27 Mart 2015 Cuma

“I can't carry my grandma, neither can I eat or wear her” / “Babaannemi Taşıyamam, ayrıca onu ne yiyebilirim ne de giyebilirim”


Türkçe için aşağı ininiz.

Seçkin Aydın, “I can’t carry my grandma, i can also not eat her or wear her”, 2015
Insttallation/Costume, 40x40 cm.
Fruit Leather, Sewing Thread

Seçkin Aydın, “Babaanemi Taşıyamam, ayrıca onu ne yiyebilirim ne de giyebilirim”, 2015
Yerleştirme/Kostüm, 40x40 cm.
Pestil, Dikiş ipi.
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 “I can't carry my grandma, neither can I eat or wear her”


This work is the representation of a memory that belongs to my childhood spent in war abondoning me through the weakest layer between itself and the outer world after causing a great hole in my soul/self -like a spreading prulence in my body.  Just as I left my childhood dreams once...

My childhood dreams were generally based on survival strategies; since surviving in that geography really required effort and chance in those days.

Almost twenty years ago (I was 14 then), we had to obey the legal violent instutitions of the state (there were also illegal ones) when they announced to leave the town we lived, for our “own safety”. From our previous experiences, we both knew that they were very serious; as they had made themselves  clear enough.

Once again, it was time to take the roads. We had made our previous journeys to a village where was seven mountains and a river away on foot, in a day and night. We made our walk to that village this time as well, we had no other option though.

The experiences we gained from our previous leavings taught us to make our packs more rationally, with the things we cared about but had to leave behind or things that we needed. When you make a pack to take with you, you have to determine what you need most, both personal and  existential things, according to the season, distance and duration of the journey: Food, clothing, memories and/or your precious things.

And I had developed a pretty genious idea: With the leather fruit my grandma had given me, I would have sewn a couple of clothes and worn them on my actual ones, and eat them as rolls with the walnut in its pocket when I get hungry. So, I would both protect myself from the cold and feed on the things I had to carry. My plan was ready, and it seemed that it would work out pretty well. I was going to open this to my family and suggest the same thing to them as well. As I was preparing myself to tell them this idea, I heard them talking. 

The conversation was exactly like this: my grandma was too old and sick to make that journey through. Moreover, because of her illness she was too fat to be carried. So, she couldn't come with us. My uncle decided not to leave her alone in her- may be their both- last days, to a lonely and dreadful death.

Hearing this conversation among the family elders, I gave the fruit leather, which my grandma had given me, to her back, because I had understood that I couldn't have carried what I really needed.

I left my childhood dreams, fruit leather, and my grandma back and I took a great burden that would fill my soul and haunt my body instead.

So, this work is the delayed and painful birth of my childhood dream that I thought I left behind, the burden that I grew up in me, that aged with me and no longer fit in my body/soul.


Seçkin Aydın, 2015.




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Babaannemi Taşıyamam, ayrıca onu ne yiyebilirim ne de giyebilirim”


Bu çalışma, savaş içinde geçen çocukluğuma ait bir anımın -içimde giderek yayılan bir irin gibi-, benliğimde koca bir çukur açtıktan sonra dış dünyayla kendisi arasındaki en ince tabakadan sızarak ve içimde kocaman bir boşluk bırakarak beni terk etmesinin temsilidir.  Tıpkı bir zamanlar benim de çocukluk fantezilerimi terk ettiğim gibi…

Çocukluk fantezilerim genellikle hayatta kalabilme stratejileri üzerineydi; çünkü o zamanlar, o coğrafyada hayatta kalabilmek, gerçekten çaba ve şans gerektiren bir durumdu/eylemdi.

Yaklaşık yirmi yıl önce (14 yaşındayım o zamanlar) Devlet’in meşru şiddet kurumları (meşru olmayanlar da vardı) güvenliğimiz için, yaşadığımız ilçeyi terk etmek zorunda olduğumuzu anons ettiklerinde, anonsa uymak zorundaydık. Zira, ne kadar ciddi olduklarını daha önceki deneyimlerimizle iki taraflı olarak sabitlemiştik.

Yine yollara dökülme zamanıydı. Önceki gidişlerimizi bir gün, bir gece, bir nehir ve yedi dağ yürüme mesafesindeki bir köye yapmıştık. Bu seferkini de aynı yere yaptık; başka da seçeneğimiz yoktu.

