• An Interview with Deniz Yılmazlar a.k.a Karbon About Her Art

    We’ve had a pleasant conversation with our artist Deniz Yılmazlar a.k.a. Karbon about her creative processes.
    Family-PortraitSeries-Sister with Cloud

    Family Portrait Series, the Sister and the Cloud

    You received your B.F.A. in Photography and Video. In your recent series Unutma Beni (Forget Me Not) eight photographs are complemented by a video. Is this born out of a necessity? How did this series come into being?
    Actually Forget Me Not and Remember Me – Forget Me are two different projects that were created simultaneously or even intertwined. I am aware that they seem to be complementary; but this is only about some of their technical aspects. The fact that in both projects monochrome photographs are used and the visual movement attritubed to the figures intensifies that feeling. According to a German myth god creates the entire universe; he gives a name to everything he creates but forgets to do so for a tiny flower. The flower addresses him and says “Forget me not”. Smiling in a photograph is in a way this flower’s calling: “Forget me not”. In this series the new appearance of the figures that seem to be fading out (actually probably born at the very moment the picture was taken) has something to do with a desire: the desire to be remembered. If we assume that having your picture taken has something to do with fighting against being forgotten by being documented, we may sense that the faces in these photographs tend to totally become part of the space, never to leave it again. Bodies are intertwined with the space in which they pose, they penetrate it completely. They try not to be forgotten also by exploring this option. In other words, while the Forget Me Not series aims at answering the question “while having abandoned their physical existence in this worl, do the faces in the old photographs abandon their existence fixed in that moment in the photographs, or can they do so?”, from the viewpoint of the method and the provided answers, it is different from the Remember Me – Forget Me project.In that video the faces in the pictures not only lose their physical existence in the world, but they can also abandon the space they are in. In the project presented with the words “The body moves in space, the soul moves in time”, the faces who proove their existence through having their pictures taken complete their fadeout without leaving a tracethanks to some contemporary technical possibilities, and they tend to catch up with their motion in time. Exactly at this point the two projects become totally separate.
    Göl Unutma Beni Serisi 2015 S&B Fotograf, İnkjet Baskı 12x7,5 cm 
The Lake Forget Me Not Series 2015 B&W Photograf, Inkjet Print 12x7,5 cm-6426

    Lake-Forget Me Not series

     
    In the series Forget Me Not and Void you intervene on found photographs. How is the experience?
    Although it is not something I intentionally planned, I was surprised to notice that in the recently emerging series I have been using old photographs. As I evaluated this process I realized that, in addition to other series I have been working on, the authentic atmosphere in each of the old photographs is compatible with some of the subjects I have been reading, wondering or thinking about. Actually it also feels very hard to just walk away from a box full of photographs. As I look at the ones I select from among them and invent stories, trying to figure out what attracts me to them, some series are born.
    In your works the dominant issues seem to be life-death and memory. What are your artistic motivations?
    Points of motivation change every time, which is natural. For instance the project Void
    was born during a visit we paid to some relatives with my family. One of the old photograph albums that suddenyl came out was very interesting. One of the figures was removed from each and every photograph in the album. But the pictures were there in it as if nothing happened! The absence of this individual no longer loved and seen and thus cut out and removed suddenly appeared before me in a very strong way, with an entity in the shape of a void. By bringing these voids onto surfaces made of porcelain and used as gravestone photographs I created the Void series composed of the photographs of the void that remained behind the deceased. Even turning into yourself after the things brought by everyday life, exploding bombs and everything that happened, the reality flowing out of the screen, and the ambiguity of reality or its doubtful existence are enough to show me that  it is necessary to discuss the points of motivation again and again each time.
    more-news-from-nowhere_1-gogo_600x600

    Baby-Void Series (left). News from Nowhere (right).

    You seem to have the desire to render some things blurry and transparent.
    Family Portrait and News from Nowhere have faces that fade out. On the other hand the blurry ones in Void or After Dark My Sweet are reminiscent of efforts to concentrate among things that are being lost.

    Family Portrait series contain a small portion of the photographs where I take the concept of family and place my own family at the center, taking note of some dates, events, people and places I am supposed not to forget for my family history by using symbols. It is somehow a tentative practice for building a kind of individual memory. Or a journal that I prepare with the memories that I seemingly have to remember. It has a function similar to the notes you take on your hand before you leave home or shopping lists. It is just that the text is replaced by the photographs and symbols. These pictures with faces and figures that are cut out, overwritten, or hidden behind other things, make me curious about the reasons behind each of these interventions. In these series’ process of creation I also try to find the source of this curiosity. News from Nowhere emerged as the result of such curiosity. In the works created with an attitude underlining the ambiguity of what is hidden behind that face even in the pictures with the face entirely exposed, the faces are hidden behind the clouds in the midst of the hectic daily life.
    Where does the name “Karbon” come from?
    It is a name I have given myself after a moment of reflection, during which I thought we could be copies generated with blue carbon paper, since we are not flawless. When I encounter someone who thinks they are flawless I cannot establish communication with them anyways. Carbon is a kind of a stage name.
    What are your future projects?
    These days I read a lot about matter and memory. I am vurious about how forgetting looks in the mind. This is a field that requires reading in medicine and psychiatry. I want to know how we tend to forget someone, some place or a piece of information, and which pieces are deleted first and how. I also pursue some collage ideas where I can combine old and new photographs. I will explore if it is possible to move in time via old photographs. I wonder what the day to come will bring.

