HI, THIS IS
CREATING ART GALLERY
FAHRETTİN AYKUT AREA RESPONSIBILITY
Launched in İstanbul in 2019, Faar Art Gallery is a dynamic and up-to-date platform with the programs it has created with artists from different generations.
The presentation forms created by the association of emerging and internationally known artists, contributed to the production of a collective memory in the sense of visual arts.
It has strengthened its interdisciplinary relationship with other art disciplines besides visual arts.
In addition, it aims to increase the appearance of art both locally and internationally by establishing institutional relations at the point of the relationship between architecture and design.
As of 2020, with the partnership of architect and designer Fahrettin Aykut, the founder of Faar Art Gallery, and Mehmet Kahraman, curator and art historian, it aims to organize programs on the management and presentation of the relationship between architecture and design, with a Bauhaus attitude at the point of the relationship between architecture and art.
KEEP UP TO DATE / 2021
FAAR ART GALLERY
London Design Festival Online Partner
Furniture, Decoration and Art Exhibition
FAAR ART&DESIGN GALLERY / Istanbul
Artists: Şükran Moral, Börte İpek, Burcu Perçin, Burcu Aksoy, Çağrı Saray, Çınar Eslek, Elçin Ekinci, Gülçin Aksoy, Güler Güçlü, İsmet Doğan, Mehmet Öğüt, Sefa Çatuk, Topm Fellows, Volkan Kızıltunç
Curator: Mehmet Kahraman
TOUCHING "DESPITE EVERYTHING"
Cape Hotel / Bodrum
Artists: Betül Bolat, Furkan Akhan, Gülçin Aksoy, Gülşah Terzioğlu, Güneş Terkol, Gözde İlkin, Latif Taraşlı, Şebnem Uğuz, Zümrüt Bozkurt
Curator: Mehmet Kahraman
The exhibition, which brings together the carpet and weaving works curated by Mehmet Kahraman and will be held by FAAR Art & Design between June 25, 2020 to July 20, 2020 at Cape Bodrum Hotel. The design of the exhibition was created by architect Fahrettin Aykut.
Artists of this exhibition, which consists mainly of weaving and especially works according to the tapestry technique, set out from the troubles such as weaving art being touched, tease, discompose. Artists who explore different meanings and methods of touch that involves a physical action at its core, believe in the importance of saying, thinking, expressing thought as effective as they can to narrow the gap between the body and the world, thought and action. Artists transformed the process of thought, which includes successive or overlapping conflicts, to weaving. Weaving, an action that reduces distance in the soul and universe relationship, could move with touch. It takes touching to physically weave thoughts that can touch people. However, the increased mental touches despite the distances and the fact that humanity is constantly updating our life strategies at this time allow the exhibition to reconsider and build on the need for touch. The artists intertwine touch and texture, bringing together these actions that are good to humanity and slow down the human in this world of speed.
The exhibition is held in collaboration with FAAR Art Space and m2 project.
THE IRREGULAR HERITAGE OF MEMORY
Faar Art&Design Gallery / Istanbul
Artists: Güneş Savaş & Aylin Önel
Curator: Bala Gürcan
“I am made and remade continually.” Virginia Woolf, The Waves (1931)
The first exhibition to display works from the joint project by artists Aylin Önel and Güneş Savaş, “The Irregular Heritage of Memory” reflects on the organic processes that have brought together and bridged the individual practices of the two artists. Having simultaneously experienced critical rites of passages such as motherhood in their lives, the artists have developed a body of work that proposes a heterogeneous and collaborative model for artistic production. The works in Önel and Savaş’s practice tend to explore the creative and destructive processes that shape our world - and the transformative stages in between. Stories belonging to everyday objects endure both in memory and physical form, and the artists investigate the archeologies of materials and forms from seemingly ordinary and intimate moments.
Taking inspiration from their joint readings of Ursula LeGuin’s Earthsea series, Önel’s sculptural works and Savaş’s works on paper together form a quotidian cosmology via the reuseage of (in)finite matter. As a calm resistance to humankind’s destructive ways, waste materials and plant life are interwoven like an epic story of floating islands, invented/imagined species and specimens, anthropological excavations, human and non-human interactions, and things brought to the shore of our consciousness by drifting waves.
Formed like archipelago or a chain of islands, the works connect to form a new geography in which individual parts, ideas, memories and persons become intertwined via artistic and sensory exchanges. The works in this exhibition explore and interrogate the myth of human supremacy, and provide alternatives to the hierarchical systems of the Anthropocene age and its by-products. Önel’s adoption of waste materi als and natural residues in her sculptures, and Savaş’s inclusive representations of the botanical world and plant life proposes an emancipated alternative to existing and degenerative earth system processes.
Similar to materials that have turned into waste, memory is also subject to the processes of motion, change and transformation. For this reason, a wasteland can be an endless terrain for the uninhibited imagination. In the pursuit of an alternative archeology, Önel mixes paper pulp with the found materials encountered on her walks and remains of her quotidian routines. Through this deliberate act of collecting materials belonging to everyday life (including egg shells, paper bags, fruit peels, salt etc.) the artist is able to track and map movements on various physical and psychological landscapes. Savaş’s works constitute an intimate diary of the delicacies of existence, through her drawings of plant-like natural morphologies juxtaposed on various papers and notebooks. With a solid dialogue between their two and three-dimensional creations, Önel and Savaş’s works reflect a desire for new, sustainable ways of thinking about the environment and its relationship with the human subject. Their art turns physical residues into valuable fragments of their interconnected lives.
Faar Art&Design Gallery / Istanbul
Artists: Şükran Moral
Curator: Melike Bayık
Sukran Moral, which we know for her iconic performances, continues with her productions regarding deep topics with a big passion. Moral, who adopts a highly disciplined approach in her expressions with her performances, videos, sculptures, watercolor paints and photographs, presents a biographical journey in a highly layered form within changing time of the art history with her productions that are created starting from year 1994 until now at “Espulsa” exhibition. Sukran Moral creates a two-way impression at the exhibition with her works such as “Bordello, Turkish Bath, Marriage with Three People, Ethics, Slaughter House, Pussy, Nightingale, Espulsa, Diffidate della Storia dell Arte”. While “Espulsa” exhibition of the artist, bearing a quality similar to a mini retrospective, presents realities from the personal life of Moral like a projection, it also presents various cultural and traditional sections from a different side of life. She reveals topics such as “Feminism, women issues, gender topics, phenomenon of migration, child brides” which the community does not want to recognize and which constitute “marginalized topics” by integrating them with an impressive aesthetical approach, as being the other side of medallion with a sovereign irony. “Espulsa” is a word originating from Italian and it has meanings such as “thrown, expelled, kicked out, externalized, deported”. The artist who focused on expelled and externalized individuals and communities, presents them in her works in an impressive way. Moral focuses on distorted situations within the social structure, tabooed human relations, ossified hierarchical structures and blunt human intuitions and desires with respect to the traditions.
DOKUNMAK "herşeye rağmen" / 2020
The Irregular Heritage of Memory