Installation views from Deadpan Exchange V

Artist Information by Gokce Suvari (TR):

Istanbul based artist Fatma Ciftci, in response to the work of Jennifer Wofford, is reproducing the unusual situations and scenes of different cities where she has been for a short time, through drawings and sound. These scenes, which have taken place in artist’s mind, refer to cultural diversity and its representations from Istanbul, Tehran, Seoul, and London. In this way she invites the viewer to think about the cultural codes and stereotypes that we face everyday.

Esra Okyay approaches the postcards produced by Tucker Nichols from another point (of view), particularly from the banality of the postcards, which are supposed to acknowledge the recipient and the existence of the sender in another place. Okyay, takes this proof of existence, the notion of being somewhere or being a tourist, by positioning herself as the main protagonist in these banal city images. Consequently the artist becomes the part of the cityscape as well as the historical monuments, landmarks or visual attractions by taking the role of an ultimate tourist. Hence the banality of the images gives the feeling that we cannot escape the imposed clichés of being a tourist.

Jon Rubin’s posters, which are composed of incidental messages about coincidences in daily life, are to be met with the volatile and coincidental photograph of Nur Muskara. Muskara responses to the work of Rubin with a playful and – almost surrealistic – miraculous image from everyday life. She depicts children from an industrial city bay swimming towards a navy ship with an incredible horizon, while giving us space to believe in daily spontaneous miracles.

In response to Ali Dagdar’s covered and censured images, Nejat Sati tries to un-cover or perhaps visualize what has been usually ignored on the public space. He depicts those who are ignored from the landscapes of city life: the homeless people. He puts the images of these sleeping people to night-lamps, while inviting the audience to re-look and consider how people use the public space.

With his series of photographs Suat Ogut, tries to explore the domestic life limited by conditions and technological developments. In his series, a response to Kristin Lucas’s craftsmanship series, he tries to re-create relationships as such:  human-machine, computer-vacuum cleaner and human-washing machine.

Mehmet Dere, being an artist working with urban symbols and slogans, offers the viewers various slogans from his neighborhood. Dere’s artistic practices are based mainly on the city. He focuses on interventions and observations within local culture of the city. For his work in Deadpan Exchange he offers a variety of statements that range from artistic to sociological.  He does this in order to create a social interaction. Mehmet Dere is responding to the work of Zachary Royer Scholz.

Elcin Ekinci’s video, in response to Lindsey White, plays both with the public performance as well as the representation of women in public. The emphasis of the female is exhibited through a Naumen-esk performance, which focuses the audience on the possibilities of a direct relationship without a cliché a response.

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