REPLACED    Dispossession is when something is taken away. Replaced is about the kinds of dispossessions that supercede material loss, perhaps even precede or proceed it. It is about intangible loss, loss associated with time, or perception, or place, or all---and it is about the way we replace, renew, reassociate. It is about memory, rememberance, nostalgia and in some cases forgetting and absence and the replacements made instinctually and sometimes ironically... and the humanity of it all.    Murat Akagunduz  ’s Kaf Series (2016),   Hasan Özgur Top  ’s Color Catalogue (2016), and   Pipilotti Rist  ’s You Called Me Jacky (1990), deal specifically with dispossessions-cum replacements caused (or allowed) by technology. Akagündüz’s works are white on white paintings of the tops of the world’s highest mountain peaks, seen through the lens of Google Earth. It is the act of painting, the assuredly human task, as a study on the digital revolution’s affect on our relationship with Earth, our seemingly unlimited access to it and our simulataneous dispossession from it. The mountain top to the sateillite to the screen to the eyes and then the hand of the artist, each replacing the other. Likewise, Hasan Özgür Top takes the colors we have become accustomed to, be it in daily life or seen online or on TV, and uses their associative name and breaks them down into RGB and CMYK scales using digital applications. The work gives us a chance to see the ways in which something as basic as a color can hold meaning, and can be a vehicle of dispossession and replacement from itself. We can say the color of a prisoners uniform in Al-Raqqua is orange, but what shade of orange, exactly? Pipilotti Rist’s video, from 1990, deals too, with technology, but of a different time. The work shows the artist lip-synching to a song by Kevin Coyne while superimposed in front of scenes of the outside of a moving train, sometimes a fire burning. The song is about love lost and the work, made at the time of the dawn of the music video, is a take on this phenomenon and the artist’s questioning of authenticity and production in the field. Overall and altogether it speaks to the dispossession of intent from meaning and meaning from verity (not unlike both Akagündüz’s and Top’s works). Be it about a love affair lip syched, or the changes in the music industry at that time, in either case it denotes a kind of nostalgic ironic jest, replacing a suppossed loss with a physical, bodily proclamation.    While both   Servet Kocyi  g  it  ’s Wall (2006), and   Clemens von Wedemeyer  ’s video Silberhöhe + die Siedlung (2003), are seemingly more about buildings or material objects and not the body, they are in fact a look at the ways people preserve and replace. Koçyi  ğ  it’s photograph shows the facade of a building in Israel. Each individual block of the structure is numbered. The building, likely historical enough to warrant preservation, is about to be torn down, piece by piece, only to be rebuilt again. Von Wedemeyer’s video shows pre-fabricated block housing in East Germany being torn down, never to be rebuilt. It addresses the urban planning of the late-Modern era, an era associated with a kind of utopic vision of architecture in the city, and an apparent failure. The setting is dark and dreary, but there is no question that something new will there be built, regardless of its longevity.    Michael Rakowitz  ’s Return (2004-ongoing), and   Civan Ozkanog  lu  ’s To Be Notified (2016) deal with political and societal dispossessions and the attempt to renegotiate or question legal facts. Rakowitz, continuing the family business of his Iraqi grandfather, opened a store in Brooklyn under the same company name, Davisons & Sons, and aimed to import and sell Iraqi dates in the United States. The installation and video recounts this impossible process due to sanctions on Iraqi products by the US government, and in this way is both a historical account of Iraqi dates and too, the relationship between the Middle East and the US, all under the umbrella of the artists personal history as an Iraqi-American. Özkano  ğ  lu’s work, a vinyl text that runs along the gallery’s walls, is taken from a newspaper announcement regarding the grueling details of a woman’s marriage to her abuser, and her realization that 13 years into not seeing him, her divorce was still not legally confirmed. The announcement recounts the horrors of her life with her husband, and calls for a lawsuit against him if he does not show up in court on the asked for date. It proclaims, ‘a decision will be made in your absence.’ The work illuminates the dark side of marriages and the kinds of dispossessions privy to being a woman in a vulnerable place and circumstance.    Erinc Seymen  ’s Family Values 2 (2016) and Perpetuum Mobile (2016), and   Hera Buyuktasci  yan  ’s The Missing Cuckoo, (2013) look at the invisible histories, the ones which live orally or intrisincally and the power of people to replace the dispossessions they cause with new narratives, or escapism. Seymen’s Family Values 2 shows a 1950s era nuclear family.    Their faces are obscured by an elaborate and luxurious display of food. It is a critique of heteronormative social structures, and the priviledging of consumable superficiality over humanness. Perpetuum Mobil is of a cake that holds the illusion of movement. Perpetual motion is a study that attempts to find a motion that continues, replacing itself, indefinitely. It is akin to the idea of the nuclear family, this idea of repetition, of reproduction, of lineage. And, just like dispossession is inevitable, so to is the impossibility of perpetual motion. Büyükta     çıyan’s work is a story of escape, and the unknown. The missing cuckoo could be inside the clock about to depart, or could be long gone. The cuckoo then becomes a metaphor for the erasure of sociopolitical histories, and its invisibility references the isolation indebted to being categorically unknown and/or forgotten. The installation beckons a feeling though, of escape, and ultimately and inherently to this, is a feeling of overcoming dispossessions, in one way or another.    