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  • Contemporary Exhibitions
 

Gencay Kasapçı   Text     Biography  


“But Gencay’s trees have a different realism, in fact a different symbolism. Each tree is the same tree, but none are similar. In an infinite horizon, they await morning, evening and seasons, like the many faces of loneliness.”

Jale Erzen


 

Abdurrahman Öztoprak   Text     Biography  


When we stroll in time channel, Abdurrahman Öztoprak appears in front of us. He also seems spiritually and temperamentally more like Mondrian and Vermeer, for example, than his contemporary, Ernst Wilheim Nay who works on the abstract movement like him. Nay is in the darks, is cacophony and chaos. However, Öztoprak is in the lights, is measure, harmony cosmos.


 

Ömer Uluç   Text     Biography  


“That very specific gesture of Ömer Uluç is a repetitive, non-expressive gesture, but it is not, as is the case elsewhere in contemporary painting, a simple imprint; it is a gesture of embracing. It liberally and generously embraces space, and does not limit itself except to catch the figures. In fact, those figures are contractions of that space.”

Catherine Millet


 

Füsun Onur   Text     Biography  


“Considering Füsun Onur’s art either as a stage or a game, here, it is obvious that she wants to save the audience from being an extra and invites them to the game or to the stage. Füsun Onur gives a superior position to the audience because she knows that mutual relation between the artwork and its audience contributes to defining the language of the work or the exhibition and sometimes even reconstructs that language.”


 

Tomur Atagök   Text     Biography  


“Even though the artwork acts as a bridge between the artists and audience the varying perceptions of the audience provide the creation meanings other than the artist’s. Rather than seeing artworks created with ready materials or objects, as modern or post-modern, I perceive them as an effort to communicate with the audience but mostly as artist’s reflections of the world we’re living in especially since Goya.”

Tomur Atagök


 

Ali İsmail Türemen   Text     Biography  


At the very beginning Ali İsmail Türemen stood confronting and outcropping of land – a primordial world. Everything he aspired to he would extract from it, from this world of primitives. It is a world that we are aware of yet we do not recognize it. We do not recognize it because nothing concerning it has yet been discovered – not even its name; it is a virgin land or continent that is as yet unclaimed. We might however call it a world of massive shapes for that is the first thing about it that draws our attention.


 

Berna Türemen   Text     Biography  


The most remarkable part of Berna Türemen’s personality and art are the cats that she uses in her paintings as an important motive in her house and slips off from similar friendly appearence like the cats to cling to these events, subject and painting to over-analyze them and make the most merciless determinations, critics as a phrase, thought and painting with a courage, stability and faith.


 

Gülsün Karamustafa   Text     Biography  


“Gülsün Karamustafa has an intuitive freshness which carries the same charge as her own life. She is able to transcribe this congenital impetus into visual representations, from which she draws a sort of radical realism..”

Teresa Macri


 

Fevzi Karakoç   Text     Biography  


“(...) Karakoç views the measure of modernity in painting as an integral part of a holistic approach to modern art. Such an approach leads us to the fact that modernity passes through total familiarity with today's values. As all artistic phenomena going back at least a hundred years demonstrate a formation around the dichotomies of human-nature and individual-society, the importance of such a wideangled approach to art today becomes evident.”

Kaya Özsezgin


 

Fatma Tülin (Öztürk)   Text     Biography  


“What fascinates me in the object is the continuous motion with no apparent starting or ending point which even the eye is deficient to follow. It is not static, mature or complete. It is maturing. It twitches and twirls with agony. My hand should twirl and mature with it and surrender to this whirlpool.”


 

Resul Aytemür   Text     Biography  


Resul Aytemür supports by all his works the reality that the painting on canvas is realized primarily with oil paint, in equivalent measure of a material wall’s solidity. In other words, with his paintings Aytemur undertakes the allegation to prove the necessity of the reproduction of the color used on the painting, apart from the actual reality of the represented one, with the unique reality that is envisaged by its applicator.


 

İnci Eviner   Text     Biography  


The forms which I develop are hollow. This is a means of communication, like the thousands of veins whitin us and the tousands of communication network on the earth. I draw, and have been drawing so long that the act is an extension of my body and the womb of all my works. If only desire could be made so simple. A pencil and a piece of paper, all we need.


 

Mevlut Akyıldız   Text     Biography  


“...I didn’t start off with ironic paintings in mind. That’s my world view as a consequence of the experiences through years. I take life seriously but I cannot put up with the absurdities under that somber appearance. A little bit of irony, of humor, probably is a reaction against the graveness and stupidities in life... Look at the gossip shows on private TV channels; the wedding parties of rich people, who is with whom and where, paparazzis...


