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

Magazine published by Mine Art Gallery

SAYI: 8/EKM/KASIM 2012 / ISSUE: 8/ OCTOBER/NOVEMBER 2012

C O K U N D E M R O K
N E F E S N E F E S E / / B R E A T H L E S S

5 EKM - 29 EKM 2012 // 5 OCTOBER - 29 OCTOBER 2012

Al Kokteyl, 5 Ekim Cuma 2012 saat: 18.00 - 21.00 - Opening Coctail, 5 October Friday 2012 at: 18.00 - 21.00
Mine Sanat Galerisi Prof. Dr. Mfide Kley Sok. 1/5 Yasemin Apt. Tevikiye / Nianta Tel: 0212 232 38 13 - www.minesanat.com - minegulener@gmail.com

E d i t r n B a k
Sevgili dostlarmz, Youn ve baarl getiine inandm bir yaz dnemi geirdik... Tanma sergisiyle baladmz Bodrum Yalkavak Palmarinadaki sanat projelerine, Bedri Baykamn Son 10 Yldan ve kr Karakuun Makro-Mikro sergileriyle devam ettik. Ve Mine Sanat Galerisi sezona ara vermeden sanat projelerine stanbuldan devam ediyor. Ekimin programnda iki kiisel sergi olacak: Almanyada yaamn srdren ve Trkiyede nc kiiselini gerekletirecek Cokun Demirokun Nefes Nefese isimli sergisi 5 Ekim 29 ekim tarihleri arasnda Nianta mekannda olacak. Bu yl ikinci kiisel sergisini gerekletirecek gen sanatlarmzdan Azime Sartoprakn Azime Oradayd sergisini ise Caddebostan mekan arlayacak ve 13 Ekim 15 Kasm tarihleri arasnda ziyaret edilebilecek. Cokun Demirokun Nefes Nefese sergisinde video, fotorafst ve tuval almalarnn olduu otuz be yapttan oluan bir sunum izleyeceiz. Sergide video almas kilit noktay olutururken fotoraf st almalarn ise grsel adan merak uyandran iyi bir deneyim yaatacana inanyorum. Gazetemizde ise kendisine dair iki yazya yer veriyoruz. Bu yazlar ierisinde Cokun Demirokun almalarna, estetik anlayna ve sanat alanndaki esinlerine dair yorumlara ve aklamalara rastlayabilirsiniz. Azime Sartoprak, dokuz byk tuval almasndan oluan Azime Oradayd sergisiyle bu yl ikinci kiisel sergisini dzenleyecek. Tuvaller zerindeki Aman Heri, Tohtadn m?, Bugn ok Dklntlym gibi Azime Sartoprakn doup byd corafyada gnlk konumada ska kullanlan deyiler ise serginin dikkat ekici ynlerinden birini oluturuyor. Yine bu saymzda kendisine dair yaynladmz iki yazda da tuval zerindeki yazlarla Azimenin kendi hayat arasdaki balantya dair ipularna rastlayabilirsiniz. Genel olarak baktmzda olduka renkli bir sunumun gerekleecei sergilerimize sizlerin de tank olmasn arzu ediyor ve stanbulda keyifli bir sanat sezonu geirmenizi diliyorum. Sevgilerimle, Serkan Glener

E d i t o r s v i e w
Dear Friends Of Art, We had a fruitfull summer season with our activities. Our initial exhibition at Bodrum Palmarina has opened the way for Bedri Baykams great performance and exhibition namely Son 10 Yldan that was followed by Skr Karakus Makro-Mikro exhibition. Now Mine Sanat continues to work for your interest uninterruptedly with the new season in Istanbul. There will be two exhibitions during october; one of these will be the Turkish artist Coskun Demirok from Germany who comes up with his 3rd personal exhibition in Turkey. Cokun Demiroks Nefes Nefese Breathless exhibition will be open for your visits between 5 Oct - 29 Oct at our Nisantasi exhibition hall. The other exhibition will be Azime Sartopraks Azime Oradayd - Azime was There works at our Caddebostan locations between 13 Oct - 15 Nov. At this issue of our publication we have also written contributions by Coskun Demirok and we believe that you will read these interesting articles with great focus. Also Azime Sartopraks artistry will be covered at this issue thoroughly exposing the interlinkage between her artworks and her life stages. We believe that you will be directly sharing our enthusiasm during the upcoming art season and at this opportunity we wish you all a great experience with Mine Sanat Activities.
Best Regards, Serkan Glener

