AriE- sculptures invite the audience to touch and listen.
Featuring works by established artist Koray AriE- from 2011-2014, the show at Galeri Nev ystanbul is titled "Euphony/Percussive Sculptures," and it offers an interactive atmosphere in which the works can be used as instruments as well.
"My new works are interactive pieces. I wish for them to become one with the viewer, when touched and when their sound is heard. With all the works I have produced in the past twenty years, I have encouraged the viewers to touch. My desire for contact with the sculptures, feeling their form by touching, is an indispensable part of my recent works. Every sculpture makes a different sound that come together in euphony. The fact that different sounds coexist, bring into mind the polyphony and harmony that comes out of diversity," AriE- says about his latest series in the show's press release.
In his article for the exhibition catalogue, curator and critic Ali Akay writes that AriE- received an important sculpture after being educated by Sadi Ecalyk and later, the atelier of Emilio Greco in the Fine Arts School of Rome. "His education from history's largest cities such as ystanbul and Rome probably orientated him towards a mixture of the Byzantine-Ottoman and Roman cultures. The fact that he opened his first personal exhibition in Rome in 1971 can be considered evidence of the artist's success during his education," Akay explains.
He also points out the pragmatic nature of AriE-'s sculptures. "They can serve the materialization of rituals just as they do to entertain. By considering the nature of their structures and materials, we can say that with their shapes made of tension leather, the voices of the sculptures can also be heard with their emphasis. As aesthetic works of art, they stand in front of us with the status of 'beautiful objects.' A 'usage value' is also in question for these sculptures. They are open to the performative. It is possible to touch these sculptures and to climb and sit over them, rock on them or move, just like riding a horse. Sculptures do have functions. They can trigger adults' desires to make a childlike leap," Akay continues.
"After all these, the sculptures exhibited in this exhibition are audial as the sculptures of the last period," Akay further elaborates. "They begin to function as drums. These sculptures can be used as objects to provide rhythm to a musical group, a ritual or dance movements. Not only a tactile effect occurs when touching them, their musical, magical and performative effects also stand side-by-side. Rocking sculptures can primarily thought be within Rock Culture in performative terms. These sculptures also possess the haptic component, which is one of the most obvious components of the Egyptian art. They can yield effect by being touched, by the touch of the hands and the skin. On that sense, the sculptures operate in accordance with the sequence of AriE-'s own history rather than following an anachronistic sequence, which has the Rock history in the lead and the Egyptian history in the end.
This special personal history finally merges with sound. After the effect of weather and the sound of gnashing or silent timber, they set off on a journey towards a musical sound. The destination point of his journey rocks at the beginning and later turns into a drum sound that yields sound when the skin of the hands touches the skin of the drum, and this point follows a function thereafter. When the sounds of nature, which are yielded by the touch of hand skin to that of the drum, are grasped by the musical rhythm, merge in a way with the dicey sounds of shamanistic-nomad and secular ritual, a movement, a dance," Akay says. He adds that when we look at sculptures by AriE-, during the discussions held about the full visuality of sculptures, we can claim that it transports the most contemporary history to the date of the oldest ritual and does so not only as a visual material, but also a functional part of an aural and functional ritual.
As to the dilemma between the surface and the expression, Akay says that it seems to appear in the discussion between the functional and non-functional, as introduced by AriE-'s sculptures. "The slipperiness of the sculptures and the ragged surface of the drum separate two functions through the material differences they contain. Each of them expresses the surface differently. The function expresses itself with the sound component in one and the tactile component in the other," he explains.
"Euphony/Percussive Sculptures" will run through July 24 at Galeri Nev ystanbul in Beyoy-lu district. For more information, visit www.galerinevistanbul.com.
Rumeysa Kiger, ystanbul (Cihan/Today's Zaman) CyHAN
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|Publication:||Cihan News Agency (CNA)|
|Date:||Jul 10, 2015|
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