 

İrfan Önürmen   Text     Biography  


“Even though Önürmen’s paintings avoid narraling a story of their own accord, exceedingly dramatic stories emerge when they are brought together. The inexorable, overwhelming loneliness endured by people who have drifted quite far apart from each other is emphasized, in a collage-environment based on discontinuities and withdrawals.”

Emre Zeytinoğlu


 

Tayfun Erdoğmuş   Text     Biography  


While struggling with his inner problems, he both tends for a more primitive method by abandoning the paint and the way it spreads on the canvas, and also does not cease from producing works to be placed on the wall and are related to the canvas. Trying, in the first place, to find the memory of the earth through materials like earth, clay, marble dust, iron dust, he goes further down into the earth and chooses the tree cellulose as a material for his work.


 

Selma Gürbüz   Text     Biography  


That day, it was not possible to understand where the light coming from. Shadows disappeared and all the things I saw, standing two dimensional conditions. I said “I hope all is well!” and took the first step, then as there was formed a curtain but it is not possible to go inside. I stepped back; and suddenly felt as I was in an emptiness, then started to watch. All of a sudden, I saw the Cat-people whose I know well.


 

Temür Köran   Text     Biography  


"In the natural course of the model of production he envisages, and from the standpoint of comfortably preserving the delicate balance between the figure and syntax, Temür Köran occupies a distinct position among his own generation."


 

Hakan Gürsoytrak   Text     Biography  


Most of Hakan Gürsoytrak’s paintings seem to be taken from photos ineptly shot and shabbily framed. The sides of the paintings finished sometimes with framing lines, sometimes left empty signify a haphazard genesis. Works created by obscure, worn grey tones and stubby brush jabs, not fully finished similar to what they portray, one on top of another.


 

Arzu Başaran   Text     Biography  


“The observer sees the work which the artist defines as “complete”. Not what they do and redo, or create and destroy, nor do they see the phases the work goes through. The only witness of the process of the painting, from beginning till end, is the artist who creates it. During this process the artist composes the work sometimes consciously and sometimes leaves it to its own flow.”

Arzu Başaran


 

Mustafa Pancar   Text     Biography  


Between all that has been narrrated and Mustafa Pancar’s paintings there is a very interesting relation. The paintings embrace the random images taken by a cameraman without a predetermined program while he lazily wanders in the city: The opening ceremony of a private school, people in Taxim Square, views from a city bus, an interview with poet Can Yücel, internet cafes, art galleries, documentary films, comic strip sequences, etc…


 

Mustafa Horasan   Text     Biography  


Mustafa (Horasan)is in a manner to emphasize his painting activity in almost all of his works. Lines are as important as colors and surface is as important as texture. However, the experimental approach, the risky and hidden relation between the paint and the photocopies create a new reality which we do not really understand after all the improvements.


 

Hakan Onur   Text     Biography  


“I am always interested in the memories of my childhood which are carried until today. While the inner adventures carry the tracks of the past to the future, the memories, which were scattered among the alienation and familiarity concepts, call us to the new games in our life, presented like a puzzle. This game is built up by desires, loss, dreams and shadows. We have to venture the power in order to play.”


 

Adil Salih   Text     Biography  


To unravel Adil Salih’s drawing is almost like observing the pieces of a picture puzzle. When you just say “it is over”, from one corner a figure is smiling, even in a painting at which you have looked at many times you rejoice discovering again a detail for the first time. On his canvasses there is such a striking exciting activity, when everything being so monotonous in the surrounding, one wishes to become a color, a figure, a movement in a Adil Salih’s painting.


 

Serdar Tekebaşoğlu   Text     Biography  


The way Serdar analyzes parts of the body piece by piece, the way he freely morphs, deforms, making fantasy additions, exaggerations and deductions transforms the mass of plastic that remains or emanates, into a representation of a unique odyssey of aesthetics.


 

Neriman Polat   Text     Biography  


“Neriman Polat says her realism is akin to ‘signpost realism.’ The sign painter uses the latest commercially available techniques to capture the eye, producing work that suits demand. At this exhibition we also see a sober section of reality and an expression of concrete processes. However, the touch in possession of an intelligence of analysis and criticality brought upon the functioning of urban aesthetics, contemporary ethics and politics, reminds us that we are in a space that only art can construct.”

Nazım Dikbaş


 

Altan Çelem   Text     Biography  


“(…) Altan Çelem’s moves like a single chess player without an opponent and failure, he feels sensitive commitment to his audience interpreting the images and showing the effort to meet at the same denominator by recognising intelligent fictions.”

Levent Çalıkoğlu


 

Antonio Cosentino   Text     Biography  


The most striking value of Antonio’s paintings and ready-made objects is that they catch the dynamism of life. He depicts by seizing scenes, which reflect the unstoppable speed of life within the city streets. The works of Cosentino are pieces from life which flow away from his surroundings and into the journey of the transformation, with visual and plastic values, into a picture based on the way his feelings effect him.


