Ergin Çavuşoğlu, Nilbar Güreş, Gülsün Karamustafa, and Erinç Seymen at Frieze New York

Rampa Istanbul

April 29, 2016

May 5–8, 2016

Frieze New York
Stand B16
Randall’s Island Park
New York City

Rampa Istanbul
Şair Nadim Caddesi No: 21a
Beşiktaş, Istanbul
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For Frieze New York 2016, Rampa will present works by Ergin Çavuşoğlu (Bulgaria, 1968), Nilbar Güreş (Istanbul, 1977), Gülsün Karamustafa (Ankara, 1946), and Erinç Seymen (Istanbul, 1980).

Concurrent with Ergin Çavuşoğlu‘s solo exhibition at Rampa Istanbul, Which sun gazed down on your last dream?, Rampa’s Frieze New York booth acts as a mirror to said exhibition. From new sculptures to video, painting, and drawing, Çavuşoğlu’s works search for the unknown, the almost occult. Further, his works often look at the everyday in a uniquely philosophical and spiritual manner, all the while acting as a commentary on art and art production itself. With works ranging in date from 1998 to today, Rampa’s in depth presentation of Çavuşoğlu’s work is also meant to bequeath more information on the artist to the New York public in conjunction with his inclusion in the Guggenheim’s But a storm is blowing from paradise: Contemporary Art from the Middle East and North Africa, opening April 29 and on view until October 5; curated by Sara Raza. His three-channel video, Crystal & Flame, 2010, which directly speaks to the works that will be on view at Frieze New York, will be showing at the Guggenheim exhibition.

Alongside the more pervasive presentation of Çavuşoğlu’s works will be singular and exemplary samples of works by three of Rampa’s represented artists, never-before-seen. Gülsün Karamustafa, one of Turkey’s foremost contemporary artists who will have her first international solo exhibition at Hamburger Bahnhof in Berlin from June 10 through October 23 will be showing a new mixed media work. Alongside Karamustafa, Nilbar Güreş‘s works which, typical to her oeuvre, tell a story about gender identity and norms in a playful and staccato manner will also be presented. Erinç Seymen, whose works look at power relationships, uses metaphors and anthropomorphic forms which coalesce to create a narrative that directly critiques and curtails modern and traditional heteronormative realities—especially apparent in his newest ink on paper drawings.

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