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Al Kokteyl, 15 Kasm Perembe2012 Saat: 18.00 - 20.30Mine Sanat Galerisi Avrupa ubesi, Topaac Meydan Pro. Dr.

Mfde Kley Sokak Yasemin Apt. No:1 D:5 Nianta / stanbul

Opening Coctail, 15 Novem-ber Thursday 2012 at: 18.00 - 20.30Tel: 0212 232 38 13 Gsm: 0536 553 50 66

www.minesanat.com - minegulener@gmail.com

1 5 K a s m1 0 A r a l k2 0 1 2

NANTAI

15 November10 December2 0 1 2

NANTAI

SAB AH AT I KI NTAArka Oda | The Ba ck Room

SAYI: 9/ARALIK 2012 / ISSUE: 9/ DECEMBER 2012ada1985 Mine Sanat Galerisi nin Sanat Postasdr, Para ile Satlmaz / Contemporary1985 The Free Of Charge Art Magazine published by Mine Art Gallery

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You lean on a different issue in your last exhibition. Could you talk about a

little bit creation process of this idea?

Well, I have an analytic style and it is a matter that I examine it by it act of pain-

ting. These examinations will continue. Although this exhibition seem like dif-

ferent, it is not different from the others, contrarily inside of it. What is hidding

in my act of painting is a Back Room It is a place where can not see, ignored.

Homever, there is a back room backround of all works of art. In this context,

while I was painting squares with masking tape, stick them spontaneously on

wall and then nish painting act with them, I started interest the rest of it and

decided to focus on this spontaneous natural beauty approve all paint as MO-

MENTS smudge to tapes with my brush touch, while I was painting squares.

With these indications, I am trying to keep on going with an examination of

change, transformation, time concepts and trying to recreate them again. So

that, I started to hide my tapes which became involved and after left my works.

Then, my project have started.

What kind of material did you used in your works of this exhibition?

Everything improved so spontaneously. As I mentioned above, I tried to protect

them over a packing nylon as an object of memory. After I photographed them. I

applied this practice to all my painting. Thus, packing nylons became involve in

this project. I have collected and hide these nylons for two years and after their

transformation process have started. In this time, I denest tapes and started to

recreate them as a work of art. I have been using nylons and making works on

them since 1996. It does not new for me. This serie is a refence to those times

as well. I presented my work into a plexy box, a material which is al so so fami-

liar to me. My works with tapes put inside in these boxes. Thus and so all tapeswhich belong to my back room(even one piece of tape doesnt throw out) wil

involve my exhibition with a different reection. In this time, nylons took their

part into box and the box get involved in content. Snapshots of photographed

bands will reect on dark wall of room. Thus, they will be a visitor of exhibition.

You are so rigor about integrity of works with each other but this time I qu-

ess, you also want to engage yourself with it in a concrete way, dont you?

As Im saying before, I dene moments that are passed as a BACK ROOM in the

concept of time. But this time, in this exhibition, I went to very old times from

my adventure with act of painting. Im going to introduce you one more BACK

ROOM. I fell both an excitement and also a sourness by carrying passing mo -

ments of my act of painting between the years of 1991-2003 (at Atolye Ucgen,

founded by Dear Master Yusuf Taktak ). Yes, there is an integrality in my ex-

bition. Everything, even myself, will be constitute a whole into the gallery spa-

ce. My costume that Im going to wear in this exhibition, maden by packaging

nylons which have been hiding and protecting for two years. There are visual

pieces of papers belongs to 2011-2012, consist of tapes that are photographed

and sketch brushstroke. In fact, This costume turned into a garment which is

carrying past, present and future at the same time. After all, I aimed to imply

timelessness of each line which was maden for art. I wanted to emphasize that

sometimes we should turn back and l ook at our BACK ROOMS by going hand in

hand with concept of time, change and transformation.

bi: Mine Sanat Galerisi / Genel Yayn Ynetmeni: Mine Glener - Nur Glener / Yaz leri Mdr: Serkan Glener / Grak Tasarm:Alp DedeoluGrak Uygulama:Rabia Ergin /eviriler:Melike Tomris nder /Katkda Bulunanlar:Yusuf Taktak - H. Avni ztopu /Bask:Focus BasmSanat Galerisi Asya ubesi / Badat Caddesi Ogn Sok. No: 3 / B Caddebostan/stanbul - Tel: 0216 385 12 03 - web: www.minesanat.com / e-posta: minegule-

mail.com Mine Sanat Galerisi Avrupa ubesi / Dr. Mde Kley Sok. Yasemin Apt. No: 1 D: 5 Nianta/stanbul - Tel: 0212 232 38 13 - Gsm: 0536 553 50 66

OUZ ALP DEDEOLU: Could you talk about a little bit the process of star-ting to your act of painting?

SABAHAT IKINTA: I started painting with suggestion of my dear master Yu-suf Taktak in his studio Atolye Ucgen. Previously, I was painting by myself with

my own effort. I was unaware of plastic values of painting. If I go back much more

to my past, I was a lazy student in high school and secondary school but I had high

degree in painting lessons. I also won a competition. Of course, so many things

have changed since 1991 until 2012. I have changed so much. Ive never changed

before. The way of change and settlement is closely related to hard working, self

condence. It will keep going whole my life. Because art is a very important fact.

Can you talk about factor(s) that provided improvement and success to

you?

Art is a whole on its own and one the things that is implied is the life itself. When

I left Atolye Ucgen and move to my own studio, I have already entered abstrac -

tion stage of my art. I had a trouble with

colour, form and simplicity. Some values

of previous paintings have been trans -

ferring to the followings with observati-

on and experiences. I always study with

examing the surface of canvas and ask

myself some questions such as what can

I do?, How can I do? There comes a time,

I can nd answers of my questions. You

keep going searching. . And of course ex-

perince always inside of it.

There is a minimal approach both youruse of colours and way of your working

style of object. Firstly, I want to ask

about colours. Do you act freely fromyour other (the red ones) works?

As Im said before, art mostly involves

life. had inuence on me. So, I quess any choice of colours are not related each

other. I experienced a very big energy bomb. Because there is a huge cultural

socio-economic energy bomb in the world. There are too many meanings of red

and at the same time ,it is so dominant colour. Previously, I have seldomly used

red in my works. I dont know what happened and than all my series suddenly

covered with red colour. Purple and blue combination evokes the spiritual serio-

us feeling. I put them to the surface with initial purication, through painting as

blue and purple. I always nd interesting simplicity and chasing it.

Correlation-s and More Than Less series call out to concepts of relati-on and system. Are these concepts represent the what do you see or whatdo you want to see?

It is all about relation and system. Art seems like constructed on these con-

cepts, isnt it? Doesnt each work involve relation and system? and doesnt it

way to go to the whole? Certainly, artists implies somethings. I think that these

are synthesis of what we see. We are settled with them and the future are impli -

ed with what we want to see.

I wittnessed by myself that your collage work which are studied on canvas

attracted so much interest. Can you talk about a little bit about working

process of your works?

Yes, those are my new works. They passed a long maturation process. Single

part small canvas turned into a big whole, formed with cutting. My aim is again

reducing the color and form. I wanted to see this in my collage work as well.

ALP DEDEOLU: Resme balama srecinizden behsedermisiniz?

HAT IKINTA: Ben alternatif sanat eitiminden donanml sanatym.ylnda deerli hocam Yusuf Taktakn nerisiyle (Cihangirde oturduum

manda komumdu.) Onun kurduu Atlye gende resme baladm. Bu -

ncesinde evde kendiliimden resimler yapyordum. Bilinsizce resmin

k deerlerinden bihaber olarak... ok daha ncesine gidersem orta ve lise

mimde tembel bir renciydim ama resimden o zamanki not deerlerine

n yksek notu alrdm. Hatta okullar aras yarmalarda birincilik d -le var hala saklarm. Elbette 1991 ylndan 2012 yl arasndaki srete

y deiti. Hi olmadm kadar byk bir deiime uradm. Bu deii-

e yaplanmamn yolu resim yaparak, ok alarak ve kendime inanarak

n nemini idrak ederek geti ve devam ediyor. Yaadm srece devam

k. nk sanat ok nemli bir olgudur.

ede sizi balayan ve soyutlama ile sanatta ilerlemenizi salayan olay-n bahseder misiniz?

bal bana bir btn ve ierdii

den biri de yaamn ta kendisi ben-

lye gendeki almalarmdan

yonel tek bama atlyeme geti-

soyut srece

n geilmiti. Bir sadelik, renk ve bi-

meselem vard. Gzlemleyerek, de-

ek bir nceki resimdeki deerleri

ya sonraki deerleri daha sonraya

rak, tual yzeyini sorgulayarak

i ne yapabilirim, nasl yapabilirim

ryla kavrularak alyorsunuz ve

geliyor sorularnz yzey zerine

n buluvermi. Aradnz bulana

devam ediyorsunuz ama tabi ki ya-

n tecrbeler bunun hep iinde

renk kullanmzda hem nesneyiiniz asndan Resimlerinizde minimal bir grnt var. nce rengi

ak istiyorum. Renk seimlerinde srece gre dier ilerinizden (Kr-ardan) bamsz m hareket ediyorsunuz?

yaam fazlasyla ierir demitim. Yaadklarm, grdklerim, etkileim-

vs. tm bende fark etsem de etmesem de etkisini zerimde brakyor.

denle renk seimlerim birbirine bal deil sanyorum. rnein krmz

de bende hi olmad kadar byk bir enerji patlamas oldu. nk ya-

mz dnyada sosyo-ekonomik, kltrel vs. byk bir patlama var. Krmz

n iinde barndrd birok anlam var ayn zamanda ok baskn bir renk.ye kadar krmzy yok denecek kadar az kullanrdm. Ne oldu da tm re -

im seri olarak krmzya buland. Bununla ilgili kendi notlarmda yle

n satr cmle var: Kanyorum Elbette ok etkilendiim durumlar sz

u, paletim hep krmzya kat. Azdan ok serisinde de bu kez tama -

rmzy terk ettiimi gryorum. Morlarn mavilerin karm tinsel ar

lar artryor, isel arnmaya giderek bunu resim yoluyla az renk az

e maviler morlar olarak yzeye tamm. Yalnlk her zaman ilgimi ek-

nun peinde komuumdur.

nt-lar ve Azdan ok serileriniz iliki ve dzen kavramlar-a getiriyor. Bu kavramlar grdklerinizi mi yoksa grmek istedikle-mi temsil ediyor?

ve dzen ile ilgili Sanat da sanki bunun zerine kurulu deil mi? Her

geleri iliki ve dzeni iermez mi? Ve bu btne giden yol deil mi? El-

i sanat bir eyler iaret eder; o da bence grdklerimizin sentezinden

yaplanmak ve grmek istediklerimizle gelecei iaret etmek sanyorum.

Fuarda bizzat tank olduum iin soruyorum. Minik tualler zerine yapt-nz kolaj almalara ilgi bykt. O almalarnzn yapm aamasndan

bahseder misiniz?

Evet onlar en yeni ilerimden. Ama ok uzun sren bir olgunlama evresi ge -

irdi bu alma. Tek para kk tualler sonunda byk bir btn oluturdu.

Elbette kesip biim vermeyle yoruldu ve abam kolajda da renk ve biimi yine

en aza indirmeydi. Kolajda da bunu gstermek istedim.

Son serginiz ARKA ODAda ise bambaka bir konu zerine eiliyorsunuz.Bu sergi krinin oluum srecinden bahseder misiniz?

Tabi Resimlerime analitik bir bak asyla baktm ve byle yaptm iin bu

kez de resim yapma eylemini de dahil ederek sorguladm bir durum. Elbette

bu sorgular hep devam edecek. Bu sergim ilk bakta bambaka bir konu gibi

alglansa da yaptm iten hi bamsz deil, tam tersi iinde bir durum; resim

yapma eylemimin iinde sakl olan, aslnda sergimin de balndan anlalaca-

gibi bir ARKA ODAdr: Grnmeyen, gz ard ettiimiz, nemsemediimiz

yerdir yalnz her yaptn bir ARKA ODAs vardr. Bu balamda; Resim yapma

eylemimde oluturduum kareleri maskeleme bandyla boyarken, her boyama

ilemi bittiinde bantlar karelerden ayrdmda ve hi nemsemeden duva-

ra yaptrdmda, bantlarn o halleri her zaman dikkatimi ekmiti. Kendi -

liinden oluveren doal grsellii bu kez byte altna almaya karar verdim.

Buradan yola karak, bantlarda her defasnda boyadm karelerden her fra

darbesinden bulaan boyalar, o yakalayamadmz gremediimiz AN-LAR

olarak kabul ettim. Bu gstergeyle birlikte deiim-dnm ve zaman kavramher zaman ilgi alanm olduundan bunlar nasl bir deiimle tekrar var edebi -

lirim dncesiyle devam ettim. Her resmimin iine dahil olan sonra da kan

bantlar saklamaya baladm. Bylelikle projem balam oldu.

Sergide kullandnz malzemeler de ayr bir nem kazanyor, ne tr mal -zemeler bunlar?

Her ey doallnda dahil oldu. Yukarda bahsettiim gibi nce bantlar sak-

lamak iin onlar ok nemseyerek onlar adete bir an nesnesi gibi paketleme

naylonu zerine tek tek itinayla korumaya aldm. Fotoraadm. Her resim bit -

tiinde bu uygulamay srdrdm. Bylece paketleme naylonu da dahil olmu-

tu. Bu ekilde iki yl i inde bunlar biriktirdim. Daha sonra dntrme srecim

balad. Bu kez tekrar naylonlardan skmeye ve onlar sanat nesnesi olarak

hayata geirmek zere altm. Bylece durumlarn artk nemsenmeden sr -

drmek deil, sanat nesnesi olarak sonsuza kadar srdrmek olacakt. Naylon-

lar kullanmak benim iin ok yeni deildi 1996 ylnda da bu malzeme zerine

iler retmitim. Bu balantyla bu rettiklerim de o zaman dilimime gnder-melerde bulunacakt. Yaptm ileri uzun yllar pleksi kutu iinde sunmutum.

Burada da pileksi bildiim yabanc olmadm bir malzemeydi. Bantlarla olan

ilerimi pileksi ile kutuladm. Bunlar pileksiyle farkl bir yansmayla sergime

dahil olacakt. Bantlarn en ufak bir paras bile aa alnmad bu eylemde o za-

manda ne varsa hepsi dahil oldu. Bylece naylonlar da zaman iinde kutu iinde

yer ald ve kutu da ierie dahil oldu. Ve bu kutudaki zellikle bo olarak brakt-

m alan ARKA ODA, uzamda drdnc boyut diye bilinen zaman, alan kutu-

lara blnm galeri mekannn zaman dilimiyle birletirmek istedim: Sanat,

imgeledii ARKA ODAsn galerinin zaman dilimiyle birletirerek gemiden

bir oda dahil edecekti. Bantlarn fotoraanm anlk durumlar ise karanlkta

duvara projeksiyonla yanstlarak galeri ARKA ODAsnda misar olacakt.

Sergideki her eyin btnsellik iinde olmasna dair bir titizliiniz var, bu sefer

somut bir ekilde kendinizi de bunun ierisine ortak etme dncesindesiniz

sanrm.

Bu sergimde dediim gibi gemi anlar, zaman kavramnda ARKA ODA diye

tanmlyorum. Bu kez ok eski yllara giderek resim yapma eylemimde gemi -ten bir ARKA ODAy daha sergime tayorum. Bu, 1991-2003 yllar arasnda

(Sevgili Hocam Yusuf Taktakn kurduu Atlye gende) zerinde srekli re -sim yaptm ve her zaman koruma altna aldm, sakladm, resim yapma ey-

lemimin o anlarnn izlerini de sergime dahil ederek bu gne tamakla da hem

bir heyecan hem bir burukluk da yayorum. Evet, sergimde bir btnsellik sz

konusu; galeri mekan iine ben de dahil olarak bir btn tekil edilecek. Gale-

ride giyeceim giysi, iki yl dr sakladm paketleme naylonundan oluuyor. Bu

naylonun zerinde bantlarn her durumunun fotoraar ve renk aramalarm-

da eskiz fra darbelerinden oluan 2011-2012 ylna ait kendiliinden grsel

kt paralar var. Aslnda bu giysi gemi, imdi ve gelecei birlikte tad -

m bir giysi haline dnyor. Sonuta bu sergimde sanat iin atlan her bir

izginin zamanszlna da iaret ediyorum. Zaman kavram iinde, deiim ve

dnmde de bazen dnp ARKA ODAlara bakmak gerektiini vurgulamak

istedim.

