8SELECTED WORKS & COLLABORATIONS

Barbara Heinrich, “Spaceliner” üzerine | on “Spaceliner” from Arter on Vimeo.

2.82 x 12.20 m

Embroidery-paint and sound arrangement on found and printed fabric

Sound: Ah! Kosmos

Acknowledgments:

Ayşenur Arslanoğlu, Umut Yıldırım, Ah! Kosmos, Ayşe İlkin, Nermin Er, Gizem Aksu

?Boğaz Turu?  adlı düzenleme şehrin dönüşüm sürecini tetikleyen dinamiklerin sahnelendiği, görsel ? işitsel panoramik bir anlatı olarak hayal edildi. Birbiri ile çelişen iki alanı sahneleyen düzenlemenin ilk bölümü Istanbul`un sembolik tekrarlarından oluşan, buluntu bir nevresim üzerinde akar:

Sehrin geçmiş gelecek algısına, bireysel ve toplumsal süreçlerine işaret eden imgeler, görsel ve işitsel olarak kumaşın motifine eklenir: Kumaşa ait orjinal görüntüyü bozar, bugünün referansları ile yeniden düzenler. Sehrin katmanlı yapısını taklit ederler.  Şehri temsil eden bu bölüm, korku ve kayıpların, güvensiz alanların bir yuvaya dönüştüğü; seslendirildiği, tekrar edildiği bir yüzleşme alanıdır. Açık, akışkan, alışkanlıkların bozulduğu  bir alandır. Hem kadın hem adamdır.

Ikinci bölümü oluşturan kumaş zemin, 2013 yılında çekilmiş; yerine bina inşa edilmek üzere patlatılan bir ?kayalık? fotoğrafının, kumaş olarak  yeniden üretilmiş halidir. Sadece kendine benzeyen, kendini doğuran bir yapının görüntüsüdür. Bugünün çok başlı birbirinin ayağına dolanan politik süreçlerini; kendi kendinin benzerini üreten  ve yıkıma uğratan bir iç çatışmayı betimler.  Varolan düzenin değişiminden duyulan endişe, kontrol yitimi, gel ? gitlerin  sahnelendiği yeri temsil eder.  Katı, kapalı, homurdanan bir yapının içten çöküşünün resmidir.

Biriktirme ve  çalışma sürecinde görüntüler, bazen şiir bazen şehirdeki hissi, sesleri betimleyen metinlerle birlikte ortaya çıktı. Araştırma döneminde minyatür, duvar halısı gibi dönemine ait görüntü ve mesaj taşıyan üretimler, işin oluşum sürecinde esin kaynağı oldu.

Ah! Kosmos tarafından üretilen sesler, düzenlemenin işitsel motiflerini oluşturdu. Şehre ait motifler, dikiş ve boya ile kurgulanan görüntüleri sahnelerken, kumaş olarak üretilmiş ?kaya? görüntüsü ise  hükmeden, kaplayan bir sesi sahneler. Sesler, düzenlemenin bir his haritası; kumaşın ritmini belirleyen birer dip not olarak duyulabilir.

 “The work ?Bosphorus Tour? was conceived as a panoramic narrative comprised of visual and aural elements that depict the dynamics which trigger urban transformation.

The first part of the work, which portrays two contradictory spaces, includes symbolic repetitions of the landscape of Istanbul and flows over a found bedding.

The images referencing perceptions of the past and future of the city are added to the motifs on the cloth visually and aurally. They disrupt the original spectacle depicted on the cloth by rearranging them in line with today?s references. They imitate the multi-layered structure of the city. This section, which represents the city, is a space of confrontations where in an iterative mode fear, loss and insecurity is voiced and turned into our homes. It is an open, fluid space where old habits are disintegrated. It is both a woman and a man. 

The fabric that constitutes the second part is a reproduction of a photo dating from 2013 of a rocky location where explosions were conducted in order to open up a construction site. It is the visual representation of a structure that only resembles and begets itself. Today?s political processes can be characterized as a destructive internal conflict that has a tendency to only produce and procure itself. It represents the anxiety that accompanies the transformation of the established order, loss of control and ebbs and flows. It is the picture of a solid, closed, mumbling structure that is imploding. 

The images accumulated during the working process emerged alongside poetic texts that reflect the affects and sounds of the city. Works like carpets depicting miniatures that contain images and messages of their era were often the sources of inspiration. 

The sounds that were created by Ah! Kosmos constituted the aural motifs of the work. Motifs belonging to the city display the scenes constructed with embroidery and paint, the view of the rocks that was produced as a fabric represents an authoritarian voice that dominates. The sounds are an affective map of the work, they can be heard as footnotes that determine the rhythm of the fabric.”

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Between 15 May and 2 August 2015, Arter hosted a group exhibition entitled “Spaceliner” that featured works focusing on the relationship between drawing and space. In an attempt to examine the stylistic vocabulary of contemporary drawing, the exhibition illustrated working methods and approaches of drawing through the works of 17 artists.

All the works presented in “Spaceliner” started from a mode of thinking rooted in drawing, which differentiated the artistic results here from spatial installations in general. This approach manifested itself in both the choice of materials as well as in their use. Above all, however, it was manifested in the works’ graphic intensity and how the lines were used in, and with, the space. Thus, the works reflected on the one hand a persistent attempt to fathom the epistemological quality of the medium of drawing. On the other, the aspect of motion was substantially integrated into the works’ conception, which led to a fundamental discussion of the tension between spatial image and actual experience in space. All the works moved in the transitional zones between lines drawn and the actual physical spatial environment, and all were concerned with both the constructed spaces we live in as well as with visions of interiority.

The exhibition thus attempted to prove the potential of drawing, as a contemporary means of expression, to push ahead the development of new visual ideas by means of extraordinary methods and material.