GROUP SHOW, PİLEVNELİ YALIKAVAK: PİLEVNELİ | YALIKAVAK

 13.07 - 08.09 

PİLEVNELİ Yalıkavak presents a comprehensive group show between July 13 – September 8, 2024 Featuring works by 20 artists and an artist duo from Turkey and various countries, who stand out with their unique styles, the display covers a wide range of themes and contents.  While presenting the diversity of techniques to the visitors, the exhibition also provides a reading of the themes and contents on which artists have recently focused and how their visual language has diversified. While works by Rasim Aksan and Kevin Francis Gray are exhibited for the first time at Pilevneli, Tarık Töre draws attention with a small paper series that he tried for the first time in his own practice.

 

Bora Akıncıtürk, focusing on the accessibility and appearance of internet-sourced information, as well as the expression and lifestyles of the post-truth digital age, drew inspiration from anonymous images and cultural references in his latest solo exhibition. Akıncıtürk, focusing on the accessibility and appearance of internet-sourced information, as well as the expression and lifestyles of the post-truth digital age, drew inspiration from anonymous images and cultural references in his latest solo exhibition. Among the works featured in the exhibition, the moment Neo emerges from the bathtub in Matrix is depicted exactly as in the film, with the added inscription "I hate sex cause my boss fucks me everyday" humorously expressing the enslavement to daily routines and the mundanity of going to work every day. In Angel, the artist uses the popular photoshop effect of embossing, referring to the SoundCloud rap genre, showing the silhouette of a rapper who has become an angel. Üzme Tatlı Canını features an image taken from the cover of a book translated into Turkish in the 1970s, originally written by the Italian Beat Generation representative Pitigrilli. This encounter with the book was coincidental for the artist, yet the text within the prisms reflects the graphic design of the 70s, capturing both the verbal and visual language of a specific culture.

 

Rasim Aksan, whose works are exhibited for the first time at PİLEVNELİ, constructs enigmatic narratives in his paintings through the use of symbols across a wide spectrum of themes, from everyday events to intimate interactions. His artworks achieve a compelling effect by preserving stories through fragmented elements, inviting viewers to transcend their passive role. Aksan prompts them to construct events within their own minds and draw subjective conclusions. His artistic expression is influenced by the visual overload of contemporary culture, both referencing and drawing nourishment from this visual complexity. Instinctively drawn to images that share aesthetic similarities across different contexts, forms, materials, and textures, Aksan integrates elements that resonate with his personal experiences, exploring the aesthetics of photography and the essence of painting itself.

 

Nevin Aladağ's art practice ranges from performance to video, photography to sculpture and site-specific installations. She employs materials such as carpets, fabrics, curtains, and mirrors to explore identity formation within evolving social and cultural landscapes, as well as the socio-political challenges faced by migrant communities. In her series Social Fabric, Aladağ investigates the manifold meanings of 'social fabric,' exploring how social spaces and textures are shaped by demographic, historical, and cultural components that define society's structure. These social fabrics manifest in Aladağ's objects as concrete textures, where individual fibers weave narratives into each carpet. While the formal references span different epochs, their contemporary origins raise questions about production processes, globalized trade, and post-colonial perspectives.

 

Adrian Altıntaş, renowned for his distinctive paintings created from personally sourced materials, introduces a new series dated 2022 in the exhibition. In this series, he employs pastel tones such as pink, green, and yellow on white backgrounds to craft simple and delicate narratives. These expressions, executed on sandwich panels or wood using acrylic, spatula, lime, ink, and other materials, delicately blend visual references from nature with experimental approaches that respond to the inherent qualities of the materials. Altıntaş's compositions, particularly those featuring incisions, intricately merge experimental techniques with visual inspirations derived from natural elements.

 

Neural Paintings, a recent series by Refik Anadol Studio, integrates bioinformatics with aesthetics based on cutting-edge research. These works utilize data collected by the EEG DSI-VR300 Research Grade Sensing Device for brain-computer interface. By measuring activity in the visual cortex, Anadol and his team compile a comprehensive dataset reflecting individuals' emotional states and focus levels over specific periods. This raw data undergoes processing to generate visualizations that exemplify unprecedented representations of emotional memory. These monochromatic, all-white, fluid images derived from AI data depict meditative, negative, and positive states of mind.