     

  • Interview with Göksu Gül / Small Units’ Giant Stories

    Interview with Göksu Gül / Small Units’ Giant Stories

    Young artist Göksu Gül who joined art50.net in July 2015 reappears in the exhibition titled “Up in the Air”, taking place at Vogue Restaurant in Akaretler and organized by art50.net. You may remember her from Mamut Art 2015 or the Istanbul Rotary Art Competition Exhibition at Elgiz Museum that ran until June 13 2015, where she was awarded with the 1st prize. Those of you who do not know Göksu Gül well should read this interview before visiting the exhibition where her works “Tooth 1” and “Tooth 2” are hanging in the air!
    mamutartprojectyeni

    Interview: Polen Müge Korkmaz

    Translation: İpek Yeğinsü

    Göksu Gül whose solo exhibition at Blok Artspace titled “Free of Charge” ran until April 25 also works as a caricaturist. Göksu talks about her most recent artistic ventures and the various materials she employs in her production.

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  • Lale Delibaş’s Works at Borusan Contemporary

    Conversation with Lale Delibaş on Her White, Seamed Canvases

    Lale Delibaş whose works are featured in various private collections and whose exhibition record includes Borusan Contemporary, Zorlu Beymen, Elgiz Art Museum and Mardin Biennial, participates to the Borusan Contemporary collection exhibition “Desire” with two artworks: “Untitled” and “Pinocchio”.  The artist writes a passage from Leyla Erbil’s book “The Remaining” on the wall where one of her works in the collection, “Untitled”, is installed. Delibaş who thus builds a new space for the canvas creates an interesting fusion by combining shamanic texts on the canvas with the religious texts on the wall. The combination of text and artwork is not new to Delibaş. In the majority of her works the visual is accompanied by the written and they interact. It is exactly here that it overlaps with the theme of “Desire” in search of different integrities of “meaning” and “concept”. Some works in the exhibition can only be discovered by attentive viewers. Like Lale Delibaş’s mini sculpture, Pinocchio. Visit Borusan Contemporary until February 21 2016 to notice the details and to appreciate Leyla Erbil’s literary taste via visual arts curated by Necmi Sönmez.

    But before that, we suggest you read the conversation we had with Lale Delibaş on her artistic practice. We asked her about the seaming technique she often uses in her works that also gives her a conceptual direction to pursue. We were curious about the various cultures that inspire her as a result of her research activities and the reason why she always used white in her canvases. Delibaş explained in all its detail her artworks hiding stories behind their white surfaces. Do not miss the artist’s story ranging from the concept of reincarnation to Shamanism.

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  • “Creatures In-between, Structures without Identity”: New Series by Saliha Yılmaz

    Saliha Yılmaz has been widely popular with her works that focuses on the relationship of the individual between metropole and urban transformation on Art50.

    In the new year, Yılmaz is sharing her new series for the first time with Art50 followers. We spoke to Yılmaz about how she started painting, the recurring motifs in her art and her new projects in the new year.

    How did you start painting? Were you interested in it since childhood?
    Even though it may be somewhat classical, my interest in dealing with art and living with this feeling dates back to my childhood. I remember clearly that my happiest moments were in art classes. We becomes what we spend most time on. In this case, it was inevitable for me to do something about art.

    On the other hand, to exist in the art world is a circumstance set by the market and conditions of the particular period. It has a very fast and self-executing system on its own. I believe existence in this world is equivalent to production.

    There is a recurring head/face motif in your works. How did the formation and evolution of this motif come about?
    The focus of my works is “the condition of being an individual”. We can easily understand people’s expressions or their feelings/thoughts through their face. In the head/face part of the body I paint what feelings and thoughts transform into.

    Saliha Yılmaz - The Sun Also Rises (detail)

    Saliha Yılmaz – The Sun Also Rises (detail)

    With the starting of the new year your new series are being featured on Art50. Could you tell about the theme of these works?
    In my first solo show, I used the architectural and socio-political conditions that we are faced with in postmodern age, and the affects of urban transformation and metropole on individuals. If you are living in Istanbul, it is impossible not to see how urban transformation swallows nature. I observed these through the frame of ‘nature and human’.

