Tayfun Erdoğmuş was born in Isparta in 1958 and graduated from the the Painting Department of the Fine Arts Academy at Marmara University in Istanbul in 1979. Tayfun Erdoğmuş creates compositions by organizing organic still life materials, such as dried leaves and flowers, in an organised manner contrary to their natural state. The basic structure of his work is the time and memory layers of the human-nature relationship, plant world, cosmology, biology, and the complex character of the new imaging systems, the artist’s techne is an attempt to become a passageway which makes the formation of the works possible, and reveals the transformational power of alchemy. In this context, plants collected from nature are dried and classified among the pages of large notebooks according to their shapes and types, become the words that form the basis of the artist’s vocabulary. The artist’s production process, which brings coincidence and mind, art and craft into a relationship which patiently mediates the formation of alchemy, is also a process of repair and healing for himself, and regains its presence in the memory embedded in the surface of the history that constitutes it. Tayfun Erdoğmuş’s personal exhibition named Elixir consists of seven drawings belonging to the series of Alchemy Notes (Simya Notları) which is applied on the Khadi paper. It is known that the Khadi paper is a material which is made from the bark of the Laurus Nobilis shrub that grows in the Himalayas and has the feature of antiseptic and wound healing and Erdoğmuş performs some kind of rehabilitation and healing operation resembling the characteristic features of the paper on these papers with his very own technique. In this making process carried on as if it was an alchemic experiment, organic materials such as dried herbs and chemical solutions interact with each other on the layers of the materials processed by the artist and create new images. The drawing process of the future resembles painting on glass and this made the audience feel as if the clock turns back.

From the beginning of an artist’s career, his/her inner world and home (which is a reflection of this world) are what determines the fundamental starting point and the kind of visual materials to be utilized, for each of the disciplines the artist works in. In her works, Kezban Arca Batıbeki constantly utilizes objects she collects both in Turkey and abroad, in creating a presentation of a world of her own. Aiming to create both a distinctive intimacy and a distance that is hard to close, the artist attempts to shake/question/renew her own world by means of dull colors and by making her works much smaller, in contrast to the Pop world she depicted in bright colors with her earlier larger works. The works in this show on the other hand don’t relate much to pop culture, they are hand-painted photographs with little color, thus maybe transporting the women’s world created by the artist to the time period it belongs to. In her photo-collages, sex is interpreted passively, rather than being utilized for its temptation as an erotic material. In Kezban Arca Batıbeki’s artistic practice, nostalgic elements are prominent, cinematographic scenes, photo-novels, knickknacks, magazines, sub-culture of the 60’s and 70’s, concepts of cliché, kitsch and pop permeate her Works, ordinary objects turn into icons. Though her inspiration comes from consumer society and pop images, she re-transforms these images to suit her artistic intentions, placing her works in a wide social context.

Atelier Marvy hosts exhibitions and workshops of many artists for you to experience a holiday with local rituals that nurture the soul, witness art and history. In this privileged area, within “Artist Residency” program, we bring together artists from different disciplines of contemporary art, exhibition programs and workshops with our guests. We are pleased to share our guests with this experience; the combination of art, enthusiastic rituals, creativity and abundance ... This year, in "Artist Residency" program at Club Marvy, we will host Cengiz Özer, who is inspired by the nature of Bodrum, where he settled last year. Özer, who equates painting with meditation, is also interested in Yoga, Tai Chi Chuan and Chi Qong. In his paintings, the artist combines with nature and life. The artist will create unique experiences at Atelier Marvy with his painting workshops between 1 July and 15 September.

