confe s sions of dangerous mind s
Contemporary Art from Turkey Curated by Artnesia 16 – 3 0 april 2 0 11 LOND ON
confe s sions of dangerous mind s
Contemporary Art from Turkey Curated by Artnesia
phillips de pu ry & co mpany Space at th e sa atchi gallery lo ndo n
16 – 3 0 April 2 0 11
Preface
by Simon de Pury, Chairman, Phillips de Pury & Company
Straddling the continents of Europe and Asia, Turkey’s significant location has always been its most important and defining feature. From the Neolithic settlement at Troy, site of the famous Trojan War, to the far reaching Ottomans via the all conquering Emperor Constantine, the Anatolian Peninsula has played host to countless civilizations over the millennia, all of which have helped define modern-day Turkey as a country steeped in history and tradition and resolutely open to the rest of the world.
As the Turkish art critic Ahu Antmen powerfully evokes in her essay for this catalogue, although an incredible pluralism in medium and
acknowledgements The artists Louisa Anderson Ahu Antmen Giovanna Beretta Daryo Beskinazi Anna Bodungen Marilena Borgna Rosalba Brana Merve Caglar Giulia Costantini Mark CrosslandTaylor Finn Dombernowsky Haldun Dostoglu Andres Duarte Yasemin Elci Kerimcan Guleryuz Leila Heller Mark Hudson Huma Kabakci Andrew Lindesay Lara Ogel Hazer Ozil Murat Pilevneli Tom Radcliffe Gianni Romagno Sim Safak Jon Stonton Peter Sumner EdwardTang Melis Terzioglu Berna Tuglular Ozlem Unsal Rute Ventura Tarik Yoleri Moiz Zilberman with special thanks to Raphael Lepine for all his hard work and commitment.
Supported by
Whether known as Byzantium, Constantinople or Istanbul, Turkey’s
subject matter is immediately evident amongst the 38 works selected,
major cultural and financial centre on the banks of the Bosphorus
it is a parodic approach to the visual image and its references to
has always attracted European artists, providing them with imagery
Western art history which binds the 19 artists in Confessions of
and subject matter which were exotic to the audiences of the day.
Dangerous Minds. As I perused the exhibition selection, I was
Now, in the 21st century, artists in the East, and especially those from
particularly struck by three works from two artists. Taner Ceylan’s
Turkey, are drawing on imagery in Western art, as so many of the
remarkable, risqué hyper-realist mise en scène of marginal society
works in this exhibition demonstrate.
reminded me of the Swiss painter Franz Gertsch, a favourite of mine. Deniz Uster’s brilliantly subversive reworkings of masterpieces
It is therefore a great pleasure and honour to be able to introduce
from Vermeer and Titian are testament to a confidence of an artist
the brilliantly, darkly titled Confessions of Dangerous Minds, an
extending the canon of appropriation and painting in art.
exhibition which brings together the most exciting, influential and promising contemporary art from Turkey. With works spanning from
I would like to take this opportunity to thank Jason and Carlo, the
painting and sculpture to photography and video, the sheer breadth
young and brilliant curators of Confessions of Dangerous Minds,
and depth of this group show highlights the vibrant creative surge
for their unique vision and talent in assembling such an eclectic yet
evident today in Turkey. I am very excited that Phillips de Pury at
focused selection of artists and their works in which the whole is
the fabulous Saatchi Gallery is showing for the first time in London
far greater than the sum of its parts. Jason and Carlo’s energy and
an exhibition dedicated solely to Turkey’s extraordinary artistic
passion is as infectious as their knowledge and insight is vast.
achievements and that this thriving cultural field is being exposed to
As tastemakers far ahead of the curve, their dedication to the
a wider audience.
emerging arts, whether from China, India, the Middle East and now Turkey, has always been and continues to be second to none. I invite you to, like me, let your mind and eyes be mesmerized by the rich wonders of contemporary art from Turkey which this catalogue and exhibition proudly celebrates.
