Being that the painting (or at least the one that uses its own critical root as a canvas, that is, the one that acts based on its tautology), has not managed, despite its attempts, to move or distance itself from the established paradigms during the modern project. Volkan Diyaroglu (Istanbul, 1982) starts from that same assimilation to propose an exercise in representing his own pictorial mechanism. We have to say, therefore, that Diyaroglu paints exactly what he paints, so that, in Heideggerian terms, everything is clear to one’s own eyes.

Curated by: Bartosz Nowak
20.01-12.03.2023

*Zrealizowano przy pomocy funduszu stypendialnego ze środków finansowych budżetu Miasta Gorzowa Wielkopolskiego.

Notes on Volkan Diyaroğlu’s “Guernica Every day” Exhibition

We are living under constant bombardment in every sense of the word: Missiles, oppression, violence, censorship, opinions, visual messages… This seems to be a legacy of the 20th century that also gave character to the present millennium. The wounds inflicted by the 20th century tragic history have their representation in art, Picasso’s “Guernica” being one of the most famous examples.  Similarly, Volkan Diyaroğlu uses his artistic expression to present us with the torments of the 21st century.