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Consequences are no coincidence

HAMRA ABBAS,  FİKRET ATAY,  TUFAN BALTALAR,  BURAK DELİER,  GÖKÇE ERHAN,  BENGÜ KARADUMAN,  ALİ MİHARBİ,  ŞENER ÖZMEN,  CENGİZ TEKİN,  İREM TOK

2 FEBRUARY 2012 - 24 MARCH 2012

PILOT Gallery is hosting a group exhibition of 10 artists, titled “Consequences are no coincidence” between February 2nd - March 24th. The exhibition that will be realised with the participation of Ali Miharbi, Hamra Abbas, Fikret Atay, Burak Delier, Bengü Karaduman, Şener Özmen, İrem Tok, Tufan Baltalar, Cengiz Tekin and Gökçe Erhan focuses on the issues of social media, the new world order and its economies. “Consequences are no coincidence” establishes the possibility of finding new hope in an era that mainly produces despair. It contains an investigation on the subject of how and with what kind of instruments could an alternative future be generated as well as enquiries about scenarios concerning the end of the world. How could we create the solidarity we need to form to be able to generate the future we yearn for, in an era when individualism is increasingly escalating? The exhibition is looking for answers to the questions about whether social media is creating a democracy of majority and could authoritarian regimes carry on at a time when social media is so widespread? It also considers issues regarding whether money could generate democracy, and could the mechanisms of fear and repression be deciphered. This is done through checking the pulse of twitter, facebook and wikipedia, as well as Microsoft, the economy pages of newspapers and the global squares and streets.

Ali Miharbi’s work, “Pulse”, is a mechanical sound installation based on real time conversations on microblogging services such as Twitter filtered according to keywords reflecting routine actions and thoughts, and the geographical location. Solenoid motors mounted onto the gallery walls, ceilings and floors beat on the structure they are attached to when the words written on the labels on them are used. The resulting rhythm of the movements and sounds, reflect the rhythm of the actions in daily life, and vary according to the time of day and the day of the week.

Hamra Abbas’s work, “Text Edit”, is a homemade video produced at the artist’s home. TextEdit highlights the climate of fear and surveillance by making edits to an email as it is being written, where the author is sharing her experience of being pregnant.

Fikret Atay’s video, titled “Rolling Stones”, portrays a young boy trying to sell stones at a market place. At places like a ferry, a market place, and a square that could immediately be recognised to be somewhere in Europe, he continues persisting in his action in a futile effort. He erects his own small stone monument next to the monuments in the square, and then leaves his makeshift monument.

Bengü Karaduman’s video installation, titled “We are all in the Same Boat”, consists of two separate projection surfaces hanging one on top of another. While the video located on the upper plane shows a ship cruising with products generated by the economy, the visual theme of the lower plane consists of the underwater. The ship represents the present economic system that eats away at our planet and the creatures on it, that wipes out our resources, that creates war, that utilises despair as a weapon of mass destruction, that designs disease and delays its treatment, that conditions us to create artificial needs to be able to consume continually and that is political in each and every way. It makes a good example of oil as one of the main raw materials that has oozed into the smallest detail of our lives, chased by the world in pursuit of more power, more money and more control.

Burak Delier, in his work “Little Man”, erects a statue of the ones who stand against the giant exploiting and wasting mechanisms in an unjust and unfair struggle. The artist problematizes “Contemporary art”, and says that due to the experimentality and commitments it holds, it is something that does not fit into the higher rank determinations, and that “even though the artist feeds off the bourgeois class, it should move towards the working class, and further down towards the unregistered, deterritorialized and those dismissed out of history”.

Gökçe Erhan’s “Economy Page” is a good example of considering recycling in art and shifting the perception of reality through the spirit of arte-povera. During the year Compiling the economy page news collected throughout 2011 on a single page, Erhan requests one of Turkey’s best economy writers, Meral Tamer, to write a column for the work. The text that Tamer wrote is placed on the top of Erhan’s work, gaining a new meaning with the plastic bags collected for recycling.

Cengiz Tekin’s photograph, titled “Potlatch”, presents a view on the relationship between the challenges of life and the economy of sharing through the concept of “play”. It is uncertain whether the children throwing imitation board game money into the air are turning the gift economy upside down or if they are devising a game based on the logic of acquisition and possession.

İrem Tok’s interactive video “Windy” shows a fugitive figure floating in an ambiguity, susceptible to influence. A space created by the person drifting due to external factors with a feeling of alienation, in a state of uncontrol and anxiety, trying to hold on, to become invisible by locking oneself in.

Tufan Baltalar composes a narrative through four paintings and a statuette that are all linked to one another, in the exhibition. While the four paintings containing indications about the position of the worldly order among its effecting factors are placed on the wall, the small statue drawing the broad narrative together, stands on a pedestal in front of the paintings. These paintings and the statuette strive for opening a gap for a comprehensive narrative.

Şener Özmen embarks on an experiment slightly different from what he has been producing up to today and weaves the pope of the internet world, the internet activist “Assange” on a wall carpet. He bases his work on “commodification” as a stage of spiritualizing an ordinary individual, rendering the individual into a kitsch by making a cult of him. The carpet with the portrait of Julian Paul Assange with white, silky hair that seems to be ironed, is assumed to require a wall to completely or partially lean against (on a local or global scale) in an era that is eradicating all walls. Or perhaps he is creating an allusion to the carpets that Assange has pulled from under our feet.

Şener Özmen, ASSANGE, carpet, 140x200 cm, 2012

EXHIBITION PHOTOS