CURRENT EXHIBITION

Touched and thrilled at Galeri'Nev in Ankara/Turkey

Installation view, Back to school, 2020

Installation view, Back to school, 2020

Installation view, Back to school, 2020

Back to school

Çalışmalarını Ankara’da sürdüren, Tunus Güzel Sanatlar Okulu’nda doktora çalışmalarına devam eden, Işıl Kurmuş Aleksandrov, çok çeşitli ülkelerde yaşamış, her farklı sosyokültürel mekânda uyum sağlama sürecini derinlemesine deneyimlemiş bir sanatçı. Yaşanmışlıklar ile gündelik yaşamın esintileri, bunların bedenimiz ve zihnimizde bıraktığı izler, Işıl Kurmuş Aleksandrov’un çalışmalarının kalbini oluşturuyor. Bu coğrafi mekân değiştirmelerde toplumların, okulların ve yaşam biçimlerinin yıllar boyu bıraktığı izler ve nesneye dayalı anılar sanatçının belleğinden hareketle eserlerinde yeniden canlanıyor. Bize sıradan  görünenlerin yaşamımızdaki etkilerini mercek altına alan sanatçı, bırakılan izlerin bizlerde ne kadar yer ettiği ve yaşadığımız toplumlarda nasıl vücut bulduğunu öğrenme arayışına giriyor.  

‘Back to School’ çalışmasında; kurşun kalem, cetvel, silgi, ataç, kâğıt, defter kapağı, spiral gibi nesneler sanatçının mekân, okul ve kültür değişimlerinin bireysel deneyimlerine yansımalarını konu alıyor. Tüm okul yaşamının beraberinde getirdiği değişimleri ve nesnelerin kendisinde yarattığı izleri ortak bir deneyimde buluşturarak iletisine evrensel bir boyut kazandırıyor. Bellekte yer eden ortak nesnelerin günümüze taşınmasıyla, geçmiş, şu an ve gelecek arasında bir bağ kurulmasına yol açarken, zaman-mekân algısıyla izleyiciyi eserle bağ kurmaya  yöneltiyor. Sergide dikkati çeken eserlerden biri olan kâğıttan uçak baskısı edinilen bilgilerin uçup gitmesi ya da belleğe  mühürlenmişçesine yer etmesi bağlamında bir metafor olarak yorumlanabilir. Okula ilişkin nesnelerin ‘matris’ olarak kullanımlarında yüzeylerinde bırakılan izler ‘dokunuş’ ve ‘el’ unsurlarını gözeten bedensel bir yaklaşım içeriyor. Bu ‘matrisleri’ çift sayfalı bir defterde buluştururken özgün bir biçimde yeni teknikler deneyerek deneyselliğe vurgu yapıyor. Bir araya gelen okula ilişkin nesnelerle yaratıcı bir biçimde ‘oyun oynayan’ sanatçı, nesneleri beklenen kullanım amaçlarının dışına çıkararak çalışmasına adeta bir başkaldırı niteliği kazandırıyor. Özellikle sıradan nesnelerin alışılageldik kullanımlarından sapması ve çizgilerin karmaşası bu düşünceyi güçlendiriyor. Bu bağlamda sanatçının baskılarında kusursuzlukla ilgilenmeyişi, eserleri doğallığa ve gerçekliğe yakınlaştırıyor. Sanatçının çalışmaları farklı tekniklerin yorumlanmasıyla izleyiciye dokunsal ve duyusal bir deneyim yaşatıyor.

Burçak Fakıoğlu Yakıcı

Back to school

Le rapport au quotidien repose au centre du travail d’Işıl Kurmuş Aleksandrov. L’artiste s’interroge non seulement sur la façon dont notre système social, nos désirs et besoins définissent les objets et gestes de notre quotidien, mais aussi sur comment ce qui nous entoure au quotidien imprègne notre esprit et notre corps. En observant de plus près ce qui peut paraître anodin au premier abord, il est peut-être possible de(re-)découvrir notre propre fonctionnement, ainsi que celui des sociétés dans les quelles nous vivons. Cette approche que l’artiste adopte dans son travail est intimement liée à ses expériences plus personnelles : dès le plus jeune âge, le quotidien d’Işıl Kurmuş Aleksandrov a enduré de multiples changements, à travers les déplacements répétés et l’immersion perpétuelle dans de nouvelles cultures, langues,…et systèmes scolaires. Bien que les codes et signes qui l’entourent ont varié, certaines choses sont restées universels et immuables. Le matériel scolaire, comme les cahiers, crayons, gommes, règles etc., ainsi que les gestes qui y sont associés ont accompagné l’artiste au fil des années et des changements. Avec « Back To School », l’artiste incarne – littéralement- les empreintes laissées par ces compagnons de ses années d’enfance et d’adolescence en imprimant des gravures. Ce travail très physique détourne les objets et gestes familiers pour les intégrer dans le processus de gravure, qui lui-même est revisité. La colle se transforme en pâte prête à être retravaillée et imprimée, les empreintes de gommes et crayons deviennent des matrices, alors que les doubles pages des cahiers servent de « topos » unificateur. Les œuvres uniques qui en résultent s’éloignent de la gravure classique : elles reflètent les brouillons et ratures scolaires, et éveillent chez le spectateur / la spectatrice des impressions familières, tout en lui donnant par-là l’occasion de s’interroger sur son propre rapport au quotidien passé ou présent.

