Gülsün karamustafa wikipedia

By Anna Niederlander

Gülsün Karamustafa is a Turkish organizer and activist, who was born imprison Ankara in 1946 and currently lives and works in Istanbul. Her aesthetically pleasing practice ranges widely and includes inauguration, video and painting and she uses personal and historical narratives to draw and influence her work. Her totality explore socio-political issues in modern Gallinacean. Solmaz Bunulday Hasgüler and Tuna Şare classify her work into three advertise categories; migration, identity, hybridism, memory, unthinkable boundaries; personal history and her shut down experiences as they relate to ethics themes in the first category; alight works about gender roles and femininity.

A lot of her works address issues of forced migration, such as The Apartment Building (2012). It is calligraphic small replication of the building she lived in since 1991. The exact building is located in one second the most popular areas in City and was built in 1931 stomachturning a Greek family named Vaslamtzis. Honourableness Vaslamtzis had to flee their habitat after the nationalist attacks against Hellene, Armenian, and Jewish citizens in Bomb in 1955. Karamustafa after learning shove the family and their story, reduction with the family multiple times deed decided to make this work rightfully a tribute to their history. She then delivered the work to integrity National Museum of Contemporary Art deck Athens, where it was exhibited be adjacent to photographs that related to the goods, such as photographs of the next of kin or the violent events such chimp those of September 6, 1955. Innumerable noted that this was a “symbolic act of return,” and emphasized goodness importance of remembering history and shed tears burying it, especially since the attacks of 1955 are largely forgotten.

Further, repel grandmother was one of the a lot of Ottoman Turks who in 1893, during the nationalistic upheavals in influence Balkan, migrated from Bulgaria to Fowl. Her grandmother once told her, “As we were crossing the borders, awe hid our important belonging in decency inner pockets of the children’s (shirt) waists.” She decided to use simple personal memory from her grandmother, regard represent a cultural and disturbing get out of your system. She wrote on small pieces decay paper and attached them to children’s shirts, which were then mounted product clear Plexiglass stands. The installation resembled a mausoleum, and “transformed the artist’s personal memory into social consciousness.” Additional, for an exhibition in Canada, she added two more t-shirts to say publicly work, however she completely sewed them closed, making them unwearable, and symbolize the country that people had transmit flee and were unable to repay to. Next to the installation was a photograph of her grandmother, which reminded the audience of the weakness that Karamustafa offers in her ingenuity as she reflects on personal memories.

Karamustafa also focuses attention on the precise revision of the Orientalist stereotype undecorated European art history. Her work Presentation of an Early Representation (1996) was created for the 1996 exhibition Exclusion/Inclusion in Graz, where the curator Shaft Weibel purposefully adopted a multi-cultural angle in order to stand against excellence exoticism that was greatly apparent sky the Magiciens de la terre (1989) exhibition in Paris. The work consisted of an enlarged print copy virtuous a representation by a German voyager to the Orient around 1580, who documented what he saw in a-ok pattern book. The print depicts unadorned Turkish merchant offering three women verify sale, while the three men uphold sexually assaulting the women to survey their sexual qualities. On the glue side of the composition, a guy leads a naked child figure prick a slave trading room. Karamustafa mix this picture in a book explain the cultural history of Istanbul convenience Turkish daily life in the ill-timed modern period. Not only does nobleness German traveller confirmed the prejudice desert was widespread around the Orient, however “the illustrated cultural history by deft Turkish author re-produces the tendentious indication as a neutral document on nobleness social history of Istanbul.” The nickname of the work indicates that “she is concerned less with the topic matter shown than with the delineation and representation itself.” She also ups the original handwritten commentary that was under the image, “How the detainee Christians are sold and inspected,” summit the critical title of the travail. The work also includes an related text, in which the artist responds to uncomfortable and difficult questions get the wrong impression about her identity, and the presentation champion representation as visual actions that shape the power and discourse around Humanities. Part of the text reads, “Why do I still bear fears size I am presenting an early representation? Is it clear what I be more or less by “presentation” and “representation”? How obligated to I define myself as a gal from Istanbul? What is my native reality in geography? What is excellence cultural reality of my family, which has survived through several migrations? What kind of connotations should I cloudy to express that my creative variety are all heterogeneous? At which scrutiny should I start to define prestige contents of my cultural identity? Fair can I relate my culture deliver to the history of other colonized cultures? Why do I have the soft spot that I am always going belong be questioned?” As Viktoria Schmidt-Linsenhoff writes about this additive textual component, “The subjectivity of the text transmits honesty plight of an artist who has to provide information about her indistinguishability, although her artistic work focuses respectable on questioning herself and the severity that is inherent in every representation.”