Begüm Mütevellioğlu, whose paintings generally focus on the bond between humans and their habitats, this time includes nature into her compositions and interprets humans' relationship with nature subjectively in her exhibition " Florescence", which can be seen at Atelier Marvy from October 2. A nature, and figures and objects in relation to nature can be seen in all of her works. A LOOK TO HUMAN’S RELATIONSHIP WITH ITS HABITAT: “FLORESCENCE” In this exhibition Begüm Mütevellioğlu focuses on the personification of spatial elements. The spaces we encounter when we look at the paintings of Begüm Mütevellioğlu always offer us hints. They are telling the identity of the ones inhabiting them, are carrying the traces of life experiences. For her, a house or a room is not just an ordinary space surrounded by four walls. It is a private space that contains eccentric sceneries, windows opening to the gardens, memories, dreams, and ideas. Mütevellioğlu also exposes the relationship the art establishes with the daily life by bringing all these states into her works.

Born in 1979, in Ankara, Özmenoğlu completed her BA and MA degrees in Bilkent University, Faculty of Design and Architecture. Different techniques such as paintings, glass sculptures and site-specific installations made of unique press editions applied on various surfaces forms her works. She worked as a guest artist in Berkeley Kala Institute, Berlin; in Ateliergemeinschaft Milchhof e.V., Frans Masereel Arts Center in Belgium and Kulturkontakt, Vienna. About Starfish Ardan Özmenoğlu draws from her own experiences as a Turkish woman to explore ideas about history, popular culture, and the formation of a national and cultural identity. Known for her figurative works made from post-it notes and sculptures created from layers of glass panels, Özmenoğlu aims to make the viewer rethink familiar concepts, objects, and imagery using everyday items. She is recognized for her distinct usage of post-it notes in an attempt to depict her everyday life. Her technique involves adhering an array of post-it notes to her canvases as a base, topped by silk-screened vibrant imagery derived from popular culture. The result is a three-dimensional surface, adding a sense of depth and dimension to her work.

We go fishing with Beril Ateş! We invite you to this workshop where we will design tree ornaments or bookmarks with the fish, we will draw using ink and brush.

In art history, concepts like touch, kissing, and women are frequently encountered. Many sculptors are known to have focused on these concepts and created their works within this framework. Inspired by the works of renowned sculptors who have shaped history, such as Rodin, Brancusi, and Michelangelo, Ebru Döşekçi’s solo exhibition will meet the audience at Club Marvy from 14 June to 14 July. In this exhibition titled "The Kiss," the artist creates works focusing on the concepts of touch, kissing, and women, making a strong reference to art history. The artist strengthens her reference with the works in which she interprets figures, and all the pieces in the exhibition consist of two parts. Here, duality is read as the reflection of two figures about to touch each other in form. The artist brings together polyester, a material of our age, with representations from different periods from the 15th century to the 19th and 20th centuries, offering a new perspective on both history and the concepts of touch in this exhibition. About Ebru Döşekçi Ebru Döşekçi, born in Ankara in 1972, continued her passion for sculpture, which she began with great interest and curiosity, following her graduation from the Faculty of Communication at Ege University. She further pursued her interest in sculpture by obtaining a Master's degree in the Department of Plastic Arts at Yeditepe University. Inviting viewers into her world crafted with colors and geometric shapes, Ebru Döşekçi creates a different atmosphere each time. Since her first solo exhibition in 2009, the artist has participated in numerous exhibitions and fairs both domestically and internationally. She continues her work in Istanbul and London.

Esra Gülmen (*1986, Istanbul) is a Berlin-based artist from Turkey. As a genuine witness and observer of her zeitgeist, Esra Gülmen generates contemporary iconography of the here and now in response to visual culture, and the present, while, concerning the past, she uses a form and creative language all her own. She develops a playful, ironic practice by carving out and revealing the "embedded notions" of social codes, the human condition, our inner voice and, needless to say, our insights and daily obsessions. Intending to torpedo the ideal in contemporary art, such as irony and parody, her gestures move between fields, at times travelling along the boundaries of sculpture and painting. Gülmen's language of artistic expression addresses the viewer at eye level. Consequently, the "sublimity of painting" loses relevance in her works. Text, image or form operate democratically as intermediaries of her works, depending on the context. This attitude of hers can be regarded as the rawest reflection of the changing moods of modern humans, going beyond the impeccable and the ideal, moving closer to "the real." Seeking to render what can be known into something more perceivable, by making the image more visual, or text more comprehensible, Gülmen illustrates possible states of being outside "the great show." Challenging oppressive forms, the fetishism of meaning, and the burden of references, she calls us to revisit our questions concerning the raison d'être of art.

