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Merve İşeri “Decaying Melons”

Merve İşeri’s solo exhibition “Decaying Melons” will be on view at Krank Art Gallery between the dates of September 7th – October 20th. In need of questioning and enquiring into human nature, the artist makes use of philosophy as her means of investigation, and through various symbols she expresses the relationship she has established with reality with the help of philosophy. Through the four paintings that lay the ground for the exhibition, she reflects on the essential and unavoidable work of our body’s digesting the world and living within it.

Decaying Melons is an ode to personal growth and to being ‘in progress.’ Curated by Nicole O’Rourke, the exhibition is about the simultaneous sweet juiciness and putridity of life, the inevitability of time and its constant self-renewal.

The exhibition is anchored by four paintings; each one depicts unfamiliar bodies, alien in form. They are ethereal, placed in a dreamlike world and yet, the creature figures that Merve paints are decidedly female. The number four is an earthly number: there are four elements, four phases of the moon, four seasons, four cardinal points. Settled within the number four is a logic coupled with a constant and expected predilection for change in, of, to and on the earth and its inhabitants.

Focusing on the human body in her artworks, the artist points to the fact that human beings perceive nature through their own physical bodies. Stowing different fragments of the human body concealed in certain places in her works, the artist aims to emphasize the perfect integrity of the body to remind us human beings –who always feel a lack– of the power we actually possess.

Merve’s figures represent the inner workings of living in a body privy to these earthly changes, unable to avoid the passing of time and events. “Gut” (2018) is a central figure to the exhibition; “Gut” represents the personal voice and instincts that propel emotion and interpersonal relationships and foster and digest change. “Gut” is the most human of all of the figures, a hand its most prominent feature. In all these works, shapes that resemble a constructed script appear as the language of voicelessness. In our quest of discovering our powers, to be able to slow our pace down and become better listeners, she offers us an alternative language.

“Caressing Body,” “Harnessing Body,” and “Growing Body” are renderings of the process of listening to your gut, morphing and learning in all its outer and inner body discomfort and ugliness. “Caressing Body” shows a figure seemingly pulling elements like water and earth inwards towards its body. Its ears are the most pronounced of all the figures: it is listening. “Harnessing Body” depicts a one-eyed figure, the only figure with sight; it is seeing but it’s vision is contained. “Growing Body” has disproportionate limbs, its body facing forward while its head seems to be turned and in motion; it is moving in time, growing and experiencing.

Together the works speak to the essential and unavoidable work of our body’s digesting the world and living within it. And too, to the importance of allowing the ebbs and flows and always staying grounded through self care and environmental and social conscientiousness.

İşeri (b. 1992, Istanbul) is a painter working mostly with oils on an unprimed canvas. She graduated from Politecnico di Milano, Communication Design in 2014, and since then has been living between London and İstanbul. She had a solo exhibition in 2017 in Istanbul with Ballon Rouge Collective titled “her brain is a traveling white bullet”. Since 2015, she has shown her works in group shows in Chicago, USA; Milan, Italy; Istanbul, Turkey and London, UK. Her work has been published in The Financial Times, Harper’s Bazaar Turkey, and Huffington Post, among others.

Nicole O’Rourke is a writer, curator and the founding director of the Ballon Rouge Collective. She has completed her Master’s degree in Art History at Hunter College, New York. O’Rourke has organized a number of exhibitions in Istanbul and New York, and her texts were published in various significant publications, including Art Review, Hyperallergic, Time Out, Near East Magazine, 212 Magazine, Istanbul Art News, and among others.


“SHIFTING HORIZONS” 10.05.2018 – 15.06.2018

KRANK Art Gallery hosts the group exhibition “Yer Değiştiren Ufuklar / Shifting Horizons” curated by Misal Adnan Yıldız. The exhibition brings together the artworks of Nilbar Güreş, Khaled Barakeh and Neşe Karasipahi, who have roots in different disciplines of practice.

Perceived through the temporal aspect of language, the word horizon–which expresses the geographical line in the distance where the earth’s surface and the sky appear to meet in open space–also connotes the potential future. Change is also one of the characteristic aspects of the flowing time. And “Shifting Horizons” is a project that presents variations on the manifestations of circumstances and conditions of our existence that ceaselessly change in time and space.
As the curator of the exhibition, Misal Adnan Yıldız–who has been continuing his work at different geographies of the world for a number of years–has pointed out in his catalogue text, “The most clear angle offered by this old-school room exhibition, established through a temporary partnership of pictorial, photographical, and sculptural forms that could be interconnected, is to rethink the value, the cycle, and the meaning of life through the notions of freedom, displacement, the transforming nature and the changing living conditions.”
Nilbar Güreş, who lives and works along the axis of Istanbul-Vienna, contributes to this selection with her works shaped through feminist gestures and narrative accents. In all the aspects including their abstractions based on situations caused by sudden displacement, to their diversity of materials, and from technical competence to the artist’s inclination to work through research, these are artworks that are accompaniments to existence. While the economical use of colour and surfaces in her binary drawings focus the attention on the subject at hand, her installation consisting of found stones and fabric, as well as her work titled “Rain on Stage”, produced on the occasion of the exhibition, convey the wealth of the artist’s practice.
Born in Damascus and currently living in Berlin, Khaled Barakeh participates in the exhibition with his interdisciplinary artworks in which he questions the condition of belonging through the perception of everyday life. In his works that a contemporary viewer would not find difficult to relate, as well as criticism Barakeh also manages to achieve a certain threshold of awareness. The artwork “The-7th” that consists of photographs of the sky shot at seven different political regions of Syria, emphasizes the distinction between man-made ideologies and the multi-layered meaning of freedom incorporated in the sky. In “The Untitled Images” series, the artist shifts his frame to the earth and to the grim reality of war. In these photographs, again taken in different parts of Syria, the empty spaces created by the figures removed by the artist with the precision of a surgeon, are transformed into the representations of pain and violence, experienced but could not be conveyed. On the other hand, the artwork “One Hour Is Sixty Minutes, And Vice Versa” explores how time–a universal phenomenon–is perceived in a non-Western local culture.
The Istanbulite Neşe Karasipahi contributes to the exhibition with a sculpture installation made of marble and with an abstract form. In her work, titled “Uzak” (Distant), the material is rendered in a stylized and three-dimensional approach. Through the conceptual rendition of the artist, the boat that enables reaching places far away, appears as a trigger for the mind and of imagination reaching far beyond this inherent action that it embodies.
“Yer Değiştiren Ufuklar / Shifting Horizons” will be on view at KRANK Art Gallery until June 15th.

