GEOMETRIC SHAPES AND NEON SHADES COLLIDE IN BAHAR YÜRÜKOĞLU'S ENGAGING PRACTICE, A NEW SHOW WHICH IS NOW ON AT ISTANBUL GALLERY ARTER
In her work Bahar Yürükoğlu brings together the extreme ends of creation: the natural and the human-made. This union leads to the creation of new spaces that the artist calls “neo-scapes”, places where every expectations is subverted.
“Flow Through”, takes as its starting point the artist’s travels to the Arctic Circle in 2015, both in the summertime, a period when the sun doesn’t set, and during the winter months, when darkness prevails. In the exhibition Yürükoğlu recreates imaginary spaces inspired by the duality of the Arctic region; blurring the boundaries between presence and absence, past and future, nature and civilization, testing viewers perceptive capacities with her installations, photos and videos, demanding that the dichotomy between the subject and the object is set aside.
“Plexiberg” (2016), is a complex layering of material and light, where the light emitted from the lens of a projector, bounces off of the surfaces of the physical objects, creating some sort of maze – a visual riddle. Playing with two-dimensional and three-dimensional concepts, this sort of “deconstructed iceberg” is accompanied by the sounds of melting ice from the Arctic.
The artist amplifies further this kind of “sensory embrace” with “Pingo” (2016), a space in which changes in floor elevation demand from viewer a heightened awareness of the surrounding environment. The soundscape that alternates between birds chirping, the faint techno music from a car radio and the familiar sound of someone’s steps walking in the snow accompanies this installation further simulates the geographical landscape of the Arctic, somewhere between a desaturated land and an cultural depository, which Yürükoğlu defines as a “future perfect world.”
The photographs that follow these installations cut into the supposed fact of the photographic image by modifying it with filters, reflections, collapsing and expanding the picture plane.
These constant exercises in trompe l’oeil also signify an effort to overcome the limits of Cartesian plane.
The exhibition closes with “The Navigator” video, in which a nomad from the future perfect wanders in the natural landscapes or abandoned buildings, goes through the deserted Soviet town of Pyramiden and rides on a sort of Arctic Express. Her ceremonial gestures alternating with primordial signals typify a striving for existential mark-making however transient, or a hope at communication, mimicking the cyclical motions of life, as we flow through.
Bahar Yürükoğlu: Flow Through runs until May 15, 2016 atArter Istanbul.