PLANETARY DYSPHORIA | Generation & Display, London, October 2019

Planetary Dysphoria explores humanistic and existential perspectives on climate change: an emergent aesthetic tied to notions of melancholy and uncertainty. We are experiencing a state of unease and dissatisfaction suffusing our economic, social, and cultural life, engendered by a newfound sensitivity to the real and imagined destruction of Earth. The continuously increasing discomfort and urgency that pervades public debate on climate change have caused a global sense of an uncertain future. A new generation of artists is responding to this collective anxiety, pairing future thinking and the Anthropocene with ideas of fiction and truth, temporality and memory, escapism, and shame.

Planetary Dysphoria presents painting, sculpture, installation, digital print, and photography. Ayse Kipri’s wall-mounted structures point to the construction cycle of urban landscapes where derelict buildings are knocked down, erased, and replaced; raising questions around memory, time, and the importance of place. Andreea Ionascu’s installations are explorations of artificial realities and metamorphic narratives researching limits and rifts, creating tactile languages through the absence of visual specificity and the potential of a shared contemporary perspective. Araminta Blue’s paintings interrogate contradictions in human nature: control and protection, exploration and destruction, the hero, and the parasite. Mert Acar photographs the borders between city and countryside, investigating hybrid lands as both expressions of current environmental conditions and as constructed realities.

Michela de Nichilo explores aesthetic judgment and ideas of value in relation to the vulnerability and potentiality of nonhuman beings and the current ecological crisis. For Planetary Dysphoria she is focusing on a domestic setting, interrogating the idea of the aquarium, ornamental fish, and artificiality. Sofia Bonato looks at the role of the individual, escapism, and subtle manifestations of collective anxiety. Her digital prints employ playful post-internet imagery, nodding at consumer culture, and the continuous paradox of recycling and wasting.

Planetary Dysphoria is curated by Art Elsewhere and Sara Thorsen Fredborg and hosted by Generation & Display with the generous support of Queensrollahouse Artists’ Studios.

THERE IS NO BORDER HERE | Contemporary Istanbul Art Fair 2018

‘There Is No Border Here’ is a solo exhibition that explores the meaning of art as an experience in the work of the artist Vincent Hart.

In his 1934 essay ‘Art as Experience’, philosopher and educator John Dewey writes that life is a flow of experience and describes what singles out a life-experience from the general stream so that we are left with an enduring memorial of a pleasant meal or a terrifying storm or a work of art. For Dewey, it is when that experience has reached its consummation or become whole. A work of art can be an intense and refined form of experience in which ‘different acts, episodes, occurrences melt and fuse into unity and yet do not disappear and lose their own character’.

In Vincent Hart’s art, individual pieces’ merge and flow into one borderless experience, while retaining their individual character and identity. His triptych ‘Blue Boy’ directly shows this in its totality, but even at its edges, the outmost paintings, suggest a breaching of frontiers, hint at the work beyond the eye, complementing and converging with his other pieces, crossing freely into the imagination of the perceiver. The experience is immersive and suffused with openness.

Vincent unites colours, brushstrokes and materials borrowed from movements, artists and even single works of art, which he re-contextualises to create a painterly narrative that is intentionally left open as opposed to one that is so often hedged in as historically definitive.

His process realizes the experience of creating art. His colours, shapes and forms merge into unity on timber-backed aluminum while those same acts of making can be scrutinized and taken alone, embodying Dewey’s description of an artist as both maker and perceiver. Seen in the gallery, his work emphasizes the importance of experiencing art first hand, not filtered by computer screen or buffered by reproduction. The visitor undergoes a physical engagement, their eye following patterns and colours, taking different vantage points till moments are composed into a whole or till one is immersed in the flow.

Each of his works unites doing and undergoing, outgoing and incoming energy to make each piece an experience in itself, and experienced together, the perceiver is left with an experience of openness and unity.

‘There Is No Border Here’, curated by Senem Cagla Bilgin, is the first curatorial project to be featured at Contemporary Istanbul Fair. The show will run from 20-23 September 2018.

