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 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.
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.
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.