The artist, who fragments and reconstructs historical scenes, invites the viewer to question the reliability of images in his works.
"Icons, Deaths, and Remaining Suspects," an exhibition by Baran Kurtoğlu, which reimagines political scenes, protests, and representations of power from history, continues at the Gülden Bostancı Gallery in Antalya until October 25th. Seven sculptures, 20 drawings on paper, and 10 canvases are on display. I first noticed the artist's work at CI (Contemporary Istanbul) Bloom last year. Another exhibition, "Burhan Kum & Baran Kurtoğlu at Tarlabaşı," is open at MeMA+London's Beyoğlu building until October 5th. Kurtoğlu answered our questions.
- What are you trying to convey to the audience with this exhibition?
The exhibition features scenes from political history, demolished statues, protests, and depictions of power from the present day, often accompanied by small ruptures accompanying glorious moments of power. However, rather than representing these directly, I often present them by distancing myself, fragmenting them, or translating them into other contexts. Rather than conveying a single truth, I want to convey to the viewer the unreliability of the images and the political nature of the representations.
- The title of the exhibition carries strong connotations. What emotions does it encapsulate for you?
The title encompasses three distinct layers: the icons exalted by societies, the inevitable end of these icons, and the void that emerges in their wake. Death is not merely a biological end here; it is the collapse of an ideology or a belief. 'Suspects', on the other hand, describes the void that remains. For me, this title is a place of doubt and confrontation.
"I don't want them to leave the exhibition with a clear answer, but rather with even more doubt."
- What questions do I want visitors to be left with?
It's very difficult to give a definitive answer. But one might wonder: “Does the destruction of an icon belong solely to the past, or does it still recur today?” I also want them to question the reliability of the images and the manipulative nature of the representations. In short, I want them to leave the exhibition not with a clear answer, but with more doubt.
- Sometimes you paint on a book page, sometimes on notebook paper. How did you first come up with this idea?
The idea came to me when I saw an old typewritten piece of paper I found in the studio. The writing contained statements about the Greek Olympics. I thought it captured a beautiful context with today's street protests, so I created a political protest scene on it. Working with old magazines, books, and notebooks I collected from secondhand booksellers felt like a way to engage directly with history. The writing, photographs, or stains on the paper provide both a ready-made context and a fragile ground for the painting. I don't think much about the technical aspects of my work, but for me, the key is to collide the traces of the past with the political imagery of today.
- When did your journey with painting begin? Did you study this field?
I did my first graffiti during high school in Antalya. At the time, it was a random interest, but it would be more accurate to say that my real beginnings were in the Painting Department of Marmara University's Faculty of Fine Arts. Later, I wrote a thesis on "Guerrilla Art Versus Institutional Art" at the same school and department.
- What are the advantages and challenges of creating as an artist in Antalya?
Creating in a place like Antalya allows me to be somewhat isolated from the busy art scene in Istanbul. This is both a disadvantage and allows me to focus more on my own practice. On the other hand, some opportunities can be more difficult to access during the creative process. Every friend I talk to in Istanbul always tells me, "You need to make yourself known in Istanbul." But I need more sincere conversations about the art scene.
Source: https://www.hurriyet.com.tr/kelebek/hurriyet-pazar/sergiden-net-bir-cevapla-degil-daha-fazla-supheyle-ayrilmalarini-istiyorum-42963987