 

Leyla Gediz   Text     Biography  


With me, drawing is not such a conscious process. There is no linear order. I do not first draw figures then pass on to sketches or to painting. In the beginning I directly draw on canvas. Recently I have drawn what I wanted on canvas and it changed completely when I passed on to painting. What seems more linear or more illustrative for me appears after painting up to a point.




  • Conceptial Exhibitions
 

Golden Symmetry   Text     Biography  


“Classic artists have employed Golden Symmetry to place on the canvas their figures and lines so that every part of the picture is related to the rest in a pleasing way determined by the golden ratio creating unity.”

Ateş Gülcügil


 

60 Years 60 Artists   Text  


Murat Akagündüz, Haluk Akakçe, Merih Akoğul, Erdağ Aksel, Gülçin Aksoy, Selda Asal, Arzu Başaran, Kezban Arca Batıbeki, Bedri Baykam, Cemil Erim Bayrı, Selim Birsel, Taner Ceylan, Antonio Cosentino, Ergin Çavuşoğlu, Elif Çelebi, Altan Çelem, Orhan Cem Çetin, Server Demirtaş, Sinan Demirtaş, İsmet Doğan, Ahmet Elhan, Extramücadele, Tayfun Erdoğmuş, Saim Erken, İnci Eviner, Mürteza Fidan, Leyla Gediz, Melih Görgün, Hakan Gürsoytrak, Mustafa Horasan, Gül Ilgaz, xurban.net, Şirin İskit, Temür Köran, Sıtkı Kösemen, Murat Morova, Hakan Onur, Ahmet Oran, Ömer Orhun, İrfan Önürmen, Denizhan Özer, Ferhat Özgür, Serkan Özkaya, Günnur Özsoy, Fatma Tülin Öztürk, Seza Paker, Mustafa Pancar, Seçkin Pirim, Neriman Polat, Seyma Reisoğlu, Barış Sarıbaş, Gülay Semercioğlu, Mukadder Şimşek, Yusuf Taktak, Canan Tolon, Nazif Topçuoğlu, Mürüvvet Türkyılmaz, Alp Tamer Ulukılıç, Emre Zeytinoğlu, Müşerref Zeytinoğlu


 

Darülbedayi   Text  


When the idea of bringing together an unison of artists’ works, “linked through a concept’ or ‘is covered by a concept’, ‘under the supervision of a group of curators’, was considered in context of the 11th Istanbul Art Fair, this was the first concept that appeared on my mind... what I aim at is perhaps to underline the fact that instead of the chic ladies portrayed in Çallı İbrahim’s paintings, the elegant men, the writers and artists we trail in old photos; the new owners of this place are the representatives of a conservative administration, fair exhibitors, penniless lovers, chestnut sellers, paper handkerchief selling street kids, thinner addicts, robbers, beggars...


 

The Four Walled Studio - Curator: Levent Çalıkoğlu   Text  


…the body seemed contained in a miraculous glass cabinet through which no sound could penetrate, and the mind, freed from any contact with facts, was at liberty to settle down upon whatever meditation was in harmony with the moment.


 

Abstract Tendencies in Turkish Painting   Text  


In 1912, "Concerning The Spiritual In Art", theoretical book of Vassily Kandinsky (1866-1944) was published. This was followed by Mondrian’s (1872-1994) book titled "Natural Reality and Abstract Reality" (An Essay in Trialogue Form), which was printed in 1919-20 period. These two books explain behaviouristic patterns of Art and Artistic ethics of the two leading artists. The book signed by Kandinsky, "Concerning the Spiritual In Art, narrates the concepts of content of the Abstract art and the question of what Abstract art is. Using his own unique style, Kandinsky was recounting the Abstract art theory, which was founded and developed by his own artistic accomplishment. This book is like the manifesto of Abstract art, which had received great reactions and influenced many artists.


 

Avni Arbaş - Nazım Hikmet Drawings   Text  


This drawings series in which Avni Arbaş’s subject is Nazım Hikmet, reflect the excitement and fervour of the painter - who had up to that time kept track of the poet from a distance – finding at last the poet in the range of his sketch-book and pencil, as well as providing us with credentials of the process of how he studies a personality that interests him and how he approachs his subject and decides on the design of his future paintings with such prepatory works.




  • New Generation
 

Ekin Saçlıoğlu   Text     Biography  


“The predominantly square canvases Saçlıoğlu creates have a generosity of space imbued with marine like phosphorescent motifs; the psychological, practically Freudian rhythm, the perceptual tone formed by these motifs (pay close attention to the mushrooms secreted in one of the paintings) could be composed of either a candle, a jester, or a dancer; but is it not almost unfair to refer to her semi-conscious sowing of memory as motifs?”

