30 Eylül 2016 Cuma


Deniz Sağdıç, “ÜMRAN عمران”, Ready-ReMade serisi / From “Ready- ReMade” Series, 2016, Buluntu Kaset Kapakları, Boyanmış Perde Parçaları, Cassette Covers, Oil on Curtain Pieces, 103 x 100 cm.
Vis Sanat features the new Project of a young artist, Deniz Sağdıç, named “Ready-ReMade” in the first exhibition of the new season. The exhibition held under the curatorship of Işık Gençoğlu can be visited on 4 October – 13 November 2016.

Interview by Ümmühan Kazanç

Ü.K.- Dear Deniz Sağdıç, in your new project named “Ready-ReMade”, you reveal a criticism towards the art approach of well accepted art history readings. What is the criticism you aim to vocalize of the studies you materialize by using foundling objects?

D.S.- As a professional field, the art history becomes different not only by its subject, but in a sense in a kind of funny way in terms of creating that history from other fields of historiography. An art historian might pick up an artist who had never been effective in his period, who had not came into contact with anyone from the depths of history or embrace and position an artist in a movement he doesn’t even know. The aforementioned function of the art history starts to become dangerous when it goes beyond its own field and it starts to find the competence of contacting with the main frequent destinations, for instance, the world of the thought.
The known approach of the art history starts the empery of opinion in art with the ready-made object. In this way, it brings the ‘conceptual art’ as we accustomed into force. This historical reading that might be accepted finitely with the used technique jumps to a field towards the ‘what’ of the art by getting out the historiography in the moment it suggests that art gains its primary, pure and fair aspect together with the conceptual art. When the discourse gains such a qualification, all of the artists and their works are deferred. As a matter of fact, it should have happened like this, today the source of the whole discussions experienced on canvas painting is this relevant approach. That shows us that the art history we got accustomed deals with creative activity which is implemented through the human history by degrading it to the work of art. When you take out the idea, hence the notion from the artist by accepting the ready object as a milestone, you have only well painted fabric and polished stone pieces left in your hands. “Ready-ReMade” is derived from this degradation I’ve mentioned. I’ve tried to include the objects I’ve confronted within the daily life to the nature, to the nature of the art by touching them with the methods that might be summarized as aesthetics. In this way, I am trying to repair this tear in a sense by interconnecting two periods or fields degraded by the art history.

Deniz Sağdıç, “The Sketch”, 2014, 1445 Görselden Oluşan Video, The Video that is Created with 1445 JPEGs, 2’01”, Boyanmış TV tek edisyon / Unique Edition (Painted TV), Edition: 1 / 1.

Ü.K.- Actually the exhibition is multi-layered. As you reveal your artistic appeal with the foundling objects, maybe you also embrace the peak social and political changes, migration and war concepts of the last periods. It wouldn’t be expected from a Turkish artist to keep silent to the terror experienced in her country and in the boundaries of her country, wouldn’t it?

D.S.- As a concept, “Ready-ReMade” is in a place to be the foundation ground of the project. As each study are structured on this basis, they bracket to different appeals within their own singularities. Some of these inevitably contacts with social, political areas. I’m saying inevitably, unfortunately the geography we are living is in a position that doesn’t allow the political agenda to be alienated regardless of the internal-outward borders. The reason I’m saying unfortunately is towards humanity, not towards art, otherwise if art cannot be performed in this geography, I know no other place more meaningful to perform art. I believe the artists and whole art professionals who take place in art projects which are abandoned in the middle, cancelled due to agendas should consider ‘what’ really art is again. My work called “Ümran” is towards the mood I’ve mentioned about the geopolitical agenda. It is not possible not to influence someone with a tiny bit of humanity in his/her heart with the images of little Syrian girl called Ümran when she is removed under the wreckages of her bombed house. What influenced me mostly in this image that is not possible to control your tears was Ümran’s astonishment that could not make some sense out of the blood came to her hand when she touched her face. The astonishment she had experienced is actually a reflection of the basic humanity situation that we all should have. As we had mentioned, it is too bad to have the violence, tragedy becoming normal and in a condition that cannot surprise us among rapidly changing agenda. I’ve tried to represent totally 70 different countries, organizations and communities that consider themselves as power and that made their presence felt in Syria with the claim of ending many tragedies such as Ümran’s in curtain fabrics with different tissues. All of these powers had become partners on Ümran’s situation in my work just like in Syria.

Deniz Sağdıç, “Kromatik / Chromatic”, Ready-ReMade serisi / From “Ready- ReMade” Series, 2016, Yerleştirilmiş Kasetler / installation (Cassettes), 126 x 126 x 11 cm.

Ü.K.- Works that will be mentioned too much take place in the exhibition. Within this scope, the “CHROMATICS” is one of your works that laid my eyes on. How did you approach this definition that is mostly identified with colors within the work of art platform?

D.S.- Generally in my each project I try to emphasize that the creative action that we got used to examine in the disciplinary areas is actually single and same. The “Chromatics” is also a work towards this purpose. As you had indicated, chroma is an element which is mostly utilized within the scope of color relationship towards the visual. I think that chroma is as effective as it is at least on the color within the other areas of the creation such as music, especially maybe in the melodies particular to the East in which we start to forget. It is not possible for me to have information and experience about the technical factors of music as much as the artists who are performers but in case of need to express the East music with the terminology of West music, I know that semitones have a tessitura established on the chromatic elements. Within the scope of “Ready-ReMade”, my work named “Chromatics” in which I used the foundling audio cassettes function to make this inter section apparent where the sound and color meet. The bands inside the cassettes are not always the same colors as maybe the majority of the people in that age who had taken the opportunity to experience the tape supposed. Each one of them are in the different tones of black or brown, as a matter of fact, it is almost impossible to find two different cassette band in the same color tone. Of course these audio cassettes are materials obtained to be listened by people which are produced to preserve certain melodies. Due to their features I’ve mentioned, the audio cassettes provided a unique platform to me in order to make the visual and melodic partnership of the chroma visible. The settlement of the cassettes and the bands in them within the “Chromatics” represent the wave length which is the frequency that enables the chroma to occur in color and melody. Despite its onerous production process that requires too much patience, “Chromatics” had become one of the most exciting studies to me in my project.  

