Video installation with four objects I in collaboration with Gökçe Yiğitel I Maçka Sanat Galerisi
The show, which looked into the 35 years of the Maçka Sanat Galerisi, is the result of the time İz spent among the recordings and documents from the archives of the gallery.
The title of the work, I am not dealing with triangle, square and circle is a quotation taken from the discussions in the gallery, which revolved around the potential of geometric forms as a universal language versus their rootedness in local heritage. The four objects in the space are basic geometric forms constructed in reference to artworks that were previously presented in the gallery, tools and materials of everyday life. They are precariously placed and can be manipulated by the audience. In the video, a fragmented female figure emerges like a ghost from the tiled walls, which have been there since the conception of the gallery, and attempts to relate to the objects in search of the potential meanings they could embody.
İz Öztat’s solo show was part of the series BENGÜ BURAK VOLKAN ALP ELMAS İZ curated by Nazlı Gürlek between September 2011-June 2012 in honor of the 35th anniversary of Maçka Sanat Galerisi, which has been dedicated to showing conceptual tendencies since its conception in 1974.
To see the other works in the exhibition visit Maçka Art Gallery website.
Discussions accompanying the exhibition:
If out of context utterances from the talks that took place at Maçka Art Gallery since 1980s occupy the present, what can we imagine for the future?
We can almost call it a heritage. Residues of the 70’s
In order to open to discussion the modernist architectural space of MSG, its relationship with the city and its future, İz invited historian and urban studies researcher Orhan Esen to contribute to the show. “Can MSG’s relationship with the fast evolving urban dynamics of İstanbul be elaborated through MSG being considered a cultural heritage?” In the conversation meeting entitled We can almost call it a heritage. Residues of the 70’s that is built upon this question, Esen proposes to look at the gallery through the period’s wide lens of urban production. From development buildings to shanty-towns, anonymous residential areas to original architectural interventions, the practices of urban development and production which reflect the essence of the period that has now become history were discussed by a group of actors of the period, witnesses and researches such as architects, architectural historians and urban sociologists with the participation of the audience.
Published in Flash Art International, No 286, October 2012
Published in Genç Sanat Magazine, No 207, July August 2012