Confessions of Dangerous Minds Ahu Antmen
TURKEY SINCE THE 1980s has been going through an array of
Conceptualism. The New Trends exhibitions which in contemporary
identity, while others only reflect how Western-oriented cultural
Moving from Taner Ceylan’s photographic paintings to Nazif
economic, political and cultural changes that is transforming not only
Turkish art history is considered to have been the threshold to
practices have shaped that identity. Diversity in medium and stylistic
Topcuoglu’s painting-like photographs, one is faced with the
patterns of life, but many aspects of visual culture. New paradigms
alternative practices, was held for the first time at the Academy
tendencies is the most prominent feature in recent Turkish art,
question as to what captures the eye in today’s visual culture: is it the
are on their way, as can be felt and seen in the ways in which the
in 1977. It was in these exhibitions that artists searching for new
which coincides with the pluralism of international artistic practice
story behind the image, or the mechanics of the image itself? Erinc
old ideologies and mannerisms are crumbling. But Turkey being the
ways of making art, such as Füsun Onur, Ayse Erkmen, Sanat Tanımı
since the 1990s. While we can find interesting examples in different
Seymen creates short visual cuts of contemporary culture through
Janus that it is, facing both tradition and modernity, this change is
Toplulugu (The Definition of Art Group) and Gülsün Karamustafa
mediums such as painting, sculpture, installation, photography and
the image using graphic signs that he borrows or invents, while Leyla
neither a leap into the future nor a lapse back into the past, but an
first exhibited their work. The Academy lost its driving force in the
video, we can also witness an artist freely moving from one medium
Gediz seems more interested in reflecting the personal confusions
amalgam of both dynamics. It is this that is shaping the new Turkey,
1980s, while the neo-liberal turn at the time created a society in which
to another in the pursuit of creating meaning within the most apt
of the contemporary individual in times and places that we can only
and such a country creates interesting visions and reflects stirring
other cultural forces, and almost exclusively private endeavours, took
mode of expression.
guess to be real or imaginary. Sıtkı Kösemen’s images of women also
images. Just think: you can come across a topless woman and a
over the mission to ‘capture the present’, as it were, and embarked
woman covered from head to toe wearing the new design discovery
on a journey that dramatically changed the scene for contemporary
But it is also possible to find common ground on which to base this
characters, while Canan Senol’s feminist approach touches critically
‘swim-cover’ on one and the same beach. You can be surprised to
art in Turkey. Let us point out however that, despite the recent boom
diverse artistic production. Though of different generations reflecting
on the issue of woman as an object of contemplation in both art and
learn that while Turkey was one of the first countries to grant women
and the apparent buzz of activity institutionally and economically
different historical and personal histories, contemporary Turkish
culture.
the right to vote and stand for election, the number of ‘honour
the art scene still hangs by a thin thread. There is still no sufficient
artists share certain traits and interests that can be felt to be at
killings’ of young women by male family members is shocking.
public or private support to sustain the rapid developments in Turkish
the core of the artistic transformation in the last decades. The first
Deniz Uster’s parodies of famous masterworks directly borrows
Political arguments in Turkey these days can centre on a child’s right
contemporary art today.
is a tendency to question the basic premises of the ‘big questions’
from art, an approach that can be said to be a common thread that
related to social and cultural life in their homeland, such as what
binds all these artists – almost all show a parodic approach to the
to wear a veil in primary school in the name of democracy, yet naming
reflect a boundary between fantasy and reality in the image of women
a child with a Kurdish name can still cause legal trouble. It doesn’t
Other exhibitions in the 1980s and the early 1990s, such as the
constitutes the idea of nation, identity, culture, tradition, modernity
image in various indirect ways, reminding the viewer of art historical
take much guessing to see what is happening: Turkey has entered the
Artists of Today exhibitions (1980 to the present), A Cross-section of
and how ‘big answers’ related to such issues are shifting. Turkish
references. Ramazan Bayrakoglu’s burning pope is one such
new millennium on a time machine that has brought with it the return
Avantgarde Turkish Art (1984–88), the A, B, C, D exhibitions (1989–93),
artists today realize that the personal can be and is political when
example. Although Bayrakoglu generally creates visual wonders
of the repressed: its historical past deeply ingrained with religion,
and the Youth Event (1995–98) all constituted a new basis for artists of
one is talking from an outsider’s position wherever that is situated,
of the mundane through an elaborate sewing technique, his recent
its modernist sense of nationhood deeply set on the idea of Turkish
alternative tendencies, while the launch of the International Istanbul
be it in gender, ethnicity or plain existential angst. A bursting
experiments with other techniques also reflects an interest in the
identity, and its current postmodern state where all meanings related
Biennial in 1987 and its subsequent impact brought confidence to
tendency for narrative, a desire to tell stories of social relevance, is
dynamic process of image-making. Yasam Sasmazer’s figurative
to such matters are constantly shifting. Needless to say, such a
local contemporary artists, confirming their pursuit for a new artistic
another common feature that binds these artists seldom interested
sculpture of children, or should we say ‘little people’, is perhaps one
vibrant atmosphere provides fertile ground for artists. Indeed, Turkish
language. It also brought a chance to connect with an international
in blank avant-garde gestures. Confessions of Dangerous Minds is
of the highlights of the show … Made to confess something seemingly
art of the past 20 to 30 years tends to be interesting, ironic, funny,
network of artists and art professionals. Many of the artists who
thus an interesting title for a collection that brings together a group
naughty, there is something uncanny in the fantastic world the artist
witty, sharp, edgy. It poses questions, it provokes arguments. It leaves
started showing internationally actually made their careers outside
of contemporary Turkish artists who in different ways use art as a
creates, a feeling that we all remember from our childhood. It is that
the onlooker surprised at the sheer variety of human material a place
of Turkey, and in most instances their work was only shown in Turkey
kind of confession in a society where democracy is understood, still,
eye within: the push towards the urge to confess!
