Le Jardin de la Spéculation Cosmique
18 Oct - 17 Nov 2012
LE JARDIN DE LA SPÉCULATION COSMIQUE
Curator: Fatoş ÜSTEK
Artists: Haluk AKAKÇE, Hussein CHALAYAN, Arik LEVY, Serkan ÖZKAYA & George L. LEGENDRE, Ali Emir TAPAN, Evren TEKİNOKTAY, Elif URAS, Nil YALTER.
18 October – 17 November 2012
Galerist is hosting a group exhibition titled Le Jardin de la Spéculation Cosmique curated by Fatoş Üstek (1980, Ankara, Turkey) between October 18th and November 17th, 2012.
The exhibition emerges as a garden composed of artistic content. A garden of speculation on the nature of cosmos already exists in South West Scotland and is formulated by landscape architect and theorist Charles Jenks. The translations of cosmic compositions such as solitons, black holes, fractals appear as objects and installations in large scale on custom shaped trees, ponds and earth.
The exhibition Le Jardin de la Spéculation Cosmique shares the same name with Jenks’ garden, yet it differs in kind. Following a counter-action to that of Jenks’ illustrative attitude in fabricating its cosmic speculative nature:
the exhibition gathers positions that produce further the existing, the given.The pieces trigger a conceptual beyond, rather than displaying illustrations of cosmos. They differ in kind from one other in their aesthetic manifestation and subject matter; yet they conceive acts of furthering the given, the existing.
Those additional dimensions constitute the cosmic fabrication of speculation. Hussein Chalayan’s ‘Imminence of Desire’ depicts Istanbul as the object of desire while displaying its variant names over centuries. Serkan Özkaya and George L. Legendre’s ‘One and Three Pasta’ is a contemporary reproduction and conceptual furthering of Joseph Kosuth’s concern with the difference between a concept and its mode of presentation. Haluk Akakçe’s video animation entitled ‘Garden’ is an abstract conceptualization of the formation of positive and negative space, sourcing its constitution from planting elements such as tree stems. Additionally, Akakçe’s mirror panels reformulate perception through their angled and reflecting surfaces. Arik Levy’s rock formulations made of stainless steel emerge as abstract manifestations of the familiar. Nil Yalter, on the other hand, brings forth a collective social piece. Through her collaboration with ACEV in Diyarbakir, she has worked with the women and children under educational aid. The installation composed of four elements, constitutes portrayal of lives of women and their children within the cultural and historical relics of the city they reside. In ‘Fury’, Elif Uras brings forth a conceptualization of parallel worlds and multiple possibilities. Ali Emir Tapan makes use of glass blowing for his portraits while Evren Tekinoktay employs the medium of collage as a formation of language through symbols.
The garden as a metaphor for an exhibition marks the structure of its constellation, as well as its mental space.
An exhibition akin to that of a garden is a specification of conscious selection and exclusion of things, an organisation on an intellectual level; it contains many worldviews and relations at play. Le Jardin de la Spéculation emerges as an experience succeeded by the encounter of its viewer. The exhibition, hence, brings forth a multitude, a heterogeneous togetherness of distinct bodies of work in a constellation that of which formulates an imaginary garden.
Curator: Fatoş ÜSTEK
Artists: Haluk AKAKÇE, Hussein CHALAYAN, Arik LEVY, Serkan ÖZKAYA & George L. LEGENDRE, Ali Emir TAPAN, Evren TEKİNOKTAY, Elif URAS, Nil YALTER.
18 October – 17 November 2012
Galerist is hosting a group exhibition titled Le Jardin de la Spéculation Cosmique curated by Fatoş Üstek (1980, Ankara, Turkey) between October 18th and November 17th, 2012.
The exhibition emerges as a garden composed of artistic content. A garden of speculation on the nature of cosmos already exists in South West Scotland and is formulated by landscape architect and theorist Charles Jenks. The translations of cosmic compositions such as solitons, black holes, fractals appear as objects and installations in large scale on custom shaped trees, ponds and earth.
The exhibition Le Jardin de la Spéculation Cosmique shares the same name with Jenks’ garden, yet it differs in kind. Following a counter-action to that of Jenks’ illustrative attitude in fabricating its cosmic speculative nature:
the exhibition gathers positions that produce further the existing, the given.The pieces trigger a conceptual beyond, rather than displaying illustrations of cosmos. They differ in kind from one other in their aesthetic manifestation and subject matter; yet they conceive acts of furthering the given, the existing.
Those additional dimensions constitute the cosmic fabrication of speculation. Hussein Chalayan’s ‘Imminence of Desire’ depicts Istanbul as the object of desire while displaying its variant names over centuries. Serkan Özkaya and George L. Legendre’s ‘One and Three Pasta’ is a contemporary reproduction and conceptual furthering of Joseph Kosuth’s concern with the difference between a concept and its mode of presentation. Haluk Akakçe’s video animation entitled ‘Garden’ is an abstract conceptualization of the formation of positive and negative space, sourcing its constitution from planting elements such as tree stems. Additionally, Akakçe’s mirror panels reformulate perception through their angled and reflecting surfaces. Arik Levy’s rock formulations made of stainless steel emerge as abstract manifestations of the familiar. Nil Yalter, on the other hand, brings forth a collective social piece. Through her collaboration with ACEV in Diyarbakir, she has worked with the women and children under educational aid. The installation composed of four elements, constitutes portrayal of lives of women and their children within the cultural and historical relics of the city they reside. In ‘Fury’, Elif Uras brings forth a conceptualization of parallel worlds and multiple possibilities. Ali Emir Tapan makes use of glass blowing for his portraits while Evren Tekinoktay employs the medium of collage as a formation of language through symbols.
The garden as a metaphor for an exhibition marks the structure of its constellation, as well as its mental space.
An exhibition akin to that of a garden is a specification of conscious selection and exclusion of things, an organisation on an intellectual level; it contains many worldviews and relations at play. Le Jardin de la Spéculation emerges as an experience succeeded by the encounter of its viewer. The exhibition, hence, brings forth a multitude, a heterogeneous togetherness of distinct bodies of work in a constellation that of which formulates an imaginary garden.