A B A H A T I K I N T A L E R P O R T A J

3

u sergimde gemi anlar, zaman kavramnda ARKA ODA diye tanmlyorum. Bu kez ok eskiara giderek, resim yapma eylemimde gemiten bir ARKA ODAy daha sergime tayorum.Im saying before, I dene moments that are passed as a BACK ROOM in the concept of time. But

s time, in this exhibition, I went to very old times from my adventure with act of painting. Im

ng to introduce you one more BACK ROOM.Rportaj, Ouz Alp Dedeolu

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THE BACK ROOM

A R K A O D A

Sabahat knta

Sabahat knta

Deiim kavram her zaman ilgi alanmd. Her zaman bir eyleri deitirme - gelitirme yanls oldum... Bunun gstergesi olan zaman kavram dabenim iin nemli. Farknda olmadan getiini, yitirdiimizi sandmz zamanda minimum olan ANLARI bellekte hi kaybolmadan nemsediimizve nemsemediimiz yanlaryla hep tekrar anmsamaz myz?

Bu balamdan yola karak bu kez, resim yapma eylemimde kaybolan izlerin peine dyor, byte altna alyor, onlar kaybetmemeye kararveriyorum. Bu, sergi projemin temasn oluturuyor. Anlarn titreimlerini yakalayabilir miyiz?

Kendiliinden olan doal grsellik srekli dikkatimi ekmitir. imdi, resim yapma eyleminde resmimi olutururken, ruh halimin o anki durumuy-la maskeleme bandna bulam bir ekilde, zensiz, dzensiz, olduu gibi, aniden savrulan fradaki boya izleriyle yola kyorum. (21 Kasm 2011tarihinden bu yana bantlar atlyemi istila etti. Her yeri kaplyorlar, bazen bouluyorum ama byk sabrla bu dnm nesnelletireceim iinheyecan da duyuyorum.) nce maskeleme bantlarn o anlarma sayg gibi tek tek itina ile paketleme naylonu zerine ard ardna yerletiriyorum.Bu ekilde onlar korumaya alyorum. Oluveren fra izlerimi fotorayorum. Sergimde bu fotoraanan bantlarn nasl deiime uradn bir-likte tank olacaz.

Proje devam ediyor. Gemi denilen zaman diliminden koruma altna aldm, benim iin nem tayan izleri de bugnle birletiriyorum. 1991 y-

lndan 2003 ylna kadar srekli kullandm pleksiglas zerindeki izleri de sergime dhil ediyorum.

Yllar nceki o zaman diliminde duygulu hassas krgn rkek kaygl mutlu -mutsuz neeli hrn anlarm, anlarm sessizce gizleyenayn zamanda muhafaza eden izgiler...

Gemi imdi - gelecek bu l titreim...

Hepsini bugne katyorum. Belki de sanat iin atlan her izginin, yaamdaki izlerin zamanszln belirtmek istiyorum.

Byk bir sabrla her geen gn sonuca doru ilerlerken heyecanm byyor. Koruma altndaki izler kimlik kazanmaya balyor. imdiki durum -lar nemsenmemek deil, deiime urayarak, varln bu kez sanat nesnesine dnm olarak srdrmek

Concept of change is always my personal interest. I always a proponent of changing /improving of something and concept of time is also importantto me as an indicator of these.Moments that pass without realizing and become minimum when we thought wed lost, can we remember them ever and ever again, without gettinglost in memory, with its aspects that we care and do not care.

Based on this context, this time, Im going after the lost traces in the act of painting, examine it and decide not to lose them. It provides theme formy exhibition project. Can we grab the vibrations of moments?

Natural spontaneous visuality always attract my attention. Now, while I was creating my works in the act of painting, I started with my currentstate of mind, smeared with masking tape, sloppy, untidy, as what it is and the brush suddenly blasted with traces of paint. (Since 21 November2011, my studio was invaded by tapes. They covered everwhere. Sometimes Im drowning in but also exciting to objectify this transformation withgreat patience,) Firstly, I put masking tape one after the other over the packaging nylons. In this way, I can protect them. I photograph my brushmark. In my exhibition, we will witness together how are these photographed tapes have changed.

The project continues. I protected the traces from a period of time so-called past and integrate them with the present. In my exhibition, I will incor-porate traces of plexiglass which is continuously used since 1991 untill 2003.

Many years ago in a specic period of time, the lines that protect and at the same time silently hides my sensitive - emotional upset shy anxious happy sad joyful - combative moments, memories.

Past-present-future is a triple vibration...

I add all of them at present. Maybe; I want to mention the timelessness of life traces and each line which was maden for art.

Im moving towads to conclusion with each passing day with great passion, so my excitement mounted. Traces that are under protection are startgaining identity. Their current situation does not go unheeded; it is carrying on as an object which is turned into art work within the undergoingchangings.