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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 12" try to inhabit the current originary reality of representations and give them breath in order to materialize this sense.

In his works, Ozan Atalan problematizes the relative existence of absence while he focuses on the mentally plastic structure of matter.

In her works, Didem Erk plays with the ground of communication by intervening in conventional signs, and she leaves the audience face to face with a new semiotic-aesthetic display through the signs of heroism.

The figures of Eda Gecikmez which are in the process of figuration, the vagueness and uncanniness (unheimlich) of being, intend to render useless the sexuality-body politics of power.

Tuba Kılıç investigates the present day consequences of past personal traumas and presents us with an obsession aesthetics in her unending work.

İbrahim Resnelli stands up to the solitude and alienation of our present day through enabling the least deviation from the human in the raw state of drawing and through enabling the manual mechanism of drawing for human contact.

In her works, Meltem Sırtıkara annuls and reconstructs the relationship between signifier and signified by problematizing our present day visual aesthetics and intervening in the sign data of current images.

The perception of a potential threat in the state of the undisciplined woman sexuality (widow), which is othered by traditional judgments, and in sexuality being a means of consumption in social circulation constitute the context of Gamze Taşdan's works.

Curator: Mürteza Fidan - T. Melih Görgün, May 2012