Evrim Altuğ


 

İlke Kutlay   Text     Biography  


“He received awards in several contests and his paintings have been continuously attracting interest. The most attracting items from his first private exhibition are the ones with wide surfaces where the artists unique brush strokes creates static, emotional expressions made out of thick layers created with a spatula.”

Erkan Doğanay


 

Can Aytekin   Text     Biography  


“It has layers of reference to the history of art, and to the history of writing and also to my personal life. This is like the common point of them all and I like this. In fact it is very simple. As a result there are three lines, I can call this minimalist symbolising. It is like gathering many things at one point.”


 

Seçkin Pirim   Text     Biography  


“(...) he does not appeal to the centuries-old ideal of bringing to light what lies within the mass or to a method of introducing the beauty of the material to the form and narrative. On the contrary, he constructs a movement with the potential to progress with a rhythmic oscillation within the three -dimensionality of the world (but mostly on horizontal and vertical axes). These designs are the product of a rich imagination where a structural and mathematical ideal meets a romantic-creative sensibility.”

Levent Çalıkoğlu


 

İlke İlter   Text     Biography  


Consequently, poetic catharsis observed in the paintings by İlke İlter seems to be the product of the monologues entered into with subjective passions both in the individual’s introvert adventure and at the point of perceiving the aesthetic offered by life itself. Here, while İlter sets up her own fictitious stories with a transparent subjectivity, she refers to the emphasis that the individual seeking for freedom is in fact related with an excessive irregularity.


 

Yücel Kale   Text     Biography  


As it can easily be guessed by the title, this installation is a group of wooden sculptures of insects, rather hybrid – insects, that startle the viewer with their human features. If one considers the clues in Kale’s earlier work displaying his interest in all living beings, the meanings he attaches to his hybrid – insects do not seem exaggerated at all.


 

Ömer Emre Yavuz   Text     Biography  


Ömer Emre Yavuz mostly prefers to use industrial material, scrap/old irons; he also tries to be as far away from breaking, twisting and hammering the metal as much as possible. He realises his forms intuitively by bringing together industrial materials and scrap/old irons, and tries to comply to the nature of the material. After this surprising production, forms signaling “the monstrosity of industry” come forth.


 

Beyza Boynudelik   Text     Biography  


Beyza Boynudelik’s works are the realizations of everyday’s life’s events,the view of the city as a living organism,the imaginable world under water and figures who are in continuous contact with each other.She possesses the fresh sensibility for subjects which would concern and help her to improve her artistic experience.




  • Upcoming Exhibitions


  • Sculpture
 

Rahmi Aksungur   Text     Biography  


"With sculpture space is not the mass itself nor the field it surrounds, but the boundaries of its field of attraction. And these boundaries are determined by each individual for him or herself. The field bends and folds the individual, and even gives him or her direction."

Rahmi Aksungur


 

Seyhun Topuz   Text     Biography  


"Though her study of sculpture at the Academy of Fine Arts in Istanbul concentrated on traditional forms and masses, on her graduation she immediately turned away from solid forms and mass, and embarked upon an attempt to accentuate the empty space as defined by simple geometrical forms. Since then, Seyhun Topuz has taken a constant and persistent interest in all possible relations of geometric forms, their fragmentation, reintegration and multiplication, and the "empty space" created by these processes."


 

Şadi Çalık - Sculptures & Drawings   Text     Biography  


“An artist does not work under the influence of a movement, the artist works to create a movement. In the world today art is under the influence of metaphysics, but the art that we understand is not metaphysical but physical art, rational art, in other words art which is executed by forcing the limits of material.”


 

Ali Hadi Bara (1906-1971) on the 100th Anniversary of His Birth   Text     Biography  


“As a result of his reasoning, his heart and unending energy, Hadi Bara has been a first class artist of the 20th century. He must be commemorated as an exemplary artist who never gave up thinking, doing research, producing, discussing and sharing his experience and knowledge.”


 

The Theme of   Text     Biography  


The academic courses of sculpture started on 3rd of March 1883 with the opening of "Sanayi-i Nefise", however from the atelier of Yervant Osgam, only 4 students graduated until the foundation of the Republic: İhsan Özsoy, İsa Behzat, Mahir Tomruk, Nijad Sirel. What can be followed in their works is that, they could not go further than just doing busts with their very limited circumstances. Their style was, undoubtedly, academic. The work or bust that it represented either a woman or a man was not a conscious choice.


 

Contemporary Sculpture in Public Spaces   Text     Biography  


The third part of “Sculpture in Public Places From the Monument to Contemporary Arrangements of Space” is titled “Contemporary Sculpture in Public Spaces”. This section exposes to what extent sculpture has a place in public spaces except monuments. There are certainly moments of the transformation from “monumental aesthetics” to “contemporary asethetics”.


