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Global-integrationist paradigms, which have begun to find their practical manifestations in the world since 1980s, are bringing about radical changes in every aspect of life without exception. In parallel to these changes, we see new centres of gravity emerging. The historical experiences that we ourselves have lived through since the 1980s have shown us that the changes in centres of gravity are inextricably linked to global economical policies.

Especially after the second half of 90's, every global economy has developed cultural policies that reflect its own entity and this means a new paradigm. Nowadays every paradigm means the dispersion of a centre and every dispersion of a centre leads to the formation of new centres. Turkey is one of the most significant centres of gravity of the economical and cultural logistics of globalisation.

Every new centre hosts many contradictions and conflicts within its own body. You must be prepared to demolish to be able to reconstruct. Owing to the widespread urbanization witnessed in these new centres social exchange increased incredibly, social mobility accelerated and mental barriers isolating from the others were knocked down. In parallel with this, Turkey finds itself as one of these new centres of gravity face to face with the ruptures in homogeneities created by multiple representations that came into view after those collapses. At the same time amazing developments in technology have entered everyday life and have even begun to define life itself. This appears as another social rupture where human relations are not experienced directly and where they leave their places to stimulating representations.

Nineteen young artists who took part in Borders Orbits 3-4 exhibition are trying to open blocked up channels in the crevices of social patterns created by those ruptures. They work in a modest, sometimes calm, but sometimes aggressive style and they try to provide linkages between different layers of reality.

They present a different stance by using new forms of social life in their art works, by criticizing modern forms of life, and by producing generally cultural but also specifically distinctive forms of dialogue.

Their art works are mostly paintings, installations and videos: Burcu Yağcıoğlu's paintings force the viewer to discover the subjective perspective and the thing that is it in-itself. Mehmet Dağ's installation points to cultural indicators that are turned into empty signs. Alpaslan Karaaslan, detects the blurring between a contemporary cultural form and objective knowledge with the momentary decision of the camera. İlke Yılmaz's work leaves us face to face with formal signs of the non-spaciality of global activism. Hacer Kıroğlu warns us to show that resistance forms should be produced against impositions on the 'self'. Sadık Arı analyzes the mythological forms of real time in his drawings. Fulden Aran develops silent forms of dialogue in her pictures. Esra Yeşildağ constructs utopian fairytale shelters. Deniz Üster in her installations makes an analysis of the signs of objects of desire. Ayşe Topçuoğulları in her paintings plays with the distance between ordinary and militarist indicators.

Selin Kocagöncü turns the gallery into an exchange market of dreams. Sena Başöz in her drawings discusses the division between individual temporality and the public sphere. In her video Elif Öner turns the signs of speed into indicators of slowness and thus produces the dialogy of what's intrinsic. Güler Aşık reminds us that to avoid collapsing in front of the grandiosity of the sociality of the city we can find shelter under the entity of hope. Cemile Kaptan's work is a camera wandering around everyday life and with its choices the camera fixes a life form and conceptualises it. Çınar Eslek leaves the viewer alone with uncanny images of sign without a signification. Sema Kayaönü's collage works underlines the inner order of chaos. In her paintings Seçil Alkış quotes temporal local forms on objects. Kerem Ozan Bayraktar leaves the viewer in an utopian void between the dream of a child and the function of dying as a future.

The works of art of the young artists in the exhibition are not posing as autonomous or specific forms, not as objects to stare at or as finished art works realized on the peak of a creative process, instead they present themselves as art works that demand interactivity by getting in contact with the viewer in a creative relationship by catching their gaze.

Mürteza Fidan
April, 2008