Nilbar Güreş
Nilbar Güreş graduated from the Department of Painting at Marmara University’s Faculty of Fine Arts, and received her Master’s degree from the Painting and Graphics Department of the Academy of Fine Arts in Vienna. In 2012, she participated in the artist residency of the International Studio & Curatorial Program in New York with the support of the Austrian Government. In 2014, she participated in the artist residency at the Lutetia Building, FAAP’s Artistic Residence Program in Sao Paulo. She received the Hilde Goldschmidt Prize in 2013, the Otto Mauer Award in 2014, and the Fifth edition of the Belvedere Contemporary (BC21) Art Award in Austria in 2015. The video-installation “Open Phone Booth”, exhibited at the 20th Biennale of Sydney, Australia, and at The Israeli Center for Digital Art in 2016 is among the most prominent solo shows of Güreş, who will continue her career with another solo project to be held at the Lentos Kunstmuseum, Austria in June 2018. The artist continues to work in Vienna and Istanbul.

Khaled Barakeh
Born in 1976 in Damascus and currently living in Berlin, Khaled Barakeh graduated from the Faculty of Fine Arts in Damascus, Syria in 2005. He completed his Master’s degree at the Funen Art Academy in Odense, Denmark in 2010, and received the Meisterschueler title at the Städelschule Art Academy in Frankfurt, Germany in 2013. Originally trained as a painter, Barakeh concentrated on conceptual art practices during his time in Europe. Presently the artist produces works utilising a variety of media, focusing on the dynamics of power in the context of identity, culture and history. He has exhibited in a number of solo and group shows including Künstlerhaus Stuttgart; the Shanghai Biennale; Salt Istanbul; Kunsthalle Brandts, Overgaden Denmark; Frankfurter Kunstverein; Artspace New Zealand and many other museums and institutions.

Neşe Karasipahi
Born in Karaman in 1975, the artist graduated from the Department of Sculpture of Mimar Sinan Fine Arts University, and completing her education she opened a workshop at Istanbul Atatürk Auto Industrial Estate. She has been working in the same place since 2005. In her artworks and installations produced using traditional techniques of art, she frequently makes use of the concept of contrast. The artworks she has produced for the exhibition are minimalist in style and employ geometric forms, transforming marble blocks rendered with hard and sharp-edged contours into a plain and serene narrative. As the interlocked forms rise from the ground up into the space, within the continuity of the space they appear to be part of both the past and the present time. These sculptures that achieve being both static and in motion within their condition of timelessness, come alive through her distinctive style. And she places these sculptures that emerge as a result of this unique approach in a structure composed of space and time. The constructions that render the emptiness to have a volume and envelope the emptiness within, form the foundation of her sculptural practice.

Misal Adnan Yıldız
Focusing on how public imagination, social criticism, and collective creativity are perceived in diverse cultural, political and social contexts, Yıldız takes inspiration especially from psychology, the discipline he was educated in, and from literature, which is an area of particular interest for him. Having graduated from Boğaziçi University’s Department of Psychology, Yıldız went on to study for a Master’s degree in Fine Arts at Sabancı University, and worked on a number of international projects both as an artist and a curator, as well as participating in various research programmes. Yıldız was shortlisted for the Independent Curatorial Vision Award (ICI) in 2012, and curated “A History of Inspiration” exhibition at Palais de Tokyo in 2013. He was also one of the curatorial collaborators of the 13th Istanbul Biennial. In 2014, he was awarded the Curate Award together with Michael Wang and Evelyn Simonds. In 2016 he served in the jury of the New Zealand National Contemporary Art Awards. Yıldız was the former Artistic Director of Künstlerhaus Stuttgart, Germany, and worked as the Director of Artspace in Auckland between 2014-2017. Most recently, Yıldız curated the Dialogues 2018 edition at London Art Fair, which took place last January.



KRANK Art Gallery hosts a solo exhibition by Özge Enginöz, “Hasar Katsayısı / Damage Multiple”. The exhibition focuses on one of the fundamental issues of today, the concept of “damage”, through interdisciplinary works that examine various forms of relationships.

“Damage is one of the fundamental problems of the present-day individual, to some extent. It begins as soon as you take the first step into the world. The violence that surrounds the individual at home, on the street, and at work increases the “damage coefficient” of the individual and of society through a rapid process of desensitization. This “journey” that often starts with ourselves does not fail to pack its baggage of harmfulness as we set off from ourselves and move towards the other!”[1]


Damage, in broad terms, a condition that is caused by natural or unnatural phenomena, is also a concept that appears in certain forms of relationships. It has an aspect that results in high-impact ramifications, especially in interpersonal relationships and our dependency on resources. In the works of Özge Enginöz the concept is examined through an interdisciplinary approach to production and represented with its multi-faceted essence.