Tam soluklanmak isterken, yeni bir girdap iinde buluyoruz kendimizi. Ve tm planlarmza karn tesadflerle ynlendiriliyoruz. Her ey nefes nefese oluyor. te bu duyguyu gzyalarna kaplmadan yakalamak istedim.
Rportaj: Ouz Alp Dedeolu
Ouz Alp Dedeolu: almalarnzn veya genel anlamda sanatnzn k noktasndan bahseder misiniz? Cokun Demirok: Beni dolaysz resim ya da boyama ilgilendiriyor. nk bu bir nevi sisifos ii. Resmim sembollerden arnm Sembollerle iim yok. Yalnzca resim yapma uras bile bal bana bir Happening. Kendi estetiini tayan bir ey Ama yle dn pastas yapar gibi minicik minicik boyamay kastetmiyorum. Yani ortaya kan ite boyama olaynn estetiini konumal ve onu yakalamak gereklidir. i ve hrn, kolaya kam gibi grneni, ama iin asl zorluunu tayan ve samimiyetle ilgili olan estetik bir balama sokmaktan bahsediyorum. Dier yandan olay da mistikletirmemek lazm. Kendini kaybetmemek lazm. Bu ok bilinle ynlendirilmi, tartl bir duyarllk olmal. Gzlemciyi duygusallklara, duygulara gtrebilir de. Hani bazen sorulur tartlr, hangi sanat ktdr, hangisi iyidir diye. Veya o beylik laf herkesin zevki bakadr Buna tek yant var: Duygu smrs yapan sanat ktdr. Kendi yaptmdan bahsedersem, iinde bulunduum ruh haline gre imdi melankolik, neeli ya da agresif olsun diye balamyorum resme. Kendi iimde zaten bunlarn hepsi var. Hele seyirciyi O masal ok sever, ona bir hikye anlataym, onu megul edeyim diye bir dnceyle hi balamyorum tabii. Ortaya kan i seyircide, gzlemleyende bir takm anlamlar yaratyorsa, armlara ve dolays ile duygulanmaya gtryorsa ne ala... Tabi resme balarken tek bir arzum var. O da gzlemcinin yanna almak istedii, ona snd, bir arkadalk kurduu bir eyin ortaya kmas. Sanat almalarnzn yannda asl mesleiniz olan mimarlk alannda da almalar yrtyorsunuz. Szn ettiiniz duygusalla mesafeli yaklamnzn mimarlk anlay ile bir akrabal var m? Benim kendi mimarlk anlaym kastediyorsanz var tabi. nk her konuda olduu gibi mimarlkta da farkl anlaylar, dnya grleri dile getiriliyor. Benim resimle ilgili sylediklerim benim yaama bakmla ilgili bir ey, deil mi? Bu iin estetik yani. Tabi sizin sorunuz mimarinin stlendii ilevin dna kmamaya yatkn zellii ile de ilgili. Aykr bir tavr taknsa da, evresiyle bir uyumluluk aramas gibi bir yan var ya da kendini geriye eken ve ancak ikinci bir bakta ekiciliini, glln ortaya koyan tam bir uyumluluk var. Veya uyumlu bir uyumsuzluu yeleyen bir yan var. Bu yine benim bak am. Resim anlaymla ok beraber gidiyor. Resimde olduu gibi mimariye de gereksiz eyleri katmay dnemiyorum bile. Bu yzden sergilenen yaptlarda bu belirttiim anlay olabilir ama bunlar kesinlikle mimar yaptlar deil. Sonuta meknla iletiim iinde yerletirilmelerine verdiim ar nem onlar mimari bir ilikiye sokuyor. Yoksa onlara ille de birer mimar elinden km yaptlar olarak bakmak ok yanl olur ve yanlgya neden olur. Dier yandan bir resim esi olarak kullandm izgi, kontur ya da desenin her ne kadar mimarln yntemi olduu varsaylabilse de oradan aktarlm bir ey olmadn biliyorum. Bu yalnzca resmetme eyleminin ve biiminin en aza indirgenmesi eiliminden, bence zorunluluundan kaynaklanyor. Hele bu izgilerin kendilerinin son derece spontane ve tesadfi, neredeyse ekspresif bir ekilde ortaya ktklar dnlrse Ayn ey lekeler iin de geerli. Onlar da ayn kayglarn sonular. Ama ekspresif olmamaya aba gsteriyorum. almalarnz iin belli bir estetik anlayndan sz ettiniz, bu anlaynzda belirleyici olan yaklamlardan ksaca sz eder misiniz? Tesadfn ve anln resmin gidiatn belirlemesinden haz duyuyorum. Belirleyici olan bu Yaln ve ak bir estetik zm beni ekiyor. Hani rnek olarak gemiin Minimalizmine, Arte Poverasna, vs. Ama dier yandan da gncel sanatn zgrlne ve ifade zgrlne duyduum sempati kesin. Bunun iin ne kendim hakknda bir saptama yapmam ne de bunu bakalarnn yapmas olanakl deil sanrm. nk burada bir snflandrma veya bir reete sz konusu deil. nandrc olan her gemi ya da gelecek sanat almasna am. Kendimi sorgulamam ve srekli araym, stilleri, nihai zmleri antipatik bulmam da tabi ki buna dahil.

While trying to catch your breath, find ourselves in a vortex. And in spite of all the plans are guided by coincidence. Oguz Alp Dedeolu: Could you talk about starting point of your works? Cokun Demirok: My paintings are free from symbols. I have nothing to do with symbols. Even if only the job of painting itself a Happening. Im directly interested in painting. Because this is a kind of Sisyphus work but it also brings its own aesthetics. But I do not mean to paint teeny teeny as it makes the wedding cake. That is to say, the works should talk to the action of aesthetics of painting itself and it is necessary to intercept the event. There is no need to become mystical. This is very consciously directed awareness. It can take observer off to feelings and emotions either.But I can not stand the exploitation of emotion. So I do not start my works for the sake of being melancholic, cheerful and aggresive. It is also so good that if the work can creates number of meanings, connotations on observers. So that my interest on painting phenomena has an aesthetic approach and have limitations. In other words, it puts distance to the sentiment. Apart from studies on art, youre conducting studies in the field of architecture. It is your main occupation. Do you have an affinity with the concept of emotionally distant and architecture? Maybe it is a relative point of view with my architecture profession but they are not the works of the architecture. As a result of giving extreme importance to the placement, they constitute their own architecture. Otherwise it is a mistake to seeing them as works made by architecture. On the other hand, I use lines, strokes and pattern as pictorial item but I know that although they are form of architecture, it is not imported from there. It is not only the result of tendency to portay and to minimizing.I think it stems from the requirement of painting vs. Especially these lines extremely spontaneous and random, given that they appeared almost expressive of a way ... The same thing applies to stains. They are the results of the same concerns. You mentioned a certain kind of aesthetic. Could you talked a little bit about it and its determined approach? I get pleasure from the determination of being spontane and random. This is the determination. Simple and clear aesthetics attract me. For example, I have sympathy onMinimalism, arte povera and at the same time I like the freedom of expression on art and freedom of expression in general. Neither I do any determination about myself, nor it is possible to make others. Because the matter is not a classification or a prescription in this issue. I am open to every art work of past, present or future even if it is convincing. Thats why I always question myself and I found distasteful stereotyped solutions. Breathless exhibition predominately will be allocated with photograph works to your exhibition Breathless. First of all, I would like to ask that are these photographs or figures directly related to your life or are they foundling photos? These photos are taken from the family album. They eventually realized that there is something that makes me what I am. I followed a trail with them but unfortunately it is up to some extent. I tried to find a way to move them to the present time, I wanted to show they are not documents belongs to nostalgic times, but they are life stages, stages of my life. Photography plays a very important role in visual culture. Photographs was taken to an ordinary time and space can provide power to show some problems of identity,alienation with an effective way. How did you wanted to evaluate these photographs? Especially, intervention on photos with colours is so eye-catching. Works on photographs, they will take on an important and decisive role with their involment to this exhibition. While they are helping us transferring ourselves to our past times at the same time they are forming their own formats as well. The main line of the exhibition is the continuity of life. When we find ourselves in a pile of family photos,we realize that we are subscriber and maintainer of something.Tracking the past time through photos confronts us the fact that we are only one tread of the whole.This topic is very attractive issue for each artist in terms of their own personality and as well as the search for their own identity.

Nefes Nefese isimli serginizde arlkl olarak fotoraf almalarna yer vereceksiniz. ncelikle fotoraflar buluntu fotoraflar m yoksa figrlerin yaamnzla dorudan ilgisi var m onu sormak istiyorum. Bu fotoraflar aile albmnden alnma. Onlarda beni ben yapan bir eylerin bulunduunun zamanla farkna vardm. Onlarla izimi srdm ne yazk bir yere kadar. Onlar bugne tamann yolunu aradm, onlarn nostaljik zamanlara gtren bir belgeler deil, yaammn ve yaamn etaplar olduunu gstermek istedim. Fotoraf, grsel kltrde ok nemli bir rol oynuyor. Sradan zaman ve mekanda ekilen fotoraflar, kimlik, yabanclama gibi problemleri etkili bir ekilde sunma gcne sahip olabiliyor. Siz buradaki fotoraflar nasl deerlendirmek istediniz? zellikle fotoraflar zerine renklerle yaptnz mdahaleniz dikkat ekici. Fotorafst almalar, ki onlar bu sergide nemli ve belirleyici bir rol stleniyorlar, gemii yaadmz zamana aktarmakta arac olurlarken ayn anda kendi biimlerini oluturuyorlar. lk bakta bilinsizce birer iziktirme gibi alglanabilseler de (tesadfilik, spontanelik), sonuta benim kukucu estetik eilimimden kaynaklanan bu yaptlar, nce bilgisayarda oluuyor, ardndan fra ile allacak lek zerinde ynlendirme ilevi stleniyorlar. zerlerinde yaplan alma onlar belgesel olmaktan uzaklatryor, zelden genele, gemiten imdiye gei yapyorlar. Serginin ana izgisinde yaamn sreklilii konusu. Kendimizi bir yn aile fotoraflar iinde bulduumuz zaman kendimizi bir eylerin devam ya da srdrcs olduumuzun farkna varyoruz. Ge-

Sahibi: Mine Sanat Galerisi / Genel Yayn Ynetmeni: Mine Glener - Nur Glener / Yaz leri Mdr: Serkan Glener / Grafik Tasarm: MelodiYaprakTankii-Suatahin/GrafikUygulama:Suatahin/eviriler:MelikeTomrisnder/KatkdaBulunanlar:YusufTaktak-H.Avniztopu/Bask:FocusBasm
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

mii fotoraf aracl ile izlemek bir btnn yalnzca bir parac olduumuz gereiyle kar karya brakyor bizi. Bu konu tabi her sanat iin hem kendi kiilii asndan hem de onun kimlik aray asndan ok ekici bir konu. Hele kkeninden uzaklarda bir yaam semi bir kii iin. Temelde yaamn anlamn sorgulamak da yatyor tabi. Peki serginizde anlatm glendireceini dndnz baka materyallere de bavurdunuz mu? Sergide Berlinde yakalam olduum bir an gsteren bir video ii var. Ama ayn zamanda bu alma serginin ok belirleyici bir gesidir. Bu sahnenin aklanmaya gerek duyulmayacak belirginliinin, bir ka nesli kapsayan ok zel fotoraflarla yaptm ilerle bir bant iinde olduunu dnyorum. Ve bu ok zel olmalarna ramen (tm toplum geneliyle karlatrldnda bir bakma daha imtiyazl) yaamlarda olan biten dramlar, mutluluklar ve ardndan gelen aclar, mitler, boa kan beklentiler, aresizlikler bizleri aralksz bir yerden bir yere savuruyor, srkleyip brakyorlar. Tam soluklanmak isterken, yeni bir girdap iinde buluyoruz kendimizi. Ve tm planlarmza karn tesadflerle ynlendiriliyoruz. Her ey nefes nefese oluyor. te bu duyguyu gzyalarna kaplmadan yakalamak istedim. zel olan, ama genelde de anlalacaklarn umduum yaptlar ortaya kt. Kendinize zg dncelerle zerinde ifade gelitirmeye altnz ilerinizden bahsettik. Peki ayn iler iin sanat sahnesinden ilham aldnz kiiler, olaylar veya almalar var m? Nefes nefese bal olutuunda karmda Jean Luc Godardin Bout de Souffle sini bulmak kanlmazd. Onu da belki beni ben yapan saysz eylerden biri olarak sergiye dahil etmek isterdim; belki baarrm... Sergi iin entel kantlar aradm phesini gze alarak bir dier kanlmaz da dhil edebilirim. Zamannda annemin kitaplndan arp yanmda gtrdm Sisifos Syleminin yazarndan bir kitap kapa: Bakaldran nsan

Especially, for a person who chooses life far away from his origin. Basically, of course the meaning of life lies in the questioning of life, So did you apply other materials that you think it will strengthen your exhibitions expression? There is a video showing a moment I caught in Berlin. This is a determining element for the exhibition. I think that there is relation between explicitness of this video scene that does not require an explanation and my works on photographs including a few generations very special photographs. And although this is very special((somewhat more privileged compared to the overall society as a whole); ending dramas, happiness and the subsequent suffering,hopes,frustrations,expectations,helplessness throwing us one place to another without interruption, drag and leave . While trying to catch your breath, find ourselves in a vortex.And in spite of all the plans are guided by coincidence. Everything is out of breath. Here I wanted to capture that feeling without caught up in tears. Works appeared that are being special but it could be understood in general as well. We talked about works that you are trying to develop specific ideas expressed on yourself. So do you have any people,events or activities that you inspired in the art scene? When the title Breathless occured, it was inevitable to find Jean-Luc Godards A bout de souffle in front of me. It was one of the numerous things that makes me what Im and Id like to include it to my exhibition. Considering suspicion of the calling for intellectual evidence to the the exhibition, I can let inevitable in: The book cover of The Rebel written by author of The Myth of Sisyphus, the book which I passed over to my mothers bookshelf.

AZME SARITOPRAK RPORTAJ Azime Sartoprak Interview

Ancak ayn dili konuarak anlaabilirsiniz; ama yle bir an gelir, yle bir durumla karlarsnz ki ayn dili konumasanz bile her ey ayn ekilde anlalr. Benim burada kullandm kelimeleri de daha nce duymayan insanlar, o kelimeyi okuduunda anlamn hissedebilirler. Bunlar birer ifadeyi yanstan farkl harfler kmesi sadece. Sanatta bunlarn kullanlmas, yani dilin kullanlmas da benim iin biimsel farkllklarmza ramen baka corafyann insanlaryla ayn olan duygular paylayor olmamz ve ne kadar ayn olduumuzu gsterebilmemiz.
Rportaj: Melike Tomris nder

We can easily connect with each other, if we speak the same language. But there comes a moment, we encounter a situation that even if we do not speak the same language, we can understand everything in the same way. People who did not heard these words that I use can feel the meaning of them when they read it.They are only set of letters reflect the various expression.Their use in art, ie, the use of language can show how much we share the same feelings, in spite of the formal and geographical differences Melike Tomris nder: Your first solo exhibition Miyazaki was Here that you created last year, aroused very considerable interest. Your inspiration was Hayao Miyazaki. BecauseYouve been longing to scenic views of village life rest of your childhood but you could not fulfill it in metropolitan life. Then you discovered Hayao Miyazaki animes and their loving nature, landscapes, colours, village life and you fulfilled your absence with them. Well then, how did you create Azime was there? In short, what was the source of your inspration? Azime Sartoprak: Glin Aksoy, my instructor, came to visit my exhibition Miyazaki was here wrote an interesting note on my exhibition notebook. Different from others, she said that f Azime was there, where would she be? I would like to see it... The exhibition constructed and reflected on this question. When I asked this question to myself, I found this answer: I would like to be in my village, with my parents. I would love to be there . And then Azime was there was appeared and it pointed the place I want to be. f we look at your style in this exhibition, there are constant, indiviual forms,colours belongs to your early works but at the same it can be seen very clear that you have tried other techniques.Could you talk about that a little bit? When you look at this old exhibition, what did you do different from the previous exhibition in technical sense? Is there any difference which can be seen as an improvement and you want to draw attention? As you said, some works of this exhibition are in direct proportion to my previous exhibitions works. But, of course, number of changes on subject reflected to my technique. You know that I used couple of words representing there. I put these words inside my paintings.This change has brought a different dimension to the previous works of me. What could be the importance of using local language, cultural idioms in transfering a local culture to art? This situation is entirely internal for me.I mostly uses the words that I use in my village with people around me now, in Istanbul and I love it. It could be said that this is a trick maden by me for supressing my aspiration. :). When I didnt use them, they are starting echoed inside me. For me, they are the idioms that makes me feel in there and thats why they do exist in my paintings as well. We can easily connect with each other, if we speak the same language. But there comes a moment, we encounter a situation that even if we do not speak the same language, we can understand everything in the same way. People who did not heard these words that I use can feel the meaning of them when they read it.They are only set of letters reflect the various expression.Their use in art, ie, the use of language can show how much we share the same feelings, in spite of the formal and geographical differences . The use of idioms that belongs to Merzifon culture, are they associate with the context of works. When creating these works, did you engaged with a previous preparation for them such as Im going to apply this idiom to this work?. Did you create them with a harmony? Could you talk about a little bit on this process? Id say yes, they are mostly related to each other. Sometimes I thought Ill dress up one painting with specific idioms but then I changed my idea according to the variation on paintings. For example, I painted a picture which is more complex and messy than the others, so I entitled it: Bugn ok dklntlym. Apart from that, I gave name to my paintings considering to my own mood. Completion of one of my painting took so much time of me and I called it llnkr.

Melike Tomris nder: Getiimiz yl ok gen yata oluturduunuz ilk kiisel serginiz Miyazaki Buradayd olduka ilgi uyandrmt. ocukluunuzdan kalan ky yaamna, doa manzaralarna duyduunuz zlemin metropol yaamnda giderilememesi ve bu doyumun evinizde sklkla resim yaparken izlediiniz Hayao Miyazakinin ky yaamn anlatan, sevecen doa manzaralaryla bezeli animeleriyle giderilmesiyle oluan bu serginin ardndan 2. serginiz olan Azime Oradayd oluturan koullar, duygu durumlar nelerdir? Ksaca size Azime Oradayd dedirten ne oldu? Azime Sartoprak: Miyazaki Buradayd sergimi ziyarete gelen hocam Glin Aksoy, sergi defterime herkesin yazdndan farkl bir yaz yazmt: Azime orada olsa, nerede olurdu? Grmek isterdim.. Bunun zerine dnerek kurguladm aslnda sergiyi. Kendime bu sorunun cevabn sorduumda, Kymde, ailemin yannda olmak isterdim.. yantn buldum. Ve olmak istediim yeri iaret eden Azime Oradayd ortaya kt. Serginizdeki eserlerinizi oluturmadaki sluba bakacak olursak; gerek renklerde, gerekse formlarda nceki almalarnzda da grebileceimiz, sabit kalan, size zg formlar olduu gibi farkl

NEFESNEFESEYAAM B R E A T H L E S S L I F E
Melike Tomris nder Cokun Demirokun eserleri, zerine uzunca dnd sanat ve estetikin neresinde olduuyla paralel giden bir eylem olarak karmza kar. Sanat Almanyada yaayan bir mimardr. Mimari anlamnda minimalist yaklama yakn bir duru sergiler. Bu tarzn sanat kimliine de resim tayan Demirokun ilerine bakp onun sadece minimalist izgide estetik anlay benimsediini sylemek ise eksik ve de yanl bir grtr. Bu akmnn yolunda iler retmek sanaty ssl, sembolik anlatmdan, bireysel duygular gstermeyi, bir eyi ifade etmeyi hedefleyen davurumcu yaklamdan, fazla ssten uzak tutmutur. Demirokun ileri alanlarndan taar. Ortaya kan bir resim deil, neyse odur. Belirleyici olan ne slup ne de ieriktir; tesadfliin ve anln gidiat belirlemesidir. Kendi estetiini oluturmada dikkat ettii bir baka nemli unsur da snrlandrmadr. Sanat tesadf bir izgisel form zerinde ilerlerken kendini belirli bir yerde durdurur. izginin snrn belirler. Eylemin estetiinin olumasnda bu bir tr kuraldr. Sanat resim uran kendi bana bir eylem olarak grr. Akp gideni, kendiliinden olan anlamlandrma, eyleminin kendisini sanata dntrmedir amalanan. Cokun Demirokun estetik beeniden ve seyredenin beenisinden ne anladndan aydnlanma filozofu Kantn estetik anlay ile birlikte bahsetmemiz yerinde olur. Kantta gre beeni yargs kavrama yetisinin hayal gcyle zgr oyun oynamasndan meydana gelen bir duygudur. Fakat bu duygu znel, bireysel yarglarla kirletilmemitir. Kantn kitapta belirttii zere bir nesneye gzel denildii zaman bu yarg, kesinlikle o nesnenin varlyla ilgi bir bilgiye ya da bilgisel bir zemine gtrmez. Eer varlyla ilgi en ufak bir etkileim gsterirsek bu yarg yanl bir yarg olur ve safln yitirir. Kantn saf ilgisizlik (nyargszlk) kavramn tam da bu noktada ortaya kmaktadr. yleyse, benim nesne zerinde bulunacam beeni yargs iki ynyle saf bir yargdr. Birincisi, ilgisizlik ilkesine gre gzel yargs, nesnesinin varlyla ilgili herhangi bir ey sylemedii ve onunla hibir ilevsel ya da duygusal bir balant kurmad; ikinci olarak da akln kimi yetilerinin zgr oyunu ve sonradan zerinde zellikle detayl olarak durulacak olan amallk ilkesinin apriori temelleriyle i grd iin saf bir yargdr. Estetik yargda hissettiimiz zevk duygusu, gerek nesnenin temsiliyle ilgili olamaz. Biz bir eye gzel dediimizde onun gerek varlyla ilgili bir ey bilmek istemeyiz ya da en azndan onunla ilgilenmeyiz. Bizi ilgilendiren, sadece gr ve reflection yoluyla elde ettiimiz saf forma bizim ne hkm verdiimizdir. Cokun Demirok, resim olarak tanmlamad ve bal bana bir happening olarak bahsettii ileriyle kurulacak ilginin byle olmasn ister. nk iler sergide ne ise o olarak tasarlanmtr. Bu eylemin kendisi bir sanat performansdr ve onlarla kurulacak iliki Kantn deyimiyle bir amasz amallk iinde olmaldr. Galerimizde izleyicisi ile buluulacak Nefes Nefese adl bu sergi younluklu olarak sanatnn kendi ailesiyle, gemiiyle ilgili fotoraflardan meydana gelmekte. Fakat bu fotoraflar Cokun Demirokun kendi sanat slubu ve de estetik anlayla birleip allmn dnda bir tarzda karmza kyor. Fotoraf kavram ieriksiz bir hal alyor. zerileri izgisel formlar, lekelerle boyanyor. Gemi balarndan kopartlp gnmzn nesnesi haline getiriliyor. Onlar artk boyaya birer yzey oluyorlar. Gemie ait tarihsel balarndan kopartlyorlar. Onlar bir anlamda bir projenin czmlenmesi olarak dnyor. Bir proje zmlemesi olarak Nefes Nefese, ierikten, gemiten, tarihsellikten soyutlanmtr. Ama yine de sergileni biimindeki mimari derinlik, disiplin ve de tarz, video almasndaki tohumun dzenli savrulular Cokun Demirokun kendi yaamnn, onun dnya grnn derin izlerini fazlasyla tamaktadr. Aslnda serginin adn Nefes Nefese-hayatn younluu ve monotonluu iinde savrulamak, eski ve yenin birbirine girmesi- koymak, kiisel resimlerini imdinin mal haline getirme amac, onlar bizlere ak etmeme abas, yani benimsedii minimalist, en azla yetinme yaklam bir tr seim ve de dnya gr deil midir?
Coskun Demiroks works appears as an action going ahead with his personal views on What is art and aesthetic? The artist is an architect living in Germany. He carries sympathy on minimalist style of architecture. He carried this doctrine to his art works but it is wrong and insufficient to think that he only adopted minimalist aesthetic and thats all. This movement kept artist away from showing indiviual feelings, symbolic explanations, expressionist approach that aims to mean a thing and ornamental works. Demiroks works overflow areas. What emerges is not a painting, whatever it is, what it will be. Neither context, nor styles are decisive for them. Accidentality and spontainty are the determiner of these processes. Another important factor is limitation. Artist moves in a specific place on a form then he stops himself. He sets the limit to the line. This is a kind of action in the formation of aesthetic rules. The artist sees it as an action on his own struggle with artistic painting. It could be appropriate to explain Coskun Demiroks understaning of aesthetic and taste of observer with philosopher Kants aesthetics. According to Kant, judgement of taste is a sentiment and it occurs with free play of imagination and understanding. This subjective feeling is pure because it does not spoil with indiviual judgements. Kant asserted that saying beautiful to an object doesnt relate to existence of the object and also it is not something epistemolojical. f you get integration with the existence of object, this judgement will turns into a biased judgement and loses its purity. Kants concept of disinterestedness emerges at this point. So, my judgement of taste on object is a pure judgement within its two aspects. First, according to the principle of disinterestedness it does not say anything about the presence of the object. Seconly, it is pure judgement because of the free play between imagination and understanding. Aesthetic pleasure should not be related to the representation of a real object. When we say beautiful to an object, we dont want to know anything about its actual existence, or at least it is not dealing with it. What is interesting to us is pure form of the object(!). Cokun Demirok does not identify to his own works as paintings. He asserted that all they are is a happening on its own. Works are designed as it is what it is and performances itself is a work of art in his exhibitions. So, the relationship established between the observer and the object should conform to Kants principles on aesthetic judgement such as disinterestedness, purposiveness without any purpose etc. This exhibition of our gallery named Breathless mostly consists of photographs belongs to artists own origin and past. Artists incentive to find an answer to questions-living abroad, perhaps even strengthens that feeling- such as What makes me me?, What is the reason for being as such at present time?, What is the connection between personal formation and our origin?Demirok sets out an existential journey through the origin and past. Works accompanied by this feeling and with integration of photograph for the first time combined with his artistic style and aesthetic sense as well and greets us with an unusual manner. The works on photographs, the photos are used as a surface to paint and make the fetching of the present day. The viewers are not given any clue about people in these photographs which became timeless and brought into the present time properties. We do not know whether or not there is a relation between people and artist and even if there is a relation, what it is? Qualities filling the inside of the concept of photograph such as being an evidence and document to a moment; being expressionist and romantic, being memory between photographer and photographed person are deleted by the artist He thinks it, in a sense, as a resolution of a project. Breathless, as a resolution of a project, is isolated from content, historicity and past. But still his exhibition project bears the stamp of his personal, professional life and world view Architectural depth, discipline and the style, regular brandishing of seed on video work. In fact, Coskun Demirok,by giving the name of Breathless to his personal exhibition, transforming his personal photos for making it property of present, beside this giving an effort not to open their story to us,ie,adopting the minimalist approach, arent they a kind of personal choice and reflect the world opinion of him?

teknikler de denediiniz ok belirgin grlebiliyor. Biraz bundan bahseder misiniz? Eski serginize baktnzda teknik anlamda ne gibi farkllklar yaptnz? zellikle bir gelime olarak grdnz, dikkat ekmek istediiniz bir farkllk var m?

Sylediiniz gibi ilk sergimdeki almalarla doru orantl iler var yine burada. Fakat tabi ki konu gerei teknie de yansyan bir takm deiiklikler oldu. Biliyorsunuz ki oray ifade eden baz kelimeleri kullandm resimlerimde. Bu kelimeleri resmin iine yerletirdim. Bu da bir nceki almalarmdan farkl bir boyutu beraberinde getirdi. Sizce bir yerel kltrn sanata aktarlmasnda yerel, kltrel deyileri, dilin kullanmann nemi ne olabilir?

Bu benim iin tamamen isel bir durum. Ben evremdeki insanlarla zaman zaman kymde kullandm bu kelimeleri kullanrm ve bu durum benim houma gider. zlemimi aldatmaca hali diyebiliriz. Kullanmadm zamanlarda da bazen iimde yanklanrlar. Benim iin tamamen oray hissettiren szckler, resimlerde de bu yzden varlar. Ancak ayn dili konuarak anlaabilirsiniz; ama yle bir an gelir, yle bir durumla karlarsnz ki ayn dili konumasanz bile her ey ayn ekilde anlalr. Benim burada kullandm kelimeleri de daha nce duymayan insanlar, o kelimeyi okuduunda anlamn hissedebilirler. Bunlar birer ifadeyi yanstan farkl harfler kmesi sadece. Sanatta bunlarn kullanlmas, yani dilin kullanlmas da benim iin biimsel farkllklarmza ramen baka corafyann insanlaryla ayn olan duygular paylayor olmamz ve ne kadar ayn olduumuzu gsterebilmemiz. Kullandnz Merzifon kltrne ait, sizi siz yapan deiler soyut olarak altnz eserin ieriiyle balant iinde mi? bu eserleri olutururken bu deii bu esere uygulayacam diye nceden bir hazrla giritiniz mi? Byle bir uyum iinde mi oluturuldu bu almalar? Bize biraz bundan bahseder misiniz?

ounlukla balantllar diyebilirim. ncesinde bu resme bu kelimeyi giydireceim diye dnsem de resmin haline gre bazen bu durum deikenlie urad. rnein bir resim yaptm ve dierlerinden daha karmak ve dank oldu sanki bu yzden ona: Bugn ok dklntlym ismini verdim. Ya da kendi ruh halime gre de ismi dndm oldu, bir resmimde dierlerinden ok fazla vaktimi ald, resim bitince bende ona llnkr dedim : )

a z i m e o r a d a azimeinthere
Ouz Alp Dedeolu Azime Sartoprak, 2011 Yaznda gerekletirdii Miyazaki Buradayd isimli sergisiyle ada sanat sahnesine ilk ciddi admn att. Bu sergide Miyazaki, Azimenin yanstmak istedii hislerini, hikyesini rahat bir ekilde ortaya dkmesinde etkili olan bir figr olarak karmza kmt. Dolaysyla ilk sunumunda yer verdii bu isim, k noktas olarak kendi hikyelerini konu alan bir sanatnn almalaryla uyum iindeydi. Azime Sartoprak bu kez Azime Oradayd isimli yeni bir kiisel sergi ile karmza kyor. Gemi sergideki yaptlarn da dnrsek tuval almalarnda kullanmay sevdii masals lekeleri son dnem yaptlarnda da kullanmay srdryor. Yalnz bu kez kompozisyonlarna tuvali boydan boya kaplayan ya da tuvalin evresini saran yazlar da elik ediyor. Geometrik ve izgisel ekilde lekelere kompoze ettii yazlar, leke alannn bir dengeleyicisi olarak grlebilir. Bylece yazlar ile ak renk zeminin zerine akrilik kullanlmasyla gze arpan canl renkler birbirinden ayrlyor ama ayn zamanda iki alan arasndaki etkileim artyor. Yaratlan mekn etkisi sayesinde lekeler yazlarn aralarndan darya tayorlar. almalarda gze arpan espas ve canllk yaratan yaz ile leke ilikisi almalarn ieriklerini de destekliyor. Desenlerine benzeyen plan izgilerini anmsatan yazlaryla kendisini tamamyla hayal gcne brakarak oluturduu biim veya insancl karaktere sahip yaratklarn arasndaki ilikinin Azimenin yaam felsefesinde gizli olduunu syleyebiliriz. Sanat, almalarnda kendisinden yola karak bir davet gerekletirir. Bu davet izleyicileri sanatnn hikayesine ortak eder. te bu noktada yazlar sergi ieriinde kilit ilevi grr. Yazlar, Aman Heri, Tohtadn m?, Bugn ok Dklntlym gibi Azime Sartoprakn doup byd corafyada gnlk konumada ska kullanlan deyilerden oluuyor. Dikkat eken nokta ise oraya zg olan ve dolaysyla Azimeye zg olan bu konumalarn Azimenin hayal gcyle birlikte da vurulmasnn dorudan bir problem zerinden yrmemesidir. Yazlar, Azimenin kendi hikyesinin davetkr, samimi dilidir. Bu dil Azimenin ocukluunun dnemine u anda ise ailesinin yaad yere aittir. Orann szckleri Azimenin zihninde bir ekilde yanklanmaktadr. Ve serginin isminde ve almalarda grdmz gibi dil orada bulunmu (Merzifon) ve u anda burada (stanbul) yaayan Azimenin sanatna dnmtr yani Azimeye dnmtr. Renkler, biimler dorudan Azimeden yola kar ve duygulara hizmet ederler. Bu dnceyi, resim yapmay mutlu hissettirmek olarak gren Azimenin sylemine de balayabiliriz. Nihayetinde yazlarn, yeniden konumlandrlarak Azimenin masals plan zerine yerletiriliinde znel anlatmn besledii snrsz hayal gcne tank olabiliriz. Kompozisyon ierisindeki her biri hikye yaam veya yayormu gibi duran insancl karaktere sahip yaratklar, sanatnn yaknlatrma eyleminin bir parasdr. Hayal dnyasn ilerinde fazlasyla kullanan, yaadklarn hikayeletiren ve samimiyetiyle evresini buna katmaya alan bir gen sanatnn kendisini tm bunlarn iinde nerede grdnn de nemi vardr. Hikayenin anlatcs ismiyle birlikte bizzat sergidedir. Eer retimlerinin ardnda yaad yerleri gryorsa, ayak bast her yerin ayn zamanda onun bir paras olduunu dnebiliriz tpk serginin de bir paras olmay tercih etmesi gibi. Yaratcln, yaad yerlerin diliyle gelitirilebiliyorsa bu onun yaad yerleri de gndeme getirmesi, her neresi olursa olsun o biricik blgenin kendi hayatnn nemsenmesi, kltrel almalar iin olduka nemlidir. Azimenin merakla beklediim ilerideki almalaryla birlikte bu konuda daha derin bir fikir gelitirebiliriz. Bu noktada Azime Sartoprakn kendisinden yola karak rettii almalarn birer gnceye benzetebilirim. Gnce, arzular, hayaller, temenniler, korkular, mutluluklar, hznler zerinden yryen ve bazen birini bazen hepsini bir arada barndrabilen bir harita olarak saylabilir. imdiden btn bir haritay grmemiz mmkn deildir. Ama onun bir paras olan almalarn seyrinin kendi gncelerimize iyi bir izlenim brakmas konusunda phem yok.

Azime Saritoprak took her first step into the contemporary art scene with an exhibition held in the summer of 2011 called Miyazaki was here. In this exhibition, Miyazaki had been seen as an influential figure to shed the story and feelings in a comfortable way that wants to show by artist.Therefore, Miyazaki was in accord with the work of artists the first solo project. He functions as starting point paintings of artist who studys her own stories as the starting point of her paintings. Azime Saritoprak come along us with her second solo exhibition named Azime was there. She holds to use her previous exhibitons beloved fairy-tale stains but this time compositions are accompanied by writings that are thoroughly covering and surrounding the canvas. Writings are designed with geometric and linear stains and can be seen as a stabilizer of stain area. Thus, the vibrant prominent colors are created by the use of acrylic on light-colored floor and writings are spliting up each other but the interaction between these two areas are also increasing. Space and relation between writings that creates the vitality and stains supports the contents of works. t is possible to say that relation between pattern like writings that are reminiscent of plan lines and humanistic creatures or forms created by complete imagination hide itself Azimes philosophy of life. The artist performs an invitation as setting out from herself. This invitation makes audience partner to her own story. At this point, the writing acts as a key in the content of the exhibition. The writings involve frequently used idioms such as Aman Heri, Tohtadn m?, Bugn ok Dklntlym. It belongs to a local geography where Azime Sartoprak was born and raised. The most essential point, these speeches peculiar to that place, Azime and its expression with complete imagination are not directly handling over a certain subject. Idioms are friendly, welcoming language of her story. This language belongs to the region of her family has been still living there and thereby to the period of artists childhood. The local idioms echoed in her mind and language turned into art of Azime, to Azimes her own who had been to there before (Merzifon) and are living in stanbul now. Colors and forms set out from her and run after directly to the feelings.This idea, also tied to this discourse of Azime: Painting is making someone feel happy It can be witnessed her unlimited imagination fed by subjective expression of re-positioned writings on fairy-tale like plan. Each of the stories in the composition, such as living or non living creatures with human-like character of the artist is part of the act of zooming. It is also important that where she sees herself in all this?,as a young artist uses complete imagination in her work and transform her experiences to a story and try to invite her social sphere with complete sincerity to this. She is in the exhibition as narrator of the story. If Azime sees her village lying behind her production, each ground setting foot, at the same time, thinking as a part of her, such as her preference to be a part of the exhibition. If she develop her creativity with places where she lived, it is also important for that places becoming an agenda, cultural issues and considering as important that regions own life. Azimes eagerly expected future works can help us to develop a deeper idea on this issue. It can be counted as a map walking through diary, desires, dreams, wishes, fears, joys, sorrows and sometimes it contains all of them. It is not possible to see complete map in advance but I have no doubt about studies as a part of these map make a good impression on our own diaries.

Eer retimlerinin ardnda yaad yerleri gryorsa, ayak bast her yerin ayn zamanda onun bir paras olduunu dnebiliriz tpk serginin de bir paras olmay tercih etmesi gibi.

AZMEORADAYDI / AZME WAS THERE

A Z M E S A R I T O P R A K

13 EKM - 15 KASIM 2012 / 13 OCTOBER -15 NOVEMBER 2012

Al Kokteyl: 13 Ekim Cumartesi Saat: 18.00 - 21.00 / / Opening Coctail: 13 October Saturday at: 18.00 - 21.00

Mine Sanat Galerisi Asya ubesi, Badat Caddesi Ogn Sokak No:3/B Caddebostan / stanbul

www.minesanat.com - minegulener@gmail.com - Tel: 0216 385 12 03 Gsm: 0536 553 50 66