Nasan Tur
Kapital
26 Apr - 15 Jun 2018
NASAN TUR
Kapital
26 April - 15 June 2018
In his works, Nasan Tur negotiates the social conditions of artistic creation and addresses contemporary political-economic conditions. An essential starting point for his work is language, especially in "Variationen von Kapital": The ongoing series from 2013 is shown again and again. The context does not vary as the walls of galleries always serve as presentation areas. The serial production of the work makes it possible to market a set-up as a "site-specific installation" every time - which is factually true due to the different wall sizes. Nevertheless, the approx. 800 existing unique pieces appear to be identical. This is an ironic staging whose nature is captured in the essence of Tur's work.
Around 170 of the more than 800 drawings are installed at KOENIG2. 800 is not a symbolic number, but a status quo: Nasan Tur has had over 41,000 written variations of the word capital identified by a programmed algorithm, which sound phonetically like "capital". So far, the artist has drawn several hundred variations of it, randomly determined, with Indian ink on hand-made Tibetan paper. Each drawing is unique, dated and signed by the artist. Implicitly referring to "Das Kapital" by Karl Marx, the price for each work is fixed at exactly 1,000 euros. However, the buyer is again exposed to an arbitrary order, because none of the works can be self-determinedly "selected". A previously defined random principle assigns a work to every interested party by lot.
The ambiguity between serial, i.e. mechanical production and handicraft plays with ideas of exploitation through work and mass production. The use of the computer for the conception of an image and the aleatoric principle for the purchase forces the criticism on contemporary production and utilization systems. At the same time every single sheet is a handmade unique piece and therefore of a different, higher quality, at least for the art market. Nasan Tur deliberately creates these frictions without confronting the viewer with brutal aesthetics.
Kapital
26 April - 15 June 2018
In his works, Nasan Tur negotiates the social conditions of artistic creation and addresses contemporary political-economic conditions. An essential starting point for his work is language, especially in "Variationen von Kapital": The ongoing series from 2013 is shown again and again. The context does not vary as the walls of galleries always serve as presentation areas. The serial production of the work makes it possible to market a set-up as a "site-specific installation" every time - which is factually true due to the different wall sizes. Nevertheless, the approx. 800 existing unique pieces appear to be identical. This is an ironic staging whose nature is captured in the essence of Tur's work.
Around 170 of the more than 800 drawings are installed at KOENIG2. 800 is not a symbolic number, but a status quo: Nasan Tur has had over 41,000 written variations of the word capital identified by a programmed algorithm, which sound phonetically like "capital". So far, the artist has drawn several hundred variations of it, randomly determined, with Indian ink on hand-made Tibetan paper. Each drawing is unique, dated and signed by the artist. Implicitly referring to "Das Kapital" by Karl Marx, the price for each work is fixed at exactly 1,000 euros. However, the buyer is again exposed to an arbitrary order, because none of the works can be self-determinedly "selected". A previously defined random principle assigns a work to every interested party by lot.
The ambiguity between serial, i.e. mechanical production and handicraft plays with ideas of exploitation through work and mass production. The use of the computer for the conception of an image and the aleatoric principle for the purchase forces the criticism on contemporary production and utilization systems. At the same time every single sheet is a handmade unique piece and therefore of a different, higher quality, at least for the art market. Nasan Tur deliberately creates these frictions without confronting the viewer with brutal aesthetics.