The core of the project consists of a work created by Enginöz at “The Book as  Printed Space” workshop, run by artist Bernhard Cella. The work, titled “Love, Damage, Fault” (also a book-object) is shaped around a quote from Ibn Sina’s “A Treatise on Love”, the title of the chapter “On the love of those who are noble-minded and young for external beauty”, and found photographs collected from antiquarian booksellers. The damage diagram included in the book is related to a potent and basic element, fire. The video accompanying the book bears witness to the moment when the book is used to light a fire.

The images of trees, which appear to be minor symbols for nature, that are present in the exhibition in the form of interpretations on large canvases, or used as actual materials, allude to the high-impact relationships that the modern world has with resources. The structures of reciprocity that can be read in symbiotic cycles becomes especially manifest in the work of Enginöz with tinder conk. Tinder conk is a fungal plant that lives on trees and might harm them by causing them to rot, but the conk could survive long after the trees on which it lives are dead. It is an important plant in the history of civilization since it can be used as a means of transporting fire by placing an ember inside, and it was also used as a styptic in medicine to help stop bleeding. In her installation that focuses on the property of conk that enables transporting ember, the artist presents natural materials together with man-made concrete blocks, and renders a visual display of the damage our lifestyles causes on our environment.

On the other hand, love is also a form of relationship that has a dual nature, in that it is necessary for life, but the intensity of the emotions felt for the “other” could become inflaming. Therefore, as “damage” acquires a certain reference to symbiosis, the reciprocal interaction of which could be observed in love, it could also assume a constructive function as much as a destructive one.

“Damage Multiple” will be on view at Krank Art Gallery till May 05th.

Özge Enginöz

Özge Enginöz graduated from the Department of Combined Arts under the Faculty of Art and Design at Yıldız Technical University in 2010, and during the same year she participated in the workshops run by Valentin Hertweck and Irene Paetzug in Germany, and was elected to take part in the “Lives and Works in Istanbul” project by Remo Salvadori. Her works were exhibited at two group exhibitions in 2009, at the Kunstverein Paradigma in Austria, and at Kunstuniversität Linz. After her solo exhibition “Catchword” at Edisyon, Istanbul in 2011, Enginöz participated in an artist residency at Borusan’s ArtCenter/Istanbul during 2012-2013. She opened her second solo exhibition “Not Quite As Though” at Mixer in Istanbul in 2013, followed by “For Restless Spirits” at Artnivo, and “LOOP? – turning world – fragments and questions” at Blok Art Space, Istanbul, both in 2016. In 2017 she participated in “The Book as Printed Space – Concept and Printed Work Bookmaking Workshop” run by Bernhard Cella at Arter, Istanbul. Enginöz, who has participated in a number of group exhibitions throughout her career, continues her work in Istanbul.

[1]  Olcay Özmen “Olmanın Kaderinde ve Hasar Burcunda Bir Şair: Birhan Keskin”, Birhan Keskin Şiiri ve Ba, p.81, Metis, 2008.


ZEYNEP BELER “BEACHCOMBER” 15 February 2018 – 17 March 2018

KRANK Art Gallery hosts Zeynep Beler’s solo project “Beachcomber”. The exhibition consists of works realised during the artist residency program in Düsseldorf, North Rhine-Westphalia, where she was invited to stay between 1st and 30th November 2017, as well as a selection of her recent works.

Found objects wash up on the shores of my computer. Tin cans and old tyres mix with the pirate’s stuff. The buried treasure is really there, but caulked and outlandish. Hard to spot because unfamiliar, and few of us can see what has never been named.

I’m looking for something, it’s true.

I’m looking for the meaning inside the data.

That’s why I trawl my screen like a beachcomber – looking for you, looking for me, trying to see through the disguise. I guess I’ve been looking for us both all my life.

“The Powerbook” Jeanette Winterson, 2000

As Zeynep Beler’s recent works display her interdisciplinary approach to production, in terms of materials and technique she is inspired by a broad horizon of interests covering a range from literature to philosophy, from the Internet to science.

Taking its name from Jeanette Winterson’s novel “The PowerBook”, published in 2000 and telling the tale of a fantastical journey in cyberspace; all the artworks included in the exhibition Beachcomber–which means “a vagrant who makes a living by searching beaches for articles of value and selling them”–present an overabundance of texts, cityscapes, streets, figurative images gathered at spontaneous moments, and details from personal life; which demonstrate that as well as materials and techniques, life itself could also evolve into an artwork by being processed through recycling and by being subjected to a sort of upcycling.

In her series and individual works, the artist diminishes the dominant characteristic of the photograph by constructing symbols from frames that could be considered unusable and to a certain extent waste, while also proposing to overcome the seriousness of life by showing its contradictory aspects. While this universe of images that arouses a deep curiosity on the part of the viewer is composed as the constituent parts of a narrative, there is a strong sense of balance among the forms that could be discerned between the lines.
Although living in an intense sphere of visuality and in a data cloud–that is to say, in The Information Age–as an individual, it is possible to read in the finalised forms of the works of art that she brings artistic practice “closer to” life in a multitude of ways from her means of drawing inspiration to her attitude towards production in the realm of contemporary art. Transporting such an exceptional production in her generation into the space of the gallery with “Beachcomber”, Beler weaves a vigorous “network” with found materials, photographs that she took, oil paintings and various other materials that allows her to take a peek into the details of everyday life. In fact, simply put, this is nothing other than a representation of the artificial memory that everyone is creating with their smartphones and carrying with them wherever they go. This “network”, composed by the artist, that evokes the framework of memory in the eyes of the viewer through a visuality detached from its primary meaning and function, actually generates a loop as she utilises the classic format of painting. This is a loop that is somewhat vague but filled with details familiar to us all, which gradually obscures and blurs the boundaries of life and art. We stare at the things that leak from the gaps between everything that the great waves of memory and life bring.

