You see; we have created such an image with our technical games that in the end we have started to see it as reality

bonesworshipΤεχνίτη Νοημοσύνη και Ρομποτική

14 Νοε 2013 (πριν από 4 χρόνια και 7 μήνες)

73 εμφανίσεις

rt ON Istanbul hosts
a solo exhibition titled


The Bride
Who Strips Her

by Yahya Bağcı on February 12
March 9

In the exhibition to cover works with oil on canvas technique, Yahya Bağcı

depicts the relationship
between reality and illusion. Named “unrecorded museums” by the artist, this series includes works
that reflect china cabinets as decoration elements. These cabinets, aka unrecorded museums, are
from families of different socio
onomic, socio
cultural and socio
political backgrounds. Each china
cabinet reflects and documents the family history, associative memory and past of the owners. In
this context, each cabinet turns into a museum and reminds us of museum display windows. In
all the china cabinets in the flats of the city are museums in their own right…. Yet, all of them are
unrecorded, undocumented. In this series, Yahya Bağcı render

them into visuals with his particular

In addition to the “china cabinets

“, th
e exhibition also includes “wineglasses” and “marbles”, as a
sequel of Bağcı’s previous series. In the spatial perception he creates by bringing the “china cabinets”
into the gallery, the artist benefits from ‘marble’ and ‘wineglass’

to play with t
he reality
apperception of the images.

We are living in a universe
, where the reality is substituted with

virtual reality and where we are
surrounded by digital multiplication, multimedia, internet

copying and communication technologies.
We are so profoun
dly convinced in the reality of the virtual world that we react to the censor on any
part of any image, believing that the truth is hidden from us. Are we in fact losing our contact with
reality getting completely alienated? At this point, on one hand we f
ind the postmodernists who
enjoy drifting from one virtual reality to another and the nostalgic conservatives or leftist
conservatives who mourn for (or mourn
over) this situation on the other. Instead of doing that, in his
works the artist is trying to gi
ve its simple reality back to what is virtual. When the resolution of an
image is reduced in order to censor any part, unknowingly we decipher the fact that the image is not
real and is nothing more than an ordinary scene made of pixels. As Žižek also says

virtual reality
means: “

You see; we have created such an image with our technical games that in the end we have
started to see it as reality

What is virtual is something, but not everything.
It is

so to speak

factual effect of what is real. At this point, the objective of the artist’s works is not to create a hyper
realistic attitude but to decipher the hyper
real world.

In his works, the artist uses readymade

(cocktail tab
les, china cabinets etc.) comprised
of objects with an illusory effect. His aim is to have an alternative for the composition tradition in
painting history. Here we find a true illusion generated by glass or a similar material. Behind, there is
a two
sional surface (photograph), which creates a second
hand illusion with the three
dimension effect.
he photograph wanders around a

comprised of different spaces and
when being reflected on canvas. This effect creates the third illusion.

Yahya B
ağcı explains this series as follows: “Unlike other arrangements, in china cabinets and
dressers, the arranger stands out. This is the ‘bride’. The bride becomes a member of the family after
the marriage. Soon, she starts to design and decorate the china c
abinet. During the course of time,
this cabinet turns into a museum that gives clues about the economic and political stance of the
family. From this point on, the heroine of the exhibition is not the “bride stripped
by her
bachelors” in the

e Glass’ by Duchamp, it is the “bride who strips her bachelors bare”.

Yağya Bağcı’s solo exhibition titled



The Bride Who Strips Her Bachelors
be visited at art ON Istanbul between February 12
March 9