H. Günhan Akarçay

PAST EXHIBITIONS  (SELECTED)

Paysage at the Museum Safia Farhat in Rades/Tunisia


Installation view, Musical chairs, 2020

Musical chairs before the installation, 2020

"Chaises musicales"

Alors que certains paysages que l’on découvre pour la première fois peuvent provoquer ennous l’émerveillement et la curiosité, d’autres, plus familiers, peuvent faireresurgir des souvenirs et susciter un sentiment de mélancolie. Avec ce travail, Isil Kurmus Aleksandrov propose de revisiter un objet tiré de notre quotidien àtous : la chaise. Ce n’est pas une chaise, mais trois chaises que l’artistechoisit de nous présenter, évoquant ainsi non pas des moments de solitude maisdes expériences partagées à plusieurs. Ces chaises qui, à première vue,apparaissent ludiques rappellent l’enfance, des déjeuners en famille auxinstants passés derrière nos pupitres d’écoliers. Comme indiqué par le titre,l’installation de ces trois chaises évoque plus particulièrement le jeu deschaises musicales cher à nombres d’enfants. Pourtant, comme le matériau utiliséet l’accrochage au plafond le suggèrent, ce jeu n’est plus possible. Leschaises ne sont plus que des traces de ce qui a été, comme les peaux d’animauxque l’on retrouve une fois leur mue accomplie. Ces chaises mutantes incarnentnos propres changements et reflètent la perte des places que nous occupions,laissant par-là place à l’incertitude de ce qui est à venir.

H. Günhan Akarçay


 

Traces at Kunstenlab, in Deventer/Netherlands

Exhibition view, video installation Tak tik tok , 2018

« Traces »

George Didi-Huberman defines the artist as a “creator of spaces”. As for Parmiggiani, “the life of an artist is an odyssey to the creation of an œuvre and the œuvre is a journey into abandon, similar to the slow expedition of a cloud longing to fade and merge with another cloud.”

While focusing on little things of disarming banality, Isıl Kurmuş Aleksandrov’s artwork reminds us of how far we can see beyond what is visible to our eyes. To what extent can we fathom what is invisible to our perception and broaden our ability to reconstitute reality? Her work gravitates towards the concept of the “quotidien” (which can be translated from French as“mundane” or “everyday”) and is based on snapshots of sceneries that co-exist with our immediate surroundings, yet are hidden to us. 

The drawings, prints, and animations presented in Kunstenlab cross three space-time domains aimed at revealing the diversity of rhythms and scales present in nature: (1) the human scale represented by a terrestrial view; (2) the microscopic scale with images stemming from molecular biology; (3) and finally, the macroscopic scale with extraterrestrial images. The emphasis lies on showcasing how modern imaging technologies such as telescopes,satellites, microscopes or scanners can help us expand our awareness.

The title “Traces” is a direct reference to the artist's approach. Like an investigator or a researcher willing to solve a mystery, the artist meticulously collects pieces of an unfinished puzzle. Leaves found on the ground hint to the presence of a tree, dots glowing on the screen suggest unknown constellations and galaxies. By caring for elements that are present in our “quotidien” but that are not necessarily of use, the artworks alter our consciousness and propose a different perspective on our everyday.