Deniz Sağdıç, “Tay.AI”, Ready-ReMade serisi / From “Ready- ReMade” Series, 2016, Buluntu TV, Renklendirilmiş Kırık Avize Kristalleri, Aydınlatma, Found TV, Colored Broken Chandelier Crystals, Lighting, 102 x 66 x 15 cm.
Ü.K.- “Tay.AI” is a very special work that brings the irony between the social media and technology to light. What can you say about this work?

D.S.- I guess lots of people had followed from the media or they had been informed. Tay.AI is artificial intelligence software developed by Microsoft. As a matter of fact, the AI extension within its name is related with artificial intelligence. Microsoft had created a profile account to Tay in Twitter with the name of @TayandYou  on last March. By means of his intelligence, Tay used to analyze information he had compiled from the shares of the whole Twitter users and decide the words, his tendencies he would have use according to the statistical results. Of course with the news appeared in the media, Tay had become an internet phenomenon even before he was online and he had been a profile which was expected excitedly by the social media users. Tay impersonated a swearer in the tenth hour of being online in Twitter. Due to discomfort originated from the racist and violent sharing, Microsoft had to disconnect Tay before 16 hours passed from the formation of the profile. Tay had been consumed in less than no time as everything in today’s communication world. Yet for me Tay is extreme important case that should not be limited with only technology or communication but should also be examined in the field of entity. It is not so important for Tay to be software with artificial intelligence, isn’t the process which developed with him the same with the humans positioning themselves in life as entities? Don’t we have to implement a similar method with Tay when we build ourselves as humans? Especially do our purposes and processes to get ourselves through in social life as an individual different from the software of this artificial intelligence? As Tay is software and connected to a machine, we can disconnect it and give it up easily. As Tay’s becoming to a swearer, violent and racist character is not a production mistake, the experienced process is a proof that his artificial intelligence is quite perfect. In my “Tay.AI” work, I’ve tried to visualize this experience as an examination case. I’ve regenerated a similar picture of Tay’s profile picture on Twitter with foundling materials suitable to “Ready-ReMade”. Tay was nourished from personal characteristics of real people who were Twitter users, in my work each one of these people are represented with crystal chandeliers. What caused Tay to be swearer or racist is other users, that is why most of the chandelier crystals are not perfect, they are broken and fragmental, just like our people who had brought Tay into that situation.

Deniz Sağdıç, “Paranın Gücü / Money Talks”, Ready-ReMade serisi / from “Ready- ReMade” series, 2016, Buluntu Avize, Madeni Para, Hareketli Mekanizma, Found Chandelier, Coins, Vibration mechanism.

Ü.K.- Let’s take a look at the magazine part of your work leastwise. How much time did you spend for the foundling objects and where did you provide them? How did you feel in this part of the work?

D.S.- Actually the process of this project that I can term as moral is based on to a too long period. I’m saying moral because lots of objects that I used in the project are with me for too long. These objects are things that have no function or things that I don’t need their current functions but things that I usually see on the street and buy without exactly knowing its reason and bring to my atelier. I neither hanged these somewhere as a knickknack nor stored them within the materials to be used, they used to stay in an ordinary corner where I could see them any given time. However, during the day I used to watch these objects, I used to touch and examine them. I used to feel that these objects had an objective but couldn’t know what it is. The main breaking point was when I moved out to my current atelier. This atelier was the house where another artist, Mahmut Sümer used to live before. When I hired here, lots of artistic materials and some objects that had no usage value but quite valuable for me in terms of memories and traces devolved upon me from Mahmut Sümer and his family. When I observed the traces of life process of Mahmut Sümer through these objects and materials, I remember feeling strained. Mahmut Sümer has mostly painted portraits and landscape. However, among the freight that remained to me, I also saw some collage works, too. Obviously he never brought these works into light and had to make more comprehensible paintings to maintain his life. This is one of the most important moments for the “Ready-ReMade” project. I think Mahmut Sümer was a good artist; as an artist, I can understand this from the materials he had used, from his drawings and from his memories that I can observe from his furnishings. I can feel to my hilts how he struggled to maintain his life without breaking away from the art completely. For me, the real work of an artist is his very life that he struggles to live in more than some surfaces he paints or some different spalls he had sharpened.

Deniz Sağdıç, “Metropolis”, Ready-ReMade serisi / from “Ready- ReMade” series, 2016, Buluntu Çerçeveli Tuval Üzerine Yağlıboya (Pentaptik), Oil on Found Canvas and Frame (Pentaptic), 140 x 140 cm.
The artist, born in Mersin, began her art education at Mersin University’s Faculty of Fine Arts in 1999. She was included in various projects even as a student. She graduated with a first from the same university in 2003. Despite the academic invitations brought about by her graduation achievement, she established her own studio in İstanbul to continue her art at the company’s artistic capital. Her distinctive plastic style that she matured at an early age quickly became the artist’s signature. Her works were recreated by different artists as architectural space elements and design products. Installations, recently created specifically for various locations by the artist who has also created works in video, photography and printing fields, are striking. The young artist who has featured in many international and national projects, nine of which being personal exhibitions, continues her work at her studio in İstanbul.

Büyükdere Cad. Ecza Sok. No: 4/23, PolCenter AVM 34394,  Levent – ISTANBUL
T: +90 212 269 4808

Deniz Sağdıç, “Ölü Doğa / Natur Mort”, Ready-ReMade serisi / From “Ready- ReMade” Series, 2016, Ahşap Üzerine Oyma Buluntu Sünger ve Akrilik, Carved Found Foam and Acrylic on Wood, 80 x 120 x 19 cm.

DENİZ SAĞDIÇ: “Ready-ReMade” Sergisiyle Vis Sanat’ta

Vis Sanat, yeni sezonun ilk sergisinde genç sanatçı Deniz Sağdıç’ın “Ready-ReMade” başlıklı projesine yer veriyor. Işık Gençoğlu küratörlüğünde gerçekleşen sergi, 4 Ekim – 13 Kasım 2016 tarihleri arasında izlenebilir.

SÖYLEŞİ: Ümmühan Kazanç

Ü.K.- Sevgili Deniz Sağdıç, “Ready-ReMade” isimli yeni projende kabul görmüş sanat tarihi okumalarının sanatı ele alış yöntemlerine yönelik bir eleştiri ortaya koyuyorsun. Buluntu nesneleri kullanarak hayata getirdiğin çalışmaların seslendirmesini amaçladığın eleştiri nedir?

D.S.- Sanat tarihi, bir uzmanlık alanı olarak tarihçiliğin diğer alanlarından sadece konusu itibariyle değil, bir anlamda o tarihi yaratması bakımından ilginç bir biçimde farklılaşıyor. Bir sanat tarihçi, yaşadığı dönemde hiç etkili olmamış, kimseye temas etmemiş bir sanatçıyı tarihin derinliklerinden tutup çıkarabilir ya da bir sanatçıyı, kendisinin bile bilmediği bir akımın içinde ele alıp, konumlandırabilir. Sanat tarihinin söz konusu fonksiyonu kendi alanının dışına çıkıp, örneğin düşün dünyasının ana uğrak noktalarına temas etme yetkinliğini kendinde bulmaya başladığı zaman tehlikeli bir hal almaya başlıyor.
Sanat tarihinin bilindik yaklaşımı, sanatta düşüncenin hükümranlığını hazır yapım nesneyle başlatır. Böylece duymaya alıştığımız ismiyle ‘kavramsal sanat’ı yürürlüğe getirmiştir. Kullanılan teknikle sınırlı olarak kabul edilebilecek bu tarihsel okuma, kavramsal sanatla birlikte sanatın ilksel, arı ve saf halini kazandığını öne sürdüğü anda tarihçilikten çıkarak sanatın ne’liğine yönelik bir alana sıçramış olur. Söylem böyle bir nitelik kazandığında Duchamp’tan önceki sanatçıların tümü ve çalışmaları ötelenir. Zaten öyle de olmuştur, bugün tuval resmi üzerine yaşanan tüm tartışmaların kaynağı söz konusu bu yaklaşımdır. Bu bize gösteriyor ki alışık olduğumuz sanat tarihi, insanlık tarihi boyunca hayata getirilmiş yaratıcı faaliyeti yapıta indirgeyerek ele almaktadır. Hazır yapım nesneyi milat kabul ederek öncesi sanatçıdan düşünceyi dolayısıyla kavramı çekip aldığınızda elinizde yalnızca güzelce boyanmış bez ve parlatılmış taş parçaları kalır. “Ready-ReMade” bahsettiğim bu ayrıştırmadan yola çıkıyor. Günlük hayatın içinde karşıma çıkan nesnelere, estetik olarak özetlenebilecek yöntemlerle dokunuşlarda bulunarak, yani “ReMade” ederek onları doğaya, sanatın doğasına dahil etmeye çalıştım. Böylece sanat tarihinin ayrıştırdığı iki dönem ya da alanı birbirlerine bağlayarak bir anlamda bu yırtığı onarmaya çalışıyorum.

Deniz Sağdıç, “Aziz”, Ready-ReMade serisi / From “Ready- ReMade” Series, 2016, Oyuntu Kitaplar (Britannica Serisi), Carved Books (Britannica Series), 73 x 36 x 36 cm.
Ü.K.- Aslında sergi çok katmanlı. Buluntu nesneler ile kendi sanatsal söylemini ortaya koyarken, belki de son dönemlerin en yoğun sosyal ve politik değişimlerini, göç ve savaş kavramlarını da kucaklıyorsun. Türk bir sanatçının, ülkesinde ve ülkesinin sınırlarında yaşanan dehşete sessiz kalması beklenemezdi değil mi?