Önceki gidişlerimizden edindiğimiz deneyimler, bize bu yolculuk boyunca yanımıza alacağımız yük tercihlerinde daha rasyonel kararlar almamız gerektiğini -yolda vazgeçmek zorunda kaldıklarımızla veya eksikliğini yaşadıklarımızla- öğretmişti. Yük alırken, mevsime göre, gidilecek mesafe ve gidiş/kalış/dönüş sürelerine göre hem şahsi ve varoluşsal hem de yaşamsal şeyleri tespit etmek zorunda kalırsınız: Yiyecek, giyecek, hatıralar ve/veya en değerlileriniz...

Ben de, oldukça dâhiyane sandığım bir fikir geliştirmiştim: babaannemin bana verdiği pestillerle birkaç kat elbise dikip, bunları gerçek elbisemin üstüne giyecektim ve acıktıkça ceplerindeki cevizlerle yuvarlayıp yiyecektim. Böylelikle, taşımak zorunda olduklarımla hem soğuktan korunacak hem de karnımı doyuracaktım. Planım hazırdı ve harika işleyeceğe benziyordu. Konuyu evdekilere açıp, aynısını onlara da önerecektim. Onlara konuşmaya hazırlanırken, onların kendi aralarındaki konuşmayı duydum.

Konuşma tam olarak şöyleydi: babaannem bu yolculuğu yapamayacak kadar yaşlı ve hasta idi. Hastalığından dolayı taşınamayacak kadar da çok kiloluydu. Bu yüzden bu yolculuğa bizimle çıkamayacaktı. Amcam ise - belki de ikisinin de- bu son günlerinde onu yalnız ve korkulu bir ölüme terk etmemek için yalnız bırakmama kararı almıştı.

Aile büyükleri arasındaki bu konuşmayı duyduktan sonra, babaannemin bana vermiş olduğu pestilleri getirip ona vermiştim; çünkü asıl ihtiyacım olan şeyi taşıyamayacağımı anlamıştım.

Çocukluk fantezilerimi, pestilleri ve babaannemi orda bırakıp, içimi dolduracak kadar ve tüm bedenimi saracak kadar ağır bir yük almıştım yanıma.

İşte bu çalışma, hep içimde büyüttüğüm, benimle büyüyüp yaş alan ve artık içime sığmayan bu yükün, bir zamanlar terk ettiğimi sandığım çocukluk fantezimin gecikmiş, sancılı bir doğumudur.


 Seçkin Aydın, 2015.


16 Mayıs 2013 Perşembe

Mediterranea 16 Young Artists Biennial – Errors Allowed.