 

Banu Anka, featured in the exhibition with a hyper-realistic recent painting, has focused on the human face and portraiture throughout her artistic career. In this work, a reclining figure in profile and a foreground hand invite viewers to explore emotional depth and anxiety in a mysterious scene through facial expression and gesture. Anka's artworks explore the potential of relationships across different times, places, and contexts through expressions and gazes. Beyond capturing facial emotions, she aims to convey the sense of touch by depicting hands, the most sensitive organs of human skin. The juxtaposition of face and hand in this composition reflects Anka's current artistic interests in technique and subject matter.

 

André Butzer, known for his brightly colored characters with large, wide-open eyes and oversized heads in a comic book style, embraces Pop Art by translating industrial culture and contemporary symbols onto his canvases. At PİLEVNELİ, as part of the group exhibition I’m a Mindless Idiot centered around him, Butzer created a large-scale watercolor painting featuring his friends also showcased in the exhibition. Positioned at the exhibition's core and revolving around Butzer himself, this artwork reflects a curiosity about the world tinged with irony and creativity. It simultaneously teases and entertains while acknowledging the power, responsibility, and joy of art creation. It pays homage to anonymous, sensitive souls united through art's strength to evoke emotions and support each other.

Johan Creten stands as a pivotal figure in the contemporary art revival of ceramics, known for his steadfast dedication to clay and innovative allegorical sculptures in ceramic and bronze. His creations evoke a world imbued with poetry, lyricism, and enigma. Beyond their aesthetic appeal, Creten's works carry significant social and political resonances, reflecting his deep humanist convictions. Speaking of his affinity for ceramics, Creten emphasizes, "What I love about ceramics is that the final gesture is out of my control," highlighting his passion for the medium's unpredictability in creating unique objects. In the exhibition, Creten presents ceramic pieces resembling gram weights and variously shaped glazed stones, inviting viewers to explore the boundless realm of ceramics through this curated selection.

 

Hüseyin Çağlayan, who explored the possibilities of a more pictorial form of expression in his recent solo exhibition, reintroduces some of his acrylic, pencil and mixed media paintings on paper. His artworks focus on themes of observation and surveillance, inviting viewers to assume the role of observers themselves. Çağlayan's scenes depict ambiguous landscapes, figure silhouettes, and vibrant colors that evoke reflections on human nature and the environment. Through his drawings, Çağlayan deliberately blurs certain details, preserving subjective thoughts and possibly scenes inspired by real events, creating a personal sanctuary for these reflections.

 

Ali Elmacı, who usually focuses on power and power relations in his works and creates unique characters in a fictional world, takes part in the exhibition with a new painting. In order to show how power relations are shaped and the effects of these relations on society, the artist uses actions such as "teeth, biting and chewing" as symbols in a social and political context. These symbols deeply relate to concepts such as power, control, aggression and defense, and in this context, they offer important clues to understand the behaviors and discourses of individuals and societies. Under titles such as aggression and threat, control and dominance, endurance and determination, it offers important clues to understand how power and power centers are related to these dynamics, social hierarchies and individual behaviors, how power relations are shaped and the effects of these relations on society.

Hell Gette, typically constructs her own visual universe using digital tools such as Photoshop, computer games, and emoji icons, often creating semi-digital landscapes. Her artworks explore how contemporary life is profoundly shaped by digital experiences like television, smartphones, advertisements, and social media. Gette employs plein air watercolor techniques, paints on iPhone or iPad screens, and transforms nature depictions into abstractions using Photoshop. These images are then painted in oil, photographed, and augmented with emojis using mobile applications. Finally, the artworks are transferred back onto canvas using oil paint. This intricate process not only reflects Gette's exploration of digital and traditional artistic methods but also serves as a commentary on the pervasive influence of digital culture in today's society.

 

Kevin Francis Gray, exhibiting for the first time at Pilevneli, explores the intersection of traditional sculptural techniques and contemporary themes in his practice. Rather than pursuing ideals of beauty or monumentality, Gray focuses on evoking psychological effects through textured surfaces rather than intricate facial or bodily details. Shapes and figures emerge from dense rock materials, characterized by sinuous silhouettes and fluid surfaces that transcend the inherent rigidity and inertia of the stone.