    These works are a continuation of the series titled “Creatures In-between, Structures without Identity”. These figures who are the continuation of transformed characters show the viewers a world that is both familiar and strange. The poetic fiction that is formed on the surface by time and place such as ‘night/day and heaven/hell’ symbolize the world and the ages of masked creatures.

    This series proposes to question the contemporary concept of nature and the identities that are given to individuals.

    The titles of your works are often reinforcing your themes. For example your work titled “Like a Mountain” brings into mind the phrase “a mountain-like man” used for men. How do you choose your titles?
    There are certain things that I pay attention to while titling my works. It is important for me that they can be easily remembered and point to the visual image in an ironic way. With titles I portray the widespread identity problem of our day.

    When you look at a work, your first impression may not always be true. As in my work “Mad man”, a lot of people think that the figure is a woman, but it is a man.

    Saliha Yılmaz - The Boy who Loves Cactus (detail)

    Saliha Yılmaz – The Boy who Loves Cactus (detail)

    In addition to paper, you have works made with plexiglas and neon. How do you decide on your choice of material? How do you start working with a new one?
    Frankly, in the last 5 years I actively did works on paper. There reason why is the fact that paper has an easily controllable surface and using this is very pleasurable for me. Also, at that time I needed small-sized, paper works that were the continuation of my series then. When working on paper, I mostly use aquarelle, marker, ink and gouache. However, recently I use oil paint and ink on canvas paper.

    During all this process and before I had different searches, and they are still on-going; because new materials always open new doors, and the expression becomes stronger through them.

    I realized that light is very important in the conception of place. In addition to examining the relationship between light and shadow in place, the front lights and popular phrases that we are constantly faced with in our day also interests me. I did experimental works by using my drawings as canvases on lighted plexiglas boxes.

    In the past year, you took place in the group show titled “hey, I am here” exhibited in Haliç Tersanesi and joined the Portakal Çiçeği residency program. Are you currently working on any projects?
    In January, I participated in the group exhibition “Pardon, Which Floor?” in Merkur Gallery. The show consists of works that examine how people are alienated to themselves and their environment through the relationship of city and nature. The project will continue in February with the addition of examination of Nature. It will question the transformation of humanity into nature.

    Again, in February I will participate in a group show focusing on neon works in Plato Art.

    Saliha Yılmaz – Purgatory (detail) , Happiness (detail)

    Saliha Yılmaz – Purgatory (detail) , Happiness (detail)

    As a young artist, could you tell us how you feel about the increasing accessibility of art through the internet and Art50.net’s project?
    I believe that Art50 is very important for providing visibility and accessibility for young artists. At the same time, it has various kinds of artworks for all art lovers. The fact that it is on internet makes it easier for followers to be up to date with Art50’s collection. In addition, in the Artlog section there are various interviews. All these factors show that Art50 has a very dynamic and artful structure.

    You can reach Saliha Yılmaz’s work through this link. 

  • Zooming-in with Selçuk Fergökçe

    “What could be more simple and more complex, more obvious and more profound than a portrait.”

    Charles Baudelaire

    Works of Selçuk Fergökçe are not merely portraits. The faces in his paintings are also mirrors, venues and landscapes. With them he puts forward a critical point of view.

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  • Briefly with Begüm Mütevellioğlu

    Begüm Mütevellioğlu is one of our artists who have recently joined Art50. She received her B.A. in Painting from Mimar Sinan Faculty of Fine Arts. As part of her program at Mimar Sinan, she worked in the studios of artists such as Neş’e Erdok, Nedret Sekban and Ahmet Umur Deniz. Mütevellioğlu, who currently continues her graduate studies in Painting in the same department, has spent the last year in Madrid where she went on a student exchange program. We had a short conversation with the artist in our office and tried to get to know her better.

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  • Conversation with Emre Meydan

    Emre Meydan, one of our new artists at Art50, has moved to Bremen upon receiving his bachelor degree from Dokuz Eylül University Faculty of Fine Arts. Meydan continues his master studies at the University of Arts in Bremen. In order to get to know him better and introduce him to our followers, we had a short conversation with the artist. We asked him all we were curious about his recent exhibition in Bremen, the artist residency program he participated in last year, his technique and themes he focuses on in his works.

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  • Chat with Ülgen Semerci: Her Works and New Projects

    One of the artists who recently joined Art50, Ülgen Semerci returned to Istanbul after living in Canada and the United States for several years. Semerci offers the viewers a painting experience shaped with density, size and light in which she questions the layered history and plastics of painting. We had an enjoyable conversation with Semerci in order to get to know her better and also hear about her next exhibition due to be launched in November.

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