CAGDAS1985

ada1985 Mine Sanat Galerisi nin Sanat Postasdr, Para ile Satlmaz / Contemporary1985 The Free Of Charge Art Magazine published by Mine Art Gallery SAYI: 6/MAYIS/HAZRAN 2012 / ISSUE: 6/ MAY/JUNE 2012

Bilge Alkor, Beril Anlanmert, zgl Arslan, Tomur Atagk, Nancy Atakan, Beyza Boynudelik, Sabahat knta, Hlya Dzenli, ,ilnezD aylH ,atnk tahabaS ,kiledunyoB azyeB ,nakatA ycnaN ,kgatA rumoT ,nalsrA lgz ,tremnalnA lireB ,roklA egliB

KADINA DAR RAD ANIDAK

30 Mays - 15 Austos 2012 // 30 May - 15 August 2012

ABOUT WOMAN
Berna Erkn, Jale Nejdet Erzen, Meri Hzal, Gl Ilgaz, Can Maden, Neslihan Pala, Azime Sartoprak, Zerrih Tulu, Bala Uyguner, Pnar Yeilada adalieY ranP ,renugyU alaB ,uluT hirreZ ,karpotraS emizA ,alaP nahilseN ,nedaM naC ,zaglI lG ,lazH ireM ,nezrE tedjeN elaJ ,nkrE anreB

Al Kokteyl, 30 Mays aramba 2012 saat: 18.00 - 20.30 - Opening Coctail, 30 May Wednesday 2012 at: 18.00 - 20.30
Mine Sanat Galerisi Asya ubesi, Badat Caddesi Ogn Sokak No:3/B Caddebostan / stanbul Tel: 0216 385 12 03 Gsm: 0536 553 50 66 www.minesanat.com - minegulener@gmail.com

NAMOW TUOBA

2102 tsuguA 51 - yaM 03 // 2102 sotsuA 51 - syaM 03

Editrn Bak
Sevgili Dostlarmz, Yaamda ve Toplumda en nemli grevi stlenen kadnlara ynelik bir abamz sizlerle buluturmann memnuniyeti ierisindeyiz. Mine Sanat Galerisi, Caddebostan mekannda Kadna Dair grup sergisine ev sahiplii yapyor. 19 kadn sanatnn katlmyla oluturulan sergide, desen, tual, heykel, fotoraf, bask, seramik gibi eitli disiplinlerde retilmi almalar yer alyor. eitli tekniklerin imkanlar dorultusunda retilen almalarda Kadna Dair olan, almalarn dnsel boyutunun k noktasn oluturuyor. Sanatlarmz; Bilge Alkor, Beril Anlanmert, zgl Arslan, Tomur Atagk, Nancy Atakan, Beyza Boynudelik, Sabahat knta, Hlya Dzenli, Berna Erkn, Jale Nejdet Erzen, Meri Hzal, Gl Ilgaz, Can Maden, Neslihan Pala, Azime Sartoprak, Zerrih Tulu, Bala Uyguner, Pnar Yeilada; sekin almalaryla katlm salayarak, kadnn kimlik probleminin gnmzde farknda olma durumunu gzler nne sermeye devam ettiini hatrlatyor. Sergi ncesi sohbetlerden ksa alntlar yapacak olursak; Kadn sanat olarak keke bu hikayede ben kahraman olabilseydim ama olamadm diyen Nancy Atakan, Rnesanstan beri erkek vizyonuyla ekillenen yklere gndermede bulunuyor. Toplum kadn yle bir antaya koyar ki; iinde olduu antann onun iin ideal olduunu dnmesini ister szyle katk salayan Sabahat knta, kalplar ykmann nemini vurguluyor. Kendim olarak yaptm her eylem, kadn olarak var olmama karlk gelir diyen Azime Sartoprak kendisiyle bark ada toplum temsilcisi olarak kadnn sesini duyuruyor. Sergideki btn deerli sanatlarmz hem szleriyle hem ileriyle Trk toplumunun dnm srecindeki salam durularn sanat ve birey kimlikleriyle ortaya koyarken, stn ileriyle de Trk Sanat tarihinde nemli bir kollektif kilometre tana imza atyorlar. Kadnn yazgsna, zihinsel suje olarak varlna; gndelik hayattaki rolne, savalna deinen farkl deneyimlerden ve fikirlerden yola kan bu almalar, Mine Sanat Galerisinde gerekletirilen kadna ynelik en nemli sergilerden birini oluturuyor. 30 Mays - 15 Autos 2012 tarihleri arasnda Mine Sanat Galerisi Caddebostan mekannda siz sanat dostlarmzla bulumak zere. Serkan Glener

E d i t o r s
Dear friends,

v i e w

We are glad to share our effort towards women who have the most crucial role in life and society with you. Mine Art Gallery proudly hosts About Woman group exhibition in its Caddebostan place. Within the exhibition consisting of 19 women artists, works produced by different disciplines such as pattern, canvas, sculpture, photograph, print and ceramic, are presented. The origin of the intellectual dimension of the works is About Woman. Our artists; Bilge Alkor, Beril Anlanmert, zgl Arslan, Tomur Atagk, Nancy Atakan, Beyza Boynudelik, Sabahat knta, Hlya Dzenli, Berna Erkn, Jale Nejdet Erzen, Meri Hzal, Gl Ilgaz, Can Maden, Neslihan Pala, Azime Sartoprak, Zerrih Tulu, Bala Uyguner, Pnar Yeilada; remind us of the state that women are aware of their identity problems with their distinguished works. If we were to quote from the talks before the exhibition; Nancy Atakan who states that As a woman artist I wish I was the protagonist of this story but I wasnt , refers to the stories that are shaped by male perspective since Renaissance. Sabahat knta who contributes with her remark Society puts woman in such a bag that they want the woman to think that the bag is the ideal for her, emphasizes the importance of going beyond boundaries. Azime Sartoprak states that Every act that I do, there is a connection with the fact that Im a woman as a representative of modern society who is in peace with herself. While, all these precious artists who contribute in the exhibition express their attitudes in Turkish societys transformation process with both their statements and works, they also break a new collective ground in Turkish Art History. The exhibition that includes the works which are inspired from the fate of women, their existence as an intellectual subject; their role in daily life and their combativeness, is one of the most important exhibitions to be organized in Mine Art Gallery. Hope to see you in Mine Art Gallery Caddebostan Place between 30th of May 15th of August. Serkan Glener

Mine Sanat Galerisi, her sene dzenledii Yaz Sergisi projelerine bu yaz dzenleyecei farkl bir proje ile ara veriyor. Kadn sanatlarn almalarndan oluan bir grup sergisine ev sahiplii yapan galeri, tarafndan; fotoraf, seramik, heykel, desen, tuval disiplinlerinde ve farkl tekniklerle retilmi almalara tanklk edecek. Serginin ismi altnda toplanmas deinmek istedii balca konu hakknda ip ular veriyor. Nitekim Sergide yer alacak almalarn yannda sanatlarmzn almalarnda kadna dair olan hakknda bir soru ynelttik. Sanatnzda kadn, kadna dair neler anlatyor? Bu soru yoluyla kadn sanatlarmzdan gndelik hayatta kadn konusunda samimi cevaplar aldk.

19 kadn sanat

Kadna Dair

kimlii

Mine Art Gallery takes a break from its annual Summer Exhibition with a different project. The gallery will host a group exhibition that consists of

Rportaj, Ouz Alp Dedeolu

women artists works with the contribution of 18 artists whose works are produced in different disciplines and techniques such as; photograph, ceramic, sculpture, pattern and canvas. The title of the exhibition being About Woman gives clue about the content of the subject. Thus, we have asked our artists the relation about woman and their work .In that matter, we have gained sincere answers about the identity of woman in daily life.
BLGE ALKOR Kurgusunu yaptm son sergimde sanat arkadalarmla birlikte Dn kavramnn yorumlarn paylatk.Ben mitoslarn gereklii yansttna inandmdan konu olarak Afroditeyle Hefaistosun evliliini setim.Tanra Herann kskanl nedeniyle ak tanras Afroditenin tanrlarn en irkinine verilme yksdr bu. Zoraki evliliin bu simgesini,sergilediim eski dn fotogNANCY ATAKAN Yaadklarm anlamlandrmak istiyerek kavramdan balayp alyorum. Kadn olduumdan tabii ki kadn perspektften olaylara bakarm. Kadn sanat olarak keke bu hikayede ben kahraman olabilseydim ama olamadm. Rnesanstan beri, erkek sanatlar, cinsel ve sosyal kabuln dndaki konular betimleyebilmek ve kendi arzularn yanstabilmek iin, artk ad kalm bir inan sistemi olan Yunan mitolojisinden sahneler resmetmilerdir. Leda ve Kuu isimli efsaneye gre, Zeus, Leday batan karmak iin bir kuuya dnmtr. Dafni ve Apollonun hikyesine gre, Dafni, Apollonun yaklamlarna kar kendisini korumas iin babasna yalvarmtr ve babas, kzn son dakikada bir aaca dntrerek onu kurtarmtr. Benim Leda ve Kuu betimlememde, Leda teslim olmakta ve saldrya direnmeyi brakarak, yava yava karanlk sulara gmlmektedir. Mcadele etse bile kazanmas mmkn deildir. Buna karlk, sesi duyulan ve arzular ve istekleri onurlandrlan Dafni, amurlu ve yeil renkli suyun iinde ykselerek kmaktadr. Biri fethederken dieri fethediliyor gibi grnse de, aslnda her ikisi de erkeklerin arzular tarafndan kontrol edilmektedir. I start from the concept in order to make sense of my experiences. Of course I have a womans perspective towards events, since Im a woman. As a woman artist I wish I was the protagonist of this story but I wasnt. Since the renaissance, male artists painted from the outdated belief system of Greek Mythology in order to depict sexual or taboo subjects and reflect on their own desires. According to Leda and the Swan, Zeus transformed himself into a swan to seduce Leda. According to Daphne and Apollos story, Daphne begged his father to protect her from Apollos desires towards her and her father rescued her by transforming her into a tree in the last minute. In my depiction of Leda and the swan, Leda surrenders and stops resisting while slowly sinking deeper into the dark waters. As oppose to that; Daphne who is heard and whose wishes are honored, goes up from a muddy and green colored water. While it seems like as if only one of them is being conquered, actually both of them are controlled by mens desires. SABAHAT IKINTA Toplum kadn yle bir antaya koyar ki; iinde olduu antann onun iin ideal olduunu dnmesini ister. Toplum bu antay her dneme tar.Oysa tm zorluklara ramen, anta iinde admlar oluturmasn yapamasa da bu kez isel yolculuklarna balar. Kendini var etmek iin alanlar yaratmak ister, arar ve zorlukla savamay renir. Dolu tecrbesi olur kadnn. Bu kadnlardan biri olan benim; yarattm, sndm, var olduum, arkam yasladm alanm SANAT oldu. Kadna Dair sergisi iin yaptm dzenlemeden nce benim iin anlam olan, zaman iinde toplayp sakladm materyalleri kullandm. Byk manken zerine uyguladm dzenleme byk evrende gl, sorgulam bir eyleri ters evirmi, deitirmi radikal bir kadn ve kk boya antasnda kapak st grsel, yllarca meta olarakkullanlan kadn vurgular. Saklam olduum yllar ncesi yazlk ayakkabm, hergn atlyeme gidip geldiim tozlu tabanlaryla abay, ayakta kalma iradesini iaret eder.Yaptm tm dzenleme, admlarn atma cesareti olan, bilinci ak ,nermeleri olan kadnlarn varlna iaret eder . Bu vesile ile bu konseptte bir sergiyi oluturan, gerekletiren Mine Glenere ok teekkr ederim. Society puts woman in such a bag that they want the woman to think that the bag is the ideal for her. The society carries that bag to every era. However, against all odds, the woman start to make inner journeys even if she cant take steps inside the bag. She wishes to create spaces in order to exist, she searches and learns to fight with difficulties. The woman gain many experiences. One of those women is me; the space I have created, in which I have existed, in which I hanged on to was art. For the installation that I have made for About Woman exhibition, I used the materials that are meaningful for me, materials I have collected through the years. The installation that I have applied on a big mannequin, emphasizes the radical and strong woman who questions the rules, turned and changes things and the image at the top of the cover of the paint suitcase represents the woman who is considered as a commodity. My old shoes, with its dusty bottoms points out my effort and will power to resist. My installation refers to the existence of all women who have the courage to step in, ideas to share and whose mind is open. In this respective, I sincerely thank Mine Glener for realizing such an exhibition. When I consider my works starting from the 70s, I see Im interested in every subject in social life that are involving women. I can say that as having a family or being a business woman, from todays women to ancient times goddesses, all of their problems and successes interests me! Family (1973), Woman Coming Out(1975), Womanhood (1977), Hidden Woman(1978) 70lerden, Woman Lying(1981), Committee,(1981), Orange Queen (1982), Starry(1982), Symmetric Altar (1983), Plastic Paradise or Dont Soil (1987), Madonna with Thousand Faces (1989) are from the 80sMy approach to use the magnificence of goddesses to combine life and art by reflecting the view of the environment to art works with starting to use metal surfaces as well as bigger canvases accelerated in the shift from 80s to 90s. After the examples of Artemis of Ephesus, the goddess of atalhyk and Cybele the series against war, violence and power started in 1999 and lasted up till today. But while creating 2 and 3 dimensional works that were depicting my reactions against the destruction of the nature, I tried to emphasize the womens analytic and protective role in todays environment. Woman is prolific, protective and productive; she is also hard working. I tried to show the qualities of woman that will resist to those who are trying to take away her rights and beat and use force against them because of womens physical and social conditions. I also wanted to give the message of gaining power with the union of goddesses and ordinary women With the hope of helping people to understand one another with the quality of art that connects the artist and the viewer. .. TOMUR ATAGK 1970l yllardan bugne yapm olduum ilerime baktmda sosyal yaamda kadnla ilikilendirilen konularn tmnn ilgi alanm olduunu grmekteyim. zel aile ya da i kadn olarak gnmz kadnndan gemie ana tanralara uzanan bir srete hemen hepsinin yaamlarnda karlatklar sorun ya da baarlarn beni tetiklemi olduu sylenebilir! Aile(1973), Beliren Kadn(1975), Kadn Hali(1977), Gizlenen Kadn(1978) 70lerden, Serilip Kalm(1981), Kurul,(1981), Portakal Gzeli(1982), Yldzl(1982), Simetrik Sunak(1983), Plastik Cennet ya da Kirletmeyin(1987), Binbir Yzl Madonna(1989) 80li yllardan Tanralarn ihtiamn byyen tuvalin yan sra metal yzeyleri 1980lerin banda kullanmaa gememle evrenin grntsn birfiil sanat eserlerine yanstp, sanat yaamla birletirme yaklamm 80lerden 90lara geite hzland. rnek tanralar arasnda Efesli Artemis, atalhyk Tanras ve Kibelelerin yer almasndan sonra savaa, iddete ve gce kar olan dizi 1999dan balayp bu gne kadar srd. Ama bu arada zaman zaman doann yok oluuna da tepkilerimi gsteren 2 ve 3 boyutlu ileri gerekletirirken kadnn gnmz ortamndaki zmleyici ve koruyucu roln n planda tutmaya altm. Kadn dourgan, koruyucu ve reticidir; stelik alkandr. Onun fiziki ve sosyal konumu nedeniyle haklarn elinden almaya alanlara, daya ve iddeti, uygulayanlara kar kacak niteliklerini ortaya koymaya altm. Bir de tanralarla sradan kadnlarn hep birlikte olmasyla g kazanlacann mesajn vermek istedim. Sanatn sanat ile izleyici arasndaki kpr olma zelliinin insanlarn birbirini anlamasna yardmc olaca midiyle In my last exhibition I have shared our comments on Wedding concept with my friends. I chose the marriage of Aphrodite and Hephaestus since I believe that mythos reflect the truth. Its a story about Aphrodites marriage with the ugliest god because of Heras jealousy towards Aphrodite. I depicted this feeling of forced marriage in a collection of old wedding photos. I also used a series of photograph to show how fate of women as being one of our societys saddest facts, is erased with the practice of marriage. The title of my work that is presented here, in Mine Art Gallery is; Fate. raflar koleksiyonunda da yakaladm. Ayrca, toplumsal gerekliimizin en ac olgularndan biri olan kadn yazgsnn evlilik yoluyla nasl silindiini gsteren bir de bir fotoraf dizisi gerekletirdim. Burada, Mine Sanat Galerisinde, sergilediim bu iin ad: YAZGI.

Sahibi: Mine Sanat Galerisi / Genel Yayn Ynetmeni: Mine Glener - Nur Glener / Yaz leri Mdr: Serkan Glener / Grafik Tasarm: Azime Sartoprak - Suat ahin / Grafik Uygulama: Suat ahin / eviriler: Mge Hzal / 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

acknowledged by the society, she tries to stand against them by her life. Although the struggle of gaining the rights that have been lost from the beginning of the patriarchal period; provide equality between men and women in many aspects today, especially in our society, patriarchal thought system didnt brought equality or changed males traditional view towards women. Slowly, we have reached MER HIZAL Kadnn bedeni deil yaptlarmda grselleen, sosyal sorumluluumun kavramsallaan sjeleri. Biimsel deil zihinsel sjeler. Form, k-glge, renk ve simgelerle ifade bulan ad olan-olmayan, hatrlanmas- zihnimize yazlmas gereken kadnlar. zellikle son yllarda, daha ok kstlanan zgrlkleri, ellerinden alnan sevme ve yaam haklar ile yzmz kzartan, canmz yakan, dndren sorunlar ile kadnlar Gkkuann altndan geip erkek olmay hayal eden kz ocuklar, Meryem olup gzyalarndan su kayna yaratanlar, tre ve namus adna yaamlarna son verilen Gldnyalar, kendi giden adnn boluunu bize brakan Al Yazmallar, az da olsa karsndakini yok etmenin kendini yok etmekle e olduunu syleyebilenler. Its not the body of the woman that is materialized in my works, its the conceptualization of the subjects of my social responsibility. They are not formal subjects but mental ones. They are the women who came to expression by form, light shadow, color and needed to be remembered in our minds. They are the women, especially in the last years whose freedom are limited more and more, rights to love and live are taken from their hands, who are hurting and making us think about their problems. ..Little girls who wishes to become man by going under the rainbow, being Mary and creating a water spring from her tears, Gldnyas who are murdered in the name of the custom and honor, those who are able to say that destroying someone is equal to destroying oneself. this point. The works are based on the problem which is the consequence of a continuous process; with the opposition of the concepts of the real and the abstract, while emphasizing the opposition between them in the surface, surface cannot show this problem. With the help of the assemblage, the third dimension is reached through interfering the canvas and the necessity of the Depth is pointed out by formal symbols to the viewers. The focus point is reached by the last stroke of the use of Fauvist colors. BEYZA BOYNUDELK rettiim yaptn konusu kadn olsun olmasn, her halkarda bir kadn sanat tarafndan meydana getirilmesi dolaysyla; znel olarak bana, daha genelinde ise bu corafyada, bu zamanda yaayan gen bir kadna ait bir dil iermekte. Zaten retimimi kendi varlmla ilikilendirerek, her rettiim yaptta kimliim, cinsiyetim ve bu balamda bak amn da kattklarn kullanyorum. Kendi bedeni ve varl ile bark, doasnda barndrd gle, hayattaki ykleri, altndan kalktklar ve manevi dayankll ile bugnn kadn, zaten yaadmz toplumun tm katmanlarnda ve sosyal hayatn iinde aktif rolde. Metropoldeki kentli kadndan gettodakine kadar, varlk savandaki kadnn durumundan, iletiim aralarnn da katksyla haberdar olmak mmkn. Dourganlkla elinde bulundurduu stnlk, aileyi ekip eviren haliyle pekiirken, bugnn gl ve maddi- manevi bamsz bireyi olma durumu ise kadn toplumsal eit- ve hatta bana gre stn bir konuma da getiriyor. Ama bu, toplumun her katmannda ortaya kabilen baskc yapnn nne gemek iin yeterli olamyor maalesef. Kapasitesini ve sz syleme zgrln kullanabilen bir kadn-reten olarak, tm dier ilerimi olutururken yaptm gibi, yine bugnn gncel yaam ile yazl ve grsel medyay kendime malzeme ediniyorum. Whether the theme of the work I produce is woman or not, as a woman artist; my works speaks BALA ALTINER Cinsellik hayatmzn vazgeilmez bir paras. Kadn ve erkek, kendilerine verilen rollerle, toplumsal cinsiyet rejimleri ierisinde yerlerini bulma, gizli ve dokunakl bir ekimeyle elde ettikleri konumu salamlatrma abasnda olan iki ayr cins. Aslnda, bir btnn ehvetle birbirine sarlm, nefretle birbirini itmeye alan iki paras. Popler kltrn yaratt kitle iletiim aralarnn bir arzu nesnesi haline getirdii kadn imgesi, benliinde faizmi barndran ve Mao tabir edilen erkein ok honut olduu bir izlence durumunda. Benim grsellerim; kadn bedeninin aidiyetini istila etmeye alan, cinselliini tutsaklatran, yeteneklerini hie sayan ve toplumdaki zgrln elinden almaya alan erkei hedef alyor. slupta empresyonist, figrde ekspresyonist bir tavrla gerekletirdiim bu almada; efkat duygusundan yoksun, saldrgan eilimli, kadn kucaklamay zayflk olarak gren erkei gzler nne sererek, kadnn duygusal anlamda yok oluunu izleyici ile paylayorum. Sexuality is a indispensible part of our lives. Woman and man are two genders who are trying to find their places and strengthen their position which they achieved with such a secret and gentle contest within the social gender regimes and the roles that are given to them. Actually, they are the parts of a whole that are intertwined to one and another with lust but trying to push each other with hate. The image of women which is transformed into an object of desire by the mass communication tools that are created by popular culture, involves fascism within itself and enjoyed as a spectacle by the man called Macho. My images; targets the man who tries to invade the privacy of womans body, take away her freedom in the society, does not approve her talents and captivates their sexuality. In this work that is realized as an impressionist piece in terms of the style and expressionist in the sense of figure, I share the emotional destruction of woman by exposing the male with aggressive tendencies who lacks compassion and sees embracing woman as a weakness. ZERRN TULU Kadnn anaerkil toplumun knden bu gne, yerinin deimediini gryor ve anlamn kavryoruz. ada kadnn bilinalt: Bir bakaldryla kadnn; zaman, mekan boyutundaki tutsaklnn, yaam biimindeki oluumlara bir bakaldryla birlikte; zgrlnn toplumsal alanda karlk bulup bulamadn ya da tarihsel geliiminde ikincil konumunun bir trl giderilemediinin bilinci ierisine bilfiil kendi eylemiyle katkda bulunurken, yaam ile kar durmaya alyor. Ataerkil dnemin balangcndan bu yana kaybedilen haklarn mcadelesi; kadna pek ok alanda eitlik salasa da gnmzde, zellikle bizim toplumumuzda Ataerkil dnce kavram insann eitliini getirmedii gibi, erkein kar cinse kar gelitirdii geleneksel bak asn deitirmedi. ki ileri bir geri hareketlerle, olagelen srete bu gnlere gelindi. Var oluuyla birlikte sregelen temel bir srecin getirdii sorunsala dayandrlan yaptlardaki almalar; gerek ve soyut kavramlarnn birbirlerine olan ztlyla birlikte; kartlklarn hesaplama ann yzeyde vurgularken, yzey bu sorunsal tayamyor. Asemblajn yardmyla nc boyuta, tuvale mdahale edilerek ulatrlyor ve sorunsaldaki Derinliin gereklilii biimsel sembollerle karsndaki izleyicinin gzne sokularak da vuruluyor. Fovist renklerin katksyla son darbe vurularak odak noktasna ulalyor. We see and understand the meaning of the fact that throughout the collapse of matriarchal society that the place of women in the society havent changed. The subconscious of modern woman; with a protest against womens captivity in time and space and against the facts in the form of life itself, constantly being aware of her inferior position throughout the history of patriarchal humanity and that her freedom is not Im trying to express the world from my vision. I create works that are focusing on the urban woman who is separated from the nature. The positive looking, themes that I have edited are the inspiration of my work. The issue of nature and environment is an issue that todays society is responsible for the future generations. Although we cant find solutions to these problems as artists, I believe that we have to raise our awareness and produce works about this matter. Im doing my best for that matter. I participate in the About Woman exhibition with a collage work that can be defined as artist memory since its produced from the images that I have experienced and influenced by. BERNA ERKUN Dnyay kendi vizyonumdan mesajlarla ifade etmeye alyorum. Doadan kopan ehirli bir kadna dair iler retiyorum. Pozitif gzken, gereklerin actan yann trpleyerek yumuatarak kurguladm temalar almalarmn k noktas. Doa, evre sorunlar bugnn insannn gelecek kuaklara kar sorumlu olduu bir konu. Bu sorunlara zm sanat olarak bulamasak da empati ile farkndalmz gelitirmek, deneyimleyerek iler retmemiz gerektiine inanyor ve elimden geldiince bu konuda da alyorum. Kadna Dair sergisine sanatm retirken beslendiim, deneyimlediim grsellerden sanat bellei diyebileceim bir kolaj almas ile katlyorum. HLYA DZENL nsan kendisi ve gemii ile geleceine doru baktnda neler grr ve neler dnr? Bu her insan iin deiken cevaplar olan bir soru... Kadn sanatlarn Kadna Dair ilerini ieren bir sergi daveti aldmda bu soruyu bende kendime sordum. Bu balamda Kadn ve Okuma balkl 1994 ylnda Halite bulunan Kadn Eserleri Ktphanesinde atm sergimi anmsadm. Sergi kadnn eitli temel durumlar zerine idi. nsanlk onuru ve eitliin gelimedii, temel hak ve zgrlklerin salanamad dzenlerde kadnn hak ve zgrlklerinin salanmasnn da mmkn olamayacan dnyorum. Bu her kurum, birey ve olgu adna farkl mcadele gruplarn yadsdm anlamna gelmez. Sadece sonu almann uzun ve zahmetli bir yol olduunu dnyorum. O sergide yer alan biriim tam da bu noktada bir cevap nitelii oluturuyor. Bu i Hititliler de Kadn Haklarnn in the language of young women both universally and locally. In any case, I produce work in relation to my existence. I use my identity, gender and my point of view in my works. Modern woman who is in peace with her own body, existence, the power that she has in her nature, her responsibilities, the difficulties she endured and spiritual endurance, already plays an active role in all layers of the society and social life. With the help of the communication tools, its possible to learn about the situation of women in the existence war, from urban woman in the city to the women residing in ghetto. While the superiority of the woman that comes with fertility, is intensified by the role of holding the family together, todays strong, economically and emotionally independent women provides social equality or even superiority according to my opinion. But, unfortunately, this is not enough to stop the pressure against woman in the society. As a woman producer who is able to practice her capacity and freedom of expression, as I do in all of my works, I use contemporary written and visual media as my material for my work. The roles we play in our social life and the responsibilities directed to our sexual identities, objects, images and performances shapes our intellectual and productive processes as well as our life practice. As a woman; cleaning, tidying, organizing and sanitation in closed spaces are attributed to us. As a woman artist, the question of how will this action finds its place in art introduced me to concepts such as adding and organizing art pieces in art history. By turning around the very common color addition to paintings that has an important role in history of painting, I produced my works by the act of erasing. As taking the cleaning effect of light as a reference, I depicted the light as a uninvited guest who oozes into inner spaces. The effects of the light will be seen in the patterns as the erased and the eraser. In terms of shape, the Baroque influence is apparent but also the auto portraits and portraits of unknown women models of impressionist painters are effective in specifying the frame. In my Working Woman series the artist herself can be seen. ZGL ARSLAN Sosyal hayatta edindiimiz roller ve cinsel kimliimize atfedilen sorumluluklar, nesneler, imgeler ve performanslar yaam pratiimizi belirledii gibi dnsel ve retimsel srecimizi de ekillendirir. Kadn olarak; i mekanda temizlemek, toparlamak , dzenlemek, hijyeni salamak bize atfedilmi eylemlerdir. Sanat bir kadn olarak bu eylemin sanatta nasl karln bulaca sorusu, beni ayn zamanda sanat tarindeki eserlerde ekleme ve dzenleme kavramlarna gtrd. Resim tarihinde nemli yeri olan k-renk temalar ve bunlar elde ederken yaplan renk eklemeyi tersine evirerek resimlerimi; boyamak yeriJALE NEJDET ERZEN Ben resmimde kadn hibirzaman odaklanm bir konu olarak ele almadm. Figr resimlerimde ise kadn bedeni belki erkek bedeninden farkl olarak daha zengin biimler ierdii iin beni ilgilendirmitir. Erilerin daha uzun ve dolgun olabildii, keli ve dz formlarn erilerle daha uyum iinde olduu bir form olarak bakyorum kadn figrne. Velhasl resmimde beni en ok biim ilgilendiriyor, konu ya da yk deil. Bu bakmdan resmimde kadn ile ilgili bundan baka birey syliyemem, ama resmim bakanlarn yorumuna ak. I never focused on woman as subject in my painting. In my figures paintings, the body of woman interested me since it involves rich shapes as oppose to male figure. I see the woman figure as a form in which the curves are longer and fuller and angles and lines are in harmony with curves. In short its the figure that interests me the most, not subject or story. From this perspective, I cant say more about woman but my paintings is open to viewers comments.

bir maddesi ile ilgili idi. Kadnlar Hitit anda kocalarndan izin almadan i kurabilecek iken Cumhuriyet kadnnn bu haktan yoksun olmasna dair idi... Medeni Kanunun 159.maddesinde yer alan kadnn meslek ve i yapabilmesi iin kocasnn iznini alaca eklindeki bu hkm Anayasa Mahkemesi tarafndan iptal edildi. Bugn Yeni Medeni yasa da elerden birinin meslek ve i seiminde dierinin iznini almak zorunda olmad hkm getirildi. Bu dzenlemeyle eler mesleklerini dier eten izin almadan srdrebilecek... Kadna, ocua, alana, tekine, herkese temel hak ve zgrlklerin salanaca bir dzen umudu ile...

What does one see and think when he/she look through his/herself, his/her past and future? The answer to this question changes from person to person. When I received an exhibition offer concerning woman artists works About Woman , I asked this question to myself. In that respective, I remembered the exhibition, titled as Woman and Reading that I had realized in 1994 in Golden Horn. The exhibition was about the basic woman conditions. I believe that in systems where human pride and equality is not developed, women rights and freedom cannot be preserved. This does not mean that I reject every institution, individual and fact. I just think that it a hard way to get results. One of my works that was shown in that exhibition can be considered as the answer to that question. That work was about a statement in Woman Rights in Hittites. It was about the fact that while Hittite women were able to conduct business without the need for approval from their husbands, the Republic era women were deprived from that right. The sentence that exists in the 159th statement of the Civil Law, suggested that women needs to took permission from their husbands in order to start a business was cancelled by Constitutional Court. Today, in the new Civil Law, its stated that partners doesnt have to take permission from one and another. I hope for a future where from women to kids everybody will have their basic rights and freedom

CAN MADEN lerimin tmnde kadna ve kadnlk durumuna egildiimi syleyemem. Daha ok bilinalt, bilintesi gibi cinsiyetin tesinde alanlarla ilgileniyorum. Zaman zaman kiisel deneyimlerimi olabildiince dolaysz grselletirdiim ilerim oluyor. Bu ilerde psikolojik sreleri yanstyorum: otoportreler zerinden kadnn znelliini anlatyorum. Bu bir anlamda kadnlk bilgisini ve deneyimini kutsamak da oluyor. Ama ilerimde kadnlk durumunu kltrel ve tarihsel bir balamda ele almyorum. I cant say that I focus on woman or the condition of being a woman in all of my works. Mostly Im interested in topics like subconscious and beyond consciousness. There are also some works in which I visualize my personal experiences. In these works I reflect on the psychological processes; I express the individuality of woman through portraits. This is in a way; means celebration of being a woman. But I dont focus on this condition in a cultural and historical sense.

ne domestik bir aksiyon gibi atfedilen silme eylemiyle oluturdum. In siliciliini referas alarak, i mekana szan davetsiz misafir olan resimlerde byk oranda silinen olarak belirledim. Desenlerde silinen ve silen olarak n etkileri grlecektir Biimsel dil olarak Barok etkileri grlrken ayn zamanda empresyonist ressamlarn kimlii belli olmayan kadn resimleri ve kendi otoportreleri kadraj belirlemelerimde olduka etkili olmutur. Mekann ve eylemin belirsizlii teknik olarak silerek resmedilmesini desteklemektedir. alan kadn serimde sanatnn kendisi grlecek. nsanlk onuru, eitlik, temel hak ve zgrlkler balamnda.

BERL ANILANMERT Kz ocuklarna ve kadna uygulanan iddetin kaynanda, inanlar, geleneklerle yorulmu aalama, bastrlm cinsel kimlik, drtler ve kadn korkusunun yan sra toplumun erkee bitii g rol ile insanln yitirilmesinin nihayetinde barbarl, vahilii artrmaktadr. ocukluunu yaayamayan, kzln, kadnln tadamayan, karde bakcl, kk yata sarp sarmalanp evlendirilen cahil braklm kadn... Aslnda yok olan ama inancn lt kadn... Kabullenme ve hizmet verme zerine yetitirilmi kadn... Bu durumda, kadn istemeyerek iddetin bir paras durumundadr. nan ve gelenekle, erkei sahibi gibi grme, bir takm maddi ltleri kendisine verilen deer olarak alglama sz konusudur. Toplumun kltrn meydana getiren tm elerin kadnlar tarafndan gelecek kuaklara aktarldn dnrsek, aile iinde iddet ve aalama ile yetien kz ocuklarnn ilerindeki kin ve nefreti, yetitirdikleri erkek ocuklara aktarm ile iddet de kuaktan kuaa geer ve bu dng devam eder. almalarmda, kadnn gnlk yaam dngs, kltr taycs olarak roln veya aile ii erkeklerinin arasna skm kz ocuklarn ve genelde gelenek ad altnda uygulanan iddete kar gr ele almaktaym. At the center of the violence directed at women and girls, lies degradation fed by beliefs, traditions, suppressed sexual identity, instincts and fear of the woman and the role that is given to men by society and this situation signifies the loss of humanity and reminds us of barbarism. The woman who couldnt live her childhood, taste her womanhood, instead forced to babysit her brother, then to marry at a young ageThe woman raised for obedience and to serve At this point; involuntarily, woman becomes a part of violence. With beliefs and traditions, women are tend to see man as their owner and some material measures as their values. When we consider the fact that all the values that create the culture of a certain society are transferred to future generations by women, we can presume that the violence against women will continue with this cycle. In my works, I reflect upon the view that is against the violence directed towards women who are responsible for the continuation of daily life and culture and girls who are stuck in between male family members under the excuse of traditions.

NESLHAN PALA nsann aktard her eit veri (davransal, fiziksel, kiisel ) kendimi ifade edebilmek iin zamanla biriken ve duygunun boyuta dnmesini salayan bir kaynaktr. Yorumlamada kanamadm ve kanmak istemediim deformasyonun, kendiliinden bir nevi saldrganlk ieriyor olmas bilinaltmn sorumluluundadr. Bu yorumlar (temalar eitli) ister istemez ironi ierdii iin, arlkl olarak kar cinsin hallerinde ele almama neden oluyor ve sanrm bu da kendi cinsimi dolayl olarak yceltme eilimidir. Yorumlama biimimde insan bedeni estetiine bal kalmadm sylenebilir. Ancak bu yaklam zaman zaman sempati ierebiliyor. yle ya tmyle kar cinsi yermemek lazm. Toplumun ounluunun gereine parmak basmak gerekirse, kadnlarn gizli gc, erkeklerin gizli zayfl tarafndan bastrlr. Kendi gcmn bilincinde olarak kar cinsin zayfln afie etme drts belki de grevim haline geldi. Elimden drmediim aynama baktmda, arkamda olup bitenleri grme ihtimali de var. Kesinlikle feminen bir davrantr bu ama potansyel ve sembolik olarak ta bir gzlem aracdr ayna. Zayf grnen kadn, iindeki potansiyelin farkna varmas an meselesidir. Bundan (bilincinde olmasa da) korkan erkek, bu farkndal bastrmak iin elinden geleni yapar. Bir nevi fobi olsa gerek. Zira korkular (kadnlar) bastrlr, hep bastrlmtr. Ama olsun, kadn affeder.., ama unutmaz derler. Olur da unutulmaya yz tutturulursa , o zaman ben de hatrlatmakla ykml hissederim. Every data (behavioral, physical, personal) that is transferred by men is a source that enables a person to express him/herself by transforming the emotions into three dimensions. The deformation which I cannot escape involves a kind of aggression and this is the responsibility of my subconscious. Since these comments involve irony, I feel the need to focus on the other genders conditions too and I guess this is a implicit form of sublimation. I can state that Im not dependent of the aesthetic of human body in terms of my comments. Either way, one should not revile the other gender completely. If we were to point out a fact about society, we would indicate that the secret power of women is repressed by the secret weakness. Maybe, as being aware of my own power; it has become my duty to unmask the weakness of other gender. When I look at my mirror, there is also the possibility of seeing what is behind me. This is absolutely a feminine behavior but its also a potential and symbolic observation tool.. Its only a matter of time for the seemingly weak woman to discover her potential. The male is threatened (even if he does not know this consciously), does everything he can to suppress this awareness. It must be some kind of a phobia. Hence fears (women) are suppressed, always had been. So be it, they say that women forgive but dont forget. If they are put in a position of forgetting, then I feel that its my responsibility of reminding them.

AZME SARITOPRAK Kendim olarak yaptm her eylem, kadn olarak var olmama karlk gelir. Resmettiim veya ele aldm kadn, ben kadn olduum iindir. Ancak imdiye dek salt kadn olmak konusunda vurgulanm, bu kimlii yceltmi veya bir sorun iinde deerlendirmi bir eylemim yoktur. Resimlerimde kadn kimlii; hayal kuran, dleyen, yaayan, oynayan, den, zplayan; kendi kurduum dnyalarda gezinen masals bir karaktere, bazen gereklikten de tede, kadn olmaktan da nde bir insan olmaya iarettir ve esas derdim insann var olma halleridir. Bu sergide yer alan almam, tesadfi bir k hzmesi ile duvara den glgeler ve kadn olarak kendi biimim gerei oraya braktm izlerden ibarettir.

KR BOZLUOLCAY
Salk sektr bata olmak zere dier alanlarda da baarl projelere imza atan Bozlu Holdingin ortaklarndan kr Bozluolcay ayn zamanda Trk modern ve ada resmi konusunda nemli bir koleksiyona sahip ve koleksiyonerliin henz ivme kazand zamanlardan bu yana birikimini srdrmekte. kr Bozluolcay, Yaptmz ilk koleksiyoner rportajmzda bizimle Sanata destei ve bu konuda idealleri ile birlikte sanat piyasas konusundaki dncelerini paylat. Rp: Ouz Alp Dedeolu

ile sylei

Every act that I do, there is a connection with the fact that Im a woman. The woman I have painted or emphasized is there because Im a woman. But I didnt produce any work specifically depicting the condition of being a woman in terms of reviling this identity or evaluating it in the context of a social problem. The identity of the woman that is seen in my paintings is a reference to a fairytale character from the worlds that I have created in my mind; a person rather than a woman or a man who is dreaming, wishing, living, playing, falling, and jumping. My main concern is the condition of being human. My work in this exhibition a photograph of my trace on the wall in the shape of my shadow created by an accidental light. PINAR YELADA Kendime Doga m kltrm diye sorduumda, kltrel bir dnya iinde yaadmz dnyorum. Doann temel farkllklar elbette cinsiyetleri belirler ama gerek farklln ne olduu sorusu anlamsz gelir bana. Toplumsal Cinsiyetli bellek ve kadnlarn hayat hikyeleri, zorlukla kabul olsa, gemii anlamakta nemli bir yoldur. Baz alardan, sen ve ben farkl, baz ynlerden farkl deilizdir. Ve baz toplumsal sorunlar cinsiyete dayal ve bir ksm deildir. Ancak ou insan iin, bir erkek veya bir kadn olmak dramatik yaamlarn ve deneyimlerini ekillendiren bir eydir. Benim iin nemli olan insan deneyiminin aralna yer vermektir. Baka (kadnlar zerindeki erkek, doa zerindeki insan, fakir zerinden zengin) zerinden bir grubun hkimiyeti her zaman iin inciticidir. Kadn ve kadn sorunlarna olan ilgim mevcut snrlarn adaletsizliinin tesini istememden kaynaklanr ancak hi bir zaman ilerimi sadece bir kadn olmann en samimi bir parasn kefetmek olarak da dnmedim. Her iim, bilin kaymalarn hzlandrmay hedefleyen byk bir abann birer parasdr. Sanat amacm daha geni sosyal konulara ortak gnlk deneyimlerimi balamaktr. Benim iin sanat yapma sembolik bir gereklik yaratmay

Sanat pazar ile sanatnn baars ok farkl kavramlar. Baktmzda hakikaten sanatsal adan ok deerli olan bir ey ok aa seviyede gidebiliyor.
Koleksiyoner ynnze gemeden nce biraz kendi i alannzdan bahseder misiniz? Bozlu Holding ats altnda te ikisi tp alan dier te birlik ksm ise farkl endstriyel ilerle ilgili olmak zere yaklak on firmamz var. Bunlarn bir ksm ile salk iletmecilii tbbi cihaz satm, cihaz imalat, ila imalat ve Solar enerji ile ilgili ilerimizi yrtyoruz. Endstriyel olarak da tren vagonu imalat yapyoruz. Tm bunlarla birlikte arge almalarmz devam ediyor. Koleksiyonunuzu ne zaman oluturmaya baladnz? Veya bir koleksiyon fikri ile mi bu heyecana baladnz? Aslnda koleksiyon szn ben ok sevmiyorum. Trkiyede bu ok ucuz kullanlyor. Bu ok kolay bir i deil ve ben aslnda kendimi bir koleksiyoner olarak grmyorum. Koleksiyonerlik ciddi bir bilgi birikimi istiyor. Ciddi bir disiplin istiyor. Aslnda kendi bana bir i. Ama bizim yaptmz imdilik bir i halini almad. Aa yukar 1975 ylndan beri bu hobinin ierisindeyim. Balang dnemlerinde bu ie Trkiyede ok fazla deer verilmiyordu. Resim satn alan insan ok azd ve makul fiyatlarla bir ok eser bulmak mmknd. Talebelik yllarmda harlmdan artanlarla neredeyse bir eyler alabiliyordum. O dnemlerde ada bir sanatnn deer bulmas zordu. Resim boyutlar belli llerdeydi. Daha sonra bu durum 90lardan itibaren renk deitirmeye balad. Sosyo-ekonomik durum deiti. Trkiyede yeni bir zengin zmresi olutu ve bu insanlar apartman dairelerinden villalara tanmaya balad. Duvarlar byd alnan resim boyutlar byd hepsi iin demiyorum ama zengin zmrenin bir ksmnda farklln gsterme igds dodu. Bunlar kmseyerek sylemiyorum sylemek istediim bu durumun da piyasann tetiklenmesinde ve farkndalk yaratmasnda etkili olmasyd. Benim grdm baka bir etmen de sahtecilik furyasnn balamas. Bu ie hakikatten gnl vermi kiileri bu iten soutma giriimi balad. nsanlar, bu tedirginliklerinden dolay yeni bir eyler aramaya baladlar ve ada eserler fark edilmeye baland. Ben de 90dan sonra ada slupta eserleri tercih etmeye baladm. ada sanat eseri toplamaya Mine Sanat Galerisi ile mi baladnz? Galeri ile tanmadan nce de birka eser almtm. Ama eserlerin %90nn Mine Sanat Galerisi vastasyla aldm. Kendileriyle yaklak 10 ylllk bir gemiim var. Galeriden ilk olarak Adnan okerin bir almasn aldm. Hem Mine Hanmn hem Nur Bey in ada sanat pazarn takip etmemde bana ok yardmlar dokunduunu sylemeliyim. Daha ok hangi slupta eserleri koleksiyonunuza katmay tercih ediyorsunuz? O konuda zelikle takip ettiim ve kesin belirlediimiz bir yaklam yok. ada figratif ve non-figratif eserler bir arada diyebilirim. Koleksiyonunuzda ounlukta olan bir sanat var m? Fikret Muallann eserlerine zel bir ilgim var. Ressamlardan Adnan oker, Mehmet Gleryz, Zekai Ormanc, Selma Grbz, Mustafa Ata; heykeltralardan da Hseyin Gezer, Koray Ari ve Sekin Pirimin almalar koleksiyonumuzda ounluktadr. Doktor kimliinizin sanat eseri terchilerinizde etkili olduunu dnyor musunuz? Siz sorunca dndm. Hastann, doktorun karsnda sorunlarn dile getirmesi, gven ortam iinde kendini ifade etmesi, doktorun da bylece sorunlar tespit etmesi aslnda sanat ve evresi ilikisini anmsatabilir. Ama bir yandan da doktorun alma sistemi ile sanat eserinin yaratm sreci arasnda benzerlik kurmann kendi amdan zor olduunu syleyebilirim. Gnmzde Trk ada Sanatnn ykseliini nasl deerlendiriyorsunuz? Ben mzayedeleri ok dolaan bir insan deilim. Ama zellikle yurt-dndaki mzelere ska ziyaretlerim olur. Dolaysyla bir dnem sonra kstas mekanizmas oluuyor. Konsantrasyonunuz daha yksek ise o daha ksa srede oluuyor. Son dnemlerde gen sanatlar son derece baarl. Yurt-dnda da seslerini duyurmaya baladlar. Ama sanat pazar ile sanatnn baars ok farkl kavramlar. Baktmzda hakikaten sanatsal adan ok deerli olan bir ey ok aa seviyede gidebiliyor. Ama bir yandan retilen ey her ne kadar sanat eseri de olsa onun da bir pazarlamas var. Birdenbire moda yaratlyor izafi olarak dierlerine gre yksek rakamlarda karlk buluyor. Ama grdm u: yi eser ok fazla ortalkta dolamyor. Trkiyede gen kuak ressamlarn baars ile yeni oluan alclar birlikte dnrsek o sanat eserinin hemen ikinci ele dnmesini ben erken bulurum. Ama akas u anda hak eden de hak etmeyen de alc buluyor. Ama bunlar bir sirklasyona girdii zaman doru ile erinin fark o zaman netleecek. Ve esas piyasa da o zaman oluacak. nsanlarn bu ie daha fazla sahip kaca bir piyasann byyeceine inancm var. Artk gnmzde byk irketlerin sanat yatrmlarna ve koleksiyona ynelmelerine dair dnceleriniz nelerdir? Sanat eseri bir yatrm arac oldu artk. Trkiyede de bu yava yava olumaya balad. nsanlar hangi bilinle bu yatrma yneldi ben daha onu bilemiyorum ama bu algnn baladn grebiliyorum. Sanat artk bir imaj olmaya balad. Byk irketler iin de bir imaj ama ayn zamanda yatrm yollarndan bir tanesi olarak grlmeye baland. Bu da farkndalkla ilgili. Bununla birlikte ada sanatn ok deer kazanmaya balamas ve parann bymesi sanat ister istemez ticari olarak dnlmesine yol ayor. Elinizdeki eserlerinizi grdm kadaryla kendi holdinginizde deerlendiriyorsunuz? Geri kalanlar iin bir deponuz mu var yoksa baka binalarnzda m sergiliyorsunuz? Bir depomuz var. Bunun dnda, eserleri holding binamzn duvarlarnda deerlendiriyoruz. Mine Sanat Galerisi ile ortak proje kapsamnda yine kendi binamz olan Neolife Tp Merkezinde de ada sanat adna dzenli sergiler yapmaya baladk. lk sergimizi galerinin gen sanatlarndan Azime Sartoprak ile gerekletirdik. Onu da Sheyla Sabr takip etti. u anda ise Berna Erkunun almalarn sergilemekteyiz. Elinizdeki eserler iin dndnz bir proje var m? Dediim gibi eserleri ileride grsel olarak paylama midiyle biriktirmeye alyorum. Rakamlar o gzle bakmay gerektirse de ticaret dncesini imdilik arka planda tutuyorum. Elimizde eserleri depoda tutmakla bir yerlere varlamayacan da biliyorum. Trkiyede de ada sanat mzelerinin bir elin parmaklarn gemeyen says, elimdeki eserleri ileride mze projesi ile birlikte deerlendirme dncemi kuvvetlendiriyor. Bu dncelerimden bir tanesi. Aslnda mze kurmakla iin biteceini de dnmyorum. ncelikle mzenin kendini srdrebileceine dair bir gvenimiz olmas gerekir. Bunun iin de mzenin kendini gelitirebileceine inandmz bir temeline ihtiyacmz var. Bunun zerinde durmak gerekir. kolay bir i deil. kr Bozluay; one of the partners of Bozlu Holding that accomplished many projects besides health sector, is also the owner of a diverse collection of Modern and Contemporary Turkish Art and her continues to expand his collection. In our first collector interview, kr Bozluolcay shared his support to art, his ideals in this issue and his views on art market. Before focusing on your collector side, can you please tell us about your profession? Under the roof of Bozlu Holding we have thirteen firms; mostly in medicine, and others in industrial sec-

tors. With some of them, we manage business like health management, medical device sale, device production and medicine production and our works about solar energy. In terms of industrial business; we deal with railway car production. In addition to these, our research and development studies continue. How did you start collecting? Did it started with the enthusiasm of collecting? Actually, I dont like the word; collection. This term is used cheaply in Turkey. This is not an easy job and I dont see myself as a collector. Being a collector demands serious knowledge and discipline. Actually its a profession of its own. But what we are doing is not in that level right now. Im into this hobby since

ieren ok zel bir eylemdir; sanat yoluyla umudun gcn grmek, eitlilik iinde eitlik iin arzumu ifade edebilmek isterim. Yaratc sre, self-determinasyon ve bir glenme eylemidir. Kendimizi ve eyleri, dnyann kayp veya gz ard edilmi bir paras olmaktan kurtarmak iin kullanld zaman gl bir ara olabilir. Benim iim dnce belgeler, deersizletirilen, deeri yok edilen, devale edilen eyi geri almama izin verir. nsanlarn, insan olmann, iyi bir hayat srmenin ne demek oldu-

GL ILGAZ Melis Bilginin hakkmdaki yazsyla cevaplamay tercih ederim. Gl Ilgazn ilerinde kadnlk hali ister kadn imgesinin birebir varl ile ister yokluunda geride brakt nesneler, mekanlar ve ilikiler ile olsun, kendisini her zaman hissettirir. Bu kadnlk hali sadece yaad toplumunun iinde kadn olmakla kalmayp, bunun tesinde, daha evrensel bir seyirde kendini tanmlama halidir. Yer yer kadn arketipleri ve kimlikleri olarak belirir; annelii, kzl, elii sorgular; yer yer kadnn toplum iindeki yalnz ve derinden ileyen savaln hissettirir. lk ilerinde yer alan kadnn tekiliine tepki, zamanla olgunlam, kadn kimliinin kefi, kabul ve keyfi ile harmanlanmtr. Bu iler sadece eletirel ve sorgulayc bir gzn ifadesi deildir; kadnl bir sava arac ya da ille de kimlii netletirilmek zorunda bir varlk olarak betimlemez. Aksine, zellikle Ilgazn zaman zaman yer verdii plak kadn bedeni, bedenin kiinin kendisine ifadesi ile darya olan ifadesinin farkllklarnn sessiz ve huzurlu bir kabulleniini de ierir. Kadnla dair bir barklk ilerin ruhuna sinmitir. Melis Bilgin Nisan 2012 I prefer to answer this question with Melis Bilgins article about myself. The condition of being a woman is always apparent in Gl Ilgazs work whether there is an image of woman or not, with the objects that are left behind, the spaces and relation. This condition does not only refer to being a women in her society but its more like defining oneself in a universal sense. From time to time women archetypes and identities appear in her art; she questions motherhood, being a daughter or wife; sometimes she emphasizes the lonely and intense warrior nature of women in the society. The reaction against the womens otherness that can be seen in her early works matured with time and blended with the discovery of woman identity, the acceptance of this identity and the joy taken from it. These works are not only expressions of a curious and questioning eye; they dont depict woman as a war machine or a being whose identity must be specified and identified. On the contrary, the naked woman body that Ilgaz depicts, involves the quite acceptance of the difference between the expressions of her body towards herself and the outer world. A state of being at peace that is unique to women is sensed in her paintings. Melis Bilgin April 2012

unu ve ayn zamanda dnyann iyi bir yer olmas iin sanatsal srecin ne anlama geldiini yeniden hayal edebilmelerini isterim.

When I ask myself; nature or culture? My answer is that we live in a cultural world. Of course, the basic differences of nature determines genders but the question of what are the real differences always seems meaningless to me. Even if Memory of Social Gender and life stories of women are the hard way, they are useful for understanding the past. From some angles, you and me are different and from some points, we are not. Social problems are also like that. But for most people, being a man or a women is a dramatic factor that shapes their lives. What is important for me is the human experience interval . The dominance of a certain group of people (man over the women, human over the nature, rich over the poor) over the others is always hurtful. My interest towards women and their problems is because of my wish to break the boundaries of inequality in current societies but I never considered my works as discovering the core of the condition of being a woman. All of my works are parts of an effort to accelerate shifts of consciousness. My aim in art is to connect my daily experiences with broader social issues. For me, producing art is a special act that involves creating a symbolic reality; to see the power of hope by art; Id like to express my wish of equality in diversity. The creative process is an act of self determination and empowerment. Art can become a powerful tool when it is used to save ourselves from being a lost and ignored part of the world. My works documents ideas; they enables me to take back the degraded, devaluated things. I want people to be able to dream about the meaning of living a good life and also the meaning of the artistic process for creating a better world once again.

1975. In the beginning collecting was not valued in Turkey. There werent many people who were buying paintings and prices were reasonable. During my college years, I was nearly able to buy things with the remaining of allowance In that period it was hard for an contemporary artist to become valuable. The dimensions of the paintings were specific. This started to change starting from the 90s. the socio economic conditions have changed. A new set of wealthy people have emerged and these people started to move to villas from apartments. The walls have expanded and the dimensions of the paintings that are being bought grew. Im not saying this for all of them but the urge to show off their difference born in a part of these people. Im not saying these to underrate but what I wanted to express was that this change was influential in the triggering of the market and creating awareness. Another factor I have seen is the trend of forgery. The campaign of pulling off people who love this job has started. Because of their irritation people started to look for other things and contemporary works are discovered. I too, started to prefer contemporary works after 1990. Did you started to collect contemporary art works with Mine Art Gallery? I had bought new works before meeting the gallery. But I have bought %99 of my works with the means of Mine Art Gallery. I have a 10 year old affair with them. My first purchase from them was an Adnan oker piece. I must state that Both Mrs. Mine and Mr. Nur were very helpful in my pursuit in contemporary art market. What kind of works do you prefer to add to your collection? I have no specific approach or pursuit in that matter. I can say that contemporary figurative and non figurative works are together Is there a dominant artist in your collection in terms of number of the works? I have a special interest in Fikret Muallas works. The works of Adnan oker, Mehmet Gleryz, Zekai Ormanc, Selma Grbz, Mustafa Ata from the painters and sculptures of Hseyin Gezer, Koray Ari and Sekin Pirim are in majority in our collection. Do you think that your identity as a doctor is effective in your choice of art pieces? I thought about it when you asked me. The relationship between the artist and the environment can be similar with the doctor- patient relationship in terms of the patients description of his/her complaints, his/her expression of him/herself in an environment of trust and the doctors diagnosis with respect to these information. But on the other hand an art work. What do you think about the rise of Turkish Contemporary Art? I dont usually go around lots of auctions. But I visit especially foreign museums a lot. So, a mechanism of standards formed after a while. If your concentration is high, it can form in a lesser time. Recently, young artists are very successful. They are started to be known internationally. Art market and the success of the artist are different concepts. When we analyze a work from artistic perspective; we can see that a very valuable piece can be sold for a very little amount. On the other hand, even though the product is an art work, it also have a technique of marketing. Suddenly a trend comes along and trendy works are sold by larger numbers. Nut here is what I see: good works does not travel much around. I think it is too early for the works of young and successful Turkish artists to become secondhand when we consider the new buyers that are formed in this kind of environment. Nowadays, everybody can find a customer whether they deserve or not. But when it will start to be circulated; the difference between the right and wrong will be clear. And after that the actual market will occur. I believe in the growth of a market in which will people cares about this profession. What are your comments on todays big companys investments on art and their approach to collection? Art work became a tool of investment. This evolved slowly in Turkey. I dont know how people headed towards this kind of investment but I can see that this perception is developing. Art has become an image. An image, but also a way of investment for big companies. And this is about awareness. Its also about increasing value that has been given to contemporary art and the commercialization of art. As far as I have seen, you keep your art works in your holding? Do you have a warehouse for the rest of them or do you exhibition them in other buildings? We have a warehouse. We also exhibition the works on the walls of our holding buildings. We started to conduct collaborative projects with Mine Art Gallery in terms of organizing permanent contemporary art exhibitions in Neolife Medical Center. Our first exhibition was with young artist Azime Sartoprak. Latter was with Sheyla Sabr. Now we are presenting the works of Berna Erkun. Do you have a project in mind for the art pieces you have? As I have mentioned before, Im trying to collect works for the purpose of sharing them visually. For now the financial aspect is not the privilege. I also know that there is no point in keeping the works in warehouse. The number of the contemporary art museums in Turkey strengthens my thoughts of utilizing the pieces I have in a museum project. This is one of my thoughts. Actually I dont think the task will be accomplished by establishing a museum. First of all, we need to have the trust for the museum to keep itself going. Ad for this, we need a foundation in which the museum can develop itself. This needs focus; it is not an easy task.

KADINA DAR RAD ANIDAK

Mine Sanat Galerisi, Caddebostan mekannda Kadna Dair grup sergisine ev sahiplii yapyor. 18 kadn sanatnn malar yer alyor. eitli tekniklerin imkanlar dorultusunda retilen almalarda Kadna Dair olan, almalarn dnsel boyutunun k noktasn oluturuyor. Katlm salayan 19 kadn sanatnn almalar, kadnn kimlik probleminin gnmzde farknda olma durumunu gzler nne sermeye devam ettiini hatrlatyor. Kadnn yazgsna, zihinsel suje olarak varlna; gndelik hayattaki rolne, savalna deinen farkl deneyimlerden ve fikirlerden yola kan almalar Mine Sanat Galerisinde gerekletirilen kadna ynelik en nemli sergilerden birini oluturuyor. Sanatlar: Bilge Alkor, Beril Anlanmert, zgl Arslan, Tomur Atagk, Nancy Atakan, Beyza Boynudelik, Sabahat knta, Hlya Dzenli, Berna Erkn, Jale Nejdet Erzen, Meri Hzal, Gl Ilgaz, Can Maden, Neslihan Pala, Azime Sartoprak, Zerrih Tulu, Bala Uyguner, Pnar Yeilada. Kadna Dair sergisini 30 Mays 15 Autos 2012 tarihleri arasnda Mine Sanat Galerisi Caddebostan mekannda ziyaret edebilirsiniz. Mine Art Gallery, welcomes About Woman group exhibition in its Caddebostan place. In the exhibition, a wide range of works consisting of pattern, canvas, sculpture, photography, print and ceramics are presented with the contribution of 18 artists. The inspiration for the creation of the works that are produced with the capabilities of various techniques comes from everything About Woman. The works of 19 participatory artists reminds us of the condition of being aware of the identity problem of the women in todays society. This exhibition stands out as one of the most important exhibitions that had been realized in Mine Art Gallery regarding women with works focusing on the fate of women, her existence as an intellectual subject, her role and struggle in daily life. Artists: Bilge Alkor, Bala Altner, Beril Anlanmert, zgl Arslan, Tomur Atagk, Nancy Atakan, Beyza Boynudelik, Tlay Tura Brteene, Sabahat knta, Hlya Dzenli, Berna Erkn, Jale Nejdet Erzen, Meri Hzal, Gl Ilgaz, Can Maden, Neslihan Pala, Azime Sartoprak, Zerrih Tulu, Pnar Yeilada. You can visit About Woman exhibitions between 30th of May 15th of August 2012 in Mine Art Gallery Caddebostan place. katlmyla oluturulan sergide, desen, tuval heykel, fotoraf, bask, seramik gibi eitli disiplinlerde retilmi al-

ABOUT WOMAN NAMOW TUOBA