ada1985 Mine Sanat Galerisi nin Sanat Postasdr, Para ile Satlmaz / Contemporary1985 The Free Of Charge Art

Magazine published by Mine Art Gallery

SAYI: 9/ARALIK 2012 / ISSUE: 9/ DECEMBER 2012

SABAHAT IKINTA
Arka Oda | The Back Room

15 Kasm 10 Aralk 2 0 1 2 NANTAI

Al 2012 Kokteyl, Saat: 15 Kasm 18.00 Perembe 20.30 Opening Coctail, ber Thursday 2012
Tel: 0212 232 www.minesanat.com 38 13 Mine Sanat Galerisi Avrupa ubesi, Topaac Meydan Prof. Dr. Mfide Kley Sokak Yasemin Apt. No:1 D:5 Nianta / stanbul

15 November 10 December 2 0 1 2 NANTAI

at:
Gsm:

15 18.00

Novem20.30

0536 553 50 66 minegulener@gmail.com

SABAHAT

Bu sergimde gemi anlar, zaman kavramnda ARKA ODA diye tanmlyorum. Bu kez ok eski yllara giderek, resim yapma eylemimde gemiten bir ARKA ODAy daha sergime tayorum. As Im saying before, I define moments that are passed as a BACK ROOM in the concept of time. But this time, in this exhibition, I went to very old times from my adventure with act of painting. Im going to introduce you one more BACK ROOM.
Rportaj, Ouz Alp Dedeolu
OUZ ALP DEDEOLU: Could you talk about a little bit the process of starting to your act of painting? SABAHAT IKINTA: I started painting with suggestion of my dear master Yusuf Taktak in his studio Atolye Ucgen. Previously, I was painting by myself with my own effort. I was unaware of plastic values of painting. If I go back much more to my past, I was a lazy student in high school and secondary school but I had high degree in painting lessons. I also won a competition. Of course, so many things have changed since 1991 until 2012. I have changed so much. Ive never changed before. The way of change and settlement is closely related to hard working, self confidence. It will keep going whole my life. Because art is a very important fact. Can you talk about factor(s) that provided improvement and success to you? Art is a whole on its own and one the things that is implied is the life itself. When I left Atolye Ucgen and move to my own studio, I have already entered abstraction stage of my art. I had a trouble with colour, form and simplicity. Some values of previous paintings have been transferring to the followings with observation and experiences. I always study with examing the surface of canvas and ask myself some questions such as what can I do?, How can I do? There comes a time, I can find answers of my questions. You keep going searching. . And of course experince always inside of it. There is a minimal approach both your use of colours and way of your working style of object. Firstly, I want to ask about colours. Do you act freely from your other (the red ones) works? As Im said before, art mostly involves life. had influence on me. So, I quess any choice of colours are not related each other. I experienced a very big energy bomb. Because there is a huge cultural socio-economic energy bomb in the world. There are too many meanings of red and at the same time ,it is so dominant colour. Previously, I have seldomly used red in my works. I dont know what happened and than all my series suddenly covered with red colour. Purple and blue combination evokes the spiritual serious feeling. I put them to the surface with initial purification, through painting as blue and purple. I always find interesting simplicity and chasing it. Correlation-s and More Than Less series call out to concepts of relation and system. Are these concepts represent the what do you see or what do you want to see? It is all about relation and system. Art seems like constructed on these concepts, isnt it? Doesnt each work involve relation and system? and doesnt it way to go to the whole? Certainly, artists implies somethings. I think that these are synthesis of what we see. We are settled with them and the future are implied with what we want to see. I wittnessed by myself that your collage work which are studied on canvas attracted so much interest. Can you talk about a little bit about working process of your works? Yes, those are my new works. They passed a long maturation process. Single part small canvas turned into a big whole, formed with cutting. My aim is again reducing the color and form. I wanted to see this in my collage work as well.