Is environmental sustainability achievable? If so, how? If not, why not? Although these kinds of questions are still insufficiently addressed, they are notable and vital questions that one has to ask, especially as we witness the death of the world day by day. So, what does the term ‘environmental sustainability’ really mean in a world which has been gradually being more and more globalized, authoritative, and marketized? Should we regard such a concept as the ultimate goal of the humankind which should be purified from exploitation? Or, on the contrary, is it a concept that should be exploited as a means to reach another end? With this exhibition inspired by Can Yücel’s poem entitled ‘Yesilmisik’, we shed light on one of the most crucial decisions that the humankind will take based on the aforementioned questions: Shall we run towards the green or run-in order to seize it? In “Yeşilmişik”, the valuable works of Eda Gecikmez,Güler Güçlü, Işık Güner, Horasan, Ali Şentürk, Günnur Özsoy, Su Yücel, Aylin Zaptcıoğlu, Camila Rocha, Alper Aydin, Murat Tosyalı, Canan, Ahmet Duru, Bedri Baykam, Nejat Satı and Ali İbrahim Öcal will be exhibited.

Atelier Marvy, Summer 2021 Club Marvy’s art center, Atelier Marvy’s exhibition season opens with the distinguished artist, Nadide Akdeniz’s “Flora’s Charm”, curated by Derya Yücel. The magical dreamland of Akdeniz will be available to visit between 30th June and 31st July. FLORA’S CHARM: NADIDE AKDENIZ The nature created by Nadide Akdeniz in her works can be eerie and menacing sometimes whereas, at times, it becomes tame and attractive with its gorgeous beauty. You either watch with awe or feel sheltered. Landscapes that can be as concealing as a curtain or as tempting as open windows, evoke the mystery and magnetism of secret observation. Flora means botany in Latin and it is the name of the goddess of flowers and the spring. Nadide Akdeniz’s paintings create a mythological habitat on the border of tame and wild. The mesmerising flora of the artist is a symphony that reminds us to behold with awe the sublimity of nature, the incorporeal energy of the forests and the joyful allure of flowers, it is basically visual poetry. Nadide Akdeniz graduated from Gazi Graduate School of Educational Sciences, Arts and Graphic Design. She was a student of distingusihed names like Turan Erol, Adnan Turani and Nevide Gökaydın. Her first works contain a certain amount of critical observation of urban life and people with doses of irony here and there. However, starting from the 90’s she embraced a new narrative of natural details interpreted through photorealism. Akdeniz continues to work in her İstanbul workshop.

Mithat Şen’s exhibition at Atelier Marvy called “Harmony” is the first exhibition the artist holds in İzmir. It is possible to see the traces of the artist’s transformation over time in Mithat Şen’s “Ahenk” exhibition, which presents different examples of the diversity of materials used in art production. In the exhibition that shows us how the 13 pieces that became the artist’s own alphabet were transformed with canvas, acrylic paint, parchment, marble, metal and polymethyl methacrylate materials, Şen’s relief and sculpture works from his recent ‘’İstif’’ series will also be on display. Mithat Şen’s painting carries the key of a meaning matrix about the geography he belongs to, as well as what it signifies as an object on its own. The body studies, which show us the patterns and acrylic paintings that the artist made in the 80’s, constitute a 13-piece ‘’Mithat Şen Scheme’’ that only signifies itself by transcending the human body and is repeatedly recreated by the use of the relationship between forms. This body, which the artist has been recreating for almost 40 years, turns into a discipline where geography explores the possibilities of the part-whole relationship. Each painting is a part of the whole that constitutes the geography’s perception of the universe; contains the knowledge of that whole, and this knowledge is repeatedly recreated in different forms by the artist.