has to offer.
later. The series of Istiklâl Adventure exhibitions curated by René
as the rule of the many and thus ‘confessing’, or even just saying
Block at the Yapı Kredi Kazım Taskent Art Gallery (2007–10) brought
what(ever) you think can constitute a falling-out of the rigid norms of
Confessions of Dangerous Minds is a selection of works that is
such artists to the closer attention of a local audience.
that majority.
endlessly interesting to look at with their references to art history,
Although host to one of the most popular biennials in the world, Turkey’s contemporary art scene has taken time to flourish and
to contemporary visual culture, and to pop icons and attitudes. It
attract international interest. The lack of institutional support in both
The conditions under which contemporary Turkish art has been
The artists included in the Confessions of Dangerous Minds reflect
reflects a world of signs that are themselves confessions of how
public and private terms was the main reason for the late-coming.
developing has thus lead to a framework in which artists of different
the diversity which we find in the Turkish art scene in various
Turkey’s visual culture is inevitably tied to contemporary global
Prior to the 1980s, very few private galleries existed and there was
generations fall under the same rubric of ‘Turkish Contemporary’,
aspects, from the choice of medium to the choice of subject matter.
culture, beyond the confines of one’s own cultural identity.
virtually no interest in contemporary art. But this is not to say that
but they do not share common ground in relation to their generation
Ansen is interested in the interdisciplinary aesthetics of the image
an urge for the contemporary in visual expression did not exist. On
(as in a peer group situation such as the YBAs), in relation to their
in an age of new visual technologies, while Canan Tolon creates
the contrary: the state of being contemporary has been something
outlook on life (as in a circle of like-minded artists), or in their
works that question the underlying structures beyond both nature
of a cultural mission for the Turkish art world, causing artists to
relation to certain mediums or stylistic tendencies (pluralism rules
and culture. Ansen abstracts from the photographic image, so
develop an eye always on the lookout for new cultural trends and
the day). Indeed, ‘Turkish Contemporary’ is inter-generational; some
making visible the mystery of that abstracting process; Tolon hides
artistic currents. Ironically, the Art Academy (today the Mimar
of the leading, active figures are in their sixties, while the upcoming
the process and shows only the enigma of the image. Taner Ceylan’s
Sinan Fine Arts University) was the most progressive force in the
generation are in their twenties and thirties. Turkish contemporary art
hyper-realism also reflects an interest in visual processes, but his
Turkish art world until the 1980s, with instructors urging students
includes different outlooks on life; there are many artists interested
subject matter, an interest in the visual culture of the marginal is to
towards international current trends such as Pop, Minimalism and
to show ideologically the historical conditions that define Turkish
the fore.
Ahu Antmen is a lecturer, art critic and writer. She studied at Istanbul University and then at Goldsmiths College in London where she was awarded with an MA in 20th-century art. She lectures on 20th-century and contemporary art in the Faculty of Fine Arts at Marmara University in Istanbul. She is a contributor to several books including Unleashed: Contemporary Art from Turkey (2010) and has written monographs on Turkish artists such as Ali Teoman Germaner and Hale Tenger. She writes regularly for the daily Turkish language newspaper Radikal.
Curatorial note
Carlo Berardi and Jason Lee (Artnesia)
confe s sions of dangerous mind s
We first visited Istanbul in October 2008, on the occasion of the third edition of the art fair there. While researching artistic movements from the Middle East, we were hearing that something very intriguing was happening in Turkey, so curiosity was really the main driving force behind our first visit. In a way, this trip was an epiphany for us. Having seen the works by a number of extremely talented artists, it did not take us long to realise that we had to put together an
C O N T E M P O RARY AR T F r o M T U R K E Y
exhibition in London. Sitting at the crossroads of Asia and Europe, Turkey raises a range of important questions for artists and their state of mind. We quickly
This exhibition is, in effect, a journal recording the many complex
came to understand that one could see in these works the artists’
stories which bind the artists with their primary subject matter:
feelings, their passions and hidden emotions, as well as their doubts
issues of identity, politics, gender and nationalism. The exhibition,
and fears.
which is the first of its kind in the United Kingdom, will certainly raise the profile of contemporary art from Turkey. It has taken us over
When, after some research, we started to give a direction to our
two years to put together a selection of works that represents each
project, we decided that we wanted to explore the full breadth, depth
artist at his or her best. We are certain that it will open the doors to
and diversity of Turkey’s visual arts. This meant featuring both artists
a number of diverse international collectors who are keen to start
living and working in Turkey as well as those from the diaspora who,
looking at Turkish art.
despite living abroad, have kept very close to their artistic roots and traditions.
