Second Encounter
Second Encounter
The second encounter… how transparent, unbiased, threatening or meaningful can it be? This exhibition presents an approach: an existence not repeating or destructing itself, a tally and an attempt to visualize itself on the processed pattern. With the way it handles the lieu and with its artist selection, Second Encounter seeks an amorphous yet practicable identity, which simultaneously embodies almost everything – a condition discerned in the spatial theme, an urban, archaeological and ideological texture, the subconscious striking root in childhood, a blurred moment.
Rumeli Han, where cultural and historic diffractions among several layers were staged, is hosting both the exhibition and artSümer for the first time.
Artists taking part in the exhibition work especially on textures. They make annexations to the texture without deconstructing the essence of the story. For instance, Kemal Seyhan touches the multi-layered character of the canvas as space, while he questions the act of painting via spatula taps on the texture. Wandering between life and dream, 2D and 3D, Damla Tokcan Faro questions the relationship between today’s person and the metropolis via her blurred photographs. On the other hand, Onur Gülfidan’s people belong to an indefinite time and place. They are bodies alienated by technology. Taking technology in a setting where images multiply rapidly Fahrettin Örenli inquires the reality of the image via different patterns. İnci Furni highlights the alienation concept in this exhibition. With her audience she shares stories taking place in the complicated habitat of a sci-fi planet.
Renowned for her 3D works, Ayla Turan refers to the structural subconscious of the environment through the chain piles dangling from the ceiling, while Can Altay is exhibiting his photos mostly implying the urban memory.
In her work titled “The Lost Grandchild” – printed on moulage paper- Ceren Oykut depicts a private story in an urban setting. Another artist, equally fastidious, Gözde İlkin questions sexual and social identities in her figures sown on fabrics with colored strings. In a way, she reverses the texture she works on. Glazed on brick, the script segments and images by Canan Dağdelen fit in a bigger picture in Rumeli Han, the worn out bricks of which are left untouched.
The second encounter… how transparent, unbiased, threatening or meaningful can it be? This exhibition presents an approach: an existence not repeating or destructing itself, a tally and an attempt to visualize itself on the processed pattern. With the way it handles the lieu and with its artist selection, Second Encounter seeks an amorphous yet practicable identity, which simultaneously embodies almost everything – a condition discerned in the spatial theme, an urban, archaeological and ideological texture, the subconscious striking root in childhood, a blurred moment.
Rumeli Han, where cultural and historic diffractions among several layers were staged, is hosting both the exhibition and artSümer for the first time.
Artists taking part in the exhibition work especially on textures. They make annexations to the texture without deconstructing the essence of the story. For instance, Kemal Seyhan touches the multi-layered character of the canvas as space, while he questions the act of painting via spatula taps on the texture. Wandering between life and dream, 2D and 3D, Damla Tokcan Faro questions the relationship between today’s person and the metropolis via her blurred photographs. On the other hand, Onur Gülfidan’s people belong to an indefinite time and place. They are bodies alienated by technology. Taking technology in a setting where images multiply rapidly Fahrettin Örenli inquires the reality of the image via different patterns. İnci Furni highlights the alienation concept in this exhibition. With her audience she shares stories taking place in the complicated habitat of a sci-fi planet.
Renowned for her 3D works, Ayla Turan refers to the structural subconscious of the environment through the chain piles dangling from the ceiling, while Can Altay is exhibiting his photos mostly implying the urban memory.
In her work titled “The Lost Grandchild” – printed on moulage paper- Ceren Oykut depicts a private story in an urban setting. Another artist, equally fastidious, Gözde İlkin questions sexual and social identities in her figures sown on fabrics with colored strings. In a way, she reverses the texture she works on. Glazed on brick, the script segments and images by Canan Dağdelen fit in a bigger picture in Rumeli Han, the worn out bricks of which are left untouched.