IKINTA

LE

RPORTAJ

yaplanmak ve grmek istediklerimizle gelecei iaret etmek sanyorum. Fuarda bizzat tank olduum iin soruyorum. Minik tualler zerine yaptnz kolaj almalara ilgi bykt. O almalarnzn yapm aamasndan bahseder misiniz? Evet onlar en yeni ilerimden. Ama ok uzun sren bir olgunlama evresi geirdi bu alma. Tek para kk tualler sonunda byk bir btn oluturdu. Elbette kesip biim vermeyle yoruldu ve abam kolajda da renk ve biimi yine en aza indirmeydi. Kolajda da bunu gstermek istedim. Son serginiz ARKA ODAda ise bambaka bir konu zerine eiliyorsunuz. Bu sergi fikrinin oluum srecinden bahseder misiniz? Tabi Resimlerime analitik bir bak asyla baktm ve byle yaptm iin bu kez de resim yapma eylemini de dahil ederek sorguladm bir durum. Elbette bu sorgular hep devam edecek. Bu sergim ilk bakta bambaka bir konu gibi alglansa da yaptm iten hi bamsz deil, tam tersi iinde bir durum; resim yapma eylemimin iinde sakl olan, aslnda sergimin de balndan anlalaca gibi bir ARKA ODAdr: Grnmeyen, gz ard ettiimiz, nemsemediimiz yerdir yalnz her yaptn bir ARKA ODAs vardr. Bu balamda; Resim yapma eylemimde oluturduum kareleri maskeleme bandyla boyarken, her boyama ilemi bittiinde bantlar karelerden ayrdmda ve hi nemsemeden duvara yaptrdmda, bantlarn o halleri her zaman dikkatimi ekmiti. Kendiliinden oluveren doal grsellii bu kez byte altna almaya karar verdim. Buradan yola karak, bantlarda her defasnda boyadm karelerden her fra darbesinden bulaan boyalar, o yakalayamadmz gremediimiz AN-LAR olarak kabul ettim. Bu gstergeyle birlikte deiim-dnm ve zaman kavram her zaman ilgi alanm olduundan bunlar nasl bir deiimle tekrar var edebilirim dncesiyle devam ettim. Her resmimin iine dahil olan sonra da kan bantlar saklamaya baladm. Bylelikle projem balam oldu. Sergide kullandnz malzemeler de ayr bir nem kazanyor, ne tr malzemeler bunlar? Her ey doallnda dahil oldu. Yukarda bahsettiim gibi nce bantlar saklamak iin onlar ok nemseyerek onlar adete bir an nesnesi gibi paketleme naylonu zerine tek tek itinayla korumaya aldm. Fotorafladm. Her resim bittiinde bu uygulamay srdrdm. Bylece paketleme naylonu da dahil olmutu. Bu ekilde iki yl iinde bunlar biriktirdim. Daha sonra dntrme srecim balad. Bu kez tekrar naylonlardan skmeye ve onlar sanat nesnesi olarak hayata geirmek zere altm. Bylece durumlarn artk nemsenmeden srdrmek deil, sanat nesnesi olarak sonsuza kadar srdrmek olacakt. Naylonlar kullanmak benim iin ok yeni deildi 1996 ylnda da bu malzeme zerine iler retmitim. Bu balantyla bu rettiklerim de o zaman dilimime gndermelerde bulunacakt. Yaptm ileri uzun yllar pleksi kutu iinde sunmutum. Burada da pileksi bildiim yabanc olmadm bir malzemeydi. Bantlarla olan ilerimi pileksi ile kutuladm. Bunlar pileksiyle farkl bir yansmayla sergime dahil olacakt. Bantlarn en ufak bir paras bile aa alnmad bu eylemde o zamanda ne varsa hepsi dahil oldu. Bylece naylonlar da zaman iinde kutu iinde yer ald ve kutu da ierie dahil oldu. Ve bu kutudaki zellikle bo olarak braktm alan ARKA ODA, uzamda drdnc boyut diye bilinen zaman, alan kutulara blnm galeri mekannn zaman dilimiyle birletirmek istedim: Sanat, imgeledii ARKA ODAsn galerinin zaman dilimiyle birletirerek gemiden bir oda dahil edecekti. Bantlarn fotoraflanm anlk durumlar ise karanlkta duvara projeksiyonla yanstlarak galeri ARKA ODAsnda misafir olacakt. Sergideki her eyin btnsellik iinde olmasna dair bir titizliiniz var, bu sefer somut bir ekilde kendinizi de bunun ierisine ortak etme dncesindesiniz sanrm. Bu sergimde dediim gibi gemi anlar, zaman kavramnda ARKA ODA diye tanmlyorum. Bu kez ok eski yllara giderek resim yapma eylemimde gemiten bir ARKA ODAy daha sergime tayorum. Bu, 1991-2003 yllar arasnda (Sevgili Hocam Yusuf Taktakn kurduu Atlye gende) zerinde srekli resim yaptm ve her zaman koruma altna aldm, sakladm, resim yapma eylemimin o anlarnn izlerini de sergime dahil ederek bu gne tamakla da hem bir heyecan hem bir burukluk da yayorum. Evet, sergimde bir btnsellik sz konusu; galeri mekan iine ben de dahil olarak bir btn tekil edilecek. Galeride giyeceim giysi, iki yldr sakladm paketleme naylonundan oluuyor. Bu naylonun zerinde bantlarn her durumunun fotoraflar ve renk aramalarmda eskiz fra darbelerinden oluan 2011-2012 ylna ait kendiliinden grsel kt paralar var. Aslnda bu giysi gemi, imdi ve gelecei birlikte tadm bir giysi haline dnyor. Sonuta bu sergimde sanat iin atlan her bir izginin zamanszlna da iaret ediyorum. Zaman kavram iinde, deiim ve dnmde de bazen dnp ARKA ODAlara bakmak gerektiini vurgulamak istedim.