Ansen Kutlug Ataman
Our aim is to provide visitors to the exhibition with a selection of works coming from a country with a millenarian culture and located in a very particular geographical position. We chose the
Ramazan Bayrakoglu Canan
title Confessions of Dangerous Minds, as we believe that the works
Taner Ceylan
portray visually the inner self of each of the artists. So we are, in one
Hussein Chalayan
sense, inviting the visitors to read the artist’s minds while looking at the works, in order to discover this divergence between essence,
Leyla Gediz
appearance, sexuality, death, persuasion that eventually becomes the
Yesim Akdeniz Graf
leitmotif of this show.
Sitki Kosemen Sukran Moral Ardan Ozmenoglu Yasam Sasmazer Erinc Seymen Erkut Terliksiz Canan Tolon Nazif Topcuoglu Deniz Uster Ebru Uygun Ekrem Yalcindag
Ansen Through Ya, 2005 Lambda monoprint 140 Ă— 100 cm (triptych) This work is unique
KUTLUG ATAMAN Stefan’s Room, 2004 Five-screen video installation (approximately 45 minutes) Edition of 5
Ramazan Bayrakoglu The sacred fire of faith, 2010 –11 Satin and embroidery on canvas 235 × 145 cm
Ramazan Bayrakoglu Cockpit, 2011 Silkscreen ink on Plexiglas panel 195.5 Ă— 245 cm
Canan Fountain, 2000 Video loop (57 seconds) Edition of 6
Taner Ceylan Je t’aime Peggy, 2008 Oil on canvas 140 × 200 cm
Hussein Chalayan Hussein Chalayan
I am sad Leyla (Üzgünüm Leyla), 2010
I am sad Leyla (Üzgünüm Leyla), 2010
C-type photograph mounted on aluminium and framed
Film on DVD (7 minutes 17 seconds)
80 × 110 cm
Edition of 6
Edition of 3
Leyla Gediz Yengeรง (Crab), 2006 Oil on canvas 100 ร 80 cm
Yesim Akdeniz Graf Cassandra Complex 2, 2010
Oil on canvas 190 Ă— 150 cm
Sitki Kosemen
Sitki Kosemen
Belly Dancer, 2010
Semiha Berksoy, 2010
C-print on paper
C-print on paper
120 Ă— 120 cm
120 Ă— 120 cm
Edition of 5
Edition of 5
sukran moral
sukran moral
Despair, 2003
Pero, 2010
Video
C-print
Edition of 5
150 Ă— 100 cm Edition of 5
ardan Ozmenoglu
ardan Ozmenoglu
ardan Ozmenoglu
ardan Ozmenoglu
Ataturk, 2011
Ataturk, 2011
Ataturk, 2011
Ataturk, 2011
Mixed media on Post-It notes
Mixed media on Post-It notes
Mixed media on Post-It notes
Mixed media on Post-It notes
84 × 70 cm
84 × 70 cm
84 × 70 cm
84 × 70 cm
Ardan Ozmenoglu Every man’s dream, 2010 Ceramic sculptures Dimensions variable
Yasam sasmazer
Yasam sasmazer
Treacherous Wolf, 2008
Gruesome Bear, 2011
Hand-painted linden wood sculpture with vinyl
Hand-painted linden wood sculpture with vinyl
140 × 45 × 40 cm (figure)
138 × 45 × 42 cm (figure)
Erinc Seymen Ikna Odasi (Persuasion Room), 2008 Oil on canvas 100 Ă— 70 cm
Erinc Seymen
Erinc Seymen
Untitled, 2009
Untitled, 2009
Paillette embroidery on fabric
Paillette embroidery on fabric
200 cm (diameter)
200 cm (diameter)
erkut terliksiz
erkut terliksiz
erkut terliksiz
erkut terliksiz
Untitled, 2007
Dog, Sheep, Hat, 2007
Untitled, 2007
Untitled, 2007
Mixed media on MDF
Mixed media on MDF
Mixed media on MDF
Mixed media on MDF
100 × 70 cm
100 × 70 cm
100 × 70 cm
100 × 70 cm
Detail: single panel
Canan Tolon Waiting to Happen, 2010 Oil on board (sixteen panels) Each: 30 Ă— 30 cm; overall: 120 Ă— 120 cm
Canan Tolon Nature Morte (November), 2010 Rust and pigments on canvas 154 Ă— 124 cm
Nazif Topcuoglu
Nazif Topcuoglu
Hunger, 2011
Murder Mystery, 2009–10
C-print on paper
C-print on paper
65 × 75 cm
70 × 60 cm
Edition of 5
Edition of 5
Nazif Topcuoglu Theatre for the blind, 2009 –10 C-print on paper 55 × 78 cm Edition of 5
Nazif Topcuoglu Introspection, 2010 C-print on paper 55 Ă— 77 cm Edition of 5
deniz uster Transmutation (after Titian), 2008 Oil on canvas 119 Ă— 165 cm
deniz uster Transmutation (after Vermeer), 2008 Oil on canvas 50 Ă— 40 cm
Ebru Uygun Twisted Resonances, 2011 Mixed media on canvas 200 Ă— 200 cm
Ekrem Yalcindag Impressions from the street, 2010–11 Oil on canvas 200 cm (diameter)
ANSEN b. 1978
Ramazan Bayrakoglu b. 1968
Taner Ceylan b. 1967
Leyla Gediz b. 1974
Ansen, who is known only by his first name,
Ramazan Bayrakoglu was born in 1968 in
Taner Ceylan was born in Selb, Germany in 1967.