D.S.- “Ready-ReMade” kavram olarak projenin temel zemini durumunda. Her bir çalışma bu temel üzerinde yapılanırken, kendi tekilliklerinde farklı söylemlere parantez açıyorlar. Bunlardan bazıları kaçınılmaz olarak sosyal, politik alanlara temas ediyor. Kaçınılmaz olarak diyorum, maalesef yaşadığımız coğrafya politik gündemlerin iç-dış sınırı gözetmeksizin soğumasına izin vermeyen bir konumda. Maalesef dememin nedeni sanata değil insanlığa yönelik, yoksa bu coğrafyada sanat yapılamayacaksa, yapılacak daha anlamlı bir yer bilmiyorum. Son dönemde, gündemlere bağlanan nedenlerle iptal edilen, ortasında terk edilen sanat projelerinde yer alan sanatçı ve tüm sanat profesyonellerinin sanatın esasında ‘ne’ olduğunu yeniden düşünmeleri gerektiğine inanıyorum. “Ümran” başlıklı çalışmam jeopolitik gündemin bahsettiğim ruh durumuna yönelik. Ümran isimli Suriyeli küçük kızın bombalanan evinin yıkıntıları altından çıkarıldığı andaki görüntülerinin, yüreğinde bir nebze insanlık kırıntısı kalmış birini bile etkilememiş olması mümkün değil. Gözyaşlarına hakim olmanın imkansız olduğu bu görüntüde beni en çok etkileyen, Ümran’ın kendi yaralı yüzüne dokunduğunda eline bulaşan kana anlam veremeyen şaşkınlığıydı. Onun yaşadığı şaşkınlık aslında hepimizde olması gereken temel insanlık durumunun bir yansıması. Bahsettiğimiz gibi hızla değişen gündemlerimiz arasında şiddetin, dramın normalleşerek bizi şaşırtmayacak hale gelmiş olması çok acı. Kendilerinden güç olarak bahsedilen ve nice Ümran’ın yaşadığı drama son vermek iddiasıyla Suriye’de varlık gösteren, toplamları 70’i bulan farklı ülke, örgüt ve topluluğu, her biri farklı dokuya sahip perde kumaşlarında temsil etmeye çalıştım. Bu güçlerin tümü tıpkı Suriye’de olduğu gibi benim çalışmamda da Ümran’ın bu hale gelmesine ortak olmuş durumundalar.

Deniz Sağdıç, “Kromatik / Chromatic”,
Ready-ReMade serisi / From “Ready- ReMade” Series,
2016, Yerleştirilmiş Kasetler / installation (Cassettes),
126 x 126 x 11 cm.
Ü.K.- Sergide üzerinde çok konuşulacak eserler yer alıyor. Bu bağlamda “KROMATİK” ilk gözüme çarpan çalışmalarından biri. Daha çok renk ile özdeşleşen bu tanımı sanat yapıtı düzleminde nasıl ele aldın?

D.S.- Genelde her projemde, disipliner alanlarda incelenmesine alıştığımız yaratıcı eylemin,  esasında tek ve bir olduğuna vurgu yapmaya çalışıyorum. “Kromatik” de bu amaca yönelik bir çalışma. Sizin de belirttiğiniz gibi kroma çoğunlukla görsele yönelik bir renk ilişkisi çerçevesinde değerlendirilen bir unsur. Ben kromanın müzik gibi yaratımın diğer alanlarında da en az renkte olduğu kadar etkili olduğunu düşünüyorum, özellikle belki bizim artık unutmaya başladığımız Doğuya özgü melodilerde. Müziğin teknik unsurları hakkında icracıları sanatçılar kadar bilgi ve deneyimim olması mümkün değil ama Doğu musikisi, Batı müziği terminolojisiyle ifade etmek gerekirse ara tonların, dolayısıyla kromatik unsurların üzerine kurulu bir ses aralığına sahip olduğunu biliyorum. “Ready-ReMade” çerçevesinde, buluntu teyp kasetlerini kullandığım “Kromatik” isimli çalışmam, sesin ve rengin buluştuğu bu ara kesiti görünürleştirmeye çalışıyor. Teybi deneyimleme fırsatını yakalayabilmiş yaştaki çoğunluğun belki de sandığı gibi kasetlerin içindeki bantlar hep aynı renkte değil. Her biri siyah ya da kahverenginin farklı tonlarındalar, hatta neredeyse aynı renk tonunda iki farklı kaset bandı bulabilmek imkansız. Tabi bu ses kasetleri üzerlerinde belirli melodileri muhafaza etmek üzere üretilmiş, insanlar tarafından dinlenilmek üzere edinilmiş malzemeler. Ses kasetleri bahsettiğim özelliklerinden dolayı kromanın görsel ve melodik ortaklığını görünür kılabilmek için bana eşsiz bir platform sundu. “Kromatik”te kasetlerin ve içlerindeki bantların yerleşimi; renkte ve melodide kromanın meydana gelmesine imkan veren dalga boyunu, yani frekansı temsil etmekte. Çok zahmetli ve fazlaca sabır gerektiren yapım sürecine rağmen, “Kromatik” projemde beni en heyecanlandıran çalışmalardan biri oldu.   

Deniz Sağdıç, “Tay.AI”, Ready-ReMade serisi / From “Ready- ReMade” Series, 2016, Buluntu TV, Renklendirilmiş Kırık Avize Kristalleri, Aydınlatma, Found TV, Colored Broken Chandelier Crystals, Lighting, 102 x 66 x 15 cm.
Ü.K.- “Tay.AI” sosyal medya ve teknoloji arasındaki ironiyi gözler önüne seren çok özel bir çalışma. Bu çalışma hakkında neler söyleyebilirsin?

