The tenth edition of Contemporary Istanbul will take place between the dates November 12-15, 2015, at Istanbul Lütfi Kırdar ICEC and Istanbul Congress Center. Contemporary Istanbul will make Istanbul a point of focus for a large group of art viewers.
The international contemporary art circles and Turkish art-lovers are looking forward to Contemporary Istanbul 2015; and Galeri İlayda will be located at the booth A2-405 in Lütfi Kırdar Rumeli Hall, with works from artists Atilla Galip Pınar, Caner Şengünalp, Damla Özdemir, Derya Özparlak, Gazi Sansoy, Nurdan Likos, Kerim Yetkin and Özcan Uzkur. These works were created specifically for Contemporary Istanbul 2015.
Atilla Galip Pınar’s works, the individual realizes his ignorance, transience, despair, loneliness and imprisonment in his existence, which makes him uneasy and with this realization he faces a thorough alienation… This context constitutes the conceptual foundation of Pınar’s works. In his creations, human beings in transformation, screaming scared animals, tangled branches, roots trees are depicted in interiors that recall boxes, in such a way as to correspond to this foundation. As a result, powerful images that comprise layers of ontological thought emerge, in which a chaotic harmony is present. shares mostly the reflections of his internal journey and his questioning the existence, with the art viewers.The works are based on human and nature relations and can be defined as gloomy in emotional content but not completely pessimist. Particularly, they criticize the human of today who has the common conscious level that has reduced to the corporeality.
Caner Şengünalp, designs sculpture to change human life and to convey knowledge rather than to decorate it. He especially produces sculpture for urban places as a founding element and pays attention to making viewers an active component of the work of art and participation of the venue’s memory in the making of the art piece. Scale model figures take their places on this stage as the actors of Istanbul that is considered as a big theatre stage that grows and transforms day by day. Caner Sengunalp’s works will express the results of socio-cultural and communal transformation triggered by rural exodus and the situations it causes in a 3 dimensional verbalism .
Damla Özdemir; attracts attention with her 3-dimensional digital collages. She emphasizes the alteration and transformation process of the images of women she utilizes in her collages. Making a unique use of these images through the guidance of her subconscious, she places them on layers of wood, thus giving them new 3-d bodies. Marcus Graf interprets the artist and her works as fallows: ‘’Damla Özdemir’s work is a great example of a contemporary artist who manages to balance form and content in order to create beautiful and intellectually sophisticated pieces, in which she successfully merges personal stories with socio-political issues. Besides this, the power of her work is also based on her masterly use of the art of collage as proper artistic method for reacting to today’s complexity. She knows very well how to use its pluralistic and eclectic character for reacting to our fragmental and process oriented world. For the last years, some parts stick out of the surface, become three-dimensional and give the whole work a relief-like character. Contentually, the collages deal with the problems of how to stay alive in our messed-up world, and how to develop a free and independent identity in it. Also, socio-cultural pressure on women in patriarchy societies, as well as opposition attempts and counter-movements stand in the focus of her conceptual interest.
Derya Özparlak, interprets her sculptures which can be seen at the exhibition as fallows ‘’I first came up with the figures holding balloons in 2010, following a breaking point in my own life, as an idea involving thought bubbles. Then these figures in the thought bubbles expressed themselves by flying against gravity with these balloons. I caught lightness both technically and conceptually by creating a contrast between the coldness and weight of the metal and the colorful and light world of balloons. Creating an illusion for the viewer with the balloons, I also took my figures’ feet off the ground.’’
Gazi Sansoy, maintains in parallel two series Miniatures and Faceless with rather different visual languages and constructs for the last few years. What Sansoy wants to express by all this complexity of human figures that entered to his paintings are departing from important paintings of the Western painting with the resemblance of a circus that was a mixture of East and West. The underlying case could be the fact that the distortions and contradictions have reached the highest level in our society that are being reconstructed by an extremely hypocritical administration in Sansoy’s opinion, in which society, starting with an inferiority dating back to the siege of Vienna or Westernization or modernization starting with Tanzimat which rose to the highest level through the Republic and revolutions, we turned during the last 10 years our face back to the East thoroughly but “our interests” to the West and more so to the US. What Sansoy in fact have depicted may well be the case of the others “trying to live with the others”. Gazi Sansoy uses slogans in his “Miniature” series paintings in relation to the animals killed for their fur, bull fighting, freedom for the people of Palestine or injustice… Therefore, he gives direct or indirect political messages on topics like human and animal rights in his paintings. His “Faceless” series are the works that emphasize, by painting in “pop” colors, pieces of human body that are not covered and removing only the flesh in the in Renaissance paintings.
Nurdan Likos, ‘’brings out the reality and perception. There is not just one perception, because everyone perceives the reality differently. We can say that reality touches to the perception during it’s free fall. She offers her feelings and opinions about these stories which are always about women. She is not a feminist, yet she tries to get your attention on women and life with delicacy. She emphasizes and brings them out front with an effective presentation. She reminds the viewers the solution to their problems using their stories in her paintings. According to Likos, female figure also represents the geography. The artist keeps the light and dark balance in her paintings. Black and white represents yin and yang. Good and the bad that follows each other consecutively. This rhythm is not solely about the colors but also about the rhythm of life.’’(Hülya Küpçüoğlu)
Kerim Yetkin, rebelling against the status quo of painting, the artist achieves transitions in texture by utilizing unusual techniques such as cuts, cracks and wipes instead of brush strokes. By making use of a way of narration that is at times simple and at times intricate, he wishes to pull viewers to the depths so that they can approach the essence. These reflections emerge in magnificent harmony, sometimes on the surfaces of large works, and other times in compositions made of many small works in which the relationship between the pieces and the whole is investigated…
Özcan Uzkur, reveals the drama of human beings. The anonymous human bodies which are constructed by the artist and introduces the viewer to the traces of fighting each other. In Uzkur’s works, one can prominently see fiber and blood, which come together in order to compose the body, but instantly break up. In an effort to build up over and over again from it spieces, the bodies, may well represent not only the body it self but also something beyond it: the wild nature of man, which perpetually tries to become a whole whiles hattering. The body dismantling at that very moment of union, utters thealie nation from it self, perhaps not ever being complete again.
We’ll also continue to hold solo shows in our gallery space with these artists presented in Contemporary Istanbul.
Galeri İlayda can be visited at booth A2-405 in Lütfi Kırdar Rumeli Hall between the dates November 12-15, 2015.