Beachcomber could be viewed at Krank Art Gallery until 17 March.

Zeynep Beler

Born in Ankara in 1985, she graduated from the Department of Graphic Design at Bilkent University in 2007. In 2010, she completed her master’s degree in Photographic Studies at Leiden University. She participated in the artist residency program of Borusan Art Center in 2010-12. The artist, also known for her translations, attended workshops and residencies, such as Middle Town: Picturing the Unspectacular (with the collaboration of GAPO and ISSP) and AiR Turkey-Scandinavia Connections (Tranas, Sweden). Some of the exhibitions she has recently participated in include “Habitat”, Istanbul Modern, 2015-16; “Greetings from Now On: Territories of Commitments”, BERLINARTPROJECTS, 2016; solo exhibition “Writing Remains”, Zilberman Projects, 2017; and “Tree, Simulacrum, Sea, Moon”, Borusan Contemporary, 2017. Beler lives and works in Istanbul.


IRMAK CANEVİ & ZEREN GÖKTAN “0 536 075 56 83” November 23th, 2017 – January 6th, 2018

KRANK Art Gallery hosts Irmak Canevi and Zeren Göktan’s collaborative exhibition, titled “0 536 075 56 83”. Through a self-initiated process the exhibition locates, makes a title from and transforms a telephone number among the many that we come across within the fabric of the city, into a work of art. The number that gives the project its name also operates as a portal opening on to the sound installation* that is the only artwork on which the two artists have collaborated.

In the background we can see the remains from a demolition. Perhaps the houses that were erected overnight were destroyed again in just one night. There is a truck full of goods and chattels; it’s parked, its door is open and there is a plastic chair in front of it… Written on the wall next to this junk removers’ truck that hauls all the adventures of the visible and its perception through preserving a difference that cannot be counteracted or suppressed, is a phone number: “0 536 075 56 83”.

Utilising the city in which they live as the space of their artwork and its every detail as their material, the artists prefer to gaze at the city from a quiet place where they have muted its sounds. Children in Zeren Göktan’s photographs and the installations made using coffee cups by Irmak Canevi make room for themselves at the periphery of the big city that keeps bustling not too far away, while also providing us with clues as to where they originally come from. When the viewer dials the number that is also the title of the show he starts to hear the old sounds of this new fictitious world.

The inspiration behind Irmak Canevi’s title for his installation “Caffeine Makes For Busy Bees / Arılar da Kafein Sever” is a study where it was found that bees too can not start their day without caffeine. Its source of material is found in the coffee cups he drinks his coffee from, every morning before starting work at his studio. The emptied paper cups are cut and filled with concrete and wax, and transformed. The coffee cup is no longer an object that we can use, but rather an object of Canevi’s work of art that provides us with the conditions of making use of the parody of that work. Exploiting a ready-made functional object of the present-day consumer society, Canevi puts this object through a process of deconstruction. While Marcel Duchamp, one of the masters of modernism, entrusts the deconstruction of such a ready-made object to the viewer, Canevi performs this act himself as part of his practice of art, and thus, through a series of contrivances, consumption is transformed into production; garbage into still life, and as such into a work of art.

In his series “Masters at Work / Usta İşi” Canevi reconsiders the details of the street that he has recorded. The artist makes a model from the photographs of the nexuses of the city that could be described as ‘haphazard’ or ‘flawed’, through making use of unusual compounds of materials. He challenges the viewer by overlapping art and an image that should not belong in the realm of aesthetics. Each meticulously showcased ‘lyrical praise’ constitutes one part of a new whole. Adopting the dreams of a disheartened city planner, the artist proposes a different narrative of transformation and regeneration.

In her photograph series titled “Arka Bahçe / Backyard”, Zeren Göktan takes inspiration from a backyard that everyone has had in their lives where the belongings that we part with are disposed of and forgotten. While we have created countless games in these gardens where our first experiences of our encounters with the outside world took place in our childhoods, having discovered the faculty of imagination the human being yearns for this world of playfulness that one strives to keep alive in their memories as years go by. In her photographs, the artist makes a present of her dreams to the children she has posed in places that seem inaccessible or even dangerous to approach. Looking from a high vantage point everything has become smaller and the realm has broadened because of the child’s point of view. Because the World is transformed into a toy when viewed from high above. Rather than digging deep like Alice in Lewis Carroll’s “Alice in Wonderland”, Göktan’s children are out to explore the surface. The subject has abandoned the perspective made available to her. Now everything that is visible, that is, all information available, is right in front of her eyes. The games they create are games without set rules, like those of Alice, with no clear winners and losers. The whole atmosphere makes us witness the moment when the minor game of the human being and a major game coincide, when the human game and the divine game intertwine.