2010 Mimar Sinan Fine Arts University, Department of Painting, 2001 Dokuz Eylül University, Fine Arts Faculty, Graphical Design Department Making surpassing ideological fictions and historical sublimation over social and political events a priority for himself since the beginning of 2000s, TUNCA has a versatile practice starting with design and extending toward sculpture, video and performance arts. Rambling between the grandiose layers of “memory” fueled by official history and individual stories, the artist captures the act of witnessing beyond documentaries and indications. Photographic documents used by him are combined with his subjective memory and then, reflected onto the paper by means of charcoal pencil, leaving behind a chemical sediment on it. The research focused practice of the artist is expanded to include history writing, in which he excavates the past in order to bring the present time into light, to fictionalize and animate it. Misfortunes And New Joys is the product of a research and dialogue process extending over two and a half years. It adds a new page to the artist’s practice tracing the historical sites, events and persons based on the ephemera collected by the artist from the second-had book sellers and auctions. The boxer figure seen on 6 photos that came to the way of the artist in an auction organized years ago and that were understood to be taken in the studio of Georg Gerlach in Berlin, producing memoir postcards, servedas the starting point of the exhibition although it was not known how they ended up in Istanbul. Reproducing on paper in big sizes of the photos of this boxer named Sabri Mahir, by using charcoal pencil as his main material since a long time, the artist invites the viewers to discover this enigmatic figure. *A quotation written by Serra Yentürk for this exhibition.

Asphalt Drawings of 1991 were paintings that the artist made at night and that were the residue of a day’s long thinking process, the physical sediments that stood in for their conceptual counterpart. Of course, the sediments only precipitate after a huge flood (of conceptualization) has washed the surface anew. Similarly, there is an instance of chance that the Black Album artist has been making for decades is built upon since the moment of the freeze cannot be predicted beforehand. KİMYA/SİMYA (ALCHEMISTRY) show at Club Marvy is picking up the tread on chance, chemical reaction and colors that has been ongoing for decades. About VAHAP AVŞAR Vahap Avşar, born in 1965 in Malatya, studied at the Faculty of Fine Arts at Dokuz Eylül University in Izmir between 1985 and 1989. During this time, he served as an assistant in the sculpture workshop of Cengiz Çekil, one of Turkey's prominent conceptual artists. He later worked as a research assistant at Bilkent University in Ankara, where he pursued his master's degree. After being invited to a guest artist program in 1995, Avşar decided to settle in New York City, where he continues to work to this day. In his works, which include photography, painting, installations, performances, and moving images, Avşar demonstrates the influence of conceptual art tradition. By utilizing iconic images, everyday objects, and the aesthetic understanding of popular culture, he aims to expose hidden issues within our geography. Through his art, which sometimes adopts a minimalist and provocative style, Avşar critiques power relations, political oppression mechanisms, societal violence, and conflicts.

"Rest in Pieces" presents a fictional journey created by Ahmet Rüstem Ekici and Hakan Sorar, inspired by the narrative forms of archaeological data and surfaces. The exhibition centers on the themes of death and permanence, focusing on the relationships between body and space. In 2023, the duo experimented with recording the processes of AI tools, exploring the transformation of words into images, videos, sound, and 3D objects. Inspired by the migration of frogs in Kütahya Domaniç and the frog-shaped rhytons exhibited in the Kütahya Museum, the artists investigate the production methods of nature-inspired archaeological objects and explore the concept of skeuomorphism. Enriched with AI tools, the exhibition reinterprets traces of the past from an artistic perspective, creating a museum replica that aims to transmit knowledge to the future.

