Envy, Enmity, Embarrassment
Envy, Enmity, Embarrassment

Curator: Emre Baykal

Artists:
Selim Birsel
Hera Büyüktaşçıyan
CANAN
Aslı Çavuşoğlu
Merve Ertufan & Johanna Adebäck
Nilbar Güreş
Berat Işık
Şener Özmen
Yusuf Sevinçli
Erdem Taşdelen
Hale Tenger
Mahir Yavuz

24 January-7 April 2013
Hale Tenger, "I Know People Like This III" (2013)
Installation view: "Envy, Enmity, Embarrassment", Arter, 2013
Photo: Murat Germen
CANAN, "I beg you please do not speak to me of love" (2012)
Installation view: "Envy, Enmity, Embarrassment", Arter, 2013
Photo: Murat Germen
Hera Büyüktaşçıyan, "The Island" (2012) and "Somewhere in the Middle" (2012)
Installation view: "Envy, Enmity, Embarrassment", Arter, 2013
Photo: Murat Germen
Selim Birsel, "Grown In The Backyard" (2012)
Installation view: "Envy, Enmity, Embarrassment", Arter, 2013
Photo: Murat Germen
"Envy, Enmity, Embarrassment" was the second in the exhibition series that focuses on new productions scheduled to take place annually in Arter's programme. The three terms brought together in the title of the exhibition are used as keywords for expressing social, cultural and political memory within contemporary artistic discourse and initiate an intellectual process resulting in the creation and production of a series of new works. The exhibition aimed to explore these three interconnected concepts that precede, follow and complete each other in a broad web of causality, in a wide perspective that incorporates diverse contexts ranging from political and social violence to the media; from careerist concerns and ambitions to gender politics; from potentialities of "friendship" and "solidarity" to "aggressive" and "destructive" drives.

In a world where hostility and conflicts between individuals and nations are deliberately provoked and war has become universalised, "Envy, Enmity, Embarrassment" questioned the capacity of mankind to nourish and stage prospects of "friendship", "solidarity" and "co-existence" as well as "hostility", "greed for power" and "discrimination". While revisiting—although partially—the recent collective history, the exhibition explored destructive feelings—which we cautiously conceal and keep silenced as they are harmful not only to others but also to ourselves—as well as the traumas associated with them.