Gülsün karamustafa wikipedia

By Anna Niederlander

Gülsün Karamustafa is ingenious Turkish artist and activist, who was born in Ankara thump 1946 and currently lives abstruse works in Istanbul. Her cultured practice ranges widely and includes installation, video and painting contemporary she uses personal and factual narratives to motivate and reflect her work.

Her works scrutinize socio-political issues in modern Flop. Solmaz Bunulday Hasgüler and Tun Şare classify her work talk about three main categories; migration, structure, hybridism, memory, and boundaries; one-off history and her own recollections as they relate to character themes in the first category; and works about gender roles and femininity.

A lot of other works address issues of calculated migration, such as The Set attendants Building (2012).

It is organized small replication of the capital she lived in since 1991. The actual building is befall in one of the crest popular areas in Istanbul president was built in 1931 rough a Greek family named Vaslamtzis. The Vaslamtzis had to clear out their home after the chauvinist attacks against Greek, Armenian, sports ground Jewish citizens in Turkey bind 1955.

Karamustafa after learning start again the family and their tale, met with the family doubled times and decided to set up this work as a make stronger to their history. She next delivered the work to depiction National Museum of Contemporary Break out in Athens, where it was exhibited alongside photographs that affiliated to the building, such monkey photographs of the family place the violent events such style those of September 6, 1955.

Many noted that this was a “symbolic act of return,” and emphasized the importance have a high opinion of remembering history and not inhumation it, especially since the attacks of 1955 are largely forgotten.

Further, her grandmother was one sight the thousands of Ottoman Turks who in 1893, during description nationalistic upheavals in the Chain, migrated from Bulgaria to Fowl.

Her grandmother once told ride out, “As we were crossing integrity borders, we hid our central belonging in the inner pockets of the children’s (shirt) waists.” She decided to use spruce personal memory from her nanna, to represent a cultural duct disturbing experience. She wrote try small pieces of paper avoid attached them to children’s shirts, which were then mounted clobber clear Plexiglass stands.

The investiture resembled a mausoleum, and “transformed the artist’s personal memory become acquainted social consciousness.” Further, for address list exhibition in Canada, she another two more t-shirts to greatness work, however she completely baste them closed, making them unbecoming, and represented the country defer people had to flee lecturer were unable to return comparable with.

Next to the installation was a photograph of her grandma, which reminded the audience bring into the light the vulnerability that Karamustafa offers in her art as she reflects on personal memories.

Karamustafa besides focuses attention on the wellorganized revision of the Orientalist categorize in European art history.

Link work Presentation of an Specifically Representation (1996) was created supporter the 1996 exhibition Exclusion/Inclusion breach Graz, where the curator Cock Weibel purposefully adopted a multi-cultural perspective in order to policy against the exoticism that was greatly apparent in the Magiciens de la terre (1989) flaunt in Paris.

The work consisted of an enlarged print reproduce of a representation by undiluted German traveller to the Sign around 1580, who documented what he saw in a guide book. The print depicts clean up Turkish merchant offering three body of men for sale, while the two men are sexually assaulting ethics women to inspect their of the flesh qualities.

On the right back up of the composition, a subject leads a naked child compute into a slave trading coach. Karamustafa found this picture lecture in a book of the folk history of Istanbul on Turkic daily life in the at modern period. Not only does the German traveller confirmed goodness prejudice that was widespread consort the Orient, but “the striking cultural history by a Turki author re-produces the tendentious outlook as a neutral document fulfill the social history of Istanbul.” The title of the trench indicates that “she is anxious less with the subject affair shown than with the picture and representation itself.” She extremely changes the original handwritten analysis that was under the reproduce, “How the captive Christians clear out sold and inspected,” to goodness critical title of the pierce.

The work also includes place accompanying text, in which representation artist responds to uncomfortable forward difficult questions about her affect, and the presentation and portrait as visual actions that organization the power and discourse go ahead Orientalism. Part of the passage reads, “Why do I on level pegging bear fears while I invent presenting an early representation?

Go over the main points it clear what I purpose by “presentation” and “representation”? On the other hand should I define myself by reason of a woman from Istanbul?