Working with fabrics allows for a collective thinking process intertwined with lived stories; the memory of the material opens a space for shared production and transformation. The artist, who is interested in how the use of fabrics has changed over time and how they have been passed down to the present as objects and carriers of memory, presents a reflection on the place of fabric in everyday life, the motifs it has carried from the past to the present, and what and how we cover and conceal in our lives. A selection of works produced by İlkin over different periods, featuring fragments of nature collected from places she traveled to in order to record the memory, resistance, and transformation of the land, comes together under the same title, Praise to the Earth, inspired by Byung Chul Han's book Praise of the Earth, at Club Marvy. In Praise to the Earth, the writer, while describing the plants he grew in a garden he started working on with the intention of connecting with the soil, offers a narrative that references human nature, suggesting that a person can only rediscover themselves and break free from captivity as they draw closer to nature. The partnerships and stories where humans and plants root into one another create an organic unity in Praise to the Earth.

DEBAUCHERY IN PICTURES WITH ELEGANT IMAGES Reverse painting on glass is an anceint form of art, which is applying paint to the back of a piece of glass, sometimes embellishing it with colourful glitter paper, telling the same stories forever, stories which you can view by turning the glass over and looking through it. A basilisk or an “Amentü boat” ( A boat figure made by the letters of Islamic prayer) are the most common figures of this art form. In Anatolian folklore, the reverse painted glass pictures were considered as talismans for good luck, therefore they could be found on store walls or inside the dowry chests of the brides. Mevlut Akyıldız is an artist that uses the same technique to tell ironic stories that are altogether far from the traditional reverse glass paintings. His humorous artworks are sometimes enriched by old frames with their faded gilts and unknown stories. Mevlut Akyıldız paintings on glass and paper, through multiple techniques, tell us about the Casanovas of our culture and how they treat their subjects of desire. As you know, Casanova is the greatest womanizer of history. In his collection, “Casanova’s Love Book”, Akyıldız’s paintings reflect the tragicomic stories of our Casanovas in a most humorous way The exhibition will be presented between 18th May and 18th June in Club Marvy. The visitors will enjoy a fun experience with the multilayered stories on glass of Casanova Kazım, the women he fell for and how hard he tried to win their hearts.

Özlem Şimşek is a photography, video and performance artist who studies identity representations. She transforms herself using make-up, gestures and costumes into Ottoman - Turkish women, carrying out a performative research on the categorization of desires behind the historical as well as societal engineering of womanhood and femininity perceptions. In “Broken Narratives” project which includes her works from the collection “Contemporary Turkish Art as an Autoportrait”, Şimşek dresses up as the female figures depicted in the prominent, modern Turkish paintings.

Since the invention of photography, countless ways are developed to capture the vision created bylight, some of these practices İost their importance in time while most of them struggled long and hard with the standardised and highly profitable technigues of the photograpy industry before they threw in towel. Alternative photography is a term used to define historical photo developing technigues that are no longer commercially available. İn the 1960's, alternative photography was born as a protest slogan against the monopoly of the photography industry and its focus on very limited, profitable products. Alternative photography promises an infinite world where you can use both old and new technigues. Today, a great number of photographers, in their pursuit of freedom, inspiration and unigueness have turned to the practical authenticity of the 19th century photography. Considering that it is still possible to rebel against technology and to achieve such unigueness, it is impossible not to wish that Sir John Herschel's influence remains forever on this art. The exhibition includes works of nine photography artists who work under the roof of Ka Photography Development Atelier, using alternative printing technigues.

"This exhibition is the sequel to my 2017 Fill In The Plant project, in which, along with my previous works, I present my focus on the landscaping imagery in people’s habitats and our problematic relationship wih nature. In my compositions, I re-interpret human-made landscaping in different cities and countries. There are also some works with marble images which would be familiar to those who have seen my previous exhibitions. I wanted to shed a light on the transformation of the nature under human control and disposal independent from its innate mechanism. Our exigence for nature increases in direct ratio with the deadly destruction we create. Our “solution” is to build human-made nature. My main focus is this new perception of nature which is very different from the traditional landscaping. We are struggling to create our own safe zones in this artificial environment and these structures evolve into either natural entities that we come to accept without even noticing or to monsters that makes us shiver everytime they catch our eyes. Are we capable of forming a bond with this artificial nature? How much can we internalize it? How safe do we actually feel? What sort of a correlation can we form betwen the wild nature and our lanscaping? How do we fill the plants in? These are the fundamental questions I have."