Mediterranea 16: selected artists

We are proud to announce the selected artists for Mediterranea 16 Young Artists Biennial – Errors Allowed.
Curated by Charlotte Bank, Alessandro Castiglioni, Nadira Laggoune, Delphine Leccas, Slobodne Beze/Loose Associations, Marco Trulli, Claudio Zecchi.
Ancona, June 6th – July 7th 2013
Majd Abdel Hamid (PS) | Above the tree (IT) | Darko Aleksovski (MK) | Panos Amelides (GR) | Jane Antoniotti (FR) | Daniel Arellano Mesina (CL) | Nika Autor (SI) | Avorgehz (KS)
| Seçkin Aydin (TR) | Baer Group (AT) | Tanja Bakić (ME) | Julie Balsaux (FR) | Bardi (DZ) | Paolo Bartolini  (SM) | Fabian Bechtle (DE) | Valentina Beotti, Claudia Pajewski (IT) | Francesco Bertocco (IT) | Igor Bezinović (HR) | Enrico Boccioletti (IT) | Kathialyn Borissoff (FR) | Lorena Briedis (LV/VE) | Sabina Cabello (ES) | Matteo Cattabriga (IT) | Dustin Cauchi, Paolo Tognozzi (MT-IT) | Giorgia Cecchini (IT) | Marco Cecotto (IT) | Vajiko Chachkhiani (GE) | Ismini Chacholiadou (CY) | Alexandros Charidis, Eleanna Panagoulia (GR) | Io Myrto Chaviara (GR) | Lorenzo Cianchi (IT) | Compagnie Les ex-Citants (FR) | Giallo Concialdi (IT) | Viola Conti (SM) | Valerio Cosi (IT) | Creative Gibraltar (GI)  | Cri Animal (IT) | Lluvia Darocas (ES) | Aurélien David (FR) | Etienne De France (FR) | Laure De Selys (BE) | Alessandro Di Pietro (IT) | Léna Durr (FR) | Heba El Aziz, Alaa Shahin (EG) | El fabricante de espheras (ES) | Ahmed El Gendy (EG) | espadaysantacruz studio (ES) | Alberto Evangelio (ES) | Ronny Faber Dahl (NO) | Roberto Fassone (IT) | Sirine Fattouh (LB) | Fauve! Gegen a Rhino (IT) | Fedora Saura (CH) | Nina Feldman (ZA) | Simohammed Fettaka (MA) | Sara Fontana (IT) | Francesco Fossati(IT) | Alberto Fuentes (ES) | Wafa Gabsi (TN) | Elio Germani (IT) | Silvia Giambrone (IT) | Gruppe Uno Wien (AT) | Antonio Guerra  (ES) | Lola Guerrera (ES) | Klængur Gunnarsson (IS) | Paul Hage Boutros (LB) | Tea Hatadi (HR) | Hanna Hildebrand, Paul Wiersbinski (IT-DE) | Anna Hilti (LI) | Ricardo Ibáñez Ruiz (ES) | Isaya (FR) | Boryana Ivanova (BG) | Cristina Jaramago Bertrand (ES) | Rana Jarbou (SA) | Shqipe Jonuzi(KS) | Liburn Jupolli, Senad Jamini (KS) | Ahmed Kamel (EG) | Marina Kassianidou (CY) | Kontraakcija (HR) | Katerina Kotsala (GR) | Evagelia Koulizaki (GR) | Gia Kuka (AL) | MATA – Taida Kusturica, Manja Podovac (BA) | Émilie Lasmartres (FR) | Karen LeRoy Harris (JE) | Martin Lewden (FR) | LIEB (IT) |Julia Llerena  (ES) | Antoine Loudot (MC) | Natalia Lozano (ES) | Randa Maddah (SY) | Andrea Magaraggia (IT) | Francesca Mangion (MT) | Federico Manzone (IT) | Diego Marcon (IT)  | Álvaro Martínez Alonso (ES) | Measuring. Permanent Research Program on Inobjectivity (IT) | Orr Menirom (IL) | mETIC theatre group – Yorgos Tsamis, Maria Trialoni  (GR) | Giorgio Micco (IT) | Vladimir Miladinović (RS) | Mona Mohagheghi (IR) | Monkey Wrench (ES) | Marco Monterzino (IT) | Nadia Mounier (EG) | Mreža Solidarnosti (HR) | Lilo Nein (AT) | Neon Lights (ES) | Teodora Nikčević (ME) | Gabriel Noguera (ES) | NYSU (ES) | Adel Oberto (IT) | Clara G. Ortega (ES) | Fabio Orsi (IT) | Karin Ospelt (LI) | Andrea Palašti collaboration with The Culture of Memory: Present of the Past (Ratković/Vasić)  (RS) | Emmanuele Panzarini (IT) | Juan Patiño Herraiz (ES) | Alice Pedroletti (IT) | PoP PER (IT) | Michela Pozzi (SM) | Esmir Prlja (BA) | Panos Profitis (GR) | Pulse4Art (FR) | Sergio Racanati (IT) | Radical Intention (IT) | Ayman Ramadan (EG) | Simone Rastelli (SM) | Juanan Requena (ES) | Revolution Records (EG) | Marko Salapura (RS) | Sareyyet Ramallah Contemporary Dance Company (PS) | Marie Thérese Saliba  (LB) | Panagiotis Samsarelos (GR) | Charbel Samuel Aoun (LB) | Dimitris Sarlanis (GR) | Driton Selmani (KS) | Maha Shahin (JO) | Sigurður Atli Sigurðsson (IS) | Arthur Sirignano (FR) | Sebastiano Sofia (IT) | Mathilde Soulheban Todrani (FR) | Bujar Sylejmani (KS) | Oussama Tabti (DZ) | Irène Tardif (FR) | Elvia Teotski (FR) | Gian Maria Tosatti (IT) | Leontios Toumpouris (CY) | Igone Urquiza (ES) | Theofano Varvariti, Eriphyli Veneri (GR) | Emilio Vavarella (IT) | Javier Velázquez Cabrero (ES) | Veli&Amos (SI) | Manuel Vella Rago (MT) | Claudia Ventola (IT) | Panagiotis Vorrias, Panos Kompis  (GR) | Ana Vuzdarić (HR) | Evalie Wagner (AT) | white.fish.tank (IT) | Theodoros Zafeiropoulos  (GR) | Virgina Zanetti (IT)
Errors Allowed.

