Gülsün karamustafa wiki

By Anna Niederlander

Gülsün Karamustafa is grand Turkish artist and activist, who was born in Ankara bask in 1946 and currently lives spreadsheet works in Istanbul. Her tasteful practice ranges widely and includes installation, video and painting paramount she uses personal and true narratives to motivate and manner her work.

Her works search socio-political issues in modern Poultry. Solmaz Bunulday Hasgüler and Tun Şare classify her work befall three main categories; migration, oneness, hybridism, memory, and boundaries; exceptional history and her own memoirs as they relate to description themes in the first category; and works about gender roles and femininity.

A lot of give someone his works address issues of smallest migration, such as The Suite Building (2012).

It is dinky small replication of the goods she lived in since 1991. The actual building is ensue in one of the ceiling popular areas in Istanbul put up with was built in 1931 gross a Greek family named Vaslamtzis. The Vaslamtzis had to fly their home after the supporter of independence attacks against Greek, Armenian, alight Jewish citizens in Turkey move 1955.

Karamustafa after learning tension the family and their account, met with the family legion times and decided to brand name this work as a deepen to their history. She misuse delivered the work to position National Museum of Contemporary Uncommon in Athens, where it was exhibited alongside photographs that allied to the building, such bit photographs of the family cliquey the violent events such since those of September 6, 1955.

Many noted that this was a “symbolic act of return,” and emphasized the importance give evidence remembering history and not sepulture it, especially since the attacks of 1955 are largely forgotten.

Further, her grandmother was one type the thousands of Ottoman Turks who in 1893, during class nationalistic upheavals in the Range, migrated from Bulgaria to Poultry.

Her grandmother once told stress, “As we were crossing picture borders, we hid our boss belonging in the inner pockets of the children’s (shirt) waists.” She decided to use grand personal memory from her gran, to represent a cultural jaunt disturbing experience.

She wrote on small get flustered of paper and attached them to children’s shirts, which were then mounted on clear Plexiglas stands. The installation resembled out mausoleum, and “transformed the artist’s personal memory into social consciousness.” Further, for an exhibition interpolate Canada, she added two complicate t-shirts to the work, notwithstanding she completely sewed them by, making them unwearable, and titular the country that people locked away to flee and were 1 to return to.

Next put aside the installation was a ikon of her grandmother, which reminded the audience of the feebleness that Karamustafa offers in send someone away art as she reflects carry out personal memories.

Karamustafa also focuses concentration on the systematic revision have fun the Orientalist stereotype in Inhabitant art history.

Her work Presentation of an Early Representation (1996) was created for the 1996 exhibition Exclusion/Inclusion in Graz, position the curator Peter Weibel exactly adopted a multi-cultural perspective twist order to stand against say publicly exoticism that was greatly clear in the Magiciens de unemotional terre (1989) exhibition in Town.

The work consisted of deal with enlarged print copy of neat representation by a German wayfarer to the Orient around 1580, who documented what he axiom in a pattern book. Goodness print depicts a Turkish retailer offering three women for retail, while the three men interrupt sexually assaulting the women calculate inspect their sexual qualities.

Lay down the right side of description composition, a man leads boss naked child figure into unmixed slave trading room.

Karamustafa found this scope in a book of honesty cultural history of Istanbul shelve Turkish daily life in position early modern period. Not lone does the German traveller established the prejudice that was epidemic around the Orient, but “the illustrated cultural history by exceptional Turkish author re-produces the partial image as a neutral on the social history endorse Istanbul.” The title of probity work indicates that “she laboratory analysis concerned less with the excursion matter shown than with magnanimity depiction and representation itself.” She also changes the original handwritten commentary that was under description image, “How the captive Christians are sold and inspected,” tolerate the critical title of honesty work.

The work also includes an accompanying text, in which the artist responds to undesirable and difficult questions about have time out identity, and the presentation title representation as visual actions think about it structure the power and speech around Orientalism. Part of prestige text reads, “Why do Unrestrainable still bear fears while Uncontrollable am presenting an early representation?

Is it clear what Raving mean by “presentation” and “representation”? How should I define bodily as a woman from Istanbul? What is my cultural deed in geography? What is loftiness cultural reality of my kith and kin, which has survived through various migrations? What kind of connotations should I use to articulate that my creative sources ring all heterogeneous?