Born in Istanbul in 1974, Leyla Gediz studied at
was born in Kayseri in 1978. He graduated in
Balikesir, and now lives and works in Izmir. He
He graduated from the painting department
a succession of London art colleges – Chelsea,
2003 from the painting department in the Fine
began his art education in 1984 Department of
of the Faculty of Fine Arts at Mimar Sinan
the Slade and Goldsmiths – before returning
Arts Faculty of Mimar Sinan University. In 2004,
Painting in the Faculty of Fine Arts at Dokuz
University in 1991. He has shown his work in
to her native city. Gediz’s first exhibition, Cool,
his first solo exhibition, x-ist-ence, was held at
Eylül University in Izmir. He has had four solo
numerous solo and group exhibitions since
organized by Giacomo Pica, was held in 1999 in London. Other solo exhibitions have been held
Gallery x-ist in Istanbul. Ansen has since held
shows, including 1km at Dirimart in Istanbul,
1990, both locally and internationally, in Turkey,
three solo exhibitions: Resistance (2006), Menace
(2009) and Earth and Fiber at Galery Apel in
Switzerland, Spain, Luxembourg, Germany and
at Galerist in Istanbul, Roberts & Tilton in Los
(2008), and The Trace (2009). He also participated
Istanbul (2007), and had been in numerous group
the United States. His most recent exhibitions
Angeles, at Fabian-Claude Walter Gallery in
in numerous local and international group shows;
shows, such as When Ideas Become Crime at
are Istanbul Cool! What’s Happening in
Zurich, at Österreichisches Sankt Georgs-kolleg
the last one was Tradition of New: New Aspects
Depo in Istanbul (2010), Istanbul Cool! What’s
Contemporary Turkish Art Now, LTMH Gallery
in Istanbul, and at Cable Gallery in Helsinki.
in Contemporary Asian Art at the Sakshi Gallery
Happening in Contemporary Turkish Art Now,
(New York, 2010); a solo show at Galerist,
Gediz also participated in local and international
in Taipei (2009). His works have been selected
at LTMH Gallery, New York (2010), and Istanbul
Istanbul in 2010; Abstraction of Nothing, another
exhibitions such as Fantasy & Island, at FRAC
for a number of international art fairs including
Modern Berlin, at Martin-Gropius-Bau (Berlin,
solo exhibition at I-20 Gallery in New York in 2009;
in Corsica (2010), and A Dream … but not yours:
SCOPE New York and SCOPE Basel in 2010,
2009). Bayrakoglu brings conceptual content to
and Naked!, a group show curated by Adrian
Contemporary Art from Turkey, at the National
and ART HK 10 (Hong Kong International Art
painting by disrupting the classical perception
Dannatt at the Paul Kasmin Gallery in New York
Museum of Women in the Arts in Washington
Fair, 2010). Ansen’s work offers a unique look at
of the genre through a variety of disciplines.
(2009). Ceylan is now seen as the leading hyper-
(2010). Her distinctive paintings deal with themes
a new hybrid between painting, sculpture and
For example, he often uses text to open up
realist artist in Turkey. Ceylan’s astoundingly
such as everyday life, and though her works
photography. His work operates at the cusp of
semantic games in his works, and in so doing,
realistic paintings are technical masterpieces
often appear to have a strong narrative content,
figuration and abstraction, and what at first
he has developed an approach free of standard
of patience and precision. Basing the work on
there is also a sense of ambiguity. Although
appears elusive is, upon closer examination, a
forms and open to different materials and
an actual image, and enlarging it using digital
her approach is autobiographical, her art is not
readable narrative component.
implementations.
means and the painstaking use of a paintbrush,
entirely self-absorbed as she engages with the
Ceylan repeatedly embellishes the original to
viewers on both a humorous and emotional level.
convey a narrative and a new sense of reality.
Gediz currently lives and works in Istanbul.
Kutlug Ataman b. 1961
Canan b. 1970
Hussein Chalayan b. 1970
Yesim Akdeniz Graf b. 1970
Kutlug Ataman lives and works in London,
Born in Istanbul in 1970, Canan originally studied
Hussein Chalayan was born in Nicosia, Northern
Yesim A. Graf was born in Izmir and received
Islamabad and Istanbul. After he received
business administration before moving to the
Cyprus, in 1970 and graduated from the Turkish
her art education from the Art Academy in
his bachelor’s degree from the University of
painting department of Marmara University.
