Nilbar Güres & David Blandy
08 Sep - 30 Oct 2011
ARTISTIC DIALOGUES II
David Blandy: Child of the Atom
Nilbar Güreş: Self-Defloration
8 September - 30 October, 2011
Künstlerhaus Stuttgart presents the first comprehensive solo exhibitions from David Blandy and Nilbar Güreş in Germany.
David Blandy`s solo show “Child of the Atom“ transforms the 2nd floor of Künstlerhaus Stuttgart into a movie theatre for cinematic experiences.
Nilbar Güreş ́ monographic exhibition “Self-Defloration” on the 4th floor aims to display the diversity of her practice with a focus on a narrative approach to gender issues.
Both solo shows opening on Wednesday, September 7, 7pm, are presented within the framework of ARTISTIC DIALOGUES, a series of solo exhibition projects at Künstlerhaus Stuttgart that bring interrelated contexts, parallel discussions, and juxtaposed ideas together through diverse artistic practices.
London based artist David Blandy (*1976) produces videos, performances and comics that deal with his ambivalent relationship with popular culture, highlighting the slippage and tension between fantasy and reality in everyday life.
In relation to recent discussions about the atomic energy production in Germany, Künstlerhaus Stuttgart is pleased to show his recent work “Child of the Atom” (2010) as part of other selected video works in a cinematic atmosphere.
Discussing his video piece, “Child of the Atom”, Blandy states: “There is a familial myth that my late grandfather would not have survived being a Japanese prisoner of war had the atomic bombing of Hiroshima not occurred. So it could be argued that I owe my existence to one of the most terrifying events of human history and the death of 110,000 people.”
Vienna based artist Nilbar Güreş (*1977) works with a performative and gender sensitive approach on cultural observation. She creates conceptual forms of filmic settings to produce photographic images, collage, drawings and videos.
The “Çırçır” series (2010), exhibited at the 6th Berlin Biennial, takes place in a neighborhood confiscated by the state in İstanbul, undergoing a problematic urban transformation. Women who live in a migrant culture dominated by a patriarchal structure are re-liberated as they stir up our collective consciousness in these open-ended scripts where they play the lead.
In her collage work, “Self-Defloration” (2006) a female figure, who commits the act of self-defloration, is depicted with an abstract form of reference to the third gaze.
Güreş directly declares that she is mostly interested in how women will receive her work, and she thinks that how men approach to her work also gives an idea about their attitude to gender issues.
Currently, Künstlerhaus Director Adnan Yildiz is working on a publication project about Güreş’ practice which will be printed by RAMPA Gallery, Istanbul.
Both solo projects from David Blandy and Nilbar Güreş borrow their titles from singular works, “Child of the Atom” and “Self-Defloration”, reflecting on how the artists position themselves in relation to their personal issues, political attitudes, and existentialist concerns. Considering how Güreş instrumentializes theatricality as a strategy for developing an open script, Blandy uses the history of cinema and references from pop culture to create his meta-narration.
David Blandy: Child of the Atom
Nilbar Güreş: Self-Defloration
8 September - 30 October, 2011
Künstlerhaus Stuttgart presents the first comprehensive solo exhibitions from David Blandy and Nilbar Güreş in Germany.
David Blandy`s solo show “Child of the Atom“ transforms the 2nd floor of Künstlerhaus Stuttgart into a movie theatre for cinematic experiences.
Nilbar Güreş ́ monographic exhibition “Self-Defloration” on the 4th floor aims to display the diversity of her practice with a focus on a narrative approach to gender issues.
Both solo shows opening on Wednesday, September 7, 7pm, are presented within the framework of ARTISTIC DIALOGUES, a series of solo exhibition projects at Künstlerhaus Stuttgart that bring interrelated contexts, parallel discussions, and juxtaposed ideas together through diverse artistic practices.
London based artist David Blandy (*1976) produces videos, performances and comics that deal with his ambivalent relationship with popular culture, highlighting the slippage and tension between fantasy and reality in everyday life.
In relation to recent discussions about the atomic energy production in Germany, Künstlerhaus Stuttgart is pleased to show his recent work “Child of the Atom” (2010) as part of other selected video works in a cinematic atmosphere.
Discussing his video piece, “Child of the Atom”, Blandy states: “There is a familial myth that my late grandfather would not have survived being a Japanese prisoner of war had the atomic bombing of Hiroshima not occurred. So it could be argued that I owe my existence to one of the most terrifying events of human history and the death of 110,000 people.”
Vienna based artist Nilbar Güreş (*1977) works with a performative and gender sensitive approach on cultural observation. She creates conceptual forms of filmic settings to produce photographic images, collage, drawings and videos.
The “Çırçır” series (2010), exhibited at the 6th Berlin Biennial, takes place in a neighborhood confiscated by the state in İstanbul, undergoing a problematic urban transformation. Women who live in a migrant culture dominated by a patriarchal structure are re-liberated as they stir up our collective consciousness in these open-ended scripts where they play the lead.
In her collage work, “Self-Defloration” (2006) a female figure, who commits the act of self-defloration, is depicted with an abstract form of reference to the third gaze.
Güreş directly declares that she is mostly interested in how women will receive her work, and she thinks that how men approach to her work also gives an idea about their attitude to gender issues.
Currently, Künstlerhaus Director Adnan Yildiz is working on a publication project about Güreş’ practice which will be printed by RAMPA Gallery, Istanbul.
Both solo projects from David Blandy and Nilbar Güreş borrow their titles from singular works, “Child of the Atom” and “Self-Defloration”, reflecting on how the artists position themselves in relation to their personal issues, political attitudes, and existentialist concerns. Considering how Güreş instrumentializes theatricality as a strategy for developing an open script, Blandy uses the history of cinema and references from pop culture to create his meta-narration.