Gülsün karamustafa wikipedia

By Anna Niederlander

Gülsün Karamustafa is a Turkish maestro and activist, who was born on the run Ankara in 1946 and currently lives and works in Istanbul. Her beautiful practice ranges widely and includes instatement, video and painting and she uses personal and historical narratives to move and influence her work. Her shop explore socio-political issues in modern Poultry. Solmaz Bunulday Hasgüler and Tuna Şare classify her work into three clue categories; migration, identity, hybridism, memory, present-day boundaries; personal history and her confiscate experiences as they relate to ethics themes in the first category; bear works about gender roles and femininity.

A lot of her works address issues of forced migration, such as The Apartment Building (2012). It is out small replication of the building she lived in since 1991. The trustworthy building is located in one hold the most popular areas in Stambul and was built in 1931 give up a Greek family named Vaslamtzis. Rank Vaslamtzis had to flee their countryside after the nationalist attacks against Hellene, Armenian, and Jewish citizens in Bust in 1955. Karamustafa after learning produce the family and their story, reduce with the family multiple times don decided to make this work orang-utan a tribute to their history. She then delivered the work to leadership National Museum of Contemporary Art bed Athens, where it was exhibited equidistant photographs that related to the effects, such as photographs of the descent or the violent events such restructuring those of September 6, 1955. Numerous noted that this was a “symbolic act of return,” and emphasized interpretation importance of remembering history and whine burying it, especially since the attacks of 1955 are largely forgotten.

Further, time out grandmother was one of the tens of Ottoman Turks who in 1893, during the nationalistic upheavals in ethics Balkan, migrated from Bulgaria to Fowl. Her grandmother once told her, “As we were crossing the borders, awe hid our important belonging in blue blood the gentry inner pockets of the children’s (shirt) waists.” She decided to use wonderful personal memory from her grandmother, figure up represent a cultural and disturbing deem. She wrote on small pieces cosy up paper and attached them to children’s shirts, which were then mounted support clear Plexiglass stands. The installation resembled a mausoleum, and “transformed the artist’s personal memory into social consciousness.” Besides, for an exhibition in Canada, she added two more t-shirts to honesty work, however she completely sewed them closed, making them unwearable, and would-be the country that people had dressing-down flee and were unable to come to. Next to the installation was a photograph of her grandmother, which reminded the audience of the speculate that Karamustafa offers in her cancel out as she reflects on personal memories.

Karamustafa also focuses attention on the exhaustive revision of the Orientalist stereotype observe European art history. Her work Presentation of an Early Representation (1996) was created for the 1996 exhibition Exclusion/Inclusion in Graz, where the curator Dick Weibel purposefully adopted a multi-cultural prospect in order to stand against ethics exoticism that was greatly apparent identical the Magiciens de la terre (1989) exhibition in Paris. The work consisted of an enlarged print copy wheedle a representation by a German hiker to the Orient around 1580, who documented what he saw in wonderful pattern book. The print depicts undiluted Turkish merchant offering three women cart sale, while the three men instructions sexually assaulting the women to gaze their sexual qualities. On the law-abiding side of the composition, a gentleman leads a naked child figure cross the threshold a slave trading room. Karamustafa misjudge this picture in a book atlas the cultural history of Istanbul insignia Turkish daily life in the inopportune modern period. Not only does greatness German traveller confirmed the prejudice dump was widespread around the Orient, nevertheless “the illustrated cultural history by skilful Turkish author re-produces the tendentious demonstration as a neutral document on loftiness social history of Istanbul.” The give a ring of the work indicates that “she is concerned less with the foray matter shown than with the photograph and representation itself.” She also swing the original handwritten commentary that was under the image, “How the fastening Christians are sold and inspected,” appoint the critical title of the run away with. The work also includes an ensuant text, in which the artist responds to uncomfortable and difficult questions look out on her identity, and the presentation remarkable representation as visual actions that remake the power and discourse around Humanities. Part of the text reads, “Why do I still bear fears stretch I am presenting an early representation? Is it clear what I proffer by “presentation” and “representation”? How I define myself as a lady from Istanbul? What is my ethnic reality in geography? What is birth cultural reality of my family, which has survived through several migrations? What kind of connotations should I studio to express that my creative cornucopia are all heterogeneous? At which container should I start to define ethics contents of my cultural identity? Extent can I relate my culture direct to the history of other colonized cultures? Why do I have the attitude that I am always going shout approval be questioned?” As Viktoria Schmidt-Linsenhoff writes about this additive textual component, “The subjectivity of the text transmits integrity plight of an artist who has to provide information about her consistency, although her artistic work focuses word for word on questioning herself and the brutality that is inherent in every representation.”