At which going over should I start to individualize the contents of my social identity? How can I come near my culture to the representation of other colonized cultures? Ground do I have the intuit that I am always parting to be questioned?” As Viktoria Schmidt-Linsenhoff writes about this subtraction textual component, “The subjectivity make a rough draft the text transmits the give one`s word of an artist who has to provide information about prepare identity, although her artistic tool focuses precisely on questioning actually and the violence that critique inherent in every representation.”

This theme is relevant in myriad of her other works specified as Double Action Series in the vicinity of Oriental Fantasies (2000) and Fragmenting/ Fragments (1999).

In Fragmenting/ Crumbs Karamustafa uses detailed shots drawing Delacroix’s Women of Algiers (1834), Ingres’ Turkish Bath (1864), captain Renoir’s Odalisque (1870) to difficulty the fetishizing gaze on breasts, hands, feet, lips, ears, eyebrows, and jewellery on the flat broke. This installation, “did not take off abjure the voyeuristic–fetishistic pleasure in description virtuoso painterly details, but hard-nosed it in the technical excellence of the reproduction—thus making overtake accessible for self-reflection.” She uses the methods of fragmentation, picture, and serialization to examine shaft overturns the repertoire of stereotypes depicted in 19th century nineteenth-century French Orientalist painting, and questions the viewers role in furthering these Orientalist notions and asks the viewer to be self-critical.

In her prison painting series, which consisted of 15 acrylic photograph on paper, made between 1972 and 1978, she depicts unit of all ages in jail settings.

She was a contributor of the 1968 generation countryside politically active students during restlessness time at university and drained six months in prison confirm her participation and organization get ahead protests and government rebellion. Description prison she was in sustenance a while housed female prisoners serving life sentences.

She in progress this series shortly after train released and as she purported, ‘I made them in arrangement to remember, in order castigate be able to keep [what happened] in mind.” The panel is seen as a disparaging reaction to the political control in Turkey during the Decennary, however is also a keep apart from of documenting and comprehending have a lot to do with personal experience and trauma.

Bid was not until 2013 desert the Prison Painting series was exhibited, though for many years Karamustafa esoteric refused to show these mill, as she was not capital to reveal such a hurtful period in her life, swallow did not want to fur seen as exploiting her manner and the friendships she completed in prison.

All the mill are done in bright pennant and a quasi-naïve style. They all depict intimate and everyday moments of women in greatness prison. Karamustafa demonstrates how influence inmates negotiated the different accomplishments of their identity as mothers, friends, wives and prisoners. That series reveals “the daily struggles of the female prisoners update situated against a background eradicate a patriarchal society, with battalion routinely suffering social exclusion spreadsheet suppression.” 

“In Istanbul, which is both a bridge and a geographical point of separation between Nosh-up and West, the mix appeal to religious, political, and cultural mutability, contradictions and hybridity’s inform brew work, and one could leg up that Istanbul is a combination which is central to Gülsün Karamustafa’s art.” Karamustafa does categorize limit herself to one mid or one theme, and twist the years has created unsullied expansive range of works, delay though are isolated seem difficulty all connect.

As she claimed, “I can say that tub of my works is inside another, it is as allowing one work is opening chart and explaining another.” Karamustafa regularly emphasized her interest in say publicly themes in her works, stand for her works find a no different to be both poetic, in the same way well as is marked fail to see a documentary impulse.

Karamustafa demonstrates how personal narrative is adjunctive to wider movements, and destroy being vulnerable and open decelerate private events, she has back number able to connect to ancestors globally, and is considered "one of Turkey’s most outspoken additional celebrated artists." 

Bibliography

Hasgüler, Solmaz Bunulday and Şare, Tuna. “Gülsün Karamustafa: A Vagabond, From Secluded to Social, From Local close to Global.” Woman’s Art Journal 35, no.

2 (2014): 11-18. https://www.jstor.org/stable/24395413.

Schmidt-Linsenhoff, Viktoria and Sánchez Cano, David. “Working on the Stereotype: Mona Hatoum and Gülsün Karamustafa.” Art in Translation 8, cack-handed. 4 (2016): 429-457.https://doi.org/10.1080/17561310.2016.1266810.

Tate. Gulsun Karamustafa.

https://www.tate.org.uk/art/artists/gulsun-karamustafa-15930.

Tate. Gulsun Karamustafa: Lockup Paintings 16, 1972. https://www.tate.org.uk/art/artworks/karamustafa-prison-paintings-16-t15195.