“Advocating democracy, peace, science and art, accomplishing moral conducts have become acts of courage in our times.” Justice, equality and freedom, the indispensible and irrefutable dynamics of humanity are imperative in every aspect of life. In the past, standing up for them meant standing up for everything, from freedom of speech to the right to live. However, in the times that we’re living in, demanding those common principles is an act of defiance to the powers that radicalize them, creating heroes out of people who seek these basic rights. As an example, advocating for proper living conditions for animals is merely an erratic behaviour according to some minds. The individuals who are passionately fighting for the moral principles and basic rights have become Don Quixotes of the society, they are perceived as lunatics who are after inane adventures like chasing windmills. Through this perpective, artists and art lovers of today are all Don Quixotes against life, fighting a battle of existential reality.”

“In our modern times, the increase in the private spheres is forcing the public spheres to shrink or be wiped out completely, which brings individuals face to face with the toughness of life. Lured by the irresistible charm of urban life, people have no choice but race against time to survive in this challenging environment. Unfortunately, public spaces being invaded by private ventures at the cost of nature’s destruction and skyscrapers besieging our lives, have come to be accepted as ordinary facts of life. The movies and television shows are forcing their way into our lives through the screen, the visual and audial images acting as effective stimuli to enhance consumerism as people begin to identify themselves with those images. City is a stage for consumerism to reach its ever-greedy objective, by providing easy approach and visuality. In that aspect it resembles the individuals in search of finding their true identity whereas, more and more each day, the individuals have started to resemble the cities they have built. Urban life, with all its glimmer concealing the cage-like form lurking behind it, is offered as a magnificent bait. This is merely a stage of lonesomeness. Aside from all the light pollution, urban lives are the perfect examples of disidentification of cities and people. Hence the need arises for individuals to leave their connection with the outer world outside their doors, to ponder the realities of the world within their four walls, alone in their safe space, trying to find their true identity and become whole.”

The project "Cristina Bowerman by Sıtkı Kösemen" is a welcome to the chef as well as a reflection of Club Marvy, as interpreted by the photography artist. Kösemen uses the most important assets of Marvy's visual power, its natural surroundings and reflect them in all their glory in his photos.

“We are born into a world that’s been fictionalized. Each of us, through either our intelligence or talents, is placed ahead or behind another one, just like in games. Since the ancient times, there has been many games, some of which became extinct, unable to defy time and conditions. Are the lack of these forgotten games conditioning us to use our minds in different ways? Is the concept of time being consumed, shrunk and portrayed through images? I can almost hear you sigh, remembering the good old childhood games in which both our minds and talents were kept active. Now is the time to decide what to add to or subtract from our lives so that we could create our own fictions in the minimalized world that’s left behind.”

Club Marvy’s art venue Atelier Marvy hosts artist Kemal Özen in the last exhibition of 2019 within residency program. The exhibition called Transgression will include the artist’s previous works as well as the ones he will be producing in the residency atelier of Marvy.