In “0 536 075 56 83” exhibition, KRANK Art Gallery invites the spectator to the magical world of games that Canevi and Göktan have created in silent gardens that they have dreamt of, like children challenging the world of adults that becomes smaller and smaller as one ascends. This game that exists only in the mind and culminates in nothing other than a work of art, also renders thought and art into a reality and causes them to induce a perturbation in the reality of the world.

*We thanks Benjamin Fenton for sound editing.

Irmak Canevi

The materials used in Irmak Canevi’s work are, in his own words, “as unimportant as the artist.” On the other hand, what is important is the process of giving them form. Rendering materials to be ordinary in this way means everything can be used in the artistic practice. From this aspect, in the works of the artist we can read a “lyrical praise” about the way things come together. How and where one element is combined with another is an act that consolidates the holistic evaluation of this montage. This way of balancing the means and ends places an emphasis on the process and the craft, as opposed to the result –the work of art as the final product–and presents the work almost as a political stance.

Zeren Göktan

Pursuing the possibility of a new and fictional language in her works, Zeren Göktan also evaluates the codes of the society and the culture in which she lives in her artistic practice. The point of view that she employs in her projects, which have a fictional and sometimes even a spontaneous tone, aims to make visible the conditions in which an individual lives, as well as their problems and sensibilities concerning their era. Göktan’s subjects, in terms of the narrative she delves into, and the scene compositions, gestures and mimics, which she attends to in the finest detail, all originate from the meticulous and scrutinizing component of her identity as an artist. Through her works she offers an intimate landscape for the spectator to gaze at, without the use of a didactic or clichéd language, and gracefully looking out on to challenging issues.



KRANK Art Gallery hosts Güneş Terkol with the exhibition ‘Home is My Heart’. Terkol’s banner project prepared for Art Night London and its documentation that will be exhibited for the first time in Turkey could be viewed at the gallery until Saturday, November 18th. In addition, Bige Örer will perform an artist talk with Güneş Terkol at November 13th.

An annual contemporary art festival in London, Art Night has launched a project in which a leading cultural institution and an independent curator are invited to an extraordinary location in London to work on a project that explores the history, culture and architecture of that area. Art Night, which was held this year in East London on July 1st, was curated by Fatoş Üstek and realised in collaboration with the Whitechapel Gallery. Following a one-month residency in London, Güneş Terkol, who was invited to the project from Turkey, was commissioned to create a new work for the Art Night. In Terkol’s 7th Banner project, Home is My Heart / Evim Kalbimdir, which was realised as a socially engaged practice, diverse groups of participants collaborated with the artist. Terkol worked with a group of residents from Middlesex Street Estate. One of the two housing estates allocated to immigrants in the City of London, Middlesex Street Estate consists of a 23-storey tower block and a square of family flats and bedsits built between 1965-1970 by the Corporation of London Architect’s Department, with playgrounds and garages, all arranged around a podium landscaped by the residents. The Estate contains 270 properties, 70% of which are being used as social housing by various minorities for several generations.


Through a series of sewing workshop the participants produced a large-scale banner of 1.4 m x 3 m, titled “Home is My Heart / Evim Kalbimdir”. The banner that was embroidered onto a backdrop designed by Güneş Terkol reveals the residents’ hopes, dreams and their relationships with the neighbourhood and their neighbours through a poetic narrative full of emotion and labour. The resulting work was installed in the window of Sir John Cass School of Art, Architecture and Design (The Cass), one of the six schools of London Metropolitan University.


Within the scope of the project there was also an audio-visual performance. A processional chorus, called the ‘Bird Band’, organised with the participation of the residents, walked the streets of the city playing bird whistles and carrying the banner.


Another exciting outcome of the project was that the banner was enlarged to 4 m x 12 m with the support of the City of London Cooperation and made into a permanent mural on the exterior wall of the Middlesex Street Estate.


As part of the project, Terkol’s “Desire Passed by Band / Arzu Yalayıp Geçti Bandosu” series created in 2010 was also exhibited. Each one of the life-size depictions of 27 fictional characters from a variety of diverse social classes in the series represented an individual from society, and by being placed together their social identities were emphasized. By exhibiting “Desire Passed by Band” alongside “Home is My Heart” in the windows of The Cass building on the occasion of the Art Night, the harmony of social togetherness was underscored through two separate bands created at different times.


“The banner is important to me as a concept because before when people used to protest, they would get together before the protest to create a banner, this allowed them to discuss ideas and politics with each other,” says Güneş Terkol, whose works created with found materials, particularly soft textured materials, are shaped by the personal history, the environment, the relationships, and the social conditions that she encounters. Her ambiguous characters are the protagonists of a story without a definite beginning or an end, in a narrative with no narrator. These stories appear in her sewing pieces, in her sketches, and sometimes in her musical performances.


Güneş Terkol has seven banner projects, including “Home is My Heart”. These banners that have emerged as a result of workshops she has organised in different geographies from China to Antakya, from Istanbul to Berlin, in a sense depict the dreams, the fears, the worries about the future, and the current situations of the women, the immigrants, the young people, and various other fractions living in these different geographies.


About Güneş Terkol


Believing in the importance of collective production, collaborative work and gathering for a common purpose, in addition to her individual practice, the artist has been producing collaborative works together with the art collective Ha Za Vu Zu since 2005. Three artists from Ha Za Vu Zu; Oğuz Erdin, Güçlü Öztekin, and Güneş Terkol continue producing performances with their new group, GuGuOu. In 2016 participating in an artist residency program at Cité des Arts in Paris, the works of Terkol were last presented at the 32nd Sao Paulo Biennial and at the group show “All Fun and Games Until Someone Gets Burnt …” at the Manhattan Loft Gallery, London.


