Exhibitions » Exhibitions » Infact





Bengü Karaduman, Chiharu Shiota, Cindy Sherman, Erwin Wurm, Gavin Turk, Hale Tenger, İhsan Oturmak, Jim Shaw, Nezaket Ekici, Özlem Günyol,Pan Yue, Ragıp Basmazölmez, Ramazan Bayrakoğlu, Thomas Houseago, Tunca Subaşı

Exploring the phenomena of representation and attribution; questioning the expression of being through the attributed and models of representation, the exhibition includes works from different media.

While Chiharu Shiota's hollow dress titled "State of Being", which represented the Japan Pavilion at the previous Venice Biennale, envelops an indefinable reality that we only know exists, Tracey Emin's photograph questions the meanings attributed to a phenomenon and its weight and cost. On the one hand, Gavin Turk disrupts our order of definitions with a giant blue rug that has meaning through its creator; on the other, İhsan Oturmak examines the limits of imposed definitions. The moment of holding an identity and the desire to be expressed in Bengü Karaduman's "Sketch for a New Body" depicts an ongoing but incomplete state of becoming, while Volkan Kızıltunç's video explores the phenomenon of posing and 'posing'. Hale Tenger's "Self-portrait" salutes the works of Cindy Sherman, one of the most important representatives of the "appropriation and fiction technique", in which she questions her own identity and the reality attributed to her by changing disguises and assuming different identities throughout her art practice. Özlem Günyol's "What is there today?" rethinks the issue of social representation through the realities we are exposed to.

As we navigate through the impasse of definition and recognition with "signs", marks and images, objects are made meaningful through what they "are not". While all of the works in the exhibition create a layered journey of meaning and reference, they provide a new reading through what they point to, not what they are.

The exhibition includes 17 works that aim to re-question and bring up the concept of representation, which has been scrutinized since the 80s when "simulacra" and appropriation techniques became a medium in contemporary art, in today's reality.

How do we re-evaluate the increasingly impossible concept of representation through the perception of self and social identity?



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