Kusursuz Seyirci / Perfect Spectator
30.04.2003 - 10.05.2003
Kutu v.1 "portable Art Gallery
Place: D.E.U. Faculty of Fine Arts - İzmir
Artists: Murat Gunes, Zafer Gungen, Gencer Yuzer
ABOUT THE EXHIBITION
"THE PERFECT SPECTATOR"
The second exhibition held in Kutu V.1 titled "The Perfect Specator" is presenting three recent works by three artists in an interwoven manner within the prefabricated interior of the gallery, inviting its spectators to a new way of reading these works created independently of each other.
The photographic images Zafer Güngen has extracted from international weekly news magazines and newspapers are spread over large pieces of flowing fabric, not bound to a frame. The works bring together unrelated images that the artist does not belong in and watches from a distance on the same surface, freeing them from their contextual meanings. Regardless of the amount of violence on the images, the density that forms when the images are duplicated onto the fabric and painted over with opaque colors makes us unable to hear the realities of the photos that each scream on their own. We start seeing them as a whole, as if zapping through hundreds of channels all displaying reality shows. The works are fixed to the walls of the exhibition interior without spaces in the fashion of a wallpaper full of images. The composite structure that is percieved as one piece in this state diffuses an agitating ambiance into the gallery. It's like a wallpaper, but the covering, artificial beauty of a conventional wallpaper is replaced by a sharp and empty reality here.
In the middle of the gallery covered with this alternating and chaotic mass of images we see Murat Güneş's silent video works that interweave the news broadcasts of television channels. The "talking head" image is subject to a series of manipulations that overlap the faces of the news anchors and transform the news imagery to the extent of dizzy, almost hallucinatory states. In the screen we face here, faces of the people speaking the news the same hour every day in a different manner melt inside each other in their frightening silence, without any single image dominating the scene at any time.
And among all this dizziness, exactly opposite the monitor that displays the video works lies Gençer Yüzer's modified bench that invites the viewer to the explosion of images that is about to surround them. The bench, in its essence, a design that belongs to the public space, but this singularized version designed for only one person is totally closed to sharing and independent. In its solitary state it leads the viewer into a position at the center of an isolated and "perfect" spectation, sitting on their own as usual.