Swiss magazine Tribune des Arts featured an article about Barbara Polla, her gallery Analix Forever and our upcoming exhibition with Dana Hoey and Guillaume de Sardes.
Knowing the difficulty to keep up with the information load on social media and to share relevant news alike, I decided to launch out into creating my very first (probably monthly) newsletter.
You received this because at some point our paths crossed (and we most likely exchanged emails), so I hope it finds you well! And please find below all the exciting things that happened during November.
Click here to read my very first newsletter!
https://yia-artfair.com/edition-2019-pendant-paris-photo/
PAY HER, ce que le genre fait à l’image, par Mimiko Türkkan, photographe
Qui regarde qui et pourquoi ? qui désire et dévore qui ? quels sont les pouvoirs – de fascination, de déconstruction, de révélation – de l’image ? Dans une série intitulée Pay Her(e), la jeune artiste photographie, entre désir personnel et distance critique, un strip club, les couloirs, les vestiaires, la scène, et surtout le corps des femmes vrillé autour d’une barre de pole dance.
Les images s’affranchissent d’une construction médiatisée pour rendre visible les zones parfois grises, écrasées par le phénomène de stéréotypie. Par l’expérience comme nécessité à sa pratique, les photographies dépassent la vision statique incarnée par le stéréotype d’origine. La série Pay Here interroge le genre politique par le corps. Les danseuses de pole dance photographiées en dehors du show, délaissent les polarisations d’un regard masculinisé et d’une sexualisation exacerbée au profit d’une charge sensuelle consciente. Cet entre-deux démagnétise ainsi l’habitude du regard tourné vers l’objectification du corps, laissant un nouveau point de vue ouvert.
Les images décrivent des identités construites par et dans la société. Par l’observation de l’individu dans son ressentit propre, l’artiste se réconcilie avec le genre pour admettre sa propre identité plurielle, différente et fragmentée. Ancrées dans le réel, les narrations visuelles de Gözde Mimiko Türkkan se saisissent de la relation à l’Autre pour mieux se découvrir soi même.
Read the full text here: https://fionavilmer.com/gozde-mimiko-turkkan
Herbes folles et roses trémières tout l’été à Analix Forever Moving Art
Analix Forever – L’herbe entre les Pavés (et les roses dans les phallus)
Exhibition opening 24-25-26 May 2019 in Geneva
with works by Céline Cadaureille, mounir fatmi, Nikias Imhoof, Guillaume de Sardes, Laure Tixier, Guillaume Varone & Frank Smith and Marino Buscaglia
‘Auteure d’un essai sur la nouvelle vague féministe, la Genevoise Barbara Polla souligne sa portée citoyenne et révolutionnaire en Suisse comme dans une bonne partie du monde. Rencontre avec une humaniste hors norme.’
GÖZDE MİMİKO TÜRKKAN, PINAR YOLDAŞ
16 FEBRUARY – 23 MARCH
Pilot is pleased to present “Beau Ideal”, a reflection on constructed beauty and a glance at gender politics. Today, having interest in how our bodies appear to our surroundings became a political issue. What we find aesthetically pleasing, cool or tacky is constructed by and also constructs the society. Along with the presence of Butler in the 90s we acknowledged that gender is a social construct. Gender is real only to the extent that it is performed and is a process of self-construction as well as beauty.
Gözde Mimiko Türkkan and Pınar Yoldaş has fresh approaches to the concept of “collective desire”. They delve from variety of angles into labels; skin colors, ethnicities, species, gender norms… Playing with the idea that the colors, forms or behavior of bodies are inherently vested with specific meanings, the exhibition sway in the breeze and they arrive to the station of body politics. Which body is the ideal one, according to who, where and when?
“Beau Ideal” features Türkkan’s photo series “Now You See Me” (2015-ongoing), the re-enactment of amateur looking-porn videos and “cam-girls”. The work expands in the exhibition and artist goes out for a new adventure, a search for the biggest right hand of man of African origin in Istanbul she can find. In this search, she produces a sculpture that determines the criteria like the glass shoe in the Cinderella story. Artist also documents her search and turns it into a video work. As the mediums diversify Türkkan’s investigation of the beauty myth branches. Looking from this perspective, the hand becomes the symbol of a workforce and its exploitation, in our era it becomes an instrument to measure success and define talent, like in the case of sportspeople. All in all, Türkkan’s works suggests a collective desire to be accepted.
Pınar Yoldaş’s “Designer Babies” (2013-ongoing), recently exhibited in the 4th Design Biennial (2018), is returning to Istanbul with new babies via Pilot Gallery. In the scope of her bio-critical feminist approach she also produced a new video. The work can be summarized with Agnes Vardas’ words from Les plages d’Agnès (2008): “The women’s struggle will be collective or it will not be; it’s not just about being free.”. Yoldaş wants to look deeper into the idea of beauty and finds its origins in biological world. Following in the footsteps of feminist philosopher Elizabeth Grosz, who believes that our notion of art and beauty is rooted in the animal world, Yoldaş continues her collages of biological excess with two new pieces focusing on birds and the young animal.
Gözde Mimiko Türkkan and Pınar Yoldaş confronts the mainstream, pre-conceptions and biases in the society. Which hand will fit in? Which baby will be the perfect one?
http://www.pilotgaleri.com/en/exhibitions/detail/97
