In the "Last Program" exhibition, which establishes a relationship with the spatial fiction of Nâzım Hikmet Culture House, Aytekin looks closely at the techniques of poster painting practice, which was a common production before digital technologies, its relationship with paper materials and printing, and its explicit or implicit references to the history of painting.

In his works, Can Aytekin often focuses on how the problems of painting are handled in daily life in various visual culture and art productions. In line with this interest, the artist establishes relationships with urban design, architecture, graphic design and cinema, and examines the intermediate areas of these productions that intersect with painting and what spills over into painting from there.

“Last Program” meets the audience as the new leg of Can Aytekin's exhibitions focusing on poster painting and paper materials. The exhibition shares partnerships with two other exhibitions and two screenings the artist has made recently. In 2018, with his exhibitions "Big Meadow" at Ariel, in 2019 with his solo exhibition "Future Program" at Riverrun, in 2022 with his exhibition "Today's Program" at Versus Art Project, and in 2023 with his solo exhibition at Büyükada Lale Cinema. In the exhibition, Aytekin showed selections from the series of works he created within this framework. In a way, these exhibitions are multiplied from series of works that were born in contact with each other, and while the selections differ as they are moved to other venues, they are shown together with a new spatial organization. Just as films move from cinema to cinema and from city to city, Can Aytekin carries this series of works like a file and turns them into exhibitions that present different frames in different places, paying attention to the relationship of vision and visual organization with architecture.

The artist shares the ephemera collection he produced in the context of a specific film, including posters, cinema lanterns, lobby photographs, and poster prints, in a way that suggests new relationships depending on the venue where it will be exhibited. Adopting the ephemerality of the display panels, decorations and posters set up in the lobby, foyer and entrance of the cinema before film screenings, the artist advances with fast and cheap solutions and reminds us of the possibilities of refraining from blessing the production processes and embracing the rush and haste of life. Working processes that emulate bricolage production encourage looking at the creative ideas that constraints can give rise to and the opportunities that temporality can offer.

The exhibition can be visited until April 21.