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21.05.2020-21.06.2020

#playathome: A Selection from the Arter Collection

ARTISTS:
Josef Bares
Geta Brătescu
Marie Cool Fabio Balducci
Ali Kazma
Diána Keller & Péter Rizmayer
İz Öztat
Sophia Pompéry
Kata Tranker
Angel Vergara

Arter presents the second edition of #playathome, an online selection of video works which can be accessed from arter.org.tr between 21 May and 21 June 2020. Selected from the Arter Collection to be played at home, this edition features nine videos with a particular focus on the act of drawing and painting, even though the contextual frames surrounding each work and the tools they utilise may differ from one another. 


 


Practised on paper or on the surface of still water, these actions performed with everyday materials and bodily gestures enable diverse artistic genres to disperse into each other through the temporality of video.


 


Please click here to view the content of the first edition of #playathome.


 


Geta Brătescu
The Line, 2014
Video (colour, sound)
14’50”
 
In this video which provides a performative representation of her relation with the line, Geta Brătescu draws linear forms on the pages of a large drawing book with a thick black marker. The artist also makes short comments on the forms that appear while drawing and doesn’t hesitate to tear out the drawings she doesn’t like. Brătescu has often underlined that she considers drawing not as a product of the mind, but rather as a trace of the hands’ gestures, or better, as a dance of the hands. Hence, in this video, she is looking forward to seeing what will be produced by her hand, and how.


 


Marie Cool Fabio Balducci
Untitled, 2006
Video (colour, silent)
2’26’’ (loop)
 
Marie Cool and Fabio Balducci have been working collectively since 1995. Performed in an exhibition space or in the form of video recordings, their works explore the possibilities of building non-hierarchical relationships among humans and material elements. Using tools such as sunlight, paper, tape, pencils, rulers, salt and water, Marie Cool presents a sequence of gestural acts based on repetition and temporality. In their Untitled video featured as part of #playathome’s second edition, Cool manipulates and gives form to the string with her hands, creating transient drawings composed of simple lines.


 


İz Öztat
Constituting an Island, 2014
Video (colour, silent)
1’46” (loop)
 
Since 2010, İz Öztat has been working in a collaboration antithetical to time, with Zişan (1894-1970), a historical figure who appears to her as a channelled spirit and “alter-ego”. In their collaborative work, they explore the return of a suppressed past, negotiating official narratives through the alternative possibilities offered by fiction. Having come across Zişan’s utopian short story “Cezire-i Cennet/Cinnet” (Island of Paradise/Possessed, 1915-1927), Öztat went on to explore Ada Kaleh, the island which inspired this text. Ada Kaleh, the last Ottoman territory in the Balkans in 1915, was submerged with the construction of the Iron Gate hydroelectric plant in 1968. Part of a larger body of works, the video Constituting an Island marks the absence of the island through the collective movement of the canoes.


 


Kata Tranker
Short Program, 2013
Video (colour, slient)
22’’
 
In the video titled Short Program, the turning pages of a flip book reveal Kata Tranker’s watercolour drawings of a figure skater, jumping, falling on the ground and getting back up again. The video takes its name from a term used in artistic figure skating for the part of a competition that requires skaters to perform a compulsory set of predetermined figures, limiting their chance to express their strengths. The video indirectly unveils Tranker’s reflections on her own artistic practice as well as artists’ position in society and their working conditions.

Angel Vergara
Justice of the Landscape, 2007
Video
7’7”
 
Justice dans le Paysage [Justice of the Landscape] is part of a video series to which Angel Vergara refers as painted films. In this video, Vergara traces over video recordings of the Antwerp Courthouse, which he took with a steadicam from a distance, by using a fine detail paintbrush. Designed by the famous architect Richard Rogers, Antwerp Courthouse has been a controversial architectural project that set off debates about the use of public funds in Belgium due to the massive overspending which dramatically exceeded the initial budget estimates. The artist leaves no lines or marks as he traces over the moving image; yet, directs the gaze of the viewer through his choice of subject, the framing of the recording and the movement of his hand. With this gesture, Vergara problematises the potential of artistic practices to have an impact on reality and contemporary socio-political issues.


 


Ali Kazma
Calligraphy (from the series Resistance), 2013
Video (colour, sound)
6’


 


Ali Kazma’s Resistance series explores the struggle to crack the social, cultural, physical and genetic codes of the human body in order to render it perfect, as well as the processes during which the body becomes, or is transformed into a conveyor of new symbols and meanings. In Calligraphy, which was shown as part of this series at the Pavilion of Turkey at the 55th Venice Biennial (2013), Ali Kazma turns his camera to the performance of Turkish calligrapher Ömer Faruk Dere while he is drawing on different types of paper. The video focuses on the creation process of a traditional artistic genre, presenting the hand as an extension of the body, yet also as a perfect instrument that generates form and meaning in the realm of written and visual language.


 


Josef Bares
Crossing Yangpu Bridge, 2012
Video (black and white, silent)
33’’ (loop)
 
Crossing the Yangpu Bridge is part of Josef Bares’ Movement series where the artist deals with the representation of movement and the perception of urban spaces. The video shows a subject’s perspective from a vehicle while crossing one of the longest bridges in the world, the Yangpu Bridge in Shanghai. Still images manipulated by the artist initially move with high-speed video sequence and gradually slow down as the video proceeds. Despite the deceleration of the images, the urban landscape as seen by the moving subject continues to emphasise a sense of speed and movement. The direction of the vehicle’s movement is left to the viewer’s imagination.


 


Diána Keller & Péter Rizmayer
Still Life with Flowers, 2009
Video (colour, silent)
5’04’’
 
Shot in a staged studio environment with reference to historical still life paintings, Still Life with Flowers captures a bouquet of roses as they gradually bleed out their colours. Fading from colour into greyscale, the image of the flowers evokes an artist’s sketch shaded with charcoal, while the puddles of colour on the table become reminiscent of a painter’s palette. Thus, the video reverses/recomposes ‘the process of making art’ which it refers as its point of departure. Keller & Rizmayer’s Still Life with Flowers brings a “nature morte” into life through a subtle digital manipulation and juxtaposition of different artistic genres. 


 


Sophia Pompéry
Still Water, 2010
Video (colour, silent)
12’16’’
 
In Sophia Pompéry’s Still Water a hand using a paintbrush coats the surface of a black table with water. Certain objects in the room, the window and the views from outside the window not directly presented in the video frame become visible on the reflective surface of water. As the heater placed underneath the table evaporates the water, the images also become increasingly blurred and ultimately disappear.

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