Artist Haluk Akakçe is at Atelier Marvy with his exhibition “I Wish I Could Go Back In Time” between July - September 2020. The art residence of Club Marvy, is hosting the artist Haluk Akakçe within the context of ‘Art Residency’ program, during July- September 2020. As an artist dealing with themes of change and transformation in his works, in his exhibition called “Keşke Zamanı Geri Alabilseydim… / I Wish I Could Go Back In Time…”, Akakçe is promising the spectator a journey to a parallel world where “facts” like time and distance do not exist. The exhibition holds many surprises awaiting the spectator in the new works of Akakçe, who believes that the artists should not confine themselves with established patterns and ways of expression. About I Wish I Could Go Back In Time I believe that I am indefinable and inimitable. Every work that you put your feelings into, arouses the very same feelings in the people looking at them. Art is such a thing that will never disappoint you. I never gave up on dreaming. I dream of something, and I realize it through my art. I find the things that are overlooked by people to be interesting. I feel close to each and every color. I can use any object as a material, a wallpaper, an ashtray and so on. I feel my life, my loneliness and my crowd in them. What interests me more in arts is the human experience, in other words, the inner experience. Here, I am talking about an experience appealing to feelings, feelings that are beyond everything such as geographical borders, religion, language, race, gender and age. In other words, the real impact it left on you, the basic feeling it aroused in you. (…) However, what I do is also very aesthetical. As an artist with a background based on architecture, I’ve struggled a lot about this. What I do is all about beauty. I love beautiful things and I love beautifying things. I think that we need beauty. In fact, there are words in art, too. You create your own alphabet and language with their own rules. With art, you address different perceptions. We are witnessing a profound change. We will all together see what the new world will bring us. That’s why, still keeping on dreaming and creating and sticking to art…

The backbone of Elvan Alpay’s artistic practice is the colourful floral and animal patterns used in the background of her canvases. Flower and leaf motifs made with acrylic on polyester film are seen as layers. The artist interprets her multi-coloured compositions as a playground for reptiles, birds, frogs, leaves and trees. Alpay’s works remind us of the therapeutic relationship we need to establish with nature for a colourful and peaceful world. While the titles “Game Over / Let’s Play” given by the artist to her exhibitions make a subtle reference to the social and political order we are in and reflects the wish of an end to this endless stumbling of stumbles and a more humane beginning. ELVAN ALPAY Elvan Alpay was born in Ankara, currently lives and works in Istanbul. Alpay graduated from Marmara University Faculty of Fine Arts in 1990 and completed her master’s degree in 1992 at the same university. Alpay’s solo exhibitions include Galeri Zon-Ankara (1990, 1992) Galeri Nev İstanbul and Ankara (1997, 2001, 2005, 2009, 2012) and group exhibitions include Arkeon Galeri-İstanbul (1992), Galeri BM-İstanbul (1993, 1996), AKM-İstanbul (1996), C.A.M Galeri-İstanbul (2002) ve Galeri Nev İstanbul (2005, 2010, 2014).

Ahmet Elhan He was born in 1959 in Izmir. He was educated in the Graphical Design Department of Fine Arts Faculty of Marmara University and in the Cinema-TV Department of Fine Arts Faculty of Dokuz Eylül University. Working on photographic images, Elhan lives in Istanbul Exhibition: Places represent a process of building-disassembly/building-assembly. The site is divided into thousands of components and then, these components are combined again. However, this combination does not look like the previous unity and it is made to assemble a new building by using an almost cubic method. The resulting work will look like a mosaic. But the unique appearance of each part of the mosaic will show differences here as they are transformed into a building made up of what is borrowed by each part from the neighbouring parts. In this manner, physical hierarchical sequence of the three-dimensional site that makes an influence on the viewers will disappear and analysis potential of the two-dimensional image will be emphasized.

Current artistic practice of Volkan Aslan is impacted both by his memories and also by his impressions about the shaping of our time perception. Some remembered and some forgotten, these memories draw him toward certain objects he meets in the daily life, reminding him of his past. He playfully manipulates these objects in order to create surreal structures combining his personal associations with new and unexpected interpretations. The series named “Dear Ugly Future” made of amorph neon lights placed on cast plaster sculptures emphasizes the ever-changing approach to ideal beauty by using the reproduction theme. The series consists of 18 sculptures and it mostly addresses the commonness of arts after it was transformed in the process of remaking those sculptures belonging to Antique Greek period. This transformation also contains an uncertainty about the future aesthetic judgment that might develop from the interventions made by the artist to the busts of certain characters like Sappho, Hermes and Apollo and brings forth a potential for replications in connection with the arts history not yet written.

