New Art Space 'Alt' Launches in Istanbul

on Tuesday, 22 March 2016. Posted in ---2016---, March

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Alt ('below' in Turkish) art space opened in January 2016 on the premises of the historic Bomonti Beer Factory in Istanbul's Şişli district. Established by Pozitif and the Doguş Group, the new space is launching with the first solo exhibition of Rodney Graham in Turkey and a group exhibition titled 'If you can't go through the door, go through the window' with works by Aykan Safoğlu, Hasan Özgür Top and Hera Büyüktaşçıyan. Curated by Mari Spritito, the inaugural season of Alt will focus on contemporary issues of authorship.

Alt art space presents Rodney Graham, the first solo exhibition of his seminal video and music in Turkey. Four of Graham's works, three of which comprise his trilogy: Vexation Island, 1997; How I Became a Ramblin' Man, 1999; and City Self/Country Self, 2000, as well as A Reverie Interrupted by the Police, 2003, will be on view for Alt's inaugural season dedicated to examining issues of authorship in art.

Rodney Graham, Vexation Island, 1997
Exhibition view of Rodney Graham exhibition at Alt Istanbul, Courtesy of the artist and Alt. Photo: Batu Tezyüksel

Alt art space presents 'If you can't go through the door, go through the window', an exhibition that celebrates ingenuity, and the complex ways individuals negotiate the established order in order to participate in society. Featuring works by Aykan Safoğlu, Hasan Özgür Top, and Hera Büyüktaşçıyan, If you can't go through the door, go through the window will be on view for Alt's inaugural season, which is dedicated to examining issues of authorship in art.

In the two-channel video installation Untitled (Gülşen & Hüseyin), 2015, Aykan Safoğlu traces the life story of his uncle Hüseyin, who immigrated to Germany to join the growing workforce of Turkish workers there in the early 1960s. On one screen, Safoğlu is seen directing his friend Gülşen Aktaş to pose as his uncle, in a recreation of an early photograph. Gülşen, who lives in Berlin, is prompted by the artist to participate in an exercise designed to elicit empathy for the character she is playing. The Turkish-born artist, who also lives in Germany, is looking for insight. The second screen tells of the ups and downs of Hüseyin's life as a cleaning person, in the form of scrawled statements and drawings on a bathroom wall. The intimacy of the juxtaposed storytelling modes relates to Safoğlu's own search for alternative modes of survival to meet the challenges of maintaining his identity in the face of dislocation and sexual bias.

Aykan Safoğlu, Untitled (Gülşen & Hüseyin), 2015
Aykan Safoğlu, Untitled (Gülşen & Hüseyin), 2015, Courtesy of the artist and Alt

Hasan Özgür Top's installation A Gift from the Middle East, 2013, is composed of ceramic tiles patterned in the style of Islamic chinaware, but picturing violent images of the Syrian civil war. Top has repurposed disturbing images from Youtube—in particular, of the destruction of the Great Mosque of Aleppo—in a way that is intended to bring sensitivity to the subject, and to reverse the "numbness" of oversaturation. A Gift from the Middle East is part of a larger project by the artist: his proposed restoration of the Aleppo Mosque using these memorial tiles as a gesture of rebuilding that also acknowledges wounds that may never heal.

Hasan Özgür Top, A Gift from the Middle East, 2013
Hasan Özgür Top, A Gift from the Middle East, 2013, Courtesy of the artist and Alt

In Hera Büyüktaşçıyan's sculptural intervention When things find their own cleft, 2016, red bricks spill out from a break in the white-cube exhibition space, evidencing the historical materials of the former factory building. The work is a fluid resurfacing of hidden histories—urban, social, individual, and political—resisting oppression simply in continuing to exist. It offers a metaphor for finding solutions, taking its name from the Turkish proverb "Water found its cleft," which refers to how water flows under, over, and around obstacles on its way to the sea. When things find their own cleft reminds us that we too are living through renovations, and that being present is a resourceful response to the hurdles of contemporary culture.

Hera Büyüktaşçıyan, When things find their own cleft, 2016
Hera Büyüktaşçıyan, When things find their own cleft, 2016, Courtesy of the artist and Alt

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