Cansu Cakar  ,   Aslı Cavus  og  lu  , and   Yas  am S  as  mazer   simulataneously dispossess and replace paradigms in Art and/or Art History itself, each dealing with the human form in specific ways. Çakar’s work on paper, Rumi (2016), replicates the Islamic Art motif called Rumi, which was once an animal figure turned into a simplified motif so as to follow Islamic laws in art, ideas which made firm to avoid figurative representations. She nods to the transformation and dispossession of the motif from its animal form due to religion. The affect of religion on something so benign as an animal motif brings to bear the many natural things made necessarily hidden and dispossessed because of religious sanctities. The artist further comments on this by drawing an upside down mosque, specifically and pointedly that which is the burial ground and shrine of Mevlana Rumi. Today revelers and lovers of Rumi’s writings can go there, and ironocally, can even buy plastic replicas of him or the mosque.   a     mazer also takes an art historical trope and reverses, perhaps even criticizes it---in her case the sculptural bust. Her wooden busts, a material opposing the marbles of antique busts, are Untitled, depicting ‘Anonymous’ They are covered in fungus and moss, their faces obstructed. She has replaced the busts of Art History, ones meant for idolization and memorializing, with a universal, every-person envisionment. Instead of reminding the living of the beloved dead, it reminds the living of a kind of death or a oneness with Earth---the godliness is replaced with a humanity. Çavu     o  ğ  lu’s Horror Vacui (2014) uses an archeological object, the Mother Goddess dating from 6000 BCE, found at Çatalhöyük, Turkey with its head and one armrest missing. She comments on the common practice of complete archeological renderings of incompletely found objects, formulated by comparing other objects found from the region and time period. Instead she presents seven options of what it may have looked like whole, based on different and scattered findings from the site. It shows the artist’s alternative replacements and the artist’s attempt to display the dispossession inherent in assuming an ancient object’s probable structure.    Vahap Avsa  r  ’s Cumulative Painting Series (Blonde Daisy Girl) (2016) and   Secil Yersel  ’s Ongoing (2016) are personal and archival ponderings on time passed and the way memory is revisited. Av     ar, a conceptually minded artist, here finds a middle ground in his interests. In placing a postcard from the AND archive, (which he acquired the full rights to and which was active in the 1970s), atop a chemically-made ‘painting,’ this work sits between the known and the unknown, something that can be considered the premise of conceptualism. The postcards in this series also hold a personal and poignant meaning for the artist. They were the postcards that, as a kid, he would replicate with paint, making it the basis for his first ever works of art. This work, and the works in this series, represent Av     ar’s ability to both dispossess and replace his own hand as Artist. Yersel, too, revisits her past. The installation puts together photographs taken in different locations, different years; all taken from her archive and dating from 1997-2016. Each photo holds a hidden narrative, once lost and now reconstructed. The amnesia of the wheres and whens of each photo is amended by their placement within their black empty space, allowing the viewer to replace the dispossessed memory of the artist with their own anecdotal story.    While Av     ar’s and Yersel’s works are about personal memory,   Hakan Gursoytrak  ’s Black Fountain (2015), and   Huo Rf  ’s Living Even So series (2016), look at a current moment, and the sensory dispossessions that are possible. Gürsoytrak’s painting is dominatingly dark, mostly blacks covering the canvas, with subtle brushstrokes to show the presence of two glasses. One for water, the other for Rakı. It is a still life of sorts but of a drink meant to be consumed cold, so the artist is simultaneously jesting at a genre or type in Art (not unlike Çakar’s,   a     mazer’s, and Çavuso  ğ  lu’s works), but more accurately the work is about feeling, about time passing and potentiality. You imagine the drink being finished then taken away or refilled, the location, the time, unclear. Huo Rf’s paintings show the artists living room and bedroom in abstract postive and negative space. Each canvas color reflects different skin tones, races, ethnicities. He has made his personal a universal, has taken his home and replaced it with chrome shadows, an abstract vision that reflects the way we often rememeber a space. They represent both universality and individuality, and even reflect too the way we minimalize, read and dispossess others - as skin color and an abstract outline based on assumption and memory. Together, Gürsoytrak’s and Huo Rf’s works illuminate the moment of dispossession before replacement.    Rampa Istanbul
 ... We see Pipilotti Rist as pretending to vocalize an old sad song by trying to lip-sync in her video "You Called Me Jacky", which has published in 1990. As it has written in exhibition text, we are seeing an answer given from contemporary art scene to video clip format's early stage naive aesteteich side that will dominate popular culture in the later years. But this aestetich has fell behind in today and it's related to be watched from 26 years before by us; otherwise there's no time lapse in this art work. So, more than a loss, as we see in another similiar works of her, Rist's portrait as an artist which is quiet successful at adapting popular formats stands in front of us. Actually, we are encountering time lapses in Vahap Avşar's "Cumulative Paintings". Artist's drawings of postcards which he drew by looking at them when he's a child are part of some archive that he happened to have property rights of; this fact is pointing that one person's cycle between two life parts and possibility of taking back whatever loss in some extent.    Maybe it'll be an inexact observation, but I'm finding some past era's visual texture in from a much more younger generation than me, who is Huo Rf and he's series "Living Even So". This works that composing stuff and furnitures from indoor and different skin colors as sharp contrasted negative-positive zones and also doing this by subtractive method are reminding me of 70's aestetich that I witnessed when I was child. Series' name and using different skin colors (belongs to human or animal maybe), makes me the existance of some contextual reference which is hard to read (or maybe there are people passing by from that space)...  Erden Kosova, 31.10.2016
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