D.S.- Tahmin ediyorum birçok kişi medyadan takip etmiş veya haberdar olmuştur. Tay.AI Microsoft’un geliştirdiği bir yapay zeka yazılımı. Zaten ismindeki AI uzantısı (artificial intelligence) yapay zeka ile ilintili. Microsoft geçtiğimiz Mart ayında Tay’e @TayandYou  ismiyle Twitter’da bir profil hesabı oluşturdu. Tay, zekası sayesinde tüm Twitter kullanıcılarının paylaşımlarından derlediği bilgileri analiz ediyor, ortaya çıkan istatistiki sonuçlara göre kullanacağı kelimelere, eğilimlerine karar veriyordu. Tabi öncesinde medyada yer alan haberlerle Tay daha çevrimiçi olmadan bile bir internet fenomeni haline gelmiş, sosyal medya kullanıcıları tarafından heyecanla beklenen bir profil olmuştu. Tay, Twitter’da çevrimiçi oluşunun onuncu saatinde küfürbaz bir kişiliğe büründü. Profil oluşunun üzerinden daha 16 saat geçmemişken Microsoft, ırkçı ve şiddet içeren paylaşımlarının yarattığı rahatsızlık nedeniyle Tay’in deyim yerindeyse fişini çekmek zorunda kaldı. Tay, günümüz iletişim dünyasında her şeyde olduğu gibi çok çabuk tüketildi. Oysaki benim için Tay, sadece teknoloji veya iletişimle sınırlandırılamayacak, varlık alanında incelenmesi gereken son derece önemli bir vakadır. Tay’ın yapay zekaya sahip bir yazılım olması çok önemli değil, onunla ilgili gelişen süreç insanın bir varlık olarak yaşamda kendini konumlandırmasıyla aynı değil mi? Bizler de kendimizi insan olarak inşa ederken tıpkı Tay’inkine benzer bir yöntem uygulamak durumunda kalmıyor muyuz. Özellikle kendimizi sosyal hayatın içinde bir birey olarak kabul ettirebilme amaç ve süreçlerimiz bu yapay zekaya sahip yazılımdan farklı mı? Tay bir yazılım olduğu ve bir makineye bağlı olduğu için fişini çekebiliyor ondan kolayca vazgeçebiliyoruz. Tay’in küfürbaz, şiddet yanlısı ve ırkçı bir karaktere dönüşmesi üretimsel bir hata olmadığı gibi yaşanılan süreç yapay zekasının son derece kusursuz olduğunun bir kanıtı niteliğinde. Ben “Tay.AI” çalışmamda bu deneyimi bir inceleme vakası olarak görünürleştirmeye çalıştım. Tay’in Twitter hesabındaki profil resminin bir benzerini “Ready-ReMade”e uygun olarak buluntu malzemelerle yeniden oluşturdum. Tay, Twitter kullanıcıları olan gerçek insanların kişilik özelliklerinden besleniyordu, çalışmamda bu kişilerin her birini avize kristalleri temsil ediyor. Tay’in küfürbaz ya da ırkçı olmasına neden olanlar yani diğer kullanıcılar, o yüzden avize kristallerinin çoğunluğu kusursuz değil, kırık ve parçalı, tıpkı Tay’i o hale getiren biz insanlar gibi.

Deniz Sağdıç, “Latif”, Ready-ReMade serisi / From "Ready- ReMade" Series, 2016, El Yapımı Koltuk / Handmade Chair, 90 x 85 x 80 cm.
Ü.K.- Biraz da işin magazin kısmına bakalım. Buluntu nesneler için ne kadar zaman harcadın ve nerelerden temin ettin? İşin bu bölümünde neler hissettin?

D.S.- Aslında bu projenin tinsel olarak adlandırabileceğim süreci çok uzun bir döneme dayanıyor. Tinsel diyorum çünkü projede kullandığım birçok obje çok uzun zamandır benimleler. Bu objeler işlevi olmayan ya da mevcut işlevlerine ihtiyacım olmadığı ama genellikte yolda sokakta karşılaşarak, nedenini tam olarak bilmeden alıp, atölyeme getirdiğim şeyler. Bunları, ne bir süs eşyası gibi bir yerlere asıyordum, ne de kullanılabilecek malzeme kategorisinde depoluyordum, baktığımda her an görebileceğim ama sıradan bir köşede duruyorlardı. Ama gün içinde gözüm takıldıkça bu objeleri seyrediyor, onlara dokunuyor inceliyordum. Bu objelerin bir amacı olduğunu hissediyor ama o anlarda bunun ne olduğunu bilemiyordum. Asıl kırılma noktası şimdi kullandığım atölyeme taşınmamdır. Bu atölye daha önce yine bir sanatçının, Mahmut Sümer’in yaşamını sürdürdüğü eviymiş. Burayı tuttuğumda Mahmut Sümer ve ailesinden bol miktarda sanatsal malzeme ve kullanım değeri olmayan ama taşıdıkları hatıralar, izler bakımından benim için son derece değerli olan bazı objeler bana devroldu. Bu obje ve malzemeler üzerinden Mahmut Sümer’in yaşam sürecinin izlerini gözlemlediğimde içimin burkulduğunu hatırlıyorum. Mahmut Sümer çoğunlukla portre ve manzara resmi yapmış. Ama bana kalan eşyalar arasında bazı kolaj çalışmalarına da rastladım. Belli ki bu çalışmaları hiç göz önüne çıkarmamış, hayatını sürdürebilmesi için daha kolay anlaşılır resimler yapmak zorunda kalmıştı. Bu “Ready-ReMade” projesi için en önemli anlardan biridir. Mahmut Sümer bence iyi bir sanatçıydı, ben bir sanatçı olarak onun kullandığı malzemelerden, çizimlerinden eşyaları vasıtasıyla gözlemleyebildiğim hatıralarından bunu anlayabiliyorum. Nasıl bir ruh dünyası içinde sanattan tamamen kopmadan hayatını sürdürebilmek için mücadele verdiğini iliklerime kadar hissedebiliyorum. Benim için sanatçının asıl eseri; boyadığı birkaç yüzey ya da yonttuğu farklı taş parçalarından öte, yaşamayı denediği hayatın ta kendisidir.