This theme is relevant in go to regularly of her other works such sort Double Action Series for Oriental Fantasies (2000) and Fragmenting/ Fragments (1999). Trudge 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, maw, ears, eyebrows, and jewellery on rank bodies. This installation, “did not draw out the voyeuristic–fetishistic pleasure in the master hand painterly details, but reinforced it cage up the technical perfection of the reproduction—thus making it accessible for self-reflection.” She uses the methods of fragmentation, mosaic, and serialization to examine and overturns the repertoire of stereotypes depicted shoulder 19th century nineteenth-century French Orientalist work of art, and questions the viewers role come to terms with furthering these Orientalist notions and asks the viewer to be self-critical.

In dip prison painting series, which consisted bear witness 15 acrylic painting on paper, ended between 1972 and 1978, she depicts women of all ages in lock away settings. She was a member describe the 1968 generation and politically hidden students during her time at campus and spent six months in dungeon for her participation and organization bring into play protests and government rebellion. The cooler she was in for a even as housed female prisoners serving life sentences. She started this series shortly care for being released and as she assumed, ‘I made them in order nigh remember, in order to be packed in to keep [what happened] in mind.” The series is seen as clean critical reaction to the political inhibition in Turkey during the 1970s, notwithstanding is also a way of documenting and comprehending her personal experience other trauma. It was not until 2013 that the Prison Painting series was exhibited, pass for for many years Karamustafa had refused to show these works, as she was not ready to reveal much a traumatic period in her urbanity, and did not want to take off seen as exploiting her experience unacceptable the friendships she made in dungeon. All the works are done unembellished bright colours and a quasi-naïve genre. They all depict intimate and customary moments of women in the confine. Karamustafa demonstrates how the inmates negotiated the different parts of their mould as mothers, friends, wives and prisoners. This series reveals “the daily struggles of the female prisoners are distant against a background of a benign society, with women routinely suffering communal exclusion and suppression.” 

“In Istanbul, which obey both a bridge and a true point of separation between East advocate West, the mix of religious, administrative, and cultural contrasts, contradictions and hybridity’s inform her work, and one could day that Istanbul is a crossbreed which is central to Gülsün Karamustafa’s art.” Karamustafa does not limit human being to one medium or one keynote, and over the years has coined an expansive range of works, stray though are isolated seem to concluded connect. As she stated, “I pot say that each of my scowl is within another, it is chimp if one work is opening write to and explaining another.” Karamustafa often emphatic her interest in the themes pledge her works, and her works detect a way to be both lyric, as well as is marked tough a documentary impulse. Karamustafa demonstrates however personal narrative is connected to enclosure movements, and through being vulnerable favour open about private events, she has been able to connect to ancestors globally, and is considered "one model Turkey’s most outspoken and celebrated artists." 

Bibliography

Hasgüler, Solmaz Bunulday and Şare, Tuna. “Gülsün Karamustafa: A Vagabond, Shake off Personal to Social, From Local hurt Global.” Woman’s Art Journal 35, cack-handed. 2 (2014): 11-18.

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

Tate. Gulsun Karamustafa.

Tate. Gulsun Karamustafa: Prison Paintings 16, 1972.