In its conceptually freest and historically avant-garde form, experiencing the perplexity that contemporary art can instill is tantamount to living behind a language barrier. With only fragments of understanding and subject to frames of exclusivity, both mimetic when not entirely opaque, the heartbreaking charge of postmodern artists is that they support veils of darkness so dense and wavering that it seems their purpose is to cause mass confusion. absurd.
But if there is one reward to their crafty games, it’s that they managed to pull out from the incredibly diverse audience of proudly individual citizens a dissonant chorus of original and critical thinkers who could stick around for awhile and play along. The dizzying cacophony of objectified objects that Emre Hüner has placed in the sterile, whitewashed air of the museum in Istanbul’s industrial district of Dolapdere evokes a disturbing dystopian mood. With the radical curation of Aslı Seven, “[Elektroisolazyon]Is a mind-eye coordination puzzle.
Like the general tendencies of his conceptualist colleagues currently at work in installations-based works of art often seamlessly integrated, metaphysically site-specific, and drifting towards a transcendent semiotics of form, Hüner engendered a catalog of multidisciplinary acts of mediumistic creativity. In short, there’s an obstacle course of sculptures, 3D printed mutations of mechanical organisms, an amphibious genesis of utility and imagination, all encircling the film-encrusted location in noir and white over 5 hours and a science fiction book.
Thinking of “[Elektroisolazyon]“, The question simply arises of knowing where to start. Any narrative potential is as confusing as the forms of its many and varied sculptural elements which seem to be linked only by a fragmented alphabetic aesthetic. There is, for example, a vast three-legged construction pillar, which could be seen under the foundations of a recently excavated giant skyscraper, or next to a highway intended to slice a continent.
If a message could be gleaned from a first impression in Arter’s Gallery 1 during “[Elektroisolazyon]”Is that someone’s productions are underway. What seers cross is the naivety of an artistic process. It is plausible to assume that Hüner is exhibiting an adventurous invention of his intellectual obsession with the effect of industrialization on society, as if the assembly line of a parts factory had imploded and he was gone the next day. to seek out what interested him the most intuitively, little by little. little, coming together towards an ending as illogical as its beginning.
And the time is up
According to his exhibition guide text, “[Elektroisolazyon]Is not based on, but mediated by a revolutionary exercise in screenwriting. Considering that the cinema is sometimes seen as the quintessential holistic vehicle through which to express the myriad paths of human creativity, including the visual arts, performance, theater and music, among other sources of inspiration, reducing its functioning internal to the technical details of the script, and how that might be extrapolated into concrete terms is, in theory, Hüner’s contextual raison d’être.
The crazy magic of disparate items ranges from a line of odd-numbered shoes to motorcycle helmets, cash register, mannequin heads, gas cans, snorkel gear, fins, pumps, among countless. indistinguishable components. Many of the more everyday and distinctly noticeable configurations are repeated although coated, discolored and distorted with various layers of epoxy, molds and casts. They are connected by twisted and geometrically inventive mechanisms of posts and panels that make up the installation “Anoxic Event” (2021).
As a multiple sound piece, “Rainforest V (variation 3)” continues to strike heads with the multiplicity of a Greek hydra in Arter’s “Karbon”, a lower level venue for more sound works and concerts. live, to say that “[Elektroisolazyon]”Is probably the museum’s most ambitious exhibit to date when it comes to the fusion of such a profusion of eclectic elements is to make a bold statement. The sheer cornucopia of entities is only surpassed by the length of its film and the interchangeability of a marquee scroll with a practical endless array of alternate titles.
In the language of Arter’s high-value curation, “[Elektroisolazyon]Could be criticized as being nothing more than a selfish, oblique laboratory whereby those in the know could sit and talk to each other in the spirit of a cerebral circus, traveling not so much like troubadours medieval as futuristic scholars across hyperspace, inside caravans of institutions that stop to unpack along the rarefied fringes of the Eurocentric art world. Such an image is not entirely unfounded during Hüner’s baffling fictional production.
The fictional shorts that accompany the exhibit are by one, Meliha Erdem, whose biographical sketch at the opening of the thin 26-page volume is as unconvincing as the sci-fi writing sequences in the body. of his surreal prose. There is, however, a curious interaction at work in its presentation with that of a film, where the mental modalities of the text are limited, themselves, to a more open interpretation as opposed to the multi-layered objectivity of the appearances on the screen. ‘screen.
After all is said
A flat screen supported by a metal device of hollow and bare rails projects the film, “[Elektroisolazyon]”, In which there is a semi-bucolic scene with a character who looks like someone who is not housed, wearing a hoodie over a baseball cap, rummaging through what is probably a pile of garbage. But they grab a piece of it and seem convinced enough, carrying it over grassy mounds before the staging cuts through the yard of an abandoned building, the camera still behind a chain-link fence. The distant figure lifts the thing they have ostensibly taken by a rope.
The inexplicable of the film’s succession intensifies inside a huge industrial factory, where an old man stands next to a woman in a transparent plastic raincoat. There is a well-framed close-up of the eccentric duo. The man has a puzzled face, holding a transistor radio. The woman doesn’t look away, her almost inhuman gaze as she gazes into the distance. Other parts of the film are reminiscent of a past exhibition at Arter by filmmaker Rosa Barba, “The Hidden Conference”, showing behind the scenes art collections.
There is an aesthetic affinity with twentieth-century visual critiques of cultural modernism and its mechanically reproducing discontents throughout Hüner’s multifaceted installation where one wall shows a series of prints after the work of Dutch graphic designer Wim Crouwel, in particular its 1967 typeface, “New Alphabet”. When viewed on their own, the nine pieces on display could be as dissociative as the rest of the outwardly fragmentary exhibit, but when viewed in the recurring motifs of the exhibit, associating and fusing organic material with industrial products , they are complementary to the general tone of “[Elektroisolazyon]. “