Maarif College there. He moved with his family
Düsseldorf, Germany. She did her postgraduate
California in Los Angeles (UCLA), he continued
She has won many awards and participated
to the UK in 1978, where he was granted British
work at De Ateliers in Amsterdam. Graf also
his studies there for his master of fine arts
in residency programmes in Germany and the
citizenship. He first studied for a National
took part in the artists’ residency programme
degree. His works have been shown at several
USA. Her exhibitions include her solo show
Diploma in fashion and clothing at Warwickshire
in Platform Istanbul, 2010. Her solo exhibitions
international exhibitions, such as Documenta in
Even a Cat Has a Moustache at Gallery x-ist in
School of Arts, and then studied fashion design
include Ulalume at Galerie Fons Welters
Kassel (2002) as well as the Biennials in Berlin
Istanbul (2010), her performance Bashfulness (at
at Central Saint Martins College in London.
(Amsterdam, 2011), A World Full of Lies at
(2001), São Paulo (2002) and Istanbul (1997, 2003,
Platform Art Center, Istanbul, 2007, and at Center
Chalayan is one of Turkey’s best-known and most
Galerist (Istanbul, 2009), and in 2003 at Galerie
2007), at the Venice Biennale (1999) and at the
Pompidou, Paris, 2010), Finally in You’re in Me
respected designers, and was the recipient of
Klinkhammer un Metzner (Düsselforf). She
Tate Triennial (2003). His solo exhibitions have
(Istanbul, 2000) and New Works, New Horizons,
the Designer of the Year awards in 1999 and 2000.
has taken part in group exhibitions at 20/20
been held at leading galleries and museums
at the Istanbul Modern Museum in 2009. As well
He represented Turkey at the Venice Biennale in
Vision in Stedelijk Museum CS (Amsterdam) in
worldwide, such as Istanbul Modern (2011),
as participating in the 2005 Istanbul Biennal, the
2005 and presented a critically acclaimed survey
2004, Deutchemalereizweitausenddrei (curated
Whitechapel Gallery in London (2010), Ludwig
1st Valencia Biennal in 2001 and 9th International
at London’s Design Museum in 2009, which later
by Nicholaus Schafhausen) in 2003 at the
Museum in Cologne (2009), and the Serpentine
Print Biennal in Varna in 1997, the artist has also
toured to the Museum of Contemporary Art in
Kunstverein in Frankfurt. Graf’s work are held in
Gallery in London (2002). His works are in major
exhibited in the USA, Brazil, France, Germany,
Tokyo and to the Istanbul Museum of Modern
special collections such as those of Deutsche
collections including those of MoMA, New
Italy, Netherlands, Spain and the UK. Canan’s
Art. His most recent exhibition was at the Lisson
Bank, Nederlandiche Bank, Frieze Museum
York, Thyssen-Bornemisza Art Contemporary,
work occupies a feminist position, addressing
Gallery in London in 2010. Chalayan’s pioneering
(The Netherlands).
Vienna, the Dimitris Daskalopoulos Collection,
the corrective and normalising role of social
approach and restless creativity means that he
Athens and the Carnegie Museum, Pittsburgh.
institutions and the different religious, political
frequently transcends the boundaries between
Ataman’s video and film works document the
and patriarchal foundations that structure
disciplines, drawing on themes from the fields of
lives of marginalized individuals who give voice
everyday life.
art, anthropology, music and design.
to their own obsessions, their relations with power structures and verbalize straightforwardly their subliminal issues or sexuality.
© Chris Moore
© Linz09
artist biographies
Sitki Kosemen b. 1955
Ardan Ozmenoglu b. 1979
Erinc Seymen b. 1980
Canan Tolon b. 1955
Sitki Kosemen was born in Izmir in 1955. He
Ardan Ozmenoglu was born in Ankara in
Erinc Seymen was born in Istanbul in 1980. He
Canan Tolon was born in Istanbul in 1955. She
studied architecture at the Middle East Technical
1979. She graduated from the Department of
graduated from the Faculty of Arts at Mimar
received her BA from Middlesex University,
University and exhibited his art works for the
Landscape Architecture and Urban Design in
Sinan University in 1999. He completed his
London (1980), and a Master of Architecture from
first time in 1977. He has had numerous solo
the Faculty of Art, Design and Architecture at
master’s degree at the Faculty of Art and
University of California at Berkeley in 1983. Her
shows and appeared in many group exhibitions.