 

Monuments and Reliefs in The Mausoleum of Atatürk   Text     Biography  


Here is the meeting point of the project of Emin Onat and Orhan Arda, which came first and were applied. The heritage belongs to Anatolia but the plan was borrowed from the Greek temple has such an allusion: The Greek civilization is at the basis of all Western civilization and the new Turkish Republic points to the West by aiming at the “modern civilization”.


 

Monument Applications and Aesthetics From the Beginning Until Today in the Context of Republican Ideology   Text     Biography  


When will monuments show up in public spaces? In the Republican Period, without doubt. Monuments will become a vehicle of the revolutionary ideology in this period and sculpture will be associated with monuments, especially with those of Atatürk. After statues of leaders like Atatürk and İnönü, monuments will be made for people “who will be sculpted”.


 

1950 - 2000 Bust Selection   Text     Biography  


What changed after 1950? The first thing to consider is the change in the capital of art after II. World War. From 19. century until the II. World War, the capital city of art was Paris. When students graduated from the Fine Arts Academy travelled to Paris, they returned to Turkey bringing what they found there and applying it to the local art. Their success is certainly doubtful.


 

From The Beginning Till 1950 Bust Exhibition   Text     Biography  


The Bust tradition has traced an evolution since Rome till our day. In Italy’s funeral tradition, primarily in Etruscan urns and sarcophaguses we are confronted with portraits of three dimensions. In Rome the noble families made their ancestors’ embalmed masks and during the funeral ceremonies they carried them; this was the starting point. The masks were done as documents for the next generations and also for propaganda purposes.




  • Ceramic
 

Cihat Burak   Text     Biography  


It can be claimed that Cihat Burak tried to construct and record the magical world of his childhood that vanished, that slipped away right in front of his eyes, with his paintings, stories and his ceramics. Especially in his three-dimensional ceramic and porcelain works which he created with different techniques and materials, the results of his imagination and fantastic interpretation encountering the appropriate material are fascinating.


 

İsmail Hakkı Oygar   Text     Biography  


Ismail Hakkı Oygar was a very determined person. The Ceramics Department, which Oygar established and kept going in very hard conditions as mentioned above, probably is one of the most efficient departments of Mimar Sinan Fine Art University. As is the art gallery business in Turkey, which Oygar was one of the pioneers.




  • Caricature
 

Cemil Cem   Text     Biography  


“In Turkey caricature was born in the beginning of 1860. During the Political Reform (Tanzimat) a handful of self- sacrificing avant-garde, creative artists believing it to be required, considering it to be necessary produced a powerful humour magazine. After Abdülhamid II ascended the throne in 1876 he abolished the proclaimed law of constitution and a despotism period which lasted for thirthy and more years started, humour was banished...”


 

Ramiz Gökçe   Text     Biography  


At Aydede, by means of his exceptional gift, freed from apprenticeship, Ramiz becomes a master caricaturist. This remark also applies for many others who weren’t recognized before 1918. These young caricaturists, most of whom came from Sanayi-i Nefise Mektebi, went back and forth between drawing and caricature, like a pendulum. In time, those who put their hearts in caricature developed a great deal.


 

Cemal Nadir Güler I   Text     Biography  


Cemal Nadir Güler (1902-1947)opened many caricature exhibitions in his health. We naturally did not had the opportunity to see them, however it is not difficult to imagine that not one of them was a retrospective exhibition. He must have composed them of his favorite works in that period. The exhibitions realized by his family, colleagues and the Society of Caricaturists after the master’s death also did not make an overall evaluation possible.


 

Cemal Nadir Güler II   Text     Biography  


“I am thinking about Mr. Uncle. But this is not only that Mr. Uncle with a huge tummy and butterfly glasses whose cheeks bulge with smiles... There is also another Mr. Uncle who is hidden behind this one, speaks through him and creates him. I think it would please him when his friends called him “Mr. Uncle”. (Selma Emiroğlu)


 

Turhan Selçuk   Text     Biography  


Turhan Selçuk endeavoured to comprehend this approach on the theoretical level and to spread understanding through articles. The aesthetic of the 1950s, in which pliability and warmth prevailed, began to cede its place to a successor. This new world of line in which hard, geometric strokes gradually took on an incontrovertible aesthetic, made Turhan an unequalled stylist and unequlled master on a global scale by 1960. It is at this point that Turhan Selçuk becomes the third pillar of Turkish caricature.


 

Semih Balcıoğlu   Text     Biography  


Semih Balcıoğlu one of the senior members of caricature, uses the art and drawing of caricature as a weapon of thought and since 60 years considers warning and awakening the public as a mission. With the numerous international awards he received, he has spread his work abroad as well…


 

Eray Özbek   Text     Biography  


“A caricaturist, is an artist who is capable of reflecting his humour in any technique, infact in any artistic language: whether it be grafical, musical or even by means of sculpture or theatre. In a film, the caricaturist can “shape” a very interesting character, or can “carve” an idea by way of a collage.”


