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Başak Akçakaya, with her photography, shows that private life and privacy can be developed as a social-collective form. The photographs of the images on TV turn into parodies of real life.

Ebubekir Aydın shows the parallelism of daily life with the space-time position of representational forms of expressions of human emotion through manifestation of movement.

Can Kurucu in his videos shows daily life forms, or the parodies of social rituals.

Başak Mangör films her subjects secretly and peeps into their lives to put them in a dangerous place. After a while, this dangerous situation turns the neurologic position of the spectator into a threat against the viewer.

Tuba Merdeşe's installation that is built with constructive methods, depicts the relationship between units-modules-systems. The 'power' references in the text confirm the monumental aspect of the installation.

Yağız Özgen turns the indicator of speed into the indicator of slowness in his video, to force the viewer out of the depth of the main theme. On the other hand, the viewer faces a distant and cold attitude in the photography and sneaks into the interim area to conduct the real experience of space-time that layers in the realm of the virtual reality.

Melis Uğuz with a critical attitude showcases her localization and also questions the uniformity of personalities caused by globalization

Başak Leman Umut's - plan time schedule suggests female quests and reflects the passive longing of waiting.

Ebru Ceren Uzun's photo-assemblies display objects and representations from everyday life. A third kind is developed, where reality-representations are combined and mixed together.

The pattern of Orhun Erdenli shows how the initial context of artwork can be manipulated with newly developed references, by its root in the life of the artist.

Özge Ertanın attracts attention to erosion and deterioration caused by the migration into metropolitans. Her video questions whether immigrants are assimilated or whether they bring their culture with them into the city.

The paintings of Erol Eskici attempt to reenact the phenomenal images found in a dangerous place exposed to the misleading nature of aesthetics and reality on a canvas.

Nesibe Güneş, projects subjective forms coming from her own perception and life, through her videos.

Ahmet Doğu İpek, with his black-white patterns, emphasizes human masses, using the masses of threads. Through these masses, he questions human crowds and the secret of sociality and symbols of death.

The context of Neslihan Kaleli's works lies in the consistency of the illumination-calligraphy-miniature paintings with pop culture. One is inspired by theological content and the other by the desire to be famous.

Merve Üstünalp's patchwork portraits show re-building. The rebuilding of self can be possible by layering past with present. In localization, these layers of self exist as a symbol.

Mehmet Vanlıoğlu exhibits his geo-demographic video game based on the conflict-synthesis between representations.

Faruk Yigen structures the canvas surface with double-value (opposing poles) images. The subject left in between and that is ambiguous to both sides, helps to force both facets.

The works in the exhibitions are the forecasts of the new modern forms that oppose the 'singularity' created by the rules of modernity and the 'single-type character' created by globalization.

Mürteza Fidan, May, 2010