press release

Since 1980s Photography has entered into the contemporary art scene with its diverse dimensions. When creating their works artists do not see any difference in the material they use for the forms of expression. While dealing with photography as the material of narration, the illustration of the story-telling, or merely as a means of expression, they open, at the same time, in an all-comprehensive manner, the legitimacy of the photographic image and the phenomenon of representation, into discussion. From the 1990ís onward, photography has been increasingly becoming a means of expression among the Turkish artists and the tendency to use photography as a platform which rather conveys a thought has also been gaining ground. The common denominator of the nine artists Gulcin Aksoy, Nancy Atakan, Nazan Azeri, Sedat Balkir, Gul Ilgaz, Ferhat Ozgur, Neriman Polat, Canan Senol, Sencer Vardarman taking part in the ìMetamorphosisî exhibition is that, on the one hand they belong to the 1990 generation of the artists, and on the other, without seeing any difference between the forms of expression, they give weight to photography in their works, along with other approaches. These artists also respond to the rapid change, which their era is going through with a change of the forms of expression.

Gulcin Akso The images, for her, whether they are created by script or painting or photophraphy, they get a meaning by their creation and continue living with it. To give a meaning to these works one needs new angles. The manifesto of the artist reads: ìWhat I see is no longer a tree. No longer a human being. They are all a chorus of images. Photography serves this purpose. It decorates the subject and freezes it, multiplies it, displaces it, and despite all the noise, renders it silent.

Nancy Atakan In her two digital prints, she puts her portraits, taken when she was of different ages, onto the blown-up photos. She has used in her work ìIn each moment I am being bornî Bosphorus as the background, and in the work ìIn each moment I am dyingî the Eyup cemetery. In these works the artist questions birth, life and death, as well as the relation between the photography and the digital print. The artist, as putting her portraits on a backdrop which has nothing to do with the portraits, creates a new imaginary image.

Nazan Azeri His work entitled Growth consists of a series of photographs which show the phases of growing plants on her own body, and a video work. The first photograph shows the second day of the body which is wrapped in cotton and seeds put in it. The second photo shows one week later when the seeds have come out of the cotton and have started germinating. The third photograph shows the state of the body covered up by plants. Only some minor details of the body can be seen through the plants covering now almost every part. The lying body is growing the seeds inside it. That is no longer a body but transformed into soil.

Sedat Balkir is trying to find an answer to the question: ìCan there be another reality outside the reality with which we are familiar? He talks about how we get confused when we stand between our experiences in perceiving the physical realities and the newvisual propositions as alternatives to these experiences. As the vacillations between these two images turn into momentary jumps he argues that our efforts to perceive these two at the same time leads us to the fourth dimension.

Gul Ilgaz uses his fathers slippers in her work entitled The Roomî. The upper part of the picture shows when one lies down on the bed, the TV set that one sees always along with the window and the curtain which the air coming through the window moves. This upper side which consists of some parts shelters the process which testifies to the movement of the curtain and looks all the time at the same place. Boring and sombre. The lower part of the picture looks at the bed from one side, which has a different position in the room. This also makes up the whole with cut fragments. At the bedside there are medicines and a glass of water. Then on the ground here we see the slippers of her father.

Ferhat Ozguro his photograph there is a refrigerator before a shanty town house. A girl is lying on it as a numb body as if she fell from the sky and she has left herself there until her tummy feels the metallic coldness. While she is presenting the best moment of this one-person-show to the spectator of the photographic image she also creates a surrealistic image within the ordinary reality of (everyday) life.

Neriman Polatís work consists of photographs on which there are some details about ìto go, not being able to go, to grow, to lingerî. A powdered foot, a shoe which does not fit the shoe, congealed oil in a pan, a housedoor looking like a prison Images constitute of a non-linear short-circuit story. They are a little boring and a little meaningless.

Canan Senolo She builds her work upon the story of a little lady whom she got to know in the ìPurple Roofî (A home for abused women in Istanbul) and another story about the incest cases of some relatives that she heard from her mother. In her work where she used Barbie looking dolls she sets out from the comic book technique and she questions the institutions. She draws attention to the fact that ìthe Familyî is blessed and put in a certain system by the power centres like the state, the society and the religion.

Sencer Vardarman exhibits a collage which consists of 15 photographs taken from the first floor of the Etap Hotel in Taksim. It looks as if the photograph is pealing layer by layer. The surrealistic dimensions and unfitting angles noticed when approached the image actually refer to Turkeyís multi layered socio-cultural structure, co-existing discords and power games over the society.


Veranstaltung der 20th IFSAK- Istanbul Photography Days
1-30 November 2004

mit Gulcin Aksoy, Nancy Atakan, Nazan Azeri, Sedat Balkir, Gul Ilgaz, Ferhat Ozgur, Neriman Polat, Canan Senol, Sencer Vardarman

Ort: History Foundation, Historical Mint Buildings Haal 4,1 - Sultan Ahmet, Istanbul