Is it possible today to establish an equal distance between aesthetic utopia and radical art instead of making a polarization/comparison? Can one possibly talk about a disposition that can renounce the power of art to change the world or the unique singularity of objects? Creating a temporary situation rather than a historic certainty; erasing the distances or avoiding contact; building spaces in the same coordinates that are simultaneously personal and common; being so far but yet so close…

In contemporary art, social sensitivity and socio-critical attitude emerges with individual narratives and personal experiences. Artists with the hold of this visual language that has developed in this vein are discussing, questioning, suggesting and drawing attention to the social problems and traumas such as human rights, war, migration, violence, gender inequality and issues like memory, culture, subconscious, technology, ecosystem and urban renewal from the perspective of their own individual disposition and art practice… In this context, the exhibition titled “SO CLOSE FROM FAR…Socio-personal Narratives from Artists” aims to bring the audience together with the works featuring the lives/events/facts, which are watched on the monitors, screens and TV, as if they are quite far from us but which are in fact nearby and among us. It is intended that the exhibition will gather together the artists that are not far from life, point at the micro situations rather than the grand narratives and present their social bonds with their personal perspective.

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Kerem Ozan Bayraktar’s works are based on the relationship of the fictive to the historic, cultural and psychological. The artist, who usually combines computer images, photographs and animations, participates in the exhibition with his animation titled An Opening Ceremony for a Public Sculpture which criticizes the micro-power egoism. In the animation one can see trucks circling around a truck monument and this absurd situation creates irony concerning people’s attitude towards their representation. There are other works in the exhibition by the artist which are computer-supported digital prints and titled Ukiyo-e 11 car and Ukiyo-e 102 container. Freezing the stage and putting a distance between the audience and the figures, the artist problematizes the concepts of fiction, reality and representation in these fictional works.

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Derya Yücel

 

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