 

One of Gray's marble sculptures, Mother and Child, draws inspiration from Michelangelo's renowned Pieta. The artist abstracts the iconic scene of Jesus being cradled by his mother Mary after being taken down from the cross, transforming it into a purely formal composition. This approach invites viewers into a contemplative space where materiality, form, and historical references converge, stimulating a range of interpretations.

 

Daniel Knorr views art-making as a form of "liberation," emphasizing its ability to reflect the structures, surroundings, conditions, and memories of society. His works are notable for their sculptural qualities, diverse colors achieved through varied materials, and his method of embodying ideas and concepts through artistic forms. In his current exhibition series, Knorr departs from his typically vibrant, colorful, and geometric wall sculptures or gold-covered pillows by focusing solely on black-and-white compositions. These polyurethane molds resemble draped and fluttering fabrics — such as sheets, napkins, cloths, and capes — hung on walls. Unlike his more flamboyant pieces that critique the industrial aspects of objectification in culture, these works adopt a quieter, more serene, and contemplatively symbolic tone through their simplicity. Knorr's approach challenges and reflects upon the industrial nature of objectification within culture, inviting viewers into a more introspective dialogue through these subdued artworks.

 

Gary Lang is renowned for his concentric line paintings, each pulsating with vibrant arrays of color, particularly in his tondo compositions. These works are developed without guidelines or templates, emphasizing spontaneity. The colorful rings he creates produce a powerful optical effect, offering viewers a rigorous visual experience with each new piece. Lang, a master colorist with three decades of experience, attributes his color choices and combinations entirely to chance. The repetitive process of applying circular strips of paint by hand liberates him from anxiety, allowing him to immerse himself completely in the flow of creation. He describes painting as a way to demystify the self, where he exists fully in the moment.

 

Arik Levy, drawing from his background in industrial design, intertwines art, design, and technology to create a distinctive artistic language. Inspired by natural materials like rocks and minerals, Levy's pieces harmonize with their surroundings while standing out through unique aesthetics and form. In this exhibition, Levy presents the series Mercury, featuring objects crafted from mouth-blown and silvered glass with glossy, reflective surfaces. This collection captures the viewer's reflection as a dynamic distortion, highlighting social signals, behaviors, and scientific themes. The artworks simulate transitions from liquid to solid, symbolizing the fluidity of perception as viewers' perspectives shift and evolve. Levy's creations not only demonstrate his expertise in manipulating materials and forms but also provoke contemplation on the nexus of nature, technology, and human perception through innovative artistic expression.

 

Julian Mayor, an artist bridging digital and analog realms, integrates diverse materials and techniques into his artistry. Renowned for his reflective design objects resembling contorted furniture crafted from industrial materials such as steel and mirrored glass, Mayor's pieces often evoke the artistry of origami. His work strives to initiate a visual dialogue that merges grandeur with accessibility, encouraging interaction with the surroundings. Mayor finds inspiration in colors, lines, and reflections, shaping objects that evoke visual dynamism as they interact with different spaces, distances, and scales. This approach not only prioritizes aesthetic appeal but also prompts viewers to contemplate the interplay between form and environment, fostering a nuanced engagement with art.

 

Frank Nitsche develops a sophisticated artistic language by layering paint and intersecting lines to create specific shapes in his artworks. Drawing inspiration from a diverse visual archive rooted in media, pop culture, and consumer culture, he expresses abstract compositions characterized by canvas surfaces in tones of ochre, blue, or green. Nitsche's artworks feature abstract formations that evoke geometric shapes, lines, and forms reminiscent of architectural plans, technical models, calligraphy, or computer programs.

 

His process involves a deliberate exploration of these elements, blending them into compositions that captivate viewers with intricate patterns and dynamic arrangements. Through his art, Nitsche explores the interplay of color, form, and line, offering a contemplative reflection on the intersection of abstraction and recognizable visual references. His work invites viewers to engage with the complexities of contemporary visual culture and appreciate the nuances of his artistic expression.