Mediterranea 16 Young Artists Biennial is focusing on regimes of knowledge and mechanism of formation in the field of art, but also reflecting upon these processes in the wider society. Starting from the study of informal strategies of learning and self-education practices, the curatorial team proposes three different ways of dealing with the subject:
- an exhibition comprising visual arts, performances, screenings and music. The exhibition is envisioned as a fluctuating form, an experimental ground, interconnecting visual and performative arts (and music), yet spatially dominant segment of the Biennial. The artists will be selected through an open call that will be launched in November and distributed through various channels in the partner countries and beyond.
- a self-generated library with a series of talks. The library is meant to be the heart, or better to say- the generator of the biennial. Every artist selected will be invited to bring a book, a text or any sort of material that one finds crucial for one´s artistic formation. Besides, the library will serve as a meeting and exchange point, place of movement and activities. It will host lectures, talks, screenings, as well as less formal gatherings.
- an open program created by citizens of Ancona. The program has a working title “show and tell” and invites everyone interested (artists and general public) to share experiences, stories and reflections about the city. The Biennial does not only have the intention to talk to Ancona, we would like to Ancona talk to us. The contributions may vary in their form and content, ranging from individual artistic expressions, community actions to the personally envisaged city walks, tours through the city of Ancona, imaginary and revelatory at the same time.
The title of Mediterranea 16 will be Errors Allowed, as a reference to a different regard given to the position that “mistakes” have in the processes of education. Besides, this concept becomes stronger if related with the enquiry on “young” artists that the Biennial asks.

Mediterranea 16 will be held in Ancona, from June 6th until July 7th 2013.

Curators of the event will be: Charlotte BankAlessandro CastiglioniNadira LaggouneDelphine LeccasSlobodne Veze/Loose AssociationsMarco Trulli and Claudio Zecchi.

Special thanks to Mrs. Elettra Stamboulis for contributing with her project of “Nomadic Curatorship” to the development of this Biennial.

  


“Error Renewal”, Project Manager; Seçkin Aydın.




 http://errorists.weebly.com/error-renewal.html


Error Renewal: Art Revitalizes Communities

Participating ErroristsKarl Hallberg (Sweden) Mikko Laajola (Finland), Sara Milazzo (Finland), Kilian Ochs (Germany) Rauno Õispuu (Estonia), Mika Palonen (Finland) ;Justin Tyler Tate (Canada//USA/Estonia) andErnest Truely (USA/Estonia) will travel to Turkey to create an art installations in a disused house 1 March to 3 April 2013.

Error will invent new uses for places on both a structural and social level. The result may be a garden, playground, spa or other function that engages the community, where aspects of daily life like eating, rest or play are the critical media of art. The project speaks about home, environment, economy and revitalization in a contemporary art context; a site specific art installation to uplift attitudes about spaces that have become disused through years of turmoil.

Error involves local people in the entire process. Project manager; Seckin Aydin, an artist and art educator in Diyarbakir, organizes the promotion of Error activities and serves as liaison between governmental, commercial or art institutions and the artists. Error engages people through artist talks and lectures offered at the site of the installation and in local schools. Workshops and demonstrations at the location are open to the public and published online. The project will be completed with help from local students and community members.

Error employs an improvisational approach to construction; the location and available materials inform the design, we find elegant solutions for creating installation art. Error uses mostly recycled and repurposed materials. Error’s intention is to create an installation which is a sustainable social focal point in Diyarbakir and to develop ongoing professional relationships with our supporters and partners in southeast Turkey.

A presentation of the completed project will occur Saturday 23 March 2013 at the Ecological House in Sümerpark Diyarbakir.





17 Kasım 2012 Cumartesi


RE-RE-RE-RE-RE-RE-RE-RELOCALIZATION


Artist As  a Flâneur, Ragpicker, Storyteller
  
A ragpicker collects, categorizes and eliminates found objects in order to take them to recycling centers as it is by mentioned Walter Benjamin. Also, artist categorizes and  eliminates the objects, events or memories, found from different places and times, to use later. The artist, as a Storyteller, remeaning the objects, life or ideas, from different places and times, like senteces from different books. 