Artist Residencies; 2013 ISCP, New York; 2011 OrganHaus, Chongqing; 2010 Gasworks, London

Solo Exhibitions; 2015 LISTE, The Young Fair Basel; 2014 “Holographic Recording” NON Gallery Istanbul; 2012 Frieze Frame, Frieze Art Fair London; 2012 “The Main Forces That Stir Up Action” NON Istanbul; 2008 “No Ceremony for Transition” Apartment Project Istanbul

Group Shows; 2016 “O zaman renk!” Artnivo Istanbul; 2015 “Passion, Joy, Fury” MAXXI, National Museum of XXI Century Arts Roma; 2015 “Stay with me” Depo Istanbul; 2014 10th Gwangju Biennale Korea; 2013 “Better Homes” Sculpture Center New York; 2013 Whitechapel Gallery London (with Ha Za Vu Zu); 2012 “Who told you so?! #4 Truth vs. Family” Onomatopee Eindhoven; 2012 “Signs Taken in Wonder” MAK Vienna, Curators: Simon Rees and Bärbel Vischer; 2012 “What a Loop” Berlin (with Ha Za Vu Zu); 2011 “Dream and Reality” Istanbul Modern Istanbul; 2009 10th Lyon Biennale, (with Ha Za Vu Zu), Curator: Hou Hanru; 2009 “BREADWAY, Urban stories: The X” Baltic Triennial of International Art Vilnius (with Ha Za Vu Zu); 2007 10th Istanbul Biennial, Curator: Hou Hanru (with Ha Za Vu Zu); 2007 “sobe!” Bilsar Istanbul, Curator: Leyla Gediz; 2007 “We Are Getting Vocalized” Galerist Istanbul (with Ha Za Vu Zu)




ASLI ÇAVUŞOĞLU “PATCHWORK” Exhibition May 5th – July 1st

Krank Art Gallery hosts artist Aslı Çavuşoğlu in a new exhibition, “Patchwork”, curated by Ali Akay. Through the intersection of three different artistic works; Red / Red a work focusing on an ancient red colour, artificially produced gems (The Stones Talk), and imitation jewellery exposed on photographic paper, the artist reveals a history that seems to belong to a realm of simulacrum.

In her solo exhibition “Patchwork”, Aslı Çavuşoğlu prepares a jigsaw puzzle consisting of the fragments of three of her works. The first piece of this jigsaw puzzle in the gallery is a variation of her work Red / Red, realised during the 14th Istanbul Biennial. This work that presents a story through colour was created using a special red pigment that has been used since 7th century BC, obtained from an insect living on the banks of the Aras River. This insect, called “Ararat Cochineal”, is on the verge of extinction on the Armenian side of the Aras River. On the Turkish side, the technique of producing this dye, used mostly by Armenians living in Anatolia, ceased to exist after 1915. The insect that lives on the roots of a plant found on the banks of the Aras River, in a sense, serves as the border between Turkey and Armenia, and tries to cling to life on both sides. Red, as a colour, exists as a way of creating a “common space”. The colour red, produced by a centuries old technique, alludes both to vitality and to death. In the words of the artist, this special red is able to generate a certain energy on its own and draw us towards it.

In pursuit of the only person in the world still producing this dye, Çavuşoğlu found herself at the Institute of Ancient Manuscripts in Yerevan, and produced drawings and notebooks inspired by the manuscripts and traditional Armenian miniatures at the institute. While the work tells the story of the disappearance of this pigment on both sides of the river, it also initiates a new discussion about the contemporary use of tools of material culture through the way it shares the knowledge about the production of the pigment once again.

The second fragment of the jigsaw is composed of pieces from another work of the artist, called “The Stones Talk”. The starting point of “The Stones Talk” are archaeological artefacts found at various excavations in Turkey, deemed “not worthy” of being exhibited, and considered to be “study pieces” that are not valuable enough to be “museum pieces” as they were incomplete or insignificant. Making copies of a selection of study pieces of her choice, the artist created new “wholes” out of these copies reproduced in different materials. Discussing the selective nature of the writing of history in her works, in “The Stones Talk” Aslı Çavuşoğlu reflects on the value system based on classification that we see at archaeological museums, while pursuing the potentials of creating narratives with archaeological and historical information, and telling polyphonic stories through objects.

The third fragment that constitutes the jigsaw in the exhibition Patchwork are pieces of historical Ottoman jewellery. The increasing Ottoman nostalgia in recent years is manifested in the so-called “Ottoman lifestyle”, and its most prominent example is the popular appeal of the television series “Muhteşem Yüzyıl” (The Magnificent Century). The outfits of the characters and their jewellery have become popular as symbols of the Ottoman lifestyle, and have artificially recreated the Ottoman heritage. In this part of the jigsaw, we see photograms of these jewellery, the cheap imitations that swarm the retail stores and that have become even more artificial through mass production. These were produced by exposing imitation jewellery on photographic paper. The photograms of these modern reproduction sets are the same as the photographs of the jewels in Ottoman archives, but with one difference; this time the photograms create a gap in our minds that would make room for new interpretations.

A history that seems to start belonging to a realm of simulacrum emerges out of the intersection of the three different artistic works. The simulacra that are no longer models, now consist of pieces that function on their own and compose their own models in an artistic fashion, and as such, become pieces of original artwork. While the pieces exist in a world desired to be perceived as reality, the artworks meet the viewer in an arrangement of a jigsaw puzzle named “Patchwork” by Aslı Çavuşoğlu. So now, the story writes itself from scratch, in the way it wishes.