 

Kamil Masaracı   Text     Biography  


“Masaracı has chosen the path with less graphic and less writing, quite in line with the conditions of ‘graphic-humour’. I sincerely congratulate Masaracı for presenting us with wonderful cartoons from his unique world of drawing.”

Turhan Selçuk


 

Gürbüz Doğan Ekşioğlu   Text     Biography  


The visual reflection of Gürbüz in ‘picturing’ works requested by art and culture magazines to illustrate poems or stories has a unique creative ‘approach’. He sets such a composition that the product accompanies both the text and the artwork itself. In other words, Gürbüz’s work, at the same time manages to exist independently as an artwork even when isolated from the page. This ‘mathematics’ confronts us as a unique approach.


 

Piyale Madra   Text     Biography  


“(…) “Adams & Eves” are not only the “Adams & Eves” of Piyale Madra; these refer to all of us, our relations, our dreams and our hopes. All the stories we come across in “Adams & Eves” are more or less the stories we live day by day.”

Burcu Pelvanoğlu


 

Necati Abacı   Text     Biography  


The caricaturist and graphic artist Necati Abacı started to be interested in the worlds of artists before 1980. He was choosing artists as subjects for his works and was visualising them by interpretting. In “People of Art in Lines” (1980), he exhibited his early works in this venue and attracted attention. Despite the long time that has passed over this start, we witnessed that Abacı’s work in this vein attracted continuously growing attention, when he exhibited “Women of Art in Lines” (1987, 1988).




  • Photography
 

Şakir Eczacıbaşı   Text     Biography  


“Şakir does not actually take photographs, he paints the world with his own colors... That flower at the window, that boat, those fish, that padlock door, those children, that balloon seller is how he must have perceived them... Doesn’t the painter make an effort to surpass the objective; and the objective within the hands of his master an effort to snatch away from the painter? (...)”

Çetin Altan


 

Gültekin Çizgen   Text     Biography  


“The visual aspects which attain an almost abstract formalism in Gültekin Cizgen’s photographs, enter all of a sudden in an intimate relationship with you through their surprising, detailed and minimal expression. Going beyond all universalities and generalizations, beyond all abstract aesthetic approaches, it fixes in eternity a moment that has been experienced within the very private identity of a person, of existence.”

Jale Necdet Erzen


 

Gülnur Sözmen   Text     Biography  


Hence, for a photographer, light reveals the unseen and thus transforms it into a vibration that exceeds and makes exceed the boundaries of time and space. In other words, a vibration unique to the individual something that belongs to the individual by means of personal capability of perceiving light. If it weren’t so, how could we have taken such different photographs of the same subject? Surely not only because of the angle…

Gülnur Sözmen


 

Arif Aşçı   Text     Biography  


“Every morning I start my photography shoot by walking the same route. (...) That winter morning, when I arrived at the Haliç shore, I didn’t. The most amazing photograph of the day was waiting for me at the dock. A group of cold cormorant, lined up in a single file at the dock, were similar to penguins from the poles among a foggy light.”


 

Cemal Emden   Text     Biography  


Emdem, who graduated from the Architecure Department in Yıldız Technical University in 1990, continues his professional photographic work in the fields of architecture, interior design, graphics, industrial products and landscape design. Besides works in the aforementioned areas the artist also has an extensive photo archive of his works in the Middle East, North America, Europe and Russia.


 

Ömer Orhun   Text     Biography  


“He constructs his time and his habits of seeing as if to weave an inner web and connec¬tion between objects and things when confronted with material he wants to photograph. Consequently, the photograph converts into a document and the document into soul reading. The focused images, the angles, the atmosphere and the postures become organs of the body.”

Levent Çalıkoğlu


 

Merih Akoğul   Text     Biography  


“In the past, Merih Akoğul’s ‘observer’ style possessed pastoral sensitivity. This style has evolved over time, at once retaining its minimalist quality and embracing highly focused elements of post-modernism. However dense the post-modern, contemporary detail, Akoğul’s romantic side is completely unaltered, remaining rooted as before in emotion and humanity. This is what is so commendable. If post-modernism is an eclectic blend of tradition and the recent past, these photographs are a compelling reflection of the style.”




  • Hoca Ali Rıza
 

Lithographs   Text  


“We should aim at solving the mystery behind his lithography albums “Resim Meşkleri / Painting Models” and endeavour to get the original illustrations re-printed soon. This way, the young art community could get to know this great master and utilise his experiences for their own visual education accordingly, and therefore be able to evaluate the outcomes of his century old teaching methods more accurately.”