IF A BIRD AND A FISH FALL IN LOVE WHERE DO THEY NEST? The poetic question that gave its name to this exhibition is about investigating the chances for the equalization between those beings that have fundamental or life differences. The works at the exhibition contribute to the growth of a seed planted by impossible romances that we only sea in fairy tales. They produce the images of a utopic union that is beyond all differences of thought and class. The exhibition focuses not on the answer to this question but on the inherent power of this meeting of fragile beings. In the exhibition, previously unseen designs from the series named “My Name was Written on All Pages” that gave the name to the two basic individual exhibitions of the artist organized in Ankara in May, 2021 and in Kassel in November, 2021 were combined with the new water color works on which the artist was working since 2022. These new paintings in which Rüzgar made its own research on mutual reflections and reproductions picture how ordinary is transformed into extraordinary when it intertwined with another, by reminding us certain important massacres in the human history instead of making referrals only to the poems or fairy tales. The exhibition named “If a Bird and a Fish Fall in Love Where Do They Nest?” also offers a chance to the viewers to see for the first time the sculpture-like ceramics of Necla Rüzgar. Very much like the “multi-hearted beings” of Rüzgar, these ceramics seem ordinary or casual at the first sight but when you hold a bowl, you almost see the walls of a cave coming into reality. Necla Rüzgar Necla Rüzgar serves as a professor in the Painting Department of Fine Arts Faculty of Hacettepe University. Her paintings, sculptures, photos and videos are exhibited in many cities including İstanbul, Mardin, Diyarbakır, Lyon and Seoul. In Zurich she was invited to the first Salon Blanche organized by the curators Susann Wintsch and Chris Bünter. In 2017, Swiss curator Wintsch also organized the exhibition “Vertical Dialog” in Galerie Widmer, again in Zurich, that draws attention to the mental and aesthetic associations between Paola Junqueira from São Paulo and Necla Rüzgar. Rüzgar’s works are also viewed in Akademi der Künste Berlin and in the National Museum of Contemporary Art Bucharest. In Basel, it is though The Ayşe Umur, Agah Uğur Collection Exhibition “Freund Schafts Spiel” organized in 2016 in the Museum Für Neue Kunst and through the “The Compiler Screenings” organized in 2017 in Stadtkino Basel that Rüzgar’s Works are presented. Her exhibition named “Creature with Multiple Hearts” organized in 2018 with the curatorship of Deniz Artun in Galata Rum School was a comprehensive retrospective. Later her more recent works selected from this exhibition were invited to the exhibition named “Éloge de la Curiosité” organized in the Galerie Henri Chartier as a parallel activity to the Lyon Biennial. Finally, Necla Rüzgar was invited to prepare a solo exhibition comprising of 100 pieces for the contemporary gallery of the The Grimmwelt Museum in Kassel..

“Of course, I’m thinking, sadly looking at the glimmering bay, I know since forever. Earth’s hearth is BLUE’’ Maggie Nelson Atelier Marvy finishes 2023 exhibition season with the exhibition “The Earth’s Hearth is Blue”. Based on the book titled Mavibent in which the author Maggie Nelson traced her lifelong obsession in blue color, the exhibition will be opened on 22nd of September. Like Maggie Nelson who hosted in her book many blue spirits such as Goethe, Wittgenstein, Yves Klein and Leonard Cohen, Atelier Marvy chases the blue color used by 18 artists from varied disciplines, pondering on the blue spirit reflected in these works, welcoming their blues. In the last exhibition of the season, Atelier Marvy says hello again to the blue freedom with the movie Three Colors: Blue, directed by Krzystof Kieślowski, with soundtracks composed by Zbigniew Preisner. The exhibition may be viewed until 31st of October. Participating Artists: Ahmet Müderrisoğlu / Ayşegül Dalokay / Beril Ateş / Can Akgümüş / Cengiz Tekin / Damla Sari / Ebru Döşekçi / Enes Debran / Erkan Özgen / Fırat Engin / Gökhan Tüfekçi / İdil İlkin / Metin Çelik / Murat Burhanoğlu / Mürsel Argunağa / Serdar Acar /S inan Logie / Tuba Merdeşe