The Renaissance is not only equal to the culmination of fine art production and appreciation, but also equal to the overall reform of the relationship between cultural workers and their patrons. Although the painters and sculptors still cling to the buttocks of religious institutions, they have gained a firm foothold in terms of legal ownership and, arguably, intellectual property rights. Their names are not only used in religious places, but also in the secular creativity norms of the Western world. . Christian world.
However, as the northern Protestant ethics replaced its more moderate Catholic brothers and sisters in southern Europe, the overall transformation of the meaning of work and cultural zeitgeist has led to industrial capitalism that has defined the present, its painful urbanization and Heavy responsibility for the current manufacturing assembly line. This is visible in art. On the walls of examples such as Michelangelo's Sistine Chapel, the decadent glory of the biblical epic is replaced by a more severe trend, becoming more austere again.
Before the emerging Turkish artist Can Yıldırım, he had never thought of preparing his first solo exhibition at IMÇ, an artist-operated space in Istanbul, "Don’t worry that we don’t have giants side by side, nor their shoulders." There are many diverse multimedia works 5533 by Directed by Can Küçük, he is taking classes at the Maryland College of Art (MICA) in Baltimore. He will never forget the moment he saw the "Dance of Death" woodblock prints by the German painter and printmaker Hans Holbein, who lived for about 45 years in the terrible life of the early 16th century.
In particular, Holbein's print "Adam Cultivating the Soil" captures Yildirim's weird postmodern imagination. His exhibition at IMÇ 5533 centered on a series of laser-etched transparent carvings, which he screwed to rectangular practical wood. The effect is like entering a framemaker's studio and experimenting within their craftsmanship to better understand the invisibility and clarity of interrelated but contrasting phenomena. His reference to Holbein's prints is slanted, but also sensitive and exploratory.
Holbein, like Yıldırım's installation in the IMÇ 5533 working-class environment, reflects that labor is the life substance between life and death. Before entering the bare floor of Block 5533 in the shop floor workshop of the old shopping mall in the center of Istanbul's Fatih district surrounded by the vicious circle of runaway cities, the front window glass embossed Yıldırım's statement of interacting with a talented calligrapher approaching. It is roughly translated from Turkish, and it says: "It's harder to live than to die."
Along the hall, behind the almost empty free space of IMÇ 5533, reminiscent of a nightmare underground factory-like atmosphere, the glass-like laser-etched reference carving work resulted in a short handheld video. When Yıldırım participated in the artist residency at a place called Babakale near the Dardanelles in the westernmost tip of Turkey, the center image was an egg on a dirt road. Although confusing at first glance, this work is completely personal and drawn from the artist's childhood.
As a dependent preschooler, Yıldırım would look up at his maid because she told him terrible folk tales from the depths of her superstitious fantasy. She believes that one day the world will become flat so that someone can see the eggs on a perfectly horizontal plane from one end of the earth to the other. When Yıldırım's lens was zoomed in, the fragile, ontologically complete egg was taken from a distance, and it was captured at the end of a path of tire wear.
The subtle difference between the physical directness of pain and the state of existence of pain lingers in the thick air, like the ubiquitous, eternal, and ubiquitous irony of death, covering daily life with the laughter of medieval demons. In the entire room of Yıldırım's work by IMÇ 5533, a diagonal line points to the three stages of existence, namely, life, life and death. On the opposite corner of the 42-second video, "egg" is a piece of plexiglass light box and aluminum foil, "no".
The Turkish word with the title on the surface of "Not" is written on a square grid in a serif font. The artificiality of rigid lines is often opposed to the fluid form, figurative and abstract, and language of works of art. Among the various clever juxtapositions, Yıldırım emphasized the view that although the duality of life and death is clearly concrete, its manifestations have countless deviations. Although rejecting an absolute interpretation of art history, the core of the exhibition is a philosophical and shrewd practice.
In the middle of "egg" and "not" is a strange sculpture that awkwardly rises from the floor after co-designing with Küçük, reminiscent of his own work "Both" (2015), for which he deconstructed slightly The purpose of the stool is deviated from the center of one of its legs. This work called "Grow n'grow" contrasts the nest-like interior of the polishing pad with a spiral oval plastic planting house. The planting house itself is oval, which can be said to be completely opposite to the physical metaphor of death.
The fact that “growth and growth” is at the center of the exhibition in space shows that Yıldırım is changing the dark priority of Holbein’s early modernism to the myth of Western human identity, using it as a synonym for manual labor, just like IMÇ 5533 Provides an alternative concept of using commercial or manufacturing space. Yıldırım used leather marker pen refills collected from another workshop in the commercial complex to create a "silver lining" that snaked practical materials through the ceiling.
Pay special attention to the continuity of the connection. There is a theme of the Garden of Eden, which refers to Holbein’s biblical focus. It is most powerfully expressed through a more than 8 minute video "Snake to Snake", showing a roadside snake eating one Member of its species. Once, a truck driver stopped and the tires of his vehicle shrank like the scales of a snake, because it wrapped almost the same prey. This is another possible coincidental comparison between organic and industrial, like His focus series started with "Creation".
As an echo of the incredible unpredictability of death, the opportunity is "Don't worry, we don’t have giants side by side, nor their shoulders." An indispensable part of the work. For example, the artist captures his little boy in the multitrack iPhone video "Tonton". My sister and her friends are performing a creative impromptu sea burial ceremony for the dead jellyfish. The light of its transparent flesh reflects the surface of laser-engraved plexiglass, the luster of embossed aluminum plates, and the idea of performing as a chorus of visible invisible objects, just like the ungrammatical ode to medieval superstition reimagining the essence of existence.
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