H. Günhan Akarçay

Installation view of the video The rotators and the duplicator, 2018

Detail from the installation view of the video   Rotator & Revolver, 2018

Detail from the installation view of the video Duplicator, 2018

Installation view of Location series, 2018

Installation view of Location series, 2018

Installation view of Location series, 2018


 

Passage at Kunstcircuit in Deventer/Netherlands

Installation view of the exhibition Passage, 2018

Installation view of the exhibition Passage, 2018

Detail of the installation view, 2018

Installation view of the exhibition Passage,  2018

Detail from the installation view of the flow series, 2018

Detail from the installation view of the flow series, 2018


 

Ré-creation/Utopia for the festival Kerkennah01 in Tunisia

Airplane mode, variable dimensions, exhibited with AR, 2018

3D view of ther exposition Ré-création, 2018

Exhibition view Ré-création, 2018

Exhibition view Ré-création, 2018

3D view of ther exposition Ré-création, 2018

 

Airplane mode, inside out, exhibited with AR, 2018

« Airplane mode » 

// Exposition Ré-création

L’appareil photographique n’existe pas uniquement dans nos poches sous forme de petite caméra intégrée à nos téléphones portables, nous permettant de documenter notre environnement direct et notre quotidien. Il est également présent dans les microscopes, dans les télescopes, dans les satellites et dans les sondes spatiales voyageant aux points reculés de l’univers. Il n’a pas la simple vocation de capturer ce qui est visible à l’œil nu : il rend possible l'accès à un au-delà, il permet d'aller par-delà de ce qui pouvait, autrefois, être une utopie. Il est désormais concevable de voir en détail la surface de Pluton, d'acquérir des images en dehors du système solaire. Quels sont alors la place et le rôle de la photographie dans le monde d’aujourd’hui ? Est-ce un instrument, un organe qui complémente l'œil afin de rendre visible ce qui, jusqu'alors ne l'étaitpas ?

En s'interrogeant sur ces questions, l'artiste nous transporte dans des dimensions qui transcendent notre quotidien et qui dépassant l'échelle spatio-temporelle dans laquelle nous vivons. L’écran (qui est l’indispensable compagnon de la photographie) et son support servent d'interfaces nous guidant vers ces nouvelles dimensions, où une autre prise de conscience devient réalité.




IKA présente ici trois impressions : chaque travail est composé d'images réalisées et rassemblées à l'aide de techniques variées. Ces impressions accrochées au mur sont des représentations d'objets en état d'élévation ; objets, qui d'ordinaire gissent au sol ou flottent dans l'air. Ces travaux sont juxtaposés à des animations activables depuis une tablette. L'effet résultant de cette juxtaposition est une réalité augmentée, offrant une vision échappant à l'ordinaire.

Les animations, tout comme les impressions qu'elles accompagnent, sont des« images d'images ». Ici, la matière première sont des « imagesready-made », réinvestieset transformées par l'artiste. IKAs'intéresse ainsi à la matérialité de l’image, ce qui enreste dans les transitions qu'elle endure, et ce qui y perdure à travers les processus successifs de transposition.

Les animations traversent trois espace-temps recouvrant des échelles très distinctes : (1) à l'échelle humaine, une vue terrestre prisedepuis la route principale de l’île des Kerkennah; (2) à l'échelle microscopique, des images provenant de la biologiemoléculaire et reflétant le fonctionnement de nos cellules ; (3) et enfin, à l'échelle macroscopique, une vue de l'espace reconstituée à partir d'images extraterrestres.


Ces trois espace-temps sontprésentés sur un fond noir, qui, de par son esthétique, rappelle les premiersjeux vidéo. Les traits sont réduits au minimum, de manière à rendre les images plus abstraites. Cette réduction de l'information visuelle et la dominance dela linéarité permettent une prise de distance par rapport au contenu etune mise en avant du mouvement en soi, d'un déplacement vers un ailleurs encore inconnu.

Le titre « airplane mode » (traduit par « mode avion ») est une référence directe à nos portables, tablettes et ordinateurs qui, durant un vol, restent déconnectés de l’internet mais qui permettent néanmoins d'accéder auxdonnées déjà stockées. Le titre suggère cette déconnexion, le recul face à l'emprise de l'internet et face audéferlement d'images sur les réseaux sociaux pour se consacrer à lapossibilité d’un « ailleurs ».

Se déplacer physiquement pour être ailleurs n’est plus une nécessité. Etsi l’au-delà était déjà ici-bas ?

