25 December 2012 – 19 January 2013
Uygur Yýlmaz continues to explore the relationship between human and nature, chaos and culture in “Repeated Misunderstandings”, his first solo exhibition at artSümer.
The artist focuses on the concept of liminality, and as in his previous exhibitions he defines a restricted spatial and temporal sphere for his new photographic production: Popular beaches during the off-season*. (*literally "dead-season" in Turkish.)
"The sky is a misunderstanding. The line where it meets the sea is a misunderstanding. A cloud is a misunderstanding. An hour is a misunderstanding. Love is a misunderstanding. And a photograph is a misunderstanding of a misunderstanding,” the artist maintains. The lines of manmade objects clash with the skyline - both a boundary and a representation of infinity - and the artist’s quest towards an insight on nothingness rather than overt meaning continues.
In the photographs that depict architectural details, the image is directly transmitted to the camera sensor. Yet in the series titled Borderline, this transmission is realized indirectly via the surface of a lake. As Borderline points to the land-water border in the topographic sense, at the same time, it also refers to the borderline personality disorder that constantly distorts its subjective reality, and to the architectural narcissism that complements it in a destructive yet immaculate manner - as in a love and hate relationship.
The photographs of pages from Marguerite Duras’ The Malady of Death, alongside images in which human intervention on nature is manifested through the use of an artificial flashlight during the photo-shoot may also be read as emotional landscapes. A skepticism towards the second-hand transmission of visual data is also evident in the text. What is reality according to whom and to what extent can it be perceived accurately?
Additionally in his new exhibition, alongside his photographic work, the artist presents for the first time a ready-made and a series of works he produced using mosquito net.
The artist asks "Can we ever love nature in the fullest sense of the word? Can we accept disease, menace, destruction?” and responds, “For me, the mosquito net is a surface that captures these questions,” relating how he began to work with this material: “While the mosquito net appears to separate the outside and the inside in the spatial sense, at the same time, because it is a permeable material, it simultaneously invalidates this distinction. Doesn’t the same invalidation apply in the psychological sense? Where precisely do we reach the outside?”
The readymade object in the exhibition, Untitled (Sandwich), is a waste object found in a construction site. The uncertainty of its significance and function complements the uncertainty of the photographs in this exhibition. While its form references consumer culture, together with the works that questions photography's ability to represent reality, it stands both with an unsettling ambiguity and as a concrete reality.
Born in 1975 in Mersin, Uygur Yilmaz focuses on liminality in terms of space and time. He uses photographic practice as a tool of defamiliarization and dislocation, resulting in the uncanny tension between reality and surreality, corpus delicti and abstract. Missing Parts (2009, Galerist) and Here But Where (2010, NON) are among the previous solo exhibitions of the artist. Uygur Yilmaz lives and works in Istanbul. He also published two poetry books of short and experimental pieces.