UNITY | London City Island

An exhibition of contemporary artists from London City Island, Arebyte Gallery and Trinity Buoy Wharf. Art Elsewhere is collaborating with 30 artists and curated by Senem Cagla Bilgin.

‘Unity’ will be open to visit between the dates 01.02.2018 – 01.03.2018 at London City Island.

INTERSTICES | Stour Space Gallery, London

Ralph Anderson, Amelia Bowles, Secil Erel, Antoine Langenieux-Villard

The factors that compose a work of art are varied. Interstice means a space that intervenes between things. The interaction of the audience, time, place and space forms the dialogue between artworks and creates interstices.

Interstices brings together artists from different places and sub-cultures around the world. Exhibiting artists from England, France, Scotland and Turkey, this exhibition aims to inhabit the space between their cultures. An experience starts between space and artwork. The two main concepts that form this experience are defined as time and place. David Harvey animated time not as a flow, but as memories of living places. Therefore, he defends the opinion of history -as the main material of social expression- leaving its place to art and time leaving its place to space. These definitions that manifest the decisiveness of an individual's senses in perception of space and time, which also have a place within modern and contemporary art.

Interstices argues that the experience of an artwork is only realised by being physically in front of the work. The exhibition presents artworks that have contemporaneous physical and retinal paths, creating niche abstract systems of colours, dimensions and layers. Holding within them the rhythms of the individual’s memory and daily life. When presented together the artworks generate new energies and re-establish their identity. Artists use different techniques and materials in similar ways which are collage, painting, pattern, map, tactile sensation, illusion and physical reality.

Interstices is the first exhibition held by Art Elsewhere. The exhibition features artworks by; Ralph Anderson, Amelia Bowles, Secil Erel and Antoine Langenieux-Villard. The exhibition will take place on the 10th of November 2017 at Stour Space, London and is curated by Senem Cagla Bilgin.

POUNDS FOR BREAD | Unit G Gallery, London

'Pounds For Bread' by East London artist Cristina BanBan. Cristina is the winner of the Hackney WickED Art Prize 2016 organized jointly by Unit G Gallery and Hackney WickED. Working from Mother Studio, the painter was one of the 20 local artists who had been selected by the Gallery to participate in the prize. Cristina was chosen for her style of the painting representing the life of an artist in East London. ‘Pounds For Bread’ is co-curated by Senem Cagla Bilgin.

THE MONSTER CALLED CURATOR | Siyah Beyaz Art Gallery, Ankara

'The Monster Called Curator' exhibition, curated by Senem Cagla Bilgin, which is taking place in Siyah Beyaz Gallery, is bringing nine different artists who work in different fields and their work together.

The curatorship which has not been able to create a professional network for its own as a field of profession and education in Turkey and has become simply 'fashionable' in recent years, is described as 'The authorized person who organizes events and manages the Museum, Library, Exhibition etc in Turkish Language Society. This term, acquainted in the 1980s Turkey, started to progress through the projects, exhibitions, themes, sponsors in art platforms of different functions with the 90s but today it almost lost its function.

The ideas that are simulated by curators, give an edge to the subjective and directive sides of a person who suggests manufacturing method to the artists, completely distinguishes artworks as a merchandise, is free of philosophical and sociological justifications. Consequently, we are facing with 'monsters' that lost its place between the artist and the crowd, describe content without criticism, that are fed by historical facts which continuously exist, subject the facts to loss of function and importance. At this point, the 'The Monster Called Curator' exhibition that reconstructs the relationship between the curator and artist rather than these descriptions, analyzes the perception of the artists about the curator, follows a path of enhancement in every field with an interdisciplinary approach that involves painting, sculpture, video art and performing arts and asks; Who is this monster called curator?

Artists: Burak Ata, Fırat Engin, Nihat Kemankaşlı, Joana Kohen, Mehmet Kosemen, Murathan Ozbek, Ardan Özmenoğlu, Seçkin Pirim, Tuğberk Selçuk