Hatice Güleryüz: Fast Forward
Ergin Çavuşoğlu: Adaptation—Cinefication

Rampa Istanbul

March 14, 2014

Hatice Güleryüz: Fast Forward
Ergin Çavuşoğlu: Adaptation—Cinefication

1 March–5 April  2014

Rampa Istanbul
Şair Nedim Caddesi No: 21a
34357 Akaretler Beşiktaş
Istanbul, Turkey

T +90 212 327 0800
F +90 212 327 0801
info [​at​] rampaistanbul.com


Rampa hosts two exhibitions in March. The main gallery space hosts Hatice Güleryüz’s Fast Forward while Ergin Çavuşoğlu’s Adaptation—Cinefication is exhibited at the storefront space upstairs. The exhibitions can be seen through April 5.

Hatice Güleryüz
Fast Forward

Well-known for her intimate 8mm film installations, with which she won international recognition, Hatice Güleryüz’s oeuvre cuts across many different modes of expression and image making. Unbound by the artistic parameters of a singular discipline, Güleryüz’s work focuses on a set of themes such as constructed realities, memory, and language, and explores how these concepts take on a different form and expression in each medium. This multidisciplinary approach allows the artist to create different layers, placing focus on the narrative that unfolds both within the work and between them.

Hatice Güleryüz’s first one-person exhibition in Turkey, Fast Forward, opens up her multi-disciplinary practice for viewers, weaving together video, painting, and installation. Site and time-specific with their politically charged content, the work is based on Güleryüz’s experiences of language—for her, language is a constantly fluctuating entity, from which she takes snippets through painting, videos and signage to make sense. Her smaller-scale paintings on paper stem from a more diaristic impetus, a constant desire to narrate what she observes. Functioning as an immersive experience, the exhibition at Rampa is about overwhelming the viewer, playing with boundaries of perception and understanding.

Güleryüz explores the limits of our consciousness in her video Fast Forward, which accentuates the constructed nature of her representation through the high-contrast visuals and the sharp cuts between the scenes and the characters. The “Biz Siz” is an elegant interrogation of the social polarizations, embodied in words as simple as “us” and “them.” The set of drawings, displayed together on a single strip of metal, each depict a moment in time, a state of mind and a situation, that when brought together point to a more general, endless story.

Ergin Çavuşoğlu

Ergin Çavuşoğlu’s Adaptation—Cinefication is made up of two distinct elements. The exhibition examines the artist’s engagement in the past with painting in its classical and contemporary guises, and juxtaposes them with his better-known film installation works. Çavuşoğlu thus retraces recurring preoccupations in his practice, showing older work in a new context.

The wider concept refers directly to the “The Soviet project of ‘cinefication’ that represents the most grandiose scheme of film distribution, exhibition, and reception that the world has known to date,” as described by Thomas Lahusen. Çavuşoğlu borrows this framework to comment on the current globalised system of ‘cinefication’ of the arts.

Architecturally the gallery is divided in two mirrored spaces on street level. The Adaptation component is presented in one fully front glazed room with a series of paintings from the 1990s, most prominently the “Instant” series (1998). In the opposite darkened space Cinefication takes on the form of a film screening. In a theatre-like space, furnished with rows of cinema chairs, Çavuşoğlu shows a number of new pieces such as Résurrection des Mannequins (2014), as well as elements from his recent repertoire of video works, for instance And I Awoke (2012). Alongside the paintings, Çavuşoğlu exhibits several small-scale readymade and ‘naturemade’ sculptures. Çavuşoğlu intends his works to be read like chapters in a literary text.

For additional information, images or to request an interview, please contact Üstüngel İnanç: T +90 212 327 0800 / uinanc [​at​] rampaistanbul.com