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Contemporary art resists the harassment of art historical background through the sarcastic and critical view of the reproduction images of pastiche and parody, through repetition and the irony in their creation praxis on the one hand, and on the other hand, it persists its critical attitude on art and culture industry, post-colonial sufferers (queer, etc.), ethnicity, minorities, provocation, public space, neo-nationalism and popular channels of circulation.

Contemporary artists construct their works by juxtaposing, re-levelling, programming and impairing the socio-cultural and everyday life experiences under the contradictory cultural spectacle of globalization. As a result, through creating new metaphors, uprooting the images and rendering them multilayered, they generate the forms of mutual transitions.

It is observed that everyday life, in which the dizzying technological developments of our present day are reflected as a life form, distances the individual from the sense of "place and thing" through replacing direct human interactions with their exciting representations. Young artists included in the "Borders Orbits 11" try to inhabit the current originary reality of representations and give them breath in order to materialize this sense.

The works of Merve Denizci create a sense of phobia of vomiting in the audience through cosmetic-prosthetic traumas that are incorporated by the body which is subject to the harassment of the spectacle and its metabolic-psychosocial presence.

Against our present day global mechanisms of consumption, the works of Neda İsmail Atar provide a critical approach on the ambivalent nature of the work of art within the system of consumption.

In his "Route Series," Ahmet Duru creates micro realistic works by freezing images in their own time.

In the photographic works of Görkem Ergün, signs captured in the moment demand to be read in their being extended in time. Forced to be situated between the given signifier and the signified, the audience is forced to make prophecies with uncanny (unheimlich) contexts.

In the reproductions of N. Güneş Güven, mutually unrelated media informations are uprooted and restructured, and arranged together. In this way, deviations of meaning in the representation turn into a criticism of the void in the main construct.

H. Çağlar Kırtı, chooses ordinary objects of everyday life and transforms them into autonomous forms by depicting them through traditional painting. In a sense, he develops the aesthetic forms of minor reality.

The transiency of the technique Candan Öztürk uses in her works, and the transiency of their content in time are conceptualized through being made parallel in real time.

M. Kemal Yurttaş creates the conceptual framework of his installation with the analysis he conducts on the bio-political body.

Curator: Mürteza Fidan, T. Melih Görgün