Haşim Nur Gürel


 

Masterpieces   Text  


“My greatest aspiration is to realize works that articulate İstanbul and the Bosphorous in a manifestation of eternal life, as the loyal and true translator of my nation in emotional, formal, moral and vital terms”.

Hoca Ali Rıza


 

Aquarelles and Gouaches   Text  


The aquarelles and gouaches of Hoca Ali Rıza, who preferred to depict tranquil corners, sea-side cafés and sunny rocks of Scutari, where he was born and raised, of İstanbul and its surroundings, are considered to be some of the most important visual documentary evidence for İstanbul a century ago, and its people and architecture.


 

Drawings   Text     Biography  


“When one feels boredom then one should cease painting. If you leave when the desire is still alive then you can continue to work with desire.”
“If one understands what he is doing and incorporates this understanding in his work then he can improve. Improvement increases the impulse. As the proverb says, without love one can not work, enthusiasm increases productibility.”




  • Fikret Mualla
 

Contrary Works   Text  


The “Contrary Works” of the artist which fall outside his thematic paintings, that multiplied in accordance with the market’s demands, actually betray his identity more truly. This is so both in terms of the subjects preferred and his experimentation in different artistic languages. I believe that it would be appropriate to include a critique by Nurullah Berk and the opinions of Abidin Dino, who defended him.

Photograph: Ara Güler


 

Portraits   Text  


"More or less eveybody is like me.

I do not intent to put the world in order, this is not what I am thinking of; in short I love my silence and as I said, I want to paint as if I were worshipping, I obtain only this way my soul’s rest. This is my right.
"

Photo: Ara Güler


 

Jazz Players and Card Players   Text  


“Musicians” and “Card Players” are subjects of interest for painters at every period of art history. ”Card Players” of Cézanne and Dégas choosing as subject musicians playing in the theatre pit are two examples which we remember at once. Fikret Muallâ is also among those artists who were spellbound by these subjects. After the Second World War American musicians preferred to live in France because of its more free and lively intellectual milieu, and Fikret Muallâ had the privilege of living in Paris during that “Golden Epoch of Jazz” era.


 

Bars and Bistros   Text  


“Paris Bars and Bistros” is one of the most important themes of Fikret Muallâ. In these places that he cared about most, he could have the opportunity to reunite with alcohol which had a great importance in his life, by bartering his paintings to the acquaintance owners of these bars and bistros just for few drinks when he was broke, and these places formed the rudimentary social area of his usually reclusive life."

Photograph: Ara Güler


 

The Streets of Paris   Text  


"Imagine a painter who has no other responsibility other than painting whenever he wants to. Who has accepted the risk of living without food and water three days every week and who picks up cigarette butts and smokes them as if gathering strawberries in the fields."

Photograph: Ara Güler


 

Still-Lifes   Text  


Fikret Mualla’s letters and what he told his friends prove his “gourmet” inclination; that is why we must not be bewildered by the fact that his still lifes’ subjects are about the meals he is going to eat and drink later. Again we learn from his letters that the master artist in the late years was like a “chef” in his own cuisine and tried special tastes and cooked for serving with respect and distinction his rare visitors.

Photo: Ara Güler


 

Landscapes   Text  


“… When we look at Fikret Mualla’s paintings we can think of “Japonisme” which started with Toulouse-Lautrec, continued onto Bonnard and Vuillard and in a way in the American Wisthler. These modern Europeans turning their backs to Renaissance traditions, searched excitement in Eastern and Far Eastern civilizations."


 

Nudes   Text  


Muallâ’s “Nudes”, we may assert that his works on this theme were inspired mostly by the paintings of the artists whom he loved and in whose art he was interested in. We cannot find the subtleties of his first academic works and drawings made from live models, in these later paintings. These nudes are generally ”faceless” and are presented as “objects of desire”.


 

Animal Pictures   Text  


Fikret Mualla’s “Zoo” is in reality a shelter for escaping from all the hardships in his life to the “the happy period” (devri saadet) in his own words”the garden of paradise” (cennet bahçesi). While drawing,coloring innumerable birds, ducks, hens, it seems that he feels the urge to mount on a time machine for going to the past, to the Kalamış-Moda of his childhood.

Photo: Ara Güler


 

Drawings   Text     Biography  


“When we take into consideration the whole of his works we notice that his drawings must be reserved a major part. Especially when in hospitals in İstanbul and in Paris he had to go from time to time, he drew the persons nearby catching their personalities on whatever paper he could find with pencil or sometimes with blue ball – point pen, when he had no paint to work with. Such drawings he realized in Paris at St. Anne hospital reflect helplessness, loneliness, suffering without the need to use color…”




  • Bedri Rahmi Eyüboğlu - Eren Eyüboğlu
 

Kalamış Block Prints   Text     Biography  


“Turkish motifs are known to touch people’s feelings, being remembered, giving happiness and joy to people. They have an aspect of universality. Our motifs are expansionist. It was this belief that made me a block print artist. I give the utmost care to my workbench because I’m convinced about this. “I say if our block prints are here today, they’ll be in China tomorrow”. And my ever-blooming masters, my mother and father live in my heart. It’s my eternal love, my utter respect to them, my love for this art that keeps me alive and strong. My love to my masters makes me want to melt and mix into perpetuality."