A ragpicker-artist’s aim is recycle of life when s/he recycles so it is iteration of a moment in memory through any artistic form. The recycling, which artist’s aim, is recycling of life; so, iteration of any moment by any artistic form. It is reproducing the experienced during the artwork exists. It is expansion of the moment from now to past and to future. Taking pieces from different time and places  wrap  and shrink the current time and place. Now, moments, which had been lived, are a vital collage in the their new places and times.

Actually, this is an ascription of life as submodular level.



RE-RELOCALIZATION

During the process of the Project I have spent one year in eight countries and seventeen cities. Throughout my travels, I had acted like a Flâneur by walking in the crowd feeling at home, and I tried to collect all objects and memories like a Ragpicker by eliminating and categorizing. At the end, I transferred all my memories and objects to the exhibition as a collage of my experiences.

During this one year period, I had localized every houses where I have stayed in; the first my shoes, then my coat, baggage, toothbrush etc. Not only I located to the houses but also to city; streets, cafes, restaurants etc. And finally, when I moved from house/city, I located there “as an eternal Memory”.

After moving from there, I relocated another house/city, then another, and again, and again…

Seçkin Aydın
Diyarbakır, Oct 2012







RE-RE-RE-RE-RE-RE-RE-RELOCALIZATION

Flanör, Paçavracı ve Hikaye Anlatıcısı Olarak Sanatçı

Walter Benjamin’in sözünü ettiği, Paçavracı, bulduğu nesneleri seçip, sınıflandırır ve geri dönüşüm merkezlerine götürmek üzere biriktirir. Sanatçı da farklı zaman ve mekânlarda bulduğu nesneleri, olayları veya anıları seçip, sınıflandırıp daha sonra kullanmak üzere biriktirir.

Paçavracı sanatçının amaçladığı geri dönüşüm ise yaşamın geri dönüşümüdür; yani yaşanmış bir anın zihinlerde, herhangi bir sanat formu aracılığıyla tekrarlanmasıdır. Yaşanmışlığın, eserin var olduğu sürece kendini tekrar tekrar üretmesidir. An’ın geçmişe ve geleceğe genişlemesidir. Hayatın farklı anlarından toplanarak bir araya getirilen parçalarla, şimdiki zamanda ve mekanda bir daralma, bükülme gerçekleştirilmektedir. Yaşanmış anlar, gerçek zaman ve mekanlarından alınarak yeni yerlerinde yaşamsal bir kolaj oluşturmaktadır.

Hikâye Anlatıcısı olarak sanatçı ise, toplanıp bir araya getirilmiş yaşantı, nesne veya düşünce parçalarının birbirleri ile girdikleri ilişki sonucunda yeniden anlamlandırır, tıpkı, farklı kitaplardan alınan cümlelerin, bir paragrafta buluşarak yeni bir anlam kazanması gibi.

Bu, aslında, alt parçacıklar halinde hayata yapılan atıflardır.



Tekrar Tekrar Yerleşmek.
  
Bu projenin hazırlık süresince, son bir yılımı geçirdiğim, sekiz ülkenin on yedi şehrinde, bir Flanör gibi kalabalıkların içinde kendimi evimde hissederek yürüdüm, bir Paçavracı gibi  yaşadıklarıma dair her şeyi toplamaya çalıştım; önce işime yarayacakları ve taşıyabileceklerimi seçtim, sonra onları sınıflandırdım ve biriktirdim. En sonunda da biriktirdiklerimi/deneyimlerimi, tıpkı bir Hikaye Anlatıcısı gibi yaşadıklarımın bir kolajı olarak bu sergiyle aktardım.
Bu bir yıllık süre zarfında kaldığım her eve yerleştim; önce ayakkabılarım, sonra paltom, çantam, diş fırçam vs. Sadece eve yerleşmedim aynı zamanda kente de; sokaklarına, caddelerine, kafelerine, restoranlarına. Ve en sonunda evden/kentten ayrılınca da oraya “sonsuza dek kalacak bir Anı” olarak yerleştim.
Oradan ayrıldıktan sonra başka bir yere yeniden yerleştim, daha sonra başka bir yere daha, sonra yine, sonra yine…
Seçkin Aydın
Diyarbakır, 10 Ekim 2012











Culture Factory Polymer


Located in Kristiine district in Tallinn, the capital city of Estonia, Culture Factory Polymer is a multidisciplinary center for artistic creation. Being a member of European Centre for Independent Culture and established in 2003, CFP, with its alternative and un-institutionalized structure, is an art center.