Deniz Sağdıç, “Sır / Secret”, Ready-ReMade serisi / from “Ready- ReMade” series, 2016, Buluntu Bavul, Ham Keten Üzeri Yağlıboya, Metal Ayaklar, Found Valise, Oil on Raw Linen, Table Legs, Yerleştirme / Installation.
Mersin doğumlu sanatçı, 1999 yılında Mersin Üniversitesi Güzel Sanatlar Fakültesi’nde sanat eğitimine başladı. Daha öğrencilik yıllarında çeşitli projelerde yer aldı. 2003 yılında aynı üniversiteden, fakülte birincisi olarak mezun oldu. Mezuniyet başarısının getirdiği akademik davetlere rağmen, sanatını, ülkenin sanat başkentinde sürdürmek üzere İstanbul’da kendi atölyesini kurdu. Genç yaşta olgunlaştırdığı kendine özgü plastik üslubu, kısa zamanda sanatçının imzası haline geldi. Çalışmaları mimari mekân öğesi ve tasarım ürünü olarak, farklı sanatçılar tarafından yeniden üretildi. Video, fotoğraf ve baskı alanında da çalışmalarda bulunan sanatçının, son dönemde çeşitli mekanlara özel ürettiği yerleştirmeleri dikkat çekicidir. Bugüne dek dokuzu kişisel olmak üzere uluslararası ve ulusal birçok projede yer alan genç sanatçı çalışmalarını İstanbul’daki atölyesinde sürdürmektedir.

Büyükdere Cad. Ecza Sok. No: 4/23, PolCenter AVM 34394,  Levent – ISTANBUL
T: +90 212 269 4808

27 Eylül 2016 Salı


Hale Hülya Nurol, “Wings of peace”, 2016, oil on canvas, 50x80 cm.
September 14 to December 18, 2016

John Lennon'ın “Imagine” şarkısının sözlerini yani “Hayal et bütün insanların hayatı barış içinde yaşadığını…” temasını konu alan, “ImaginaïveS” sergisinde Türkiye’den Hale Hülya Nurol, Şebnem Çamdalı, Sema Çulam ve Gülfidan Hitit Biçer’in eserleri de yer alıyor.

Ü.K.- Dear Jacques Dupont, Musée international d’art naïf de Magog (MIANM) team was working on an exhibition entitled as “ImaginaïveS” for a long time. And now you are ready. Artists are personally invited to create an original painting inspired by the lyrics of John Lennon’s song Imagine: "imagine all the people, living life in peace...”. Why did you choose John Lennon's “Imagine” Song. Could you tell au about your curatorial method?

J.D.- I’m a volunteer member of the Board of Administrators from the MIANM (Musée international d’art naïf de Magog) since 3 years. Also somehow in charge of communications, computer systems, photography, Public Relations & Advertising, Web & Facebook (more than 4000 likes https://www.facebook.com/naifworld). In 2014, I put together REVIM14 (Rendezvous international à Magog), an international Exhibition, totally organized online. 89 artists submitted their candidacy; an international jury selected thirty of them for the Exhibition. Then we held a contest on Facebook on all the paintings submitted (89). We received short of ten thousand votes. And a Turkish artist, Nebahat Karatas was the winner. Later, I have had the rare opportunity to visit Turkey and meet with Miss Karatas to give her her Prize. I also met other local artists and one rare generous person entirely dedicated to promote the art from Turkey, my now estimated friend Ummuhan Eker Kazanç. A real network was build, ready to be put to task.
One year later, I submitted to our Board a new international project, IMAGINAIVES. Viewing the News every night on Television, I suspected it was about time to revisit the lyrics from John Lennon song. And it was before the refugee crisis! I became commissaire for this special thematic project and worked on it on a semi daily basis since then.
Using our rich network, we invited 36 women artists on a personal basis to execute a new painting freely inspired by Lennon’s words and peace concept.
I am not an expert on art. All my life I worked in some kind of communication related activity, most of it as Director for Film & Television. But I have a unique Museum in my town (Magog, Quebec, Canada) and I wanted to give back some good vibes to my Community.

Şebnem Çamdalı, “Eternal Love”, 2016, oil on canvas, 80x60 cm.
Ü.K.- Why and at what point did you decide to work with women naive artists?

J.D.- Something told me we would have to hear especially from women artists on this subject. A visceral choice and a somehow difficult one to explain, even to some colleagues. But I can see now, with all the paintings hanged on our wall, that it was a wise choice and a rare opportunity to build a homogeneous artistic Collective based on Spirit and Kindness, generously shared by outstanding people who do not know each other but are strangely attuned. Women are healers, by choice or necessity; women artists are beacons of hope. Naive women artists have no fear at all to face the truth, as ugly as it is, and propose the shining light of their fantasy to spare us the worst. I also knew some of their personal whereabouts, just enough to want to know more about their feelings. I’m glad we took the risk. And I love and respect very much all he artists who enroll in the project with enthusiasm and great devotion to their form of art, which is not always truly understood and appreciated for its own specific values and merits, just as it is, outside of any comparison scheme.

Sema Çulam, “Dream and Carpe Diem”, 2016, oil on canvas, 45x120 cm.
Ü.K.- How many women artists will exhibit their Works? Which countries are represented in the exhibition?
J.D.- 34 artists from 18 countries. Only two of the invited artists were unable to participate for Health reasons. Argentina , Australia, Brazil, France, Germany, Greece, Indonesia, Iran, Italy, Japan, Malaysia, Netherlands, Poland, Portugal, Romania, Turkey, UK + one Canadian Artist (Barbara Sala) acting as host and Godmother.

