ‘Rotunda I, II, II’ by Istanbul Modern. The triology (Rotunda I, II, III) is inspired by the water reservoirs of a camp located in Birkenau, three kilometers west of Auschwitz. His works hold visual clues to the ways in which flaneurism and a relational urban experience can render space and memory fluid and ambivalent. The artist deals with the relationship of collective memory with spatial components of architecture that at times functions as a visual expression of mechanisms through which political and socio-economic power tends to fixate the flow of history by institutionalizing space as the bearer of memory.

continue…

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Frieze Magazine Nazlı Gürlek Critic’s Guide: Istanbul

Kasım 21, 2016

Frieze Magazine Nazlı Gürlek Critic's Guide: Istanbul

Küratör Nazlı Gürlek’in Frieze.com için kaleme aldığı “Critic’s Guide: Istanbul” başlıklı sergi seçkisinde Elif Uras’ın Eylül 2016’da Galerist’te gerçekleşen “Hayal Meyal” isimli sergisi, Nil Yalter’in Arter’de devam eden sergisi “Kayıt Dışı” ve TUNCA & Hera Büyüktaşçıyan’ın eserlerini bir araya getiren “Çünkü Biz Olmadığımız Yerdeyiz” başlıklı grup sergisi görülmesi gereken en iyi 7 sergi arasında gösterildi. Haberi okumak için tıklayınız.

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Paris Cité des Arts 2017 04-05-06

Kasım 12, 2016

Fotograf/Photo: Serkan Taycan

Cité des Arts’ın 2017 dönemi konukları belli oldu

2017 yılı Ocak-Mart, Nisan-Haziran, Temmuz-Eylül ve Ekim-Aralık dönemlerinde, üçer aylık sürelerle Cité Internationale des Arts misafir sanatçı programına Türkiye’den katılacak sanatçılar, Türkiye Atölyesi Seçici Kurulu tarafından sırasıyla Fatma Bucak, TUNCA, Sena Başöz ve Civan Özkanoğlu olarak belirlendi. 2009 yılından bu yana devam eden misafir sanatçı programına davet edilen sanatçıların seçimi, İKSV Yurtdışı Projeler bölümü koordinasyonunda, açık çağrı sistemiyle yapılıyor. Paris’te yer alan Cité Internationale des Arts, aynı anda ev sahipliği yaptığı 350 sanatçıya, tahsis ettiği kişisel atölyelerde iki aydan bir yıla kadar süreyle konaklama imkânı sağlıyor. Bünyesindeki sergi salonları, prova odaları, konser ve gösteri alanlarının yanı sıra, çeşitli atölyelerle sanatçılara kendilerini geliştirme ve aktif üretim fırsatı sunuyor.

continue…

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Building a Dialogue, Turning Into an Exhibition… // Bir Diyaloğu İnşa Etmek, Bir Sergiye Dönüşmek…

Ekim 15, 2016

…Because We Are Here Where We Are Not… // ...Çünkü Biz Olmadığımız Yerdeyiz... Exhibition booklet // Photo: @ddyucel

…Because We Are Here Where We Are Not… // …Çünkü Biz Olmadığımız Yerdeyiz… Exhibition booklet

Building a Dialogue, Turning Into an Exhibition…

Derya Yücel: Tunca, we know each other for a long time and it’s such a great chance for me that we had the opportunity before to work together in different projects. And Hera, I was also following your work for a long time with appreciation and admiration… In the previous year, I focused on the thought that there might be some interaction between the artistic practice of the two of you both in the intellectual/conceptual and the formal context. And since April 2016 we went through a process during which I laid the groundwork for a kind of (artistic) dialogue between you, your experiences and sharings deepened through this groundwork, and we brought to maturity the idea of realizing an exhibition together. The end result of this process became the exhibition “Because We Are Here Where We Are Not” that is held at the Kasa Gallery. When we decided to proceed through the topics such as city, architecture, place, belonging and memory, you found out the overlappings in your practices, that construction and building come to the fore as a concern for both of you and that you even both make use of architectural elements and units (brick, mosaic, etc.) as a building stone in your productions. Afterwards you started to walk around in the city. What would you say when we return to the beginning? continue…

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Mainland Evliyagil Museum // Anakara Müze Evliyagil

Ekim 09, 2016

Untitled at Evliyagil Museum in Ankara

TUNCA’s work ‘Untitled’ is part of the group exhibition “Anakara”(Mainland) taking place at the Evliyagil Museum, as of October 8, 2016. Spreading over the three floors of the museum space, the exhibition is installed, based on the birth dates of the artists. The works are accompanied with short excerpts from texts on Mainland by three different authors.

continue…

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…Because We Are Here Where We Are Not… Images

Eylül 08, 2016

…Because We Are Here Where We Are Not… 2016 Kasa Gallery Istanbul – About …Because We Are Here Where We Are Not…

back to works archive

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Derya Yücel on …Because We Are Here Where We Are Not…

Eylül 07, 2016

…Because We Are Here Where We Are Not… with Hera Büyüktaşçıyan and TUNCA

Cities, peripheries, shells, walls, doors… the concept of the “place” that opens up onto different layers of time and space, not only defines life in the geographical, spatial, mental and existential sense via boundaries, but also connects it to the division of “inside and outside”. The traditional boundaries of “place” are imagined also as the boundaries of culture and identity, and the state of belonging, the state of occupying an existential inside. However, today, “places” have lost the qualities that render them special, and the processes of establishing identity have been ousted, fading into a vagueness that is unable to support any assumed boundary. The continuity of memory that belongs to place/space has been eroded by new constructs that have rapidly invaded it, by globalization, migration, enforced displacement, the lack of urban memory that has become attached to the mobility of information, capital, people and objects, power, public authority, consumption culture and the economy of unearned income. Information, history, memory and identity, can now change, multiply and alter independently of place. Nevertheless, the relationship of city and architecture with “place”, and therefore the specific field of knowledge and action they engage with as conveyors of collective memory, still appears as a powerful field of transmission for artists. continue…

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IGM Interview // IGM Röportaj

Eylül 01, 2016

IGM Interview // IGM Röportaj

IGM Interview

1) What kind of events/happenings affect your productivity and your projects? On the contrary, what does limit your creative geniuses?

When I produce my works ‘the desire and lust for discovery’ could happen from a historical figure, from a situation or simply from an image and usually these inspirations happens naturally on its own. Staying away from research, from my studio or from the library can affect but will not stop my production process. I think excitement is a person’s inner state therefore things that happens outside will not limit this process.

2) What is the situation of your latest period of works? How would you summarize the process until now? continue…

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