“Inspired by the larger than life cinema history of Texas, Los Americanos by the Iranian artist Morehshin Allahyari explores the ephemeral through various cinema metaphors for identity, history and culture. Each artist has created his or her own independent project examining everyday life in Texas – past, present or future.
I cut. You cut. He/She cuts. We cut. You cut. They cut. –
Finding your Bearing? Preview of our new section about counter culture and the secret history about subversive tendencies in art in the 20th century invented by Asger Jorn and Guy Debord (1957)
These photographs of playing children were taken by Sitki Kösemen, photographer and architect, in Istanbul. It’s scaring how kids-games can become reality elsewhere…
“Deniz Bilgin’in işleri, bir resim geleneği ile açık ya da örtük herhangi bir hesaplaşmaya girmediğinden, sanat üretimiyle ilgili belirgin bir tutum, hatta niyet ortaya koymadığından, neredeyse hiç bir kavramsal bilgi yükü taşımadığından, kısacası ‘anlamlandırılmayı umursamaz’ tavrından dolayı, özellikle ve öncelikle profesyonel izleyiciye zor gelen işler oldu hep.
Because Deniz Bilgin’s work refused to grapple, neither directly or indirectly, with any painting tradition; because it did not propose any definite attitude or even intention vis-a-vis the production of art; because it carried almost no conceptual luggage; in short, because it displayed ‘ an indifference toward signification’, it was always difficult to come to terms, especially and primarily for professional viewers with.”
Necmi Zeka, Bir Tuhaf… Kind of Odd…
“Deniz Bilgin’in işleri, bir resim geleneği ile açık ya da örtük herhangi bir hesaplaşmaya girmediğinden, sanat üretimiyle ilgili belirgin bir tutum, hatta niyet ortaya koymadığından, neredeyse hiç bir kavramsal bilgi yükü taşımadığından, kısacası ‘anlamlandırılmayı umursamaz’ tavrından dolayı, özellikle ve öncelikle profesyonel izleyiciye zor gelen işler oldu hep.
Because Deniz Bilgin’s work refused to grapple, neither directly or indirectly, with any painting tradition; because it did not propose any definite attitude or even intention vis-a-vis the production of art; because it carried almost no conceptual luggage; in short, because it displayed ‘ an indifference toward signification’, it was always difficult to come to terms, especially and primarily for professional viewers with.”
Necmi Zeka, Bir Tuhaf… Kind of Odd…