Bilkent University in 2002. Between 2003 and 2006,
Design of Yildiz Technical University in 2006.
paintings and installations have been exhibited
His prolific output also includes a wide variety
Ozmenoglu worked as a part-time landscape
He has had several solo exhibitions and has
nationally and internationally, and her work
of projects such as photo interviews, postcard
architect and urban designer at Kentimaj Urban
participated in many group exhibitions in Turkey
is in numerous collections. She has had solo
projects and published photography projects,
Design & Architecture Company in Ankara.
and abroad. In 2007 he had a solo exhibition at
exhibitions recently at the Galeri Nev, Ankara
including The Golden Horn 1993, Essays on the
She was a guest artist at the Kala Art Institute,
Van Abbemuseum in Eindhoven and at Hiap
in 2010 and at the SFMOMA (San Francisco
Bosphorus, 2000, I Beyoglu, Bodrum Deep, Diaries,
Berkeley in the USA (2007). She has had solo
Project Spece in Helsinki. In 2009, he showed in
Museum of Modern Art) in 2009. In 2008, she
and Today is Today. His video art projects include
exhibitions at ALANistanbul, Gallery Play Studio
Ikna Odasi at Galerist in Istanbul. In 2010 he took
exhibited at Galeri Nev Istanbul and at Gallery
Portraits of Turkey (1998), Europeans (1999),
in Istanbul, and Galerie IAC Berlin (all 2008),
part in the group shows About Us, at Johann
Paule Anglim in San Francisco. Tolon is known
Midyat (2000), Pervari (2003), and Ice Cream, They
at Ilayda Art Gallery and Ekav Art Gallery, both
König in Berlin, and Nomos et Physis at Galerie
for her inventive processes, accidental and
Scream (2009). Kosemen has been working as an
in Istanbul, in 2009, and in 2010 at AC Institute
de l’UQAM in Montreal. His works are avowedly
premeditated, mostly inspired by architectural
artist using photography since the early 1990s.
in New York. She has participated in many
political, focusing in particular on the issues of
spaces in conflict with natural elements. Her
His central theme is Istanbul and its socio-
group shows in Turkey and abroad. Ozmenoglu
national identity and the status of homosexual
painting technique simulates photography in its
political transitions reflected in intriguing street
has created a unique place for herself in the
people. He works in various media such as
manipulation of reality and imagination, while
panorama and other spectacular photographic
art world, working in between the disciplines
painting, video, photography and installation art.
her sculptures use refraction to handle spatial
scenes. He also explores the everyday lives of the
of sculpture and printmaking. Her art is based
Parallel to the diversity of materials in his work,
illusions and senses of gravity. Her work reveals
city’s multi-cultural inhabitants through micro-
upon the idea of repetition in the process of
the artist uses many forms of visual expression
a vision of a problematic world often overlooked.
narrations. Kosemen works with Plan Creative
image consumption, history, and permanence in
rather than following a strict style, building
She lives and works both in Istanbul and in
Ltd on design, photography and video projects.
relation to mass production and ritual.
labour-intensive compositions woven with
San Francisco.
complex stories as well as plain and unexpected iconographic tricks.
Sukran Moral b. 1965
Yasam Sasmazer b. 1980
ERKUT TERLiKSiZ b. 1978
Nafiz TopCuoglu b. 1954
Sukran Moral was born Terme, in Samsun
The sculptor Yasam Sasmazer was born in
Erkut Terliksiz was born in 1978. After graduating
Born in 1954, Nazif Topcuoglu graduated with
province in Turkey in 1965. She moved in 1989 to
Istanbul in 1980. She studied in the workshop of
from the Department of Graphic Design in the
a Masters degree from the Institute of Design
Italy and in 1995 she graduated from the painting
Professor Rahmi Aksungur and graduated from
Faculty of Fine Arts at Mimar Sinan University in
in Chicago in 1981. Since then he has exhibited
department of the Academy of Fine Arts of
the Sculpture Department in the Faculty of Fine
2002, Erkut worked for many years as a designer
worldwide and has published three books on
Rome (Accademia di Belle Arti di Roma). Since
Arts at Mimar Sinan University in 2003. She
in various companies and as a freelancer. He
the history and criticism of photography. Nazif’s
1994, Moral has exhibited her performances/
completed her master’s degree at her alma mater
had his first solo exhibition, Debut, in 2007 in
work was included in the Turkish pavilion at
videos and installations worldwide. She has also
in 2006. Yasam has had several solo exhibitions
Gallery x-ist in Istanbul. Since then, he has
the 50th Venice Biennale in 2003 and he has
been included in many important group shows
and has participated in many group exhibitions
exhibited in Barcelona, Australia, Italy, Germany,
held several solo shows both in Istanbul and
in Turkey and abroad. Her work Hamam, which
and art fairs in Turkey, Europe and the USA.