Mehmet Eyüboğlu


 

Bedri Rahmi Eyüboğlu
Architectural Works
  Text  


“What is certain is that architecture is the provider of the best light, the best life span, the chance of being exhibited to the most people to any painting. Without the magical touch of architecture a painting is forced to live a nomadic life, in other words be forced to be buried alive or rather rest asleep forever confined in some dark museum corner.”


 

Bedri Rahmi Eyüboğlu
Self-Portraits 1938 - 1975
  Text  


“It can be especially felt in the self-portraits of Bedri Rahmi Eyüboğlu in his late years, that he longed to leave everlasting proof of himself and emanate as much as possible, and thus reducing the anxiety of the eminent end of his life by multiplying images of loneliness on the own motif of his face on materials like paper, stone, kerchiefs and sanded duralite surfaces.”


 

Eren Eyüboğlu 99th Anniversary
Works On Paper
  Text  


Eren Eyüboğlu is an artist who was constantly concerned about how she could ‘improve’ the piece she was working on; she referred to her memory, pushed her imagination and by never choosing the easy way she tried to surpass her talents. As a matter of fact, this is the quality that sets her apart from others, in other words her courage to try.


 

Bedri Rahmi Eyüboğlu Retrospective   Text  


“Because he walks around with a pen in one hand and a brush in the other, his hands are always covered in paint. When he is tired of painting he writes. If you ask the artists they say, “his paintings are okay but he writes great poems” . If you ask the writers, they say “his poems are okay but he does great paintings”.


 

Eren Eyüboğlu Selected Drawings   Text     Biography  


Jean-Dominique Ingres had said in 19th century that, “drawing is the honour and fertility of painting.” I think this definition still holds up today, though a lot of water has flowed under the bridges since 19th century and the art and artists of contemporary art today concentrate on other problems… (Geleneksel Yazma Şenliği 2005, 4-5 Haziran, Cumartesi/Pazar 9.00-20.00, Mavi Kaplumbağa Bahçesi, Bedri Rahmi Eyüboğlu Sok No: 10, Kalamış, Kadıköy- İstanbul)


 

Eren Eyüboğlu Retrospective Painting Exhibition   Text  


The truth of painting...Line, shape, colour.
A language formed by the combination of these. This language is not as free as it might seem. Although, of course, it is not governed by strict scientific laws, you are bound by subjects, even the colours you choose.


 

B. Rahmi Eyüboğlu - Eren Eyüboğlu Paintings on Plates   Text     Biography  


“Bedri Rahmi Eyüboğlu is an artist who used various techniques and effects in areas of varying shapes and dimensions... Paintings, mosaics, calligraphies, engravings, silk screen prints, murals, three-dimensional architectural elements, reliefs, glass objects and plates embellish the walls of our cities or our homes with his original motifs, giving them character and color while conveying the artist’s joy of living to those who can perceive it…”

Photographs: Ara Güler




  • Vitra Ceramic Studio
 

Comic Strip Heroes on the Streets   Text     Biography  


VitrA Ceramic Art Studio is initiating a very special project: The exhibition of "Comic Strip Hereos are out on the Streets". This exhibition will materialize all the well-known and much loved characters belonging to the world of caricature with the fire of ceramics... These beloved characters have promised to meet the art-lovers in the streets of Istanbul.


 

4th International Turkish-Greek Ceramic Symposium


The contributors of this year's Turkish - Greek Ceramic Symposium are, Chrisa Ahimastu, Lily Bakoyannis, Mutlu Başkaya, Zerrin E. Demirsu, Ferhan T. Erder, Reyhan Gürses, Maria Karakatsani, Kostas Karakitsos, Ayfer Kalsın, Perikles Kontoninas, Meltem Kaya, Maro Kerasotti, Tüzüm Kızılcan, Ayşegül Türedi Özen, Vera Siaterli, Ayla Yüce Tuncer, Christos Tsimpourlas and Maria Vlandi.


 

Vitra Personal Traces exhibition


Keeping in mind that development only in terms of economic aspects would prove to be inadequate. Eczacıbaşı Group provides a hearty support to cultural development in arts, sports and other social areas and hence assumes a general approach to this issue. Dr. Nejat Eczacıbaşı, the founder of the Eczacıbaşı Group, also leads the way to the Group today, with his words "Every type of investment made in art and culture is also a contribution made directly to the development of social existence, economy, politics and the identity of the society.







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