About Aslı Çavuşoğlu

A graduate of Marmara University, Department of Cinema-TV, Aslı Çavuşoğlu (1982, Istanbul) lives and works in Istanbul.

Solo Exhibitions;

2016 Red/Red, MATHAF: Museum of Modern Art, Doha, Qatar

2015 Murder in Three Acts, The Market Gallery, Glasgow, UK

In Diverse Estimations, Gallery Miroslav Kraljevic, Zagreb, Croatia

2014 Aslı Çavuşoğlu: In Diverse Estimations Little Moscow, Risd Museum, USA

2013 Murder in Three Acts, Delfina Foundation, London

The Stones Talk, ARTER, Istanbul

Murder in Three Acts, Gallery NON, Istanbul

2012 Art Basel Miami

2010 How I Traveled Around the World, Gallery NON, Istanbul

Selected Group Exhibitions;

2017 Colori, Castello di Rivoli, Turin, Italy

2016 On Exactitude in Science, The School of the Museum of Fine Arts, Boston; Manifesta 11: What Do People Do For Money, Zurich; How Did We Get Here?, Van Abbemuseum, Eindhoven, the Netherlands; Cuenca Biennial, Cuenca, Ecuador; Replaced, RAMPA, Istanbul

2015 Surround Audience, The New Museum Triennial, NY, USA; His Master’s Voice: On Voice and Language, Montpellier, France; The School of Kyiv, Second Kyiv International Biennale, Kiev, Ukraine; How Did We Get Here, SALT, Istanbul; Salt Water, The 14th Istanbul Biennial

2014 Proposals on Monumentality, Green Art Gallery, Dubai; The Moving Museum, Istanbul; Il Delitto Quasi Perfecto, PAC Padiglione d’Arte Contemporanea, Milan, Italy; The Crime Was Almost Perfect, Witte de With Center, Rotterdam, the Netherlands

2013 Conversations, Darat al Funun, Amman, Jordan; Suspicious Minds, Galeria Vermelho, Sao Paulo, Brazil; Husumet, Rezalet, ARTER, Istanbul; Signs Taken in Wonder, MAK Museum, Vienna, Austria

2012 The 11th Baltic Triennial of International Art, Vilnius, Lithuania; Turkish Art Nice and Superb, TANAS, Berlin, Germany; Soundworks, ICA, London, UK

2011 Performa 11, New York, USA; 7 Works, Borusan Contemporary, Istanbul

2010 When Ideas Become Crime, DEPO, Istanbul; G Have a Look! Have a Look!, Formcontent, London, UK; Fantasy&Island, Frac Corse, Corsica, France

2009 This Place You See Has No Size At All, Paris, France; Interferencia, Bogota, Colombia; End Game, Gallery Loop, Seoul, Korea

2008 You can’t kiss away a murder, Galerist, Istanbul; On Producibility, Altı Aylık (Turkey) / Nuans (Germany), New Talents, Cologne, Germany; Hypnosis Show, Jessica Silverman Gallery, San Francisco, USA

2007 Be a realist, demand the impossible!, Karşı Sanat Gallery, Istanbul; TR 10º Kunst: Wilhelmsburger Freitag, Hamburg, Germany; Urban Pedestals_Cph, Copenhagen, Denmark

2006 Caiet de Geografie, Masa, Istanbul; Reserved, Pist, Istanbul; InforNATION, PiartWorks, Istanbul

2005 That from a long way off look like flies, Platform Garanti CAC, Istanbul



Krank Art Gallery hosts artist Elif Çelebi in “Not Withdrawn from the Ecosystem”, a new exhibition curated by Ali Akay. The artist fills the gallery space with her watercolours that reveal a holistic idea of nature encompassing all living things regardless of the distinction of human-animal-plant.

As a scientific discipline examining the life environment and interactions among living things, ecology constitutes a prominent feature in the works of the artist. The bonds between man and man, man and society, and man and animal belong to a line of thought that does not “hold on to memory” but strides onwards.

The destruction of the ecosystem by an industrialising sociality that asserts its dominion over nature and over the animal constitutes a conceptual part of the work of Çelebi.

Confronting the development of human thought with an aim of establishing domination over nature, through each and every piece in the exhibition “Not Withdrawn from the Ecosystem” the artist postulates that the possibility of transitivity between the living and the inanimate could only be attained through rethinking the system that is created by the bonds formed through the interaction of these entities.

In these works, in which she has an appreciation of the non-hierarchical and where she concentrates on an idea of nature that could exist without resorting to separation, the fluid effects of the material lets the drawings and colours transport the viewer to a world that is as alien as it is familiar. By way of the forms of the sexes that provide them with permeability, it is not sexuality but a poetica of ambiguous genders that is pursued.

Since beginning her pursuit of a life in art in the 1990s, the vast majority of Elif Çelebi’s watercolours and videos focus not really on advocating animal rights but on considering animals, as well as people and plants, to be regarded as living beings. These animals, which are part of her intellectual adventure in her own world, appear not as “herself or her possessions” but wrapped up in a concept that focuses on perceiving them as beings with whom we should cohabitate the world. In Çelebi’s works, narratives about her personal history undergo a process of arranging and re-experiencing the past, and concept of time-memory seems to be preserved within images through objects and things. The intermingling of meaning and object makes it into a world belonging not to the artist but to the viewer.

