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Borders Orbits 09

Our environment turns more into a spectacle as time is purified of mythology and nature of mystery, and the instrumental reason becomes simply a formal cover of emptied concepts. This manifests the necessity of realizing art not by confining it to pure intellectual issues. It appears that it falls to the artist to establish the spirit of resistance in the contemporary art's aura against the uniformization of assigned agendas. To exist within the contemporary while creating its agenda seems to be the only way out.

Young artists who take part in the exhibition "Borders Orbits 09" place the fluidity of identities instead of the homogeneity of the problem of identity; trans-cultural permeability instead of the anthropological stability of culture into their agenda as a zeitgeist of today's visual culture. Today, the fluid and mobile constitution of cultural realm makes it impossible for us to give an account of it within national and geographical borders. Hence, art constitutes itself by looking at culture from the angle of trans-cultural alliances. Within the cultural diaspora of trans-cultural permeability and within the turbulence of global circulation of the hybrid forms of visual culture, today's artists are undertaking the development of new politics/strategies.

Among the artists who take part in this exhibition, Can Kurucu develops his own politics of form that concentrate on the determining ideologies and practices of everyday life within the confusion created by this global turbulence. He achieves this through remaining outside the refined operationalism of academism that appeals to the eye, and with a wholesale aesthetic understanding that emerges in the course of everyday life.

Against the abnegation of the subjectivity of women as a result of confining them through inaction, sexual appeal or self-deprecation, Ilgın Özer, with her work titled "Toxic Shock Syndrome" retaliates patriarchal-male ideology. These gynophobia (fear of women) driven cosmetic cocktails introduce gender issues with all their force into our agenda.

Hakan Dağdelen emphasizes how individuals, who have been molded with pure reason amongst the precepts of modernity, have been alienated from themselves and how they have been putting a distance between content and form in order to cope with their own nature. These abstract-mechanical codifications make visible the futuristic body-space forms against the contrast of the opacity of photographs.

Yuşa Yalçıntaş's typographic system of stencil figure multiplications cancels out a reading of the subject while it also makes the text concerning the subject illegible. These figures, who are ready to vanish sometimes in a narrative and other times within a game, create their own lost place that has never existed.

In his work "National Ideologic" Ahmet Birol centers on a media image's becoming a global icon of ideology. In order to render legible the uniforming politics of the gaze from the center to the periphery pertaining to this frame sign (the logo of National Geographic), he extracts the logo and places it within the exhibition space.

Meltem Işık takes part in the exhibition with her work titled "Pending". She puts spectators face to face with a relative reading of a plastic that is constituted of countering behaviors of solidification mechanism, external control and internal reaction of two materials with different characters. The embodying thing doesn't have a commitment to bringing any answers to questions such as where or how.

Mürteza Fidan, April 2011