Alexandre, Marion, FR
Amperidou, Sofia, GR
Bersee, Ale, AR
Breedveld, Ada, NL
Bruel-Rupp, Michèle, FR
Caetano, Luiza, PT
Camargo, Fatima, BR
Camdali, Sebnem, TR
Cavin, Nini, FR
Collins, Kate, UK
Çulam, Sema, TR
Dragan, Ana, RO
Fraga-Frénot,Christine, FR
Gutman, Debora, GE
Haize, Maria-Cristina, BR
Hassan, Naneh, IR
Hestu Wahyuni, Erica, ID
Hitit Bicer, Gulfidan, TR
Hulya Nurol, Hale, TR
Ishigami, Yoko, JP
Joaquim, Shila, BR
Jonsson-Harrison, Marie, AU
Kolodziej, Martha, PO
Leonis, Despoena, GR
Loquen, Claudine, FR
Mafucci, Lucilla, IT
Masiero, Alice, BR
Mohamadi, Fatemeh, IR
Papic, Lidia, AR
Sala, Barbara, CA
Souza, Ana-Denise, BR
Tajuddin, Eliza, MY
Tamanini, Everenice, BR
Worsoe, Lene, DK

Gülfidan Hitit Biçer, “Come, come whoever you are come”, 2016, oil on canvas, 50x60 cm.
Ü.K.- Since you have decided to open up an exhibition with “PEACE” theme, things are going terrible in the World especially in Near East. Dou you still believe in PEACE? Isn’t it an UTOPIA that all the people are living in peace?

J.D.- Ideally, I would like to live in Theory, the only country in the World where everything is possible!!!
I’m a pragmatist. Peace begins inside each of us and in our immediate environment. Everything else we don’t control. Oh, not exactly: on some occasions and in some privileged places (Canada is one of them, but Turkey has a grey cloud upon her now) we can also freely vote, ask questions, do crazy things in the street, etc..

“A dream you dream alone is only a dream.
A dream you dream together is reality”

Yoko Ono Lennon

Ada Breedveld, “All children born in freedom”, 2016, acrylic on canvas, 60x80 cm.
Ü.K.- Could you tell us about Turkish artists represented in the exhibition?

J.D.- Two years ago, I have had the privilege to meet three of them in their own environment: Sebnem Camdali, Nebahat Karatas and Hayal Irtegün. Sema Çulam and Hale Hülya Nurol are only known to me from Facebook or through UEK intermediary (!). I have published some of their works on the Museum Facebook page, within a program of ours intended to let naïve artists from the world be known, even if they do not belong to our Collection. I have even played some intermediary role between one of them and an eventual buyer in Brazil. I can also say that Sebnem is more than a virtual friend, as me and my wife stay in her lovely place for a few days. And then, we really understood the sources of her inspiration and the limitless scope of her imagination. The fields of dream of Sema Çulam are the perfect illustration of a bountiful country, so rich for her Land and her People. The whimsical characters of Hale Nurol hide some serious questioning behind funny settings and a masterful technique. Gulfidan Hitit Bicer from Kuşadası, at a young age, is digging deep and thoroughly into what makes Turkish today, mixing traditions and modernity. A huge task, made easy by a style of her own, authentically naïve and yet surprising from one work to the other. The most evident paradox is that these great Turkish naïve artists are not naïve at all, but have found their own way to make this type of art more respected! Turkey seems to me as a very productive country for naïve art, no longer cornered in remote countryside or practiced by old people rooted to the past.

Maria-Cristina Haize, “Rêve de femme”, 2016, oil on canvas, 55x46 cm.

Ü.K.- You have also planned other programmes together with the exhibition. Do you have surprise for art lovers?

J.D.- One activity I’m proud of is made possible with an arrangement with the organization IMAGINEPEACE headed by Yoko Ono, widow of John Lennon. We have been accredited to operate a “Wish Tree (live tree)” inside the Exhibition, where visitors can attach small labels with short Peace Wishes. At the end of the Exhibition, all labels will be sent to New York Yoko’s Office. She then send them to Iceland where she had a special Peace Tower build to receive all messages from the world, accumulated since many years from museums around the world.
Later, during the three months of Exhibition, we will gather messages from Facebook friends and write them down on the tree.
For having now seen real people visiting the Exhibition and mentioning or writing down their feelings, I can tell you that the words EMOTION and SURPRISE comes to the front more frequently. People ask us if Exhibition will travel, here in Canada or abroad. They say it should. They say it should remain an ensemble. It is true that the collective message is strong. We will try to honor the comments. We also witness a broad reassessment of the naïve art concept. Interesting!
ALSO: I have advised our Mayor, Miss Vicky May-Hamm, to become a Mayor for Peace: http://www.mayorsforpeace.org/english/index.html
She will announce it during the opening, next Sunday.
We will also have a benefit-concert (Cellist, both classic and Pop) inside the Exhibition on October 9, anniversary of John Lennon Birth.
Local News and schools are very much interested by this Exhibition turned multi facet event. We may have some more surprises.

Eliza Tajuddin, “Lullabies for peace - Dodoi si Dodoi ala saying”, 2016, oil on canvas, 40x100 cm.
Ü.K.- My last question is related to politics. Dear Jacques you have been to Turkey. You have many friends from Turkey and Near East. Canada represents PEACE. As a Canadian citizen, could you tell us what Canadian people think about things are going on in Near East?

J.D.- Geopolitical situation of Turkey, as perceived in my country, Canada, is of some uncertainty. There is a feeling that anything can happen, for the best or the worst. There is a big realignment of alliances between countries, nowadays. Everything moves faster than usual. Risks are getting bigger. Populations loose interest or control over their institutions. Turkey is on a rope, balancing her act between East and West, democracy and populism, tolerance or exclusion, and how could she do otherwise with her strategic, geographic, historical, cultural position, so well personified by the Istanbul position. And yet, this position is itself the most promising cradle for her population and the rest of the World. Let it be, hopefully in the hands of Good Will People.

