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5 Sanatçı & 5 Video
Kapsamlı Bir Video Sergisi
Küratör: Beral Madra
Uzun Açılış: 14.00-20.00
Evliyagil Dolapdere’de “5 Sanatçı 5 Video Kapsamlı Bir Video Sergisi” 4 Ekim Pazartesi günü saat 11.00’de ziyarete açılıyor! İlk seçki Ferhat Özgür: “Bakış Açısı”
Beral Madra küratörlüğünde; 5 Sanatçı & 5 Video, Kapsamlı Bir Video Sergisi’ni 04.10.2021-16.01.2022 tarihleri arasında ağırlamaya hazırlanıyor.
Sergi, sanatçıların video pratiğinin, 60’ların sonundaki erken üretimlerinden ‘’İlişkisel Estetik’’ kavramı etrafında şekillenen günümüz anlayışına kadar, sanatın dönüşümleri içinde etkili bir araç ve dil olduğunu göstermeyi amaçlıyor. Her bir sanatçının retrospektif niteliğinde seçilen 5 eseri, iki haftalık periyotlarla sergilenecek.
“5 Sanatçı 5 Video Kapsamlı Bir Video Sergisi” 04.10.2021-16.01.2022 tarihleri arasında Çarşambadan Pazara 11.00’den 17.00’ye kadar Evliyagil Dolapdere’de ziyaret edilebilir.
Ferhat Özgür, Danielle Vallet Kleiner, Ergin Çavuşoğlu, Gülçin Aksoy, Adrian Paci
Küratör: Beral Madra
#evliyagildolapdere #yenisergi #istanbul #istanbuldaçağdaşsanat #ferhatözgür #adrianvalletkleiner #erginçavuşoğlu #gülçinaksoy #adrianpaci
5 ARTISTS 5 VIDEOS
An extensive video exhibition
Evliyagil Gallery, Dolapdere
Açılış 4 Ekim 2021approach and foresights of the artists. Video art productions are borrowing critical theory language and provocative visual material from documentary stratagems, journalism, advertisement, caricature and poster-art and try to provoke the awareness of the public.
Ferhat Özgür’s early works since 1995 always struck the aimed deconstructionist approach to reveal the relation, perception and concealed conflicts between the state apparatus and the citizen individual. Özgür, knows the power of the verbal expression, which is still the traditional epistemological cultural condition in Turkey, and skillfully uses it in the visual domain. Ferhat Özgür without doubt gives form to his works with information on conceptual art, Pop art, performance art among others, however he utilizes the familiar forms in an appropriate and innovative way. In the age of manufacturing seductive illusions for the sake of neo-liberalism and truth for the sake of anti-democratic rules, the subversion and the irony in these works function as springboard to an alternative thinking.
Curator: Beral Madra
With this video exhibition" Evliyagil Dolapdere Gallery aims to signify that video practice by artists is an effective tool and language within the transformations of art from the early productions in the late 60’s up to today’s Relational Aesthetics.
However, by remembering Villem Flusser’s words, one can understand the basic function of the video (*)
"Vielleicht haben wir - malgré nous und ohne daß die Videoleute sich dessen bewusst sind - ein Instrument erfunden, mit dem sich mindestens so gut philosophieren lässt wie mit den 26 Buchstaben.“
"Maybe we have - malgré nous and without the video people being aware of it - invented an instrument with which one can philosophize at least as well as with the 26 letters."
As long as the monopolizing influence of television invades every living room, video production of artists has been a valid practice in order to question the ongoing cultural assumptions and attitudes of the public related to global media and its hegemonical influence. Within today’s post-truth system it seemed essential to accentuate again the meaning and value of video medium as an effective tool to display the truth and its inevitable companion the memory.
In today’s art video-art has played a crucial role in closing the gap between the Relational Aesthetics and the viewer, for not only being simply an unusual extension of TV that is an everyday wonder for the society of spectacle but also for its flexibility, immediacy and digital broadcasting facilities. Evidently, during the pandemic the digital presentation became and essential source for information and cultural feedstuff.
From the beginning loaded with social and political concerns of the artists video art is designated to give the viewer the opportunity to achieve a certain critical gaze and intellectual resistance. Within the frame-work of electronic communication culture the masses are conformed to seek diversion and entertainment more than concentration and determination. In the hands of the artists video-medium has conducted the needs of the masses to the ultimatums of art such as exploration, inquiry, discovery towards the hard-to-reach truths.
After almost 50 years of development video art has entered into the art scene in Turkey early 90's; earliest examples were more experimental, perceptional and documentary than art-theoretical. Later when shooting and editing techniques became more sophisticated complex layers of meaning, metaphors of vision, strategies of repetition and illusionistic concerns have moulded an effective language of artistic expression.
In this exhibition the gallery presents three aspects of today's video works.
First of all video-works underline the fascination and seductiveness of electronic technology and how deeply it effects the art production.
Subsequently even if it has paradoxes in its presence and substance it also accentuates the power of technical image-making in juxtaposition to traditional representations.
Finally, the presentation with a selection of videos from the corpus of work of the artists, aims to invite the viewer to a concentrated retrospective insight into their work.
The exhibition presents 5 retrospective and new videos for each artist.
The content of the videos mainly consist of performance documentaries, peculiar truths in global urban life and in everyday, reflections on violence and oppression, analysis of individual and social identities, political and social criticism, animated narratives, concept, text and image synthesis.
Beral Madra, August 2021
Belki biz -ne yazık ki videocular bunun bilincinde değildir- en azından alfabenin 29 harfiyle yapabildiğimiz kadar iyi bir şekilde felsefe yapabileceğimiz bir alet bulduk.
im elektronischen Zeitalter, Vilém Flusser 01.11.1996
Ein Gespräch mit Vilém Flusser. Das Gespräch wurde im Oktober 1991, kurz vor dem Tod Vilem Flussers, geführt.
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