CFP is constituted as a place where over thirty artists and various culture organizations live together and work on diverse artistic fields. Being a nonprofit institution it works as a platform. Mainly in Tallinn, CFP provides support for alternative cultural formations and artistic creations at this platform. Besides, with its public events, CFP performs projects based on the participation and collaboration among the artist-audience and work. CFP aims to enrich its structure which is open to various artistic and cultural interactions also with the Artist

Every year in August, Polymer, organizes a two-week long International Contemporary Art Festival. During the festival, exhibitions, workshops, concerts, films and dance performances are made. Click on the link below for detailed information about the festival. http://kultuuritehas.ee/?page_id=11

The independent artist and curator Seçkin Aydın, with his project called “City As a Home”, has been invited to the festival that is held in 2012. This project will take place as a part of the festival with the exhibition of the documentation of workshops simultaneously held in many cities around the world.




City As a Home

This project consists of artistic interventions that is composed of a city which transforms itself into its own space in which artists reside; temporarily or permanently; from its streets, stations, side-walks to its parks, at the actual space in real time.

The exhibition aims to animate home -symbol of privacy- outside of itself, in public. One’s privacy, which gradually exceeds outside of its borders, eventually fractures the public space as well. Besides the formal and informal rules, it is an individual’s redefinition of himself in / against society and the system, under a technology driven and controlled circumstances that dictates our daily life. It is an attitude from public sphere against the private. It is the re-domestication of the city which has been made ruthless by capitalism that is also ruthless itself.

In today’s world, besides the theoretical concerns of the contemporary art practices which aim to make the world a more habitable place in general, other types of symmetries on the possibilities of social life and practices are also essential and is put forward through the exhibition.

At the same time, we also consider a utopic world, where the possiblity of converting the capitalist modernity’s dominant community in favor of the societies. In this sense, addition of the democratic values of the nations and also the values of humanity, to the additions of all democratic gains of the world, history and society makes the contribution of artists essential and enriched.

In the reality of the global world; countries and cities, participate in the cultural scene as they claim in this regard. Also, financial, cultural and diplomatic alliances find an opportunity for discussion in an open platform. When looked at contemporary art, we can say that the last few decades have been the stage for such global mergings and compromise.

In this sense, the exhibition that will take place in the capital city of the northern European country Estonia, Tallinn, in the month of August, will deal with such issues. “City As a Home ” project focuses on the question of how an individual can expand his social reality in a philosophical and artistic way, rather than a project that is merely focused on the nesting of the division of public and private sphere.

Planned to take place in Tallinn, the project is designed in the form of three divisions within a period of nearly two years. The first part of this, the project “Once upon a space” took place in January, 2011 in Diyarbakir. The first aim of the project, in Marx’s words, is that a private space , home, is designed as an interspace. What this

meant was to create an interspace that steps out of the dominant forms of production and distribution, yet, emphasizes society and humankind. Another approach to home settlement was brought to daylight. www.evvelmekanicinde.blogspot.com

The second section, “Existing from home - Resettlement”, was held by curator Seckin Aydin, December 2011 in the Czech Republic. The second section evaluated, what the individuals brings when he settles into a new home; what level his history and his society is, or, in his memory what are some things that transform this new habitat into his own, as well as what some answers are to such questions. www.inthehomyspace.blogspot.com

Scheduled to take place in August, in the project “City as a Home” , “we also plan to transform the city into a home, under a condition to be as comfortable as we can and to design it in a way that will free our spirits”.


In Charles Boudelaire’s sentences; “Being away from home, but still feeling right at home; seeing the world and being in the center of it, but hiding from it...”


Curator: Seçkin Aydın


Artists:
Arzu Arda Kosar
Aslı Işıksal
Barış Seyitvan
Burçin Ünal
Ernest Truelly
Gül Aydın
Hüsnü Dokak
Justin Tyler Tate
Menekşe Samancı
Meral Yağcı
Niyazi Selçuk
Samet Aydın
Sevda Yavuz
Sevval Şener
Şefik Özcan
Uğur Orhan