You lean on a different issue in your last exhibition. Could you talk about a little bit creation process of this idea? Well, I have an analytic style and it is a matter that I examine it by it act of painting. These examinations will continue. Although this exhibition seem like different, it is not different from the others, contrarily inside of it. What is hidding in my act of painting is a Back Room It is a place where can not see, ignored. Homever, there is a back room backround of all works of art. In this context, while I was painting squares with masking tape, stick them spontaneously on wall and then finish painting act with them, I started interest the rest of it and decided to focus on this spontaneous natural beauty approve all paint as MOMENTS smudge to tapes with my brush touch, while I was painting squares. With these indications, I am trying to keep on going with an examination of change, transformation, time concepts and trying to recreate them again. So that, I started to hide my tapes which became involved and after left my works. Then, my project have started. What kind of material did you used in your works of this exhibition? Everything improved so spontaneously. As I mentioned above, I tried to protect them over a packing nylon as an object of memory. After I photographed them. I applied this practice to all my painting. Thus, packing nylons became involve in this project. I have collected and hide these nylons for two years and after their transformation process have started. In this time, I denest tapes and started to recreate them as a work of art. I have been using nylons and making works on them since 1996. It does not new for me. This serie is a refence to those times as well. I presented my work into a plexy box, a material which is also so familiar to me. My works with tapes put inside in these boxes. Thus and so all tapes which belong to my back room(even one piece of tape doesnt throw out) wil involve my exhibition with a different reflection. In this time, nylons took their part into box and the box get involved in content. Snapshots of photographed bands will reflect on dark wall of room. Thus, they will be a visitor of exhibition. You are so rigor about integrity of works with each other but this time I quess, you also want to engage yourself with it in a concrete way, dont you? As Im saying before, I define moments that are passed as a BACK ROOM in the concept of time. But this time, in this exhibition, I went to very old times from my adventure with act of painting. Im going to introduce you one more BACK ROOM. I fell both an excitement and also a sourness by carrying passing moments of my act of painting between the years of 1991-2003 (at Atolye Ucgen, founded by Dear Master Yusuf Taktak ). Yes, there is an integrality in my exbition. Everything, even myself, will be constitute a whole into the gallery space. My costume that Im going to wear in this exhibition, maden by packaging nylons which have been hiding and protecting for two years. There are visual pieces of papers belongs to 2011-2012, consist of tapes that are photographed and sketch brushstroke. In fact, This costume turned into a garment which is carrying past, present and future at the same time. After all, I aimed to imply timelessness of each line which was maden for art. I wanted to emphasize that sometimes we should turn back and look at our BACK ROOMS by going hand in hand with concept of time, change and transformation.