H. Günhan Akarçay

Detail from the installation view flow series, 2018

Detail from the installation view flow series, 2018


 

#FoundandLost at AGorgi Gallery in Tunisia

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

#foundandlost exhibition view, 2016

Screenings of Daily Life


Screens of everyday life

Eat, drink, wash, sleep, dress, shave, brush teeth, …, sit, stand, sit back,… each and every gesture punctuates our daily life and use the mechanics and the kinetics of our bodies. Qualified as common, banal, repetitive, monotonous, routine, these trivial acts that pace our daily rhythm, the flows of these physical experiences are infinite and cannot be listed. The act of circumscribing, identifying, classifying them would bring about doubt, uncertainty, and most importantly, exclusion. Surely nothing prevents us singing while showering, or eating while discussing, drinking while calling, checking e-mails while walking, taking a photo or drawing on a tablet while comfortably seated on a chair or an airplane seat… From this angle, the listing of daily gestures is difficult because it calls in stereotyped physical habits, often governed by culturally differentiated traditions. Such a listing exercise would also entail a regular update that would incorporate the new gestures generated by the use of new objects hardly conceivable just a few years ago. By inviting themselves and forcing their rule of conduct, the objects/fruits of technological development not only reinvent our ways of being and knowing, but also, and perhaps most importantly, our relationship to the world. Our bodies are now connected physically/ mentally and virtually to keyboards but also through various types of screens that opens on/ closes off different worlds. Our gestures evolve and move accordingly.
Whether culturally rooted or newly acquired, the daily gestures do not therefore exclude sharing, nor practicing, arts.
Isil Kurmus is inviting us to an immersion in this undetermined universe, and constantly moving daily life. She seizes this seeming banality, transfigures it through a set of bi-dimensional plastic proposals, by combining the printed and the drawn on the screen of her computer and the infinities of its windows.


Sources of the banal 

It’s on the shelves of the library of Tunis that Isil has first found her iconographic elements. Her primary source is then the printed object. The book she chose cannot be qualified as artistic: it presents a wide range of ordinary gestures that compose and rhythm the daily life of citizens in the 20th century. By dissecting the gestures and representing them movement by movement, the authors seek to highlight the implication of the members and their muscular functioning. Thus, in a sitting position, the shoulder is slightly rotated internally, the elbow is flexed to 70 degrees, the hip is flexed to 70 degrees; slight external abduction and rotation… The observations and measurements are associated to each movement. Isil takes hold of the book’s schematic illustrations.



It is amid the unpredictable bowels of her computer, her mobile phone and her body working in front of a screen that Isil drags out the other iconographic components of her work. Screens opening onto several windows, keyboards, toolbars, various icons, cursors, images generated by the computer’s operating systems, images/ landscapes that Isil shot during her travels… as many “substances” and images that cross her daily life henceforward in touch with the televisual and virtual… as many “ingredients” capable of moving or becoming dots, lines, threads, … and constructing a plastic space. To these diverse sources, should be added the images springing out of her memory, her childhood memories, images reviving through objects belonging to her daily life back then… balloons, marbles, slates and blackboards.

Photomontage and transfiguration 

Once gathered, these miscellaneous materials that represent various counterparts of everyday life are exploited and subjected to the photomontage software parameters. This is, strictly speaking, the stage of choices, selections and shaping. Image by image, Isil structures her space, divides her figures, decides on the light and darkness, the printing zones, the empty spaces…, and thus elaborates her first matrix. Once printed on the canvas, the photographic images will constitute a support upon which she draws freehand pictures using an acrylic paint marker, and uses pictures coming straight from the corporal representations of the book on the gestures of daily life. On the printed canvas, she stresses the darkness of an area using spray paint, lightens another area using white chalk and restructures yet another one… to readjust and homogenize the new plastic entity. The “screens of daily life” Isil suggests crisscrosses mixed images from different facts, esthetics, finalities and techniques. Acrylic pictures, a piece of printed picture of a photography originating itself from a televisual picture evoking a Turkish series, printed icons derived from a “vocabulary” originating from the computer world and operating systems… … will all be represented on an identical plane. The work of transfiguration of the daily life fully operates and mutes the most banal imagery into coherent plastic proposals, providing diverse perceptions.

We find particularly strong signs that remind us of the previous works of Isil who was trained at the school and engraving studio of the Higher Institute of Fine Arts in Tunis. We recall her minimalist universe that combines black and white with color, the line with the surface, the figurative with the abstract. We recall her representational spaces that combine pictures, scanned marks and photographic images, playing with manual and technical reproducibility. We recall, under a renewed expression, the love of the artist for mark, her affection for the printed, her appeal for the educational spaces. We thereby discover another Isil, undoubtedly wrought by other daily elements than her actual life.

Welcome to Isil, success in her Screens of everyday life!

Nadia Jelassi


 

Le temps réel at Talan in Tunisia

"Breaking news background, exhibition view, 2016

"Breaking news background, exhibition view, 2016

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