Ahmet Duru, Candan Öztürk, Genco Gülan, İbrahim Koç,
Mustafa Pancar, Ragıp Basmazölmez

ahmet duru-kkler serisi-web

7 Mart Mar /  6 Nisan  Apr 2013

Ahmet Duru, Candan Öztürk, Genco Gülan, İbrahim Koç, Mustafa Pancar and Ragıp Basmazölmez will be at Daire Gallery with their first works from new series between March 7-April 6, 2013.

"First Layer" is a phrase frequently used among artists, pointing towards a finishing, a completion, with other layers that will be superimposed this first layer. It is the first step of a plan that will develop, continue. The artists brought together in the framework of this concept will share with viewers the first works of their new series.

The works included in the exhibition were chosen so that the viewers, and even the artists, would be curious as to what the next steps will be. The aim is to liberate the artist, their own narrative and causality, to exhibit their process of thinking and developing ideas through the work.

These works' potential functions as art point to an open-ended process, even for the artist. The exhibited works are not brought together within the framework of a concept-driven text. Rather, each of the artists present their personal processes of development, experiences, and various resources that refer to the works themselves.

"First Layer" can be viewed at Daire Gallery, March 7-April 6, 2013, Tuesday-Saturday, 11-18.30.

Açılış: 7 Mart, 18.00

Address: Boğazkesen St. No:65D  Tophane 34433 Beyoğlu / Istanbul

T: 0212 252 52 59


Ahmet Duru'scharcoal drawings entitled "Roots" employ nature as subject, presenting the ground and the formation of lower layers of soil, exposing the mysterious exploration of the rhizomatic structure of the roots that empowers and supports nature. The human mind, liberated through the power of nature, is taken on a stroll in the universe of thoughts through associations.

Candan Öztürk's works—using the transparent and inherent permeabiliy of the saran wrap as material—take as subject ballroom scenes. The transparent nature of both the content and the material is situated on a specific concept, in association with the time that we are in. The album, The Caretaker, by James Kirby, which was inspired by The Shining, also significantly adds to the work. This contribution is proof to how music can affect a work during its phase of production.

"Art" series is an important comment on the concept of art, the art object and of course, relationships brought about by art. Gülan is thinking about using the ready-made objects on their own and also in groups. In the "Art" series, the artist refers to Andy Warhol's Brillo Box (1964) fifty years later, leaning on Marcel Duchamp's "objet trouve" concept. Warhol had produced identical copies of the detergent boxes, while Gülan displays products he has bought from the supermaket without any interventions. Gülan will use a few photographs in the size of Polaroids to reveal the "lower layers" of the objects on display. Although the photographs are from the artist's "self-portrait" series, they will allow the viewer to enter the thinking structure of "Art".

İbrahim Koç, an artist we know by his large-scale expressionist sculptures, is participating with a video-installation, formed by the recording of a product of industrial design that has been transformed, both in terms of content and purpose, over the course of the seven years that the artist has spent with it, as well as the production processes of other works by the artist. İbrahim Koç elevates this object, which was produced for various uses in daily life, to the position of a witness to his own practice and an assisstant; and transforms this process into a video installation project. The work thus contributes a new perspective to the perception of "the destiny of regular things."

Mustafa Pancar uses images of irregular urbanization and housing projects built on the side of highways, which are now an extension of urban landscapes. The artist highlights that although these structures were built with the latest technologies, in the framework of the natural environment that they are built on top of, they are quite temporary and made-up. The collages, realized using colorful paper materials expose the contradictions the natural texture of the earth in relation to people's purposes in life.

According to Ragıp Basmazölmez, these new beginnings that are at a point of expression for a mobile process, are actually a synthesis of three years' of ideas. This new point of departure is a state of reflection of a different dimension of perception that has been developed from the indirect imagery of previous works. The printed textiles foregrounded in his previous works are, no doubt, a strong representation of a cultural belonging. This belonging is one side of our latent purity inside and a constant integrality. The new approaches that stem from this point destroys the walls of that which is inside of us, providing proposals of images of the city, giving them new printed textiles for the city. This textile motif designs smile on us with a most sincere warmth, corresponding to that which is inside of us—the latent chaotic contradictions in the content are on the one hand reflective of the disturbing reality of the metropolis.