OUZ ALP DEDEOLU: Resme balama srecinizden behsedermisiniz? SABAHAT IKINTA: Ben alternatif sanat eitiminden donanml sanatym. 1991 ylnda deerli hocam Yusuf Taktakn nerisiyle (Cihangirde oturduum apartmanda komumdu.) Onun kurduu Atlye gende resme baladm. Bunun ncesinde evde kendiliimden resimler yapyordum. Bilinsizce resmin plastik deerlerinden bihaber olarak... ok daha ncesine gidersem orta ve lise renimimde tembel bir renciydim ama resimden o zamanki not deerlerine gre en yksek notu alrdm. Hatta okullar aras yarmalarda birincilik dlm bile var hala saklarm. Elbette 1991 ylndan 2012 yl arasndaki srete ok ey deiti. Hi olmadm kadar byk bir deiime uradm. Bu deiimim ve yaplanmamn yolu resim yaparak, ok alarak ve kendime inanarak sanatn nemini idrak ederek geti ve devam ediyor. Yaadm srece devam edecek. nk sanat ok nemli bir olgudur. Atlyede sizi balayan ve soyutlama ile sanatta ilerlemenizi salayan olaylardan bahseder misiniz? Sanat bal bana bir btn ve ierdii eylerden biri de yaamn ta kendisi bence. Atlye gendeki almalarmdan profesyonel tek bama atlyeme getiimde soyut srece oktan geilmiti. Bir sadelik, renk ve biim meselem vard. Gzlemleyerek, deneyerek bir nceki resimdeki deerleri sonraya sonraki deerleri daha sonraya tayarak, tual yzeyini sorgulayarak srekli ne yapabilirim, nasl yapabilirim sorularyla kavrularak alyorsunuz ve bir an geliyor sorularnz yzey zerine cevabn buluvermi. Aradnz bulana kadar devam ediyorsunuz ama tabi ki yaanlan tecrbeler bunun hep iinde Hem renk kullanmzda hem nesneyi ileyiiniz asndan Resimlerinizde minimal bir grnt var. nce rengi sormak istiyorum. Renk seimlerinde srece gre dier ilerinizden (Krmzlardan) bamsz m hareket ediyorsunuz? Sanat yaam fazlasyla ierir demitim. Yaadklarm, grdklerim, etkileimlerim vs. tm bende fark etsem de etmesem de etkisini zerimde brakyor. Bu nedenle renk seimlerim birbirine bal deil sanyorum. rnein krmz serimde bende hi olmad kadar byk bir enerji patlamas oldu. nk yaadmz dnyada sosyo-ekonomik, kltrel vs. byk bir patlama var. Krmz rengin iinde barndrd birok anlam var ayn zamanda ok baskn bir renk. imdiye kadar krmzy yok denecek kadar az kullanrdm. Ne oldu da tm resimlerim seri olarak krmzya buland. Bununla ilgili kendi notlarmda yle bir son satr cmle var: Kanyorum Elbette ok etkilendiim durumlar sz konusu, paletim hep krmzya kat. Azdan ok serisinde de bu kez tamamen krmzy terk ettiimi gryorum. Morlarn mavilerin karm tinsel ar duygular artryor, isel arnmaya giderek bunu resim yoluyla az renk az biimle maviler morlar olarak yzeye tamm. Yalnlk her zaman ilgimi ekmi, onun peinde komuumdur. Bant-lar ve Azdan ok serileriniz iliki ve dzen kavramlarn akla getiriyor. Bu kavramlar grdklerinizi mi yoksa grmek istediklerinizi mi temsil ediyor? liki ve dzen ile ilgili Sanat da sanki bunun zerine kurulu deil mi? Her resim geleri iliki ve dzeni iermez mi? Ve bu btne giden yol deil mi? Elbetteki sanat bir eyler iaret eder; o da bence grdklerimizin sentezinden

Sahibi: Mine Sanat Galerisi / Genel Yayn Ynetmeni: Mine Glener - Nur Glener / Yaz leri Mdr: Serkan Glener / Grafik Tasarm: Ouz Alp Dedeolu Grafik Uygulama: Rabia Ergin / eviriler: Melike Tomris nder / Katkda Bulunanlar: Yusuf Taktak - H. Avni ztopu / Bask: Focus Basm
Mine Sanat Galerisi Asya ubesi / Badat Caddesi Ogn Sok. No: 3 / B Caddebostan/stanbul Tel: 0216 385 12 03 web: www.minesanat.com / e-posta: minegulener@gmail.com Mine Sanat Galerisi Avrupa ubesi / Dr. Mfide Kley Sok. Yasemin Apt. No: 1 D: 5 Nianta/stanbul - Tel: 0212 232 38 13 - Gsm: 0536 553 50 66