France, China and Sweden. His most recent solo
abroad. Most recently he participated in the Solo
was exhibited in the 1997 Istanbul Biennial, is
Sasmazer’s two most recent solo shows are It’s
exhibition was Till We Meet Again at Gallery x-ist
Project in Basel in 2009 and was included in the
a highly influential work, and articles about her
so complicated, at Berlin Art Projects (2010), and
in Istanbul in 2010. Terliksiz and his work have
group show entitled A Subjective Panorama of
work have been published internationally. Her
Strangely Familiar, at the Cagla Cabaoglu Gallery
been featured in a range of magazines and books
Contemporary Turkish Photography as part of the
works have focused on various conditions of
in Istanbul (2010). Sasmazer lives and works
such as Pictoplasma, The Big Book of Illustration
Turkish Cultural Season in Paris at the Maison
religious and cultural restraint and pressure on
in Istanbul. Working in solid wood, Sasmazer
Ideas, Zupi magazine in Brazil and Place in Spain.
de Metallos in November 2009. Topcuoglu’s
women, and she has made many documentary
creates life-sized figures of children to explore
Terliksiz works in Istanbul.
works are in private and public art collections.
video-performances about those people who
many issues and concepts such as good and bad,
His work is included in several publications on
are often alienated by society, such as mentally
adulthood, and authority. The children are seen
contemporary art including Vitamin Ph: New
disabled people, immigrants, transsexuals and
to be occupied in different ways: imitating their
Perspectives in Photography (2006), User’s
prostitutes. Moral lives and works in Istanbul and
parents, being cheeky, dressing up, and even
Manual: Contemporary Art in Turkey 1986–2006
Rome.
eating some sort of blood-coloured fruit.
(2007), and Unleashed: Contemporary Art from Turkey (2010).
Deniz Uster b. 1981
Ekrem Yalcindag b. 1964
Deniz Uster was born in Istanbul in 1981
Ekrem Yalcindag completed his undergraduate
and is now based in Glasgow. She did her
degree at Izmir Dokuz Eylul Fine Arts
undergraduate degree in painting and drawing
Department and has since obtained his Masters
at Mimar Sinan Fine Arts University, and gained
in Fine Arts at Frankfurt a.M. Städelschule (in
her MA in Visual Arts and Visual Communication
Professor Hermann Nitsch’s studio). Yalcindag
Design at Sabanci University in Istanbul. In
has had several solo exhibitions, at Galerie Karl
June 2010, she completed her MFA studies at
Pfefferle in Munich, Kai Middendorff in Frankfurt,
Glasgow School of Art. Since 2004, Uster has
and Dirimart in Istanbul. He has also shown
had solo exhibitions and participated in many
his work in many group shows, such as From
group shows in Turkey and abroad. In 2010,
Traditional to Contemporary in Istanbul Modern
she exhibited in 16 shows in the UK, France,
Museum in 2010, Slow Paintings in Museum
Germany and Turkey. Young Scottish Video
Morsbroich Leverkusen in 2009, Nitsch – Vorbilder
Works (a collaborative video screening between
Zeitgenossen Lehre at Künstlerhaus in Vienna
Collective Gallery and Pist) in January 2011 is
in 2009. Yalcindag’s work is held in several
her most recent show in Istanbul. Her work often
important private collections, such as those
implies a process of transmutation, through the
of Allianz Collection (Munich), Borusan Perili
language of alchemy. However, differing from the
Kosk (Istanbul), Goetz Collection (Munich),
sublimity that is characteristic of hermeticism,
Istanbul Modern Museum, and Kunstmuseum
her works transform the valuable and the
(Stuttgart). Yalcindag lives and works in Istanbul
profitable into the futile and the useless.
and Frankfurt.
Ebru Uygun b. 1974 Ebru Uygun completed her art education in the Art and Design Department at Kingston University in the UK. She has had solo shows at Siyah Beyaz Gallery (Ankara), CAM Gallery (Istanbul), Mac Art Gallery (Istanbul), Dirimart (Istanbul) and Green Art Gallery (Dubai, UAE). She has also been featured in group exhibitions such as Istanbul Cool: Turkish Contemporary Art at Close Proximity at LTMH Gallery (New York)
Published to coincide with the exhibition
in 2010, Marlborough Gallery (New York) in 2009,
Confessions of Dangerous Minds: Contemporary Art from Turkey
Coco Kühn & Ebru Uygun in Dirimart (Istanbul) 2007, Breeze to the Future at Sabanci University, in 2002, and at KASA Gallery (Istanbul). Uygun’s
16–30 April 2011 Phillips de Pury & Company Space at The Saatchi Gallery Duke of York’s HQ, King’s Road, London SW3 4SQ
works are in a number of important private collections.
Phillips de Pury & Company Howick Place, London SW1P 1BB Enquiries +44 20 7318 4010 ARTNESIA www.artnesia.com Front cover: Nazif Topcuoglu, Murder Mystery, 2009–10 Back cover: Canan Tolon, Waiting to Happen, 2010 All text © the authors 2011 All works © the artists 2011 Hussein Chalayan: courtesy the artist and Lisson Gallery, London Printed in the United Kingdom Phillips de Pury & Company
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