 

The Unordinary Light (2024) by John Newsom, featured in the exhibition, epitomizes his distinctive visual language renowned for nature studies and vibrant depictions of greenery and wildlife. Newsom's art is celebrated for its aesthetic richness, often conveying profound human themes through animal allegories such as struggle, escape, nourishment, collaboration, and courage. In this work, Newsom presents a majestic portrait of a hawk, notable for its noble stance, luminous eyes, and classical composition. The artist employs the predatory bird symbolically, traditionally representing lofty ideals of spirit, intellect, and virtue across diverse cultures. Thus, Newsom seamlessly intertwines strong symbolism with aesthetic expression, offering viewers a profound visual experience.

 

Serkan Sarıer's artworks demonstrate a pronounced deformation and fluidity across various techniques. His works prominently feature the parallel progression of two painting languages — abstraction and figuration — where these styles both complement and distort each other, evoking a disquieting resemblance that serves as tools to portray diverse aspects of characters. In the exhibition, Sarıer's monochrome pieces convey through fragmented sections the notion that everything has now become framed. Meanwhile, the grandeur and arrangement of the fluid figures subtly influence our emotions, prompting us to confront various forms of perception. These frames expose the inherent absurdity of our fragmented world, where perception itself has become confined within rigid boundaries.

 

Defne Tesal, in her own words, aims to create moments in her paintings where the eye can wander, reality blurs, and one can temporarily detach from the surroundings. Her recent solo exhibition titled Talking with Water reflected on the dual nature of the sea—its variability and constancy—and the diverse emotional moments it evokes through regular interactions. Selected works from this series showcased in the exhibition fill the void within the limits imposed by the canvas, creating a sense of movement, shimmer, and rhythm within the stillness, much like in nature. Using brushstrokes the size of fingerprints, Tesal captures the effects of waves and currents from a distance, while close-up, reveals intricacies ranging from the texture of skin to the arrangement of cells, akin to perceiving reflections and glimmers. This approach allows viewers to discover a system where they can discern the integrity of the skin's surface from the details of pores and the alignment of cells.

 

Tarık Töre is known for artworks that integrate drawings, images, symbols, patterns, logos, writings, and emojis onto a single surface, each detail reflecting different periods of his life. His compositions range from images sourced from comic books, slogans, and iconic logos like the Rolling Stones', to more eerie and ironic depictions such as hell demons, flames, ghosts, and monsters. Recently, Töre has transitioned from creating large-scale multipart surfaces to focusing on a series of small papers. Through these individual frames, he narrates his vibrant visual language and symbolic world, weaving storytelling elements akin to a trailer of a fairy tale. His artworks blend familiar and identifiable elements with his unique symbolic universe, infused with layers of irony.

 

Mehmet & Kazım, creative cousins known for exploring stereotypes and propaganda strategies in their artworks, delve into a provocative world inspired by hip-hop, breakdance, and graffiti culture. Their compositions incorporate various motifs, song lyrics, comic symbols, and slogans synonymous with these cultural elements. In their new series, developed starting in 2024 following their experimentation with charcoal techniques since 2022, they notably feature a single figure within each frame. These compositions allow viewers to focus on the expressions of the characters and the symbols they embody. Characterized by large eyes that convey amazement, mischief, or anxiety, their artworks provoke contemplation on the underlying messages.

 

In his works, Yuşa Yalçıntaş depicts children who look alike, sometimes in familiar, sometimes in completely unrecognizable spaces and mostly in symmetrical compositions. His work titled "Cookie Shelter," featured in the exhibition, inevitably brings to mind the sugar house from the fairy tale of Hansel and Gretel, and immediately makes us feel the presence of a chilling irony, just as this fairy tale is actually based on the hardships of the Middle Ages, when children were left in the woods by their families for reasons such as starvation and war. Referring to our childhood view of our home as a self-sustaining organism, the artist reflects a mischievous staging of the money-food relationship through the cookie-coin object falling from the roof into the house, referring on the one hand to the children who have to work instead of playing in today's economic conditions, contributing to the breadwinner, and on the other hand to the system that "cannot feed" them.

 

The exhibition was carried out with the support of Atelier Rebul, Birdcage33, Jotun, MasterCard and TAV Passport brands. 

 

Text: Gizem Gedik