Claudine Loquen, “Au café des joues rouges”, 2016, mixed technique, 73x54 cm.
M.I.A.N.M., (Musée international d’art naïf de Magog), is the sole Canadian Visual Arts Museum dedicated exclusively to national and international Naïve art. It is located in Magog, Quebec, an all-season Tourism Destination, located 45 minutes from Montreal, very near the US border.
In 2014, the institution hosted a successful international exhibition, REVIM14, when 29 artists from the world were selected to exhibit by an international jury, among the 89 artists from 30 countries who entered the contest. All of them, and more, are now part of a rich community of Naïve Artists with whom we keep in touch. This ongoing and rich relationship makes us feel confident that our next international exhibition, ImaginaïveS, will be a new milestone.


Address: MIANM, 61, rue Merry Nord, Magog, (Quebec), Canada J1X 2E7

8 Eylül 2016 Perşembe


Georg Baselitz (*1938), The Shepherd, 1966, Oil on canvas, 162 x 130 cm, Museum Frieder Burda, Baden-Baden, © Georg Baselitz 2016, Photo: Jochen Littkemann, Berlin
30 JUNE to 23 OCTOBER 2016, Städel Museum, Exhibition Annex
From 30 June to 23 October 2016, the Städel Museum is presenting Georg Baselitz’s famous “Heroes” in a comprehensive monographic special exhibition fifty years after the paintings’ making. Georg Baselitz (b. 1938) definitely ranks among the most influential painters and sculptors of our time. His powerful workgroup of “Heroes” and “New Types” is regarded as a key achievement of 1960s German art all over the world.

In the exhibition curated by Max Hollein, it is being shown on a large scale for the first time. Some seventy paintings and works on paper are on view: their aggressively and defiantly painted monumental figures have lost nothing of their ambiguous, portentous and vulnerable quality to this day. Baselitz’s “Heroes” are raddled soldiers, resigned painters, marked by their latent failure as well as by their uncertain future. The fragility and contradictory nature of the “Heroes” in terms of contents find their formal equivalent. The consistently frontal depiction and central placement of the clearly outlined figures contrast with the wildness of the artist’s palette and the vehemence of his painting style. Loans from important international museums and private collections offer the public a wide-ranging view of these icons of German postwar art conceived by the only twenty-sevenyear old artist in a spurt of explosive productivity in 1965 and 1966. After its début at the Städel Museum in Frankfurt, the major exhibition will travel to the Moderna Museet Stockholm, the Palazzo delle Esposizioni in Rome, and the Guggenheim Museum Bilbao.

Georg Baselitz (*1938), A New Type, 1966, Oil on canvas, 162 x 130 cm, Privately owned
Photo: Frank Oleski, Köln, © Georg Baselitz 2016

The exhibition “Georg Baselitz. The Heroes” is being sponsored by Goldman Sachs. “The ‘Heroes’ are both a landmark and a fervent pivot in Georg Baselitz’s oeuvre. They have sprung from a deep, inner necessity in a deliberate confrontation with pressing, charged subjects and unfold a timeless reflection on the artist’s existence as such. Giving expression to strikingly visualized and self-felt isolation, uprooting, and lack of orientation, the works render the artist’s precarious state of experience in a broken world, establishing a paradigmatic image of his condition”, says Max Hollein, curator of the show.

Georg Baselitz, 2014, Photo: Peter Knaup
Born in Deutschbaselitz in eastern Saxony on 23 January 1938, Georg Baselitz began his studies at the College of Fine Arts in Berlin-Weissensee (East). After he had been expelled from the school because of “sociopolitical immaturity” after two semesters, he continued his studies in Berlin-Charlottenburg (West) in 1957.
First travels abroad led him to Amsterdam and Paris. 1961 saw the beginning of his exhibition activities together with Eugen Schönebeck in an unoccupied house, on the occasion of which the first “Pandemonium Manifesto,” as it came to be called, was published. The following gallery shows were controversially received. In 1966 Baselitz left Berlin for a town in Rhine-Hesse near Worms. He painted his first picture showing its motif upside down in 1969 – a decision he remained true to throughout his further career. As he became more and more renowned, he increasingly presented his works in exhibitions abroad; in 1980 he and Anselm Kiefer were invited to represent the Federal Republic of Germany at the 39th Venice Biennale. Much-acclaimed exhibitions in various countries such as Great Britain and the United States followed. Baselitz continued his teaching activities, which he had begun in Karlsruhe in 1978, in Berlin from 1983 to 1988 and from 1992 on. Numerous retrospectives, honors, awards, and honorary professorships still pay tribute to the outstanding relevance of his work.

Georg Baselitz (*1938), Blocked Painter, 1965, Oil on canvas, 162 x 130 cm, MKM Museum Küppersmühle für Moderne Kunst, Duisburg, Collection Ströher, © Georg Baselitz 2016, Photo: Archiv Sammlung Ströher
Curator: Max Hollein, director, Fine Arts Museums of San Francisco
Co-curator: Dr Eva Mongi-Vollmer, Städel Museum
Exhibition dates: 30 June to 23 October 2016
Location: Städel Museum, Schaumainkai 63, 60596 Frankfurt am Main
Information: www.staedelmuseum.de, info@staedelmuseum.de,

phone +49(0)69-605098-200, fax +49(0)69-605098-112

Georg Baselitz (*1938), With Red Flag, 1965, Oil on canvas, 163 x 131 cm, Private collection courtesy of Art Agency, Partners, © Georg Baselitz 2016, Photo: Frank Oleski, Köln