LACK OF WHOLENESS
We are living in barbarian times. When I say barbarian times, I’m not referring to the conflicts that we are living through around the world. They are not surprising. This world has always been bloody and outrageous.
We are living in barbarian times because we all have a little “Stalin” inside. We know better than everyone else; everything we do and think is right. Well, we think that we think. But we do not. We are just reacting.
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
*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.
Placing yourself in front of a painting by Volkan Diyaroglu is a bold undertaking. The actual decision to look at his work, and to adopt a stance toward it, is in itself a chimera. One might perhaps describe any attempt to go to meet it as an illusory rapprochement. Or even, when the gaze puts up a resistance, we could speak of how the fabulous monster—lion’s head, goat’s body and dragon’s tail—overpowers the spectator. Volkan Diyaroglu’s works demand a willingness that could snap on the first viewing if one does not truly look, because the artist exacts a committed gaze, one that does nothing if not challenge the eye and all the places it leads to. After all, here, seeing goes much beyond a simple opening and shutting of the eyes and entails an exploration into the depