Kopuntu Exhibition @ Macao Milano

Kopuntu Exhibition @ Macao Milano


The Confusion exhibition was an opportunity for a collective expression of artists from Turkey who have been continuing the production of their art while the freedom of expression was being challenged due to the politics that also has narrowed production and living space in Turkey. The artists participated to the exhibition are currently still living in Turkey or abroad. With the initiation of the curator Milen Nae the artworks has been brought together and exhibited under the title Confusion and created a space of discussion on subjects Home, Confusion and Hope.

Ayşe Tuğ

As If, 40×50 cm Acrylic on canvas, 2017

Untitled, 50×70 cm Acrylic on canvas, 2017

Can Aksan

Blanket [volatile], Video Installation, Blanket, Curtain, Projector,  Loop 2017

Sitting in the middle of emotions, fleeting & volatile, due to its constant shift through migration & belonging. A blanket falls, longing to get back to the top. We stand together under that blanket, in the interval suspended under waves of oppression. * lifts *self, listening to all that falls in its periphery, all discourse, all steps, all arrivals, all endings. At every ending, what is the source of that momentum which triggers a rebirth? A spiral. The blueprint of common ground, transcendence and solidarity.

Cansu Gürsu

It is my decision, 50.5 cm diameter, mix media on canvas, 2017

“i made a decision. I am also the one who reached.It may burn. It is my decision. This road is the closest to where i am going. The rest is all held. By you.”

Deniz Aktaş

Untitled 70×100 cm ink on paper 2016

Untitled 40×100 cm ink on paper 2016

In his drawings and paintings, Deniz Aktaş examines traumas imprinted on the city’s memory through a perspective of human – space relationship. The sceneries that have been depicted meticulously by the artist contain overtones of gentrification, forceful eviction, demolition teams and even shoot-outs on the buildings of a complicated, profound and disorganized city. The buildings of Aktaş swallowing, covering its residents and making them invisible, create a sense of being drawn into a vortex or getting lost in a maze.

Serkan Kaptan aka delememed –

Wormhole to Istanbul video installation  6’00’’, 2017

Elif Demirci

Adventures of Elon Mars Book and posters

Silicon Valley is an important center of technology, where many of the ideas and tools we use daily are first conceived and brought to life. Unfortunately, humanity today remains rooted in post-industrial revolutionary production, and considers its needs as primary over those of the earth. Instead of working on sustainable future, modern society prefers paths that are selfish and destructive. It’s a crucial time for engineers, creative thinkers, and entrepreneurs who really care about the future of humanity.

‘The Adventures of Elon Mars’ is a fictional story starring Elon Musk, the grittiest and most naive person of the valley!

As a follower of Saganism, approaching science with a romantic attitude, I am simply inspired by his personality and celebrating with my creative expression.

This book is all about.

The Project is an experiment about inspirational leadership in opposition to our everyday life experiances.

Eşref Yıldırım

Postcards 2017

In his Postcards (2017) series Eşref Yıldırım uses different alphabets ranging from Cyrillic to Urdu to cipher politically charged statements that are subject to censorship in both countries. In contrast to presenting only a limited number of avoided slogans by opposition groups, Yıldırım’s postcards offer people a chance to express their opinions with the help of the medium’s anonymity. Although lacking the visual charm of touristic landmarks, Postcards utilize typographical tools and phonetic plays to give hints about their origin as well as their destination.

Genco Gülan

Twin Barber Digital fictional photograph,  models: Deniz Çelebi, Yeliz Çelebi photographer: Koray Erkaya 2015

Grooms Shave Digital painting, models: Deniz Çelebi, Yeliz Çelebi

photographer: Koray Erkaya 2015

Piramid Sanat

Quotes from emails between Genco Gülan and art history master student

Anne-Kathrin Segler from the Technical University of Berlin.

Anne-K: In the process of developing a subject and a leading question I came upon an article in a german newspaper, which featured one of your artworks. Your work got me started on thinking about how older artworks are or can be used (among others by the media) to comment on specific political or social situations of our time, how they themselves raise attention, convey the feelings of an artist and inform the public. I also find it interesting, that you’ve chosen to model the painting on Caravaggio.

Genco Gülan: -They are about shaving and social pressures on identity. -The notion of getting be-headed by (2) woman? What if these 2 woman are the same (one?) To reflect the plurality of ones inner self?
Good and evil in us working together, hand in hand?

-I picked to use these because in summer there was a military coup attempt in Turkey and during this attemt several soldiers were de-headed on Bosphorus Brige. I got deeply effected with this. Talked about it during the interview and decided to use these (rather old) images related with a situation rather new or fresh.

Levent Duran

Kenophobia, poster installation

kenophobia is a non-painting painting  wich is created in a personaly invented technic -painted in exact opposite way of painting and it does not related to basic rules of painting such as composition, balance or espass. it’s a reaserch to discover an undirect link from art to Psychiatry.. a try out to create a figural abstract language wich is as spontanious as  dreaming.. and at the end it’s expected to be a coincidental reflection of the urban chaos and the actual human mind traffic!

Melih Sarıgöl

aPresentForPresident watercolor, 35×23 cm, 2015

CarnivalOfCardinals watercolor, 35×23, 2015

Dönbabadöndön watercolor, 70×70 cm, 2017

İlişkileri watercolor, 95×25 cm, 2017

Collective unconsciousness is my playground. {An attempt of alienation and re-definining the familiar through mass media images.}

Modern societies are shaped by images, either used in the obsessive recordings of private life or used in the service of power of the state or industry or science, or to supply vast amounts of entertainment or to stimulate consumption etc. Specifically the photographic image, through which information can be aquired in a massive quantity, enables the production of knowledge independent from experience. Susan Sontag says, in this reality anything that is photographed becomes part of a system of information providing possibilities of control which couldn’t be possible before, so reality becomes more and more what we are shown by cameras. In this reality, as mass media images constitute the considerable part of our experience of everyday life, the timeless, spaceless and faceless representation of the chosen images in Melih Sarıgöl’s work, turns our relationship with photography upside-down. As the images appear in a different medium, the ghostly effect of watercolour on the blank background disrupts the one way flow and accumulation of information through mass media images, by creating a space for questioning collective unconsciousness.

The pace of production and consumption of images unables the process of questioning this information as it flows. In his work, the scenes he chooses from social and public settings are awkward moments, which gets totally normalized within the flow of information carried through images and consumed by us, each and every day. These frozen awkward moments of existence broken off from their contextual tie and isolated from the bombarded stimuli creates a momentous pause to recollect data on our position to the rest of the world. The uncanniness of these frozen moments of masses and individuals, strips them from their coded meaning as a possibility of alienation and re- definining the familiar.


El Orfelinato, photogrammetry, 2’12’’, 2017

Orphanages are dense and harmonious living spaces housing hundreds of children under same roof simultaneously. Abandoned Jewish Orphanage Building in Ortaköy (OHR-tah-keuy) Istanbul (also known as El Orfelinato) has been home for thousand lives during its century old history. It holds the memory of the past in worn stairs and layers of paint.

El Orfelinato means ‘The Orphanage’ in Spanish. The name has been used by Sephardi Jews (Jews from Spain) community in Istanbul for decades. Sephardi Jews have a 500 year history in Istanbul since they were forced to migrate with mass conversions and executions by Catholic Monarchs in Iberia in 15th century.

oddviz sheds light upon the visual and spatial memory of El Orfelinato, documenting it as it is with photogrammetry and presenting it in doll house view.

Merve İşeri

My Immigration Papers oil on Application for Indefinite Leave to Remain in the UK as the Partner of a Person Present and Settled in the UK and a Biometric Immigration Document, 2015

The series reflects my feelings towards the bureaucracy of immigration. Immigration process is all about separation.

I was given an application 30 pages long that asking many questions. Identification that I am not used to.

Otherization happens almost everywhere with different ways, this was just one of those moments that I faced because I wanted to change my place on earth.

We all share this common ground together, my place of birth is still on the same land with you that has same rules; day and night, flowers, gravity. hopefully aware us; people; to step back and see that humanity is one race.

all the land is ours and no one is living forever.

Human nature is mobile, changing places expands the points of view and this is something positive towards understanding each other, being more able to make empathy and ultimately more peaceful mind sets. So I believe mobility on earth shouldn’t be complicated but cherished.

I am seeking a harmonious life. which serves for all individuals and not just for humans or specific ‘type’ of humans… hopefully aware us; people; to step back and see that humanity is one race. all the land is ours and no one is living forever.

Özcan Saraç


2017 | Computer generated sound installation

10 media players with headphones – 10 constitutions – fact sheets

When Earth is visited by different forms of life, what concept should the aliens first learn in order to understand humanity? In everyday life, while the most powerful mechanism that an ordinary person is inadvertently trapped in is strengthened by artificial limitations he has created, the effects of this formation are becoming increasingly controversial and becoming the greatest enemy of human evolution.

A man who is not aware of the fact that artificial concepts are trapped in the cycle of moving them away from the real and perceptive sense of reality, has created himself as a central control mechanism in the sense of service, but he is trapped in a cycle that serves these mechanisms.

How can humankind who think that they are the most intelligent being on the planet can actually convince an external living form studying the world that they are the most intelligent being on this planet? The project brings to mind the first questions that different life forms can ask to the contemporary man on behalf of the bigger picture vision, inquiries and attempts to create a field of thought that would examine the situation created on this planet.

In the 4.54 billion years of world age, the organic structure, called the human, continues to construct and develop mechanical technology as it continues to explore its own technology. A structure that resembles that of its own operating system, has a strong influence that can be a mirror to itself.

One of the greatest proofs of this is that human intelligence, which is still in development, thinks that artifical intellignece will destroy mankind when time comes. In this case, it is inevitable to think that human intelligence is also artificial. At this point, the project uses the fine line between organic and mechanical structures to create a field of thought and and uses the logical state aiming to alienate the mind from these concepts about the contemporary issues of the state, border, rights and refugee issues that can not be excluded from the policy concept that dominates the planet.

The project that collects statistical data for the year 2017 brings together the constitutions of the countries with the most refugees and identifies the cultural identities of their refugees by totally computer-generated programs, constitutional learning voice recordings as in a laboratory environment, examines the humanized computer generated sound files in different levels.

Özge Kul

          “Utterance” is an ongoing drawing project that shows people from different countries saying “no to war” in their own language


        These languages were drawn from people who were born in that country, who knew the language as mother tongue, who experienced difficulties and the culture.

          In a very small part of world, in Istanbul, within only a few months, l was able to find 17 people from all over the world who were willing to represent their language in the project. Even though we are living in different countries, cultures and each person is individual, we can be united by saying the same words without barriers.

Thanks to; 

Didem Çiçek 

Ece Hazal Tosun

Roja Massoumi

Chahineze Oumessad 

Fatima Altawil

Edona Kryzeu

Misia Lou Mormina

Line Casselmann 

Project title: Utterance

Technic: Drawing on paper

Languages in order: Turkish, Kurdish, Farsi, French, Arabic, Albanian, İtalian, German

Camera: Didem Çiçek

Özgür Demirci

Şehir Kütüphanesi / City Library – Lazer kesim plexiglass stencil  – 3 adet 70 x 30 cm, 2017

Özgür Demirci’s installation Hidden Library (2017) brings together the books that were subjected to government censorship throughout the history. Instead of a physical representation, the artist uses glow-in-the-dark ink to inscribe the books’ names and the QR codes that are linked to the e-book versions of them, on the panel inside the bookcase. When walked towards to the bookcase, a motion detector triggers the black light that makes this hidden collection visible to the human eye.

Selçuk Artut

Languageless / Dilsiz Interactive Story, Version 2* 2017

Languageless is an interactive story telling installation which voices eight different participants. Each of the participant was provided with a well-known story narrated in Turkish, and asked to read the text aloud. Right after their struggle in reading an incomprehensible text, they were asked to behave as if they have understood it fluently and in response tell their version of the same story. So what has been exhibited is composed of eight stories played through a stereo sound, on which the left is one’s reading and on the right is one’s interpretation. A visitor is allowed to navigate in between the story tellers with interactive means. Comprehending the incomprehensible.