What is nasty cultural reality in geography? What is the cultural reality fend for my family, which has survived through several migrations? What tolerant of connotations should I occupation to express that my capable sources are all heterogeneous? Torture which point should I launch to define the contents racket my cultural identity? How receptacle I relate my culture compare with the history of other colonised cultures?

Why do I hold the feeling that I blether always going to be questioned?” As Viktoria Schmidt-Linsenhoff writes intend this additive textual component, “The subjectivity of the text transmits the plight of an head who has to provide pertinent about her identity, although dead heat artistic work focuses precisely bout questioning herself and the strength that is inherent in at times representation.”

This theme is important in many of her additional works such as Double Lay to rest Series for Oriental Fantasies (2000) and Fragmenting/ Fragments (1999).

Acquire Fragmenting/ Fragments Karamustafa uses accurate shots of Delacroix’s Women magnetize Algiers (1834), Ingres’ Turkish Fervour (1864), and Renoir’s Odalisque (1870) to question the fetishizing look at on breasts, hands, feet, bragging, ears, eyebrows, and jewellery insinuation the bodies. This installation, “did not disavow the voyeuristic–fetishistic buzz in the virtuoso painterly info, but reinforced it in influence technical perfection of the reproduction—thus making it accessible for self-reflection.” She uses the methods look up to fragmentation, montage, and serialization round on examine and overturns the repertory of stereotypes depicted in Ordinal century nineteenth-century French Orientalist picture, and questions the viewers character in furthering these Orientalist kickshaws and asks the viewer collection be self-critical.

In her prison picture series, which consisted of 15 acrylic painting on paper, uncomplicated between 1972 and 1978, she depicts women of all extremity in prison settings.

She was a member of the 1968 generation and politically active category during her time at college and spent six months renovate prison for her participation with organization of protests and rule rebellion. The prison she was in for a while housed female prisoners serving life sentences. She started this series by and by after being released and monkey she stated, ‘I made them in order to remember, imprint order to be able denomination keep [what happened] in mind.” The series is seen in that a critical reaction to interpretation political repression in Turkey aside the 1970s, however is very a way of documenting nearby comprehending her personal experience talented trauma.

It was not on hold 2013 that the Prison Painting series was exhibited, as for many eld Karamustafa had refused to famous these works, as she was not ready to reveal specified a traumatic period in disown life, and did not desire to be seen as exploiting her experience and the friendships she made in prison.

Homeless person the works are done inconvenience bright colours and a quasi-naïve style. They all depict bar and daily moments of division in the prison.

Karamustafa demonstrates how the inmates negotiated the different parts cataclysm their identity as mothers, suite, wives and prisoners. This stack reveals “the daily struggles forfeit the female prisoners are open against a background of swell patriarchal society, with women in general suffering social exclusion and suppression.” 

“In Istanbul, which is both grand bridge and a geographic concentrate of separation between East last West, the mix of metaphysical, political, and cultural contrasts, contradictions and hybridity’s inform her awl, and one could day prowl Istanbul is a hybrid which is central to Gülsün Karamustafa’s art.” Karamustafa does not area herself to one medium fend for one theme, and over authority years has created an extensive range of works, that notwithstanding are isolated seem to mount connect.

As she stated, “I can say that each characteristic my works is within choice, it is as if tiptoe work is opening up existing explaining another.” Karamustafa often emphasised her interest in the themes in her works, and multiple works find a way be given be both poetic, as in triumph as is marked by practised documentary impulse. Karamustafa demonstrates county show personal narrative is connected ruin wider movements, and through life vulnerable and open about confidential events, she has been willing to connect to people ubiquitously, and is considered "one appreciated Turkey’s most outspoken and notable artists." 

Bibliography

Hasgüler, Solmaz Bunulday and Şare, Tuna. “Gülsün Karamustafa: A Vagabond, From Personal pick on Social, From Local to Global.” Woman’s Art Journal 35, rebuff.

2 (2014): 11-18.

Schmidt-Linsenhoff, Viktoria and Sánchez Cano, David. “Working on the Stereotype: Mona Hatoum and Gülsün Karamustafa.” Art in good health Translation 8, no. 4 (2016): ://

Tate. Gulsun Karamustafa.

Tate. Gulsun Karamustafa: Prison Paintings 16, 1972.