Halil Altindere, Space Refugee, Journey to Mars, 2016, 360° VR video, 5:10 min. With Sony PS4 Player & Sony VR 360 With Space Wallpaper. Installation view, dimensions variable (3.60 x 12 m)  © Halil Altindere, courtesy Galerie Paris-Beijing and Pilot Gallery

Halil Altindere, Space Refugee, Journey to Mars, 2016, 360° VR video, 5:10 min. With Sony PS4 Player & Sony VR 360 With Space Wallpaper. Installation view, dimensions variable (3.60 x 12 m)

© Halil Altindere, courtesy Galerie Paris-Beijing and Pilot Gallery

 

Yann Perreau for Scandale Project.

HOME IS WHERE THE (HE)ART IS
Group show curated by Yann Perreau at Galerie Paris-Beijing, Paris.
Halil Altindere | Yesim Akdeniz | Volkan Aslan| Mehtap Baydu| Antonio Cosentino| GÖzde Ilkin| Yaşam Şaşmazer | Güneş Terkol | Mehmet Ali Uysal

So let’s first introduce yourself, because the exhibition is connected with your own relation to Turkey as well

I’m an author, art critic and curator. It’s been now five years I go to Turkey and work with  artists there. I exhibited some of them in Los Angeles. It’s also a city I know as I used to have an art gallery there. I first curated a show in Ankara and exhibited Mehmet Ali Uysal. Thanks to this and a personnal experience I learned a lot about Turkey.

Can you tell us more about the exhibition « Home is where the he(art) is » that you curated in Paris for the gallery Paris-Beijing ?

The exhibition theme came up with two concepts « ev » and « knut » which are two turkish words. « Ev » is for home while « Konut » could be related to the house, in a functional way . It’s connected to the first exhibition I did in this space which was a solo show of Mehmet Ali Uysal. There was the idea to keep on with this metaphor but this time with a group show.

Also, I felt there was a desire to go beyond stereotypes about what could be « turkish art », for example this exhibition is not about political works in an obvious way.

Yes, the point wasn’t to make a direct statement about turkish artists today. The aim was to show artists with similarities through their practices. Also they all know each other but each of them use different mediums with time to time some crossovers in the themes.  

The purpose of this exhibition is about discussion in between artists and the gallery, about the space and ideas. Each of them had the space on mind for the exhibition although some of the work got exhibited previously in Istanbul biennial, Geneva and Cappadocia All of them emerge from various dialogues which connect with the space, the gallery vision and mine. Also, the art gallery went to Istanbul and it’s important.

It’s not a « cliché » exhibition in a way that my vision changed since first time I came to Turkey. It took time to enter into a dimension that is more symbolic and aesthetic, in order to understand how certain things can be shared in a subtle way. There is a link with Time, it’s not about the young generation who wants to destroy everything, Even though it can be interesting as well. For this exhibition, artists are in a maturity time, they have distance with their work. They assume their work can be powerful with only one idea or one material, out of any spectacular or provocative conception. It’s more or less universal messages, it’s not a statement about Turkey. Thus, the exhibition appears as a witness of a special moment but without sharing any specific message as it could be a thing if the exhibition was held in a museum.

 How did you chose works to exhibit and organize it according to the thematic you chose ?

All works are from the last years. Each artists is not only living in Istanbul, they also live elsewhere most of the time, which also goes back to the exhibition thematic. It’s not about exil or travel but being home. It can be in the gallery, in the work, in the luggage as it is for Mehtap Baydu’s work, or also an imaginary and utopic home, or a home which moves as it is in Volkan Aslan’s video.

Also the gallery stands as a home opens to the outside, as all rooms appear as open mirrors towards the outside.  Somehow, I notice with a bit of distance the dramatic side of some of the work Yaşam Şaşmazer’s works are about this, while Halil Altindere’s work is also a serious topic but with a humorous twist.

 Also, it seems important to me to mention that as a first group show of these artists in Paris, there isn’t any heavy statement, all artworks are reachable in a way, none of them translate an abstract concept. This humility is important.

Exactly, none of the artists here wants to impress with such complex artworks where the meaning wouldn’t be easy to get, although there can be an intellectual or philosophical dimension through these works. Gozde Ilkin’s characters don’t have any head for exemple. Güneş Terkol represents anonymous characters. Volkan Aslan’s women on the video are also anonymous. There are no myth or iconic character. Even Halil Altindere’s astronaut, he is famous in Turkey but it’s also one syrian refugee.

 

Why do you think this exhibition found a home in this specific art space (Galerie Paris – Beijing) ?

There is a real wish from the gallery to work with turkish artists, starting a real discussion. This exhibition establishes a picture as story beginning. They reach me to do a real curatorial job with a committed position as I have a story with the country and these artists.

Also the gallery is connected to travel, most of the time they exhibit foreign artists. Even though they are specialised in Asia, in between Paris and Beijing, I would say there is Istanbul. 

 

See on ScandaleProject.com

Galerie Paris-Beijing website