 About Elif Çelebi

Born in 1973 in Canada, after graduating from the Department of Painting at Marmara University Faculty of Fine Arts she completed her master’s degree and doctorate at Marmara University Institute of Fine Arts. She is currently an associate professor and lecturer at the Department of Painting at Marmara University.

Her solo exhibitions include “Nonsynchronous” at Maçka Art Gallery in 2013, “Animal Which We Become” exhibition curated by Ali Akay at Açık Ekran in 2012, as well as exhibitions at Room Gallery in Rotterdam and at Apartment Project.

The exhibition “Stay With Me” that was presented at Apartment Project Berlin and at Depo (formerly a tobacco warehouse) in 2015, “Re-Degeneration” at Sanatorium, “Chaotic Metamorphosis” at Proje 4L, the “Transfer” exhibitions at santralistanbul and at Münster, Aachen and Bochum in Germany, and the exhibition “Buradan Çok Uzakta: Bir Kamusal Alan Projesi” realised at Haydarpaşa and Ankara Train Stations are among the group exhibitions she participated in. Between 1999 and 2006, she also participated in various group exhibitions in Korea, Kazakhstan, Chile, France, Turkey, Kosovo, New Zealand, Bulgaria and Germany.


GÜNEŞ TERKOL “A WHISTLE THROUGH THE WORLD: HEY, WAIT!” Exhibition December 15 – February 18

In a new exhibition titled “A LIGHT THROUGH THE WORLD: HEY, WAIT!”, curated by Ali Akay, KRANK Art Gallery hosts the accomplished young artist Güneş Terkol, currently continuing her work in Paris at the Cité des Arts. Her delicate and translucent works almost place us in “a world of fairy tales,” adopting an attitude that is evanescent like fairy tales on the one hand and quite convincing on the other, and this time inviting the viewer into an enigmatic puzzle unfolding in a world of magic.

Producing works about the relationships between gender identities through the use of sewing, video, drawings and sound; the artist believes that work is a relationship involving waste, contradictions and relations. In her works she pursues signs, stories, words and dreams that motivate her and that she finds harmonious, to create new narratives out of them. So in starting a new work, she studies the notes and drawings in her old notebooks, and the fabrics and photographs she collects.

The artist’s work is shaped by the social conditions in which she lives, the images she encounters, her personal history and the materials she finds. The artist, looking for means of expression beyond the act of painting, uses pieces of fabric she collects to this end. Instead of heavy, unwieldly and expensive materials, she prefers to use economical, casual, easy-to-carry and unfettering tools in her artistic practice.

She creates figures belonging to an ambiguous time and space through the use of black contours produced by stitching and colouring the fabric directly, and with these figures hollowed out from content –sometimes rendered as human figures in an animal-like form– she presents stories with no definite beginning or end. When the figures, people and objects that Terkol represents in an abstract fashion are combined with the ‘reality’ of the fabric and the situations we are accustomed to seeing that fabric in, the works of the artist render the objects we think we recognize alien. This alienation is further reinforced by another tension emerging from the technique of sewing on fabric, between the images and the visual form through which the images are represented. The use of sewing –an act associated with women– as a means to create fictional images, and the unconventional utilisation of fabric –considered decorative and ‘feminine’– suggests that the artist is questioning her gender and her relationship with where her gender is placed in society.


Just like in fairy tales, the works of art appear to be part of a world of emotion where winds blow, rain falls, lightnings strike, jinn and fairies fly about, or they crawl the ground like serpents. The jinn, as beings that are not living but alive, which at times become visible and sometimes disappear due to the dialectical relations between darkness and light, are separated into male and female jinn in Güneş Terkol’s world of fairy tales. One thing we should not fail to notice is the fact that the place where these stories and fairy tales carry us and form a knot, again appears to bear the hallmark of a question of morality. The stories in Güneş Terkol’s works seem to be embroidered as part of our world. The abstracted figures, each visible and so very figurative, appear in front of us and lure us into looking at them. They are attractive and have a charming ephemerality and strangeness about their physical materials. Although it looks like there is no place for fairy tales in this city transformed by the system of capital, there will always be a place for Dünya in the world of art. Besides, isn’t that the real power of art? The power to bring together dream and reality!

About Güneş Terkol

Güneş Terkol takes inspiration from her immediate surroundings, collecting materials and stories, which she weaves into her sewing pieces, videos, sketches and musical compositions. The protagonists of her narratives, humorously represented by Terkol in her work, are usually women adapting or refusing to adapt to the social and cultural transformations that affect contemporary Turkey. The act of sewing and using recycled fabrics becomes, in itself, an act of resistance which claims back a form of independent production and widens access to contemporary art. She also member of HaZaVuZu artist collective and GuGuOu group keeps working.

Güneş Terkol, born 1981, is a Turkish artist based in Istanbul. She graduated from Mimar Sinan University, Fine Art Faculty, Painting Department. She completed her master’s degree in Yildiz Teknik University Interdisciplinary Art Department.

Selected solo exhibitions include Holographic Recording at Gallery NON in Istanbul (2014) and Dreams On The River at OrganHaus in Chongqing (2010).  Selected group shows include the 2016 “ Live Uncertainty”, 53 nd Bienal de Sao Paulo, 2015 “Passion, Joy, Fury”, MAXXI,Rome 2015 Stay10th Gwangju Biennale in Korea (2014), Better Homes at the Sculpture Center in New York (2013), Signs Taken in Wonder at MAK in Vienna (2012) and Dream and Reality at Istanbul Modern (2011).
Terkol has attended the residency programs at ISCP New York, 2013; OrganHaus, Chongqing, 2011 and Gasworks, London, 2010.