31.08.2016 – 25.10.2016

Küratör: Ali Gazi


With his long format article “The Transparency of Evil” (1990) in which he utilizes the concept of “trans”, Jean Baudrillard points out how ideas of development, progression and self-preservation are transformed into a permanent state of disappearance and death. This can be seen as the beginning, the summary or even a reference to the present moment in time which took shape by transcending the concepts of “welfare state” and “x generation” following the Second World War. On the other hand, we can also see that the subject, which can from now on only be a passive onlooker as a result of having become lonely through the idea of “individualism”, currently lives under a siege of trans-economics, trans-politics, trans-aesthetics and such, beginning to lose the “other” in addition to its sense of reality. We’ve yet to know what comes next.

Yet, according to psychology, which is one of the most widespread institutional religions of Modernism, human is a decipherable enigma. Psychology attempts to solve issues by finding out the reasons that underlie our behavioral and thought processes. Even though these reasons originate from our lives which have turned into virtual simulations in this “trans” age…

The concept of placebo emerges where psychology and medicine intersect. It’s a controversial concept that attempts to heal the “subject”, which might be experiencing biological as well as psychological problems in the course of its life, with its own “willpower”.

The representational contribution of art to our assessment of the situation and to our intentions to confront the piece-by-piece loss of reality can help create a placebo effect. In this sense, art has the reflexes concerning looking at the “other”, discussing it and proposing ideas.

Arda Dilben’s “Untitled” work takes its form by means of a shattered perspective with its intricate structure filling the surface to the brim. In accord with her other works, the work depicts cityscapes that have evolved to become “dystopian” under non-stop construction, digital addiction and bombardment of images, which have become parts of our daily lives. In these drawings, where everything loses its function and therefore its meaning, the cold, sharp and repetitive structure leads to a new image defined by the eye/gaze.

Ekin Su Koç creates layered works which usually reference modern life and encourage viewers to ask questions. Making use of the possibilities offered by collage in addition to oil paint, her large-scale work “Guess who I am” deals in a technically competent way with representation which takes form through the concepts of existence, individualism and identity. What we see is a present-day individual in a hysterical state of searching for a basic integrity while being torn to pieces by outer dynamics. In a similar way, the small collage “The Lost Couple” evokes the things lost or sacrificed while it recreates an old photograph on canvas.

In her large painting “Parts”, Gamze Zorlu addresses the contrast between nature –of which we’re a part of and from which we distance ourselves through our civilization– and city. This significant issue which characterizes our existence is depicted by dividing the canvas surface into sections. As the puzzle-like presentation blurs the boundaries between nature and city, it breaks free from the rules of classical composition and offers viewers multiple entrances into the work. At these alternative entry points we’re sucked into a loop where all kinds of contrasts become one.

Known for his photographs, Can Mocan presents a collage entitled “Desert#3”, which, from the artist’s point of view, questions the current state of humanity with its exaggerated gold colored frame. A figure with an animal skull and a body from a fashion magazine is placed within a desert landscape, implying that he has lost his identity. The image of desert, which represents loneliness and quests, stands in for our surrounded and isolated state.

Emirhan Eren’s four “Untitled” watercolor works at first evoke “Rorschach test” images with their abstract shapes. However, these symmetrical non-random structures convey a visual alphabet that is open to multiple interpretations. It’s a visual language which, starting with form and arriving at meaning, can question and define everything: every structure seen in nature and our environments, and every element that make up cities and architecture.

Ali Gazi

The artist featured in this exhibition:

Arda Dilben

Can Mocan