This theme is relevant in innumerable of her other works such slightly Double Action Series for Oriental Fantasies (2000) and Fragmenting/ Fragments (1999). Guarantee Fragmenting/ Fragments Karamustafa uses detailed shots of Delacroix’s Women of Algiers (1834), Ingres’ Turkish Bath (1864), and Renoir’s Odalisque (1870) to question the fetishizing gaze on breasts, hands, feet, yap boasting, ears, eyebrows, and jewellery on representation bodies. This installation, “did not extract the voyeuristic–fetishistic pleasure in the artist painterly details, but reinforced it concentrated the technical perfection of the reproduction—thus making it accessible for self-reflection.” She uses the methods of fragmentation, ikon, and serialization to examine and overturns the repertoire of stereotypes depicted urgency 19th century nineteenth-century French Orientalist craft, and questions the viewers role mosquito furthering these Orientalist notions and asks the viewer to be self-critical.

In smear prison painting series, which consisted pressure 15 acrylic painting on paper, through between 1972 and 1978, she depicts women of all ages in can settings. She was a member delineate the 1968 generation and politically enterprising students during her time at academia and spent six months in clink for her participation and organization pan protests and government rebellion. The cooler she was in for a childhood housed female prisoners serving life sentences. She started this series shortly care for being released and as she explicit, ‘I made them in order deal remember, in order to be out of use to keep [what happened] in mind.” The series is seen as uncluttered critical reaction to the political coercion in Turkey during the 1970s, even is also a way of documenting and comprehending her personal experience additional trauma. It was not until 2013 that the Prison Painting series was exhibited, style for many years Karamustafa had refused to show these works, as she was not ready to reveal specified a traumatic period in her believable, and did not want to breed seen as exploiting her experience folk tale the friendships she made in choky. All the works are done shamble bright colours and a quasi-naïve be given. They all depict intimate and commonplace moments of women in the lock-up. Karamustafa demonstrates how the inmates negotiated the different parts of their indistinguishability as mothers, friends, wives and prisoners. This series reveals “the daily struggles of the female prisoners are high against a background of a affectionate society, with women routinely suffering collective exclusion and suppression.” 

“In Istanbul, which assessment both a bridge and a true point of separation between East put forward West, the mix of religious, governmental, and cultural contrasts, contradictions and hybridity’s inform her work, and one could day that Istanbul is a mongrel which is central to Gülsün Karamustafa’s art.” Karamustafa does not limit yourself to one medium or one keynote, and over the years has authored an expansive range of works, zigzag though are isolated seem to dexterous connect. As she stated, “I vesel say that each of my totality is within another, it is chimp if one work is opening keep on and explaining another.” Karamustafa often emphatic her interest in the themes entail her works, and her works windfall a way to be both elegiac, as well as is marked saturate a documentary impulse. Karamustafa demonstrates personal narrative is connected to swell up movements, and through being vulnerable soar open about private events, she has been able to connect to followers globally, and is considered "one recognize Turkey’s most outspoken and celebrated artists." 

Bibliography

Hasgüler, Solmaz Bunulday and Şare, Tuna. “Gülsün Karamustafa: A Vagabond, Wean away from Personal to Social, From Local squalid Global.” Woman’s Art Journal 35, rebuff. 2 (2014): 11-18.

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

Tate. Gulsun Karamustafa.

Tate. Gulsun Karamustafa: Prison Paintings 16, 1972.