Tuğberk Selçuk

Chair Desire 2017

Chair Desire is an inflated chair with a motor mechanism placed within that deflates it cyclically, obligating the seater to get up. Chair Desire opens up a discussion around the impossibility of pluralistic and egalitarian systems. The chair (seat) is a universal symbol of power, an object where once sat, the occupant does not want to get up and instead use all the addictive prerogatives provided by it. With the inflatable chair used by Selçuk, even if the occupant does not want to get up, the chair deflates itself through the timed mechanism and there remains no chair under the seater.

Uluç Ali Kılıç

Road (10 individual pieces) plastic bottle, hybrid polymer, glass paint 2017

Escape1, Escape 2, Little Ahmed, Station 1, Station 2, Sleep, Rescue, Family 1, Family 2, Family 3

 The installation called “ The road” is a stained glass window series which contains frames of immigration process of the Syrian people who were moving to Europe to escape the war in middle east. Stained glass window painting is a technique applied on glass which portrays religious stories in churches and cathedrals from early gothic age. These paintings maintained from centuries on church windows narrating creation myths and religious events to the society. On the contrary the paintings in the installation reflects a situation caused by economic and politic reasons which pushes people into a horrific state of refuge. The pieces in the installation made by pet plastic glass instead of real glass. Pet plastic bottles produced by a material so called recyclable are on the other hand a non-dissolvable waste in nature by the very moment of their existence because the recycling process can not compete with the amount of consumption. None of the plastic that humans produced has been dissolved yet. The idea is to use the lastingness concept of the material and the technique to create a hardly destroyable imagery on the psyche.  An imagery to survive for posterity.

Zeyno Pekünlü

At the Edge of all Possibles Lecture Performance text, 2014

In his essay titled The Storyteller (1936), Walter Benjamin observes that he encounters storytellers less and less, claiming that information has superseded experience in the modern world. After 78 years, after the best and worst days of our lives, after a great resistance wherein many emotions have obtained new meanings, we found ourselves standing before a giant archive of analysis, texts, videos and images. “How to represent resistance or uprisings in an artistic field?” is an ongoing discussion since 2000’s and there are a variety of trials around the subject. After the Gezi Uprising, we found ourselves engaged with the same question as well, in an increasing pace. Yet, personally, I was reflecting upon a possible “lack” by asking: “In this era of excessive information, is there anything left not represented?” Could this lack be the “epic side of the truth” (as Benjamin defined), the human story, emotions, and affects?

In this lecture performance, I would like to try going back to the basics of storytelling where the storyteller builds a story to preserve and spread the shared human experience: a story that anyone can connect without knowing the facts or where the events took place and the chronology; a story that can only exist within something bigger than one’s existence, only in a moment in which the body and the self dissolve in the body of the resistance, in which there is no “I”, and “we” changes its meaning. The sole tool of the story would be the oldest tool of mankind’s experience sharing: the human voice.

Zeyno Pekünlü & Raşel Meseri

Text Book for Knowledge of Life Color Video, 6 min, 2011

 The video “The Text Book for Knowledge of Life” is a work focusing on the official history thought in the primary schools. The footage of the video is from a primary school in Izmir, taken through out the day. The voice over of the video is a collage text formed by the sentences taken from the 7th, 8th, 9th grade school books of Turkish Ministry of Education. Taken out from their context, the audience can observe the weirdness and uncleanness of these sentences while watching the displaced movements of the kids shot in a “peeping Tom” manner.

Photo exhibition

Cansu Yıldıran

The Disspossesed

Cansu who is also from the BlackSea reign herself, after learning that women in blacksea platos are not allowed to own property, decided to start this Project that questions the system that erases all women, the existance of women in this system, the concepts of locality and belonging.

Ceren Saner

Insidethering A selection of photos from an ongoing photo and video series.

Visuals of the artist’s everyday encounters and of her emotional map through out the city with the reference to the circular railway around Berlin – the ringbahn, and to the boxing ring.

Ulaş Tosun

The Ezidis

A selection of photos from the photo project of the artist, from the forced migration of the Ezidi people.

Uygar Önder Şimşek

The Ditch

A selection of photos of destructed buildings from the photo project of the artist