Heavy Burden | Ahmet Çerkez, Alper T. İnce, Erman Özbaşaran, Evren Sungur, Olgu Ülkenciler, Burcu Yağcıoğlu
15.12.2015 / 30.01.2016 | Press Relase
“Heavy Burden” brings together 6 artists from the same generation who experiment with different art practices. Ahmet Çerkez, Alper İnce, Erman Özbaşaran, Evren Sungur, Olgu Ülkenciler and Burcu Yağcıoğlu’s recent works take place in the exhibition. The exhibition addresses with artworks in the mediums of painting, drawing, sculpture and video installation, the burdens that an artist undertakes in the face of what the current age brings.
There’s no doubt that the present is not the world’s most terrible time; rather, it is a time when engaging in a conscious effort gives way to mere watching to the extent that we pity humanity drifting along the myth of unfortunate fate, to the extent that we lament the world rapidly moving toward decay. We are in an age when the crux of the problem is disregarded and we are made to forget about it while they pretend to keep it on the agenda by indirectly referring to it. Hereby all priorities are postponed. But how does the artist watch all this?
Is it a heavy burden for the artist to insist on producing and questioning in a time when art practice is pushed into the background and other dynamics than the artwork itself secretly domineer the artist? On the one hand works that confirm the language of the age foreign to everyone else, that replicate the dominant aesthetics, that do not dissent or criticise, that let go of artistic concerns while making political statements and that incorporate into the dominant power…. On the other hand works whose audience dies away as the language of its artistic expression becomes sharper, that refuse to impose and that quickly get wiped away since their original language do not appeal to the eye…
When the issues of making the art objects seen, exhibiting them, their material valuation and conservation are considered, it does not seem easy for the artist to establish a life focused only on his/her production independent of all these influences. Does the artist have any other option than to continue producing and investigating the source of moral corruption without losing faith and succumbing to inertia and despair especially in a garden where the cultural environment is limited by the political power?
Perhaps the burden is to grasp the fact that a production without an original and idiosyncratic background would not bear the truth and to shout the truth at the expense of loosing one’s voice and of being unheard and not understood, in an age where everyone easily believes in a lie.