A R K A

Deiim kavram her zaman ilgi alanmd. Her zaman bir eyleri deitirme - gelitirme yanls oldum... Bunun gstergesi olan zaman kavram da benim iin nemli. Farknda olmadan getiini, yitirdiimizi sandmz zamanda minimum olan ANLARI bellekte hi kaybolmadan nemsediimiz ve nemsemediimiz yanlaryla hep tekrar anmsamaz myz? Bu balamdan yola karak bu kez, resim yapma eylemimde kaybolan izlerin peine dyor, byte altna alyor, onlar kaybetmemeye karar veriyorum. Bu, sergi projemin temasn oluturuyor. Anlarn titreimlerini yakalayabilir miyiz? Kendiliinden olan doal grsellik srekli dikkatimi ekmitir. imdi, resim yapma eyleminde resmimi olutururken, ruh halimin o anki durumuyla maskeleme bandna bulam bir ekilde, zensiz, dzensiz, olduu gibi, aniden savrulan fradaki boya izleriyle yola kyorum. (21 Kasm 2011 tarihinden bu yana bantlar atlyemi istila etti. Her yeri kaplyorlar, bazen bouluyorum ama byk sabrla bu dnm nesnelletireceim iin heyecan da duyuyorum.) nce maskeleme bantlarn o anlarma sayg gibi tek tek itina ile paketleme naylonu zerine ard ardna yerletiriyorum. Bu ekilde onlar korumaya alyorum. Oluveren fra izlerimi fotoraflyorum. Sergimde bu fotoraflanan bantlarn nasl deiime uradn birlikte tank olacaz. Proje devam ediyor. Gemi denilen zaman diliminden koruma altna aldm, benim iin nem tayan izleri de bugnle birletiriyorum. 1991 ylndan 2003 ylna kadar srekli kullandm pleksiglas zerindeki izleri de sergime dhil ediyorum. Yllar nceki o zaman diliminde duygulu hassas krgn rkek kaygl mutlu -mutsuz neeli hrn anlarm, anlarm sessizce gizleyen ayn zamanda muhafaza eden izgiler... Gemi imdi - gelecek bu l titreim... Hepsini bugne katyorum. Belki de sanat iin atlan her izginin, yaamdaki izlerin zamanszln belirtmek istiyorum. Byk bir sabrla her geen gn sonuca doru ilerlerken heyecanm byyor. Koruma altndaki izler kimlik kazanmaya balyor. imdiki durumlar nemsenmemek deil, deiime urayarak, varln bu kez sanat nesnesine dnm olarak srdrmek

O DA

Sabahat knta

Concept of change is always my personal interest. I always a proponent of changing /improving of something and concept of time is also important to me as an indicator of these. Moments that pass without realizing and become minimum when we thought wed lost, can we remember them ever and ever again, without getting lost in memory, with its aspects that we care and do not care. Based on this context, this time, Im going after the lost traces in the act of painting, examine it and decide not to lose them. It provides theme for my exhibition project. Can we grab the vibrations of moments? Natural spontaneous visuality always attract my attention. Now, while I was creating my works in the act of painting, I started with my current state of mind, smeared with masking tape, sloppy, untidy, as what it is and the brush suddenly blasted with traces of paint. (Since 21 November 2011, my studio was invaded by tapes. They covered everwhere. Sometimes Im drowning in but also exciting to objectify this transformation with great patience,) Firstly, I put masking tape one after the other over the packaging nylons. In this way, I can protect them. I photograph my brush mark. In my exhibition, we will witness together how are these photographed tapes have changed. The project continues. I protected the traces from a period of time so-called past and integrate them with the present. In my exhibition, I will incorporate traces of plexiglass which is continuously used since 1991 untill 2003. Many years ago in a specific period of time, the lines that protect and at the same time silently hides my sensitive - emotional upset shy anxious happy sad joyful - combative moments, memories. Past-present-future is a triple vibration... I add all of them at present. Maybe; I want to mention the timelessness of life traces and each line which was maden for art. Im moving towads to conclusion with each passing day with great passion, so my excitement mounted. Traces that are under protection are start gaining identity. Their current situation does not go unheeded; it is carrying on as an object which is turned into art work within the undergoing changings.

THE BACK ROOM

Sabahat knta