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Beyond The Apparent

A Selection from the Art Collection of The Central Bank of the Republic of Turkey

November 1 - December 31, 2011

The apparent is merely the reflection of one’s sense of morality. One cannot know to what extent this holds true. But there is only one thing for certain: it is art that has adopted this view rather than morality. 
Malik Aksel, Hisar, 1957

The exhibition titled “Beyond the Apparent” can also be perceived as an archaeological endeavor, a revisiting or an essay on the harmony between the apparent and what lies beyond it within the constraints of works selected from the Central Bank of the Republic of Turkey (CBRT) Art Collection which were considered to be in relation with art historiography, as well as the nature and source of existing information. The title serves to rethink, over the exhibition of a collection, the fundamental views that determine discussions on modern/contemporary art and art historiography in Turkey, as well as the desire to elucidate the processes rather than glorifying or criticizing certain periods.

The word “Suret”, carries different meanings such as “appearance, figure, drawing, duplicate, copy, photograph, mode, style”, corresponding to the apparent and perceived aspect of existence in Islamic philosophy. “Siret”, on the other hand, defines a person’s sensible, invisible, abstract and spiritual state, behavior, nature, morals, emotions and character; whatever that lies beyond the apparent. In this regard, this exhibition can be surmised that the desire to revisit a collection as part of an exhibition is associated with the “modern and beyond” appearance of the “1950-2000” exhibition held by the CBRT in 1994 to share its collection with the public. The main variables of this relationship and its cornerstones constitute the main problematics of the exhibition’s narrative. For this reason, the main idea behind the narrative is to question, through retrospection, the meaning of the CBRT Art Collection with respect to the date on which it was created and registered, the discussions it proposes and how it is positioned within art history, and focusing on how written and unwritten history was created rather than building on art history.

The Beyond the Apparent exhibition has been regarded as a way to think about the extent to which the works will transcend their own times, what they would mean to people who interpret artworks and history in different periods, and come up with new prejudices and questions to counter our existing prejudices that function as biases forcing us to open up to the world. In a sense, there is always the possibility to produce another view of the invariance of judgment or prejudice, by historicizing or not historicizing the works and ideas that make up the collection through today's value judgments.

The Beyond the Apparent exhibition was largely curated by using works selected from the “1950-2000” exhibition, which was opened seventeen years ago. Curated and authored by Zeynep Yasa Yaman, the exhibition featured 61 works from 36 artists born between 1905 and 1960.

Artists: Halil Akdeniz, Alaettin Aksoy, Erol Akyavaş, Özdemir Alttan, Serdar Arat, Şükrü Aysan, Yüksel Arslan, Hakkı Anlı, Bedri Baykam, Sabri Berkel, Adnan Çoker, Nejat Devrim, Osman Dinç, Abidin Dino, Tiraje Dikmen, Burhan Doğançay, Devrim Erbil, Neş’e Erdok, Turan Erol, Bedri Rahmi Eyüboğlu, Selma Gürbüz, Mehmet Güleryüz, Serhat Kiraz, Komet (Gürkan Coşkun), Ergin İnan, Zeki Faik İzer, Fikret Mualla, Mübin Orhon, Kemal Önsoy, Orhan Peker, Mithat Şen, Canan Tolon, Selim Turan, Ömer Uluç, Burhan Uygur

Exhibition Catalogue

Beyond the Apparent

Beyond the Apparent

The collection of the Central Bank of the Republic of Turkey, which was founded on 3 October 1931, is comprised of modern/contemporary works of art, such as paintings, sculptures, drawings,...

Video

Fluid Identities  Creating an Identity / Hybrid Identities

Fluid Identities Creating an Identity / Hybrid Identities

A firm believer in the idea that a collection needs to be upheld at least by four generations and comparing this continuity to a relay race, Nahit Kabakcı began creating the Huma Kabakcı Collection from the 1980s onwards. Today, the collection can be considered one of the most important and outstanding examples among the rare, consciously created, and long-lasting ones of its kind in Turkey.

Giacometti: Early Works

Giacometti: Early Works

Organized in collaboration with the Giacometti Foundation, Paris, the exhibition explores Giacometti’s prolific life, most of which the artist led in his studio in Montparnasse, through the works of his early period as well his late work, including one unfinished piece. Devoted to Giacometti’s early works, the first part of the exhibition demonstrates the influence of Giovanni Giacometti, the father of the artist and a Swiss Post-Impressionist painter himself, on Giacometti’s output during these years and his role in his son’s development. 

Nam June Paik Video Art’s Pioneer

Nam June Paik Video Art’s Pioneer

Nam June Paik was video art’s pioneer (1932 –2006). It is interesting that while Warhol and Nameth were experimenting with psychedelic happenings that combined rock, film and performance, the video art pioneers Nam June Paik, Stephen Beck, Eric Siegel and Steina Vasulka were researching in a similar direction.