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VARIABLE, FLUID, EVER-RENEWING…

One of Turkey’s most important cultural heritages, Muze Gazhane hosted the second volume of the “com-position: space-no-space” exhibition in March. Among the 16 artists using various creation techniques such as painting, sculpture, ceramics and installation, Gungor Guner and Aynur Karakas Karaagac represented the ceramic discipline.


FATMA BATUKAN BELGE


Began service in 1892 as the last gasworks of Istanbul, the Hasanpasa Gasworks has met the city’s need for lighting and fuel for a century. When its’ technology got old in time and considered to pose a risk for human health, its’ generation has been ended with all other gasworks in 1993. After being used as an IETT garage for a time it’s left alone. But it was rescued with a public struggle that took years, it’s taken under a comprehensive restoration process. The historic structure is one of Turkey’s most important industrial heritages and is serving as a culture-art focused living space under the name Muze Gazhane for some time now, which perfectly suits Kadikoy.

Aynur Karakas Karaagac


Being one of the parallel events of 17th Istanbul Biennial and organized in ITU Taskısla Campus, the second volume of the “com-position: space-no-space” exhibition is moved to the exhibition hall of Muze Gazhane. The exhibition is opened under the title “com-position: space-no-space VOL. II” giving place to the works of Aylin Akarvardar, Fatih Balci, Pinar Genc, Ferhan Gozgu, Genco Gulan, Mehmet Guler, Gungor Guner, Desen Halicinarli, Oguz Haslakoglu, Aynur Karakas Karaagaç, Ahmet Keskin, Hulya Kupcuoglu, Froso Papadimitriou, Victoria Rance and Meliha Sozeri.


At first, works have been exhibited in the “transparent room” located in the Taskisla entry. It has gained a dynamic action through being exhibited in a specific cycle and thereafter moved to the upper floor/another “common area”. The exhibition presents new statements regarding the composition and subject-object relations renewed within the daily life and being moved to Gazhane has strengthened its’ context. Taskisla and Gazhane buildings are two reflections of the changes the city went through during Istanbul’s modernization period in the second half of the 19th century. The exhibition has been moved in from a place which turned from barracks to a university to a place which turned from an energy generation plant to a cultural living space. Meaning that by being moved to another “common area” drew a new route with its’ renewed composition.

Gungor Guner


“com-position: space-no-space VOL. II is binding architecture, art and design with each other and there were two ceramic artists with their works in the exhibition: Gungor Guner and Aynur Karakas Karaagac. Both of their works were composed of repeating units that are suitable to create different compositions with their changeable positions. Aynur Karakas Karaagac’s work was underlining the contrast arising from the merge of hollow metal rectangular prisms with sharp corners and fluid shaped ceramic forms.


Gungor Guner on the other hand, used also a mirror in his changeable installation and tried to bring out concentricity using the reflective characteristic of this material. Plain units comprised of hollow cubes was also allowing for a functional installation. Guner says that he also made a suggestion to his students in ITU to make installations as they wish and that his students have gladly agreed. The reflective effect of the mirror in this work had very distinctive and positive results.


It's not hard for those who are familiar with Guner’s works to guess that each of the cubes of different sizes he used in his installation are pots before anything else. Artist especially emphasizes this: “If we want to make the definition of ceramic in artistic context we’ll come across numerous works that prove ceramics is a branch of art that combines painting and sculpture! But meanwhile, keep in mind that ceramics is also a renowned art of pottery! Once, I have got an invitation from a university expecting me to participate in a group art exhibition. But they had a request which’s they didn’t want any ceramics of pots and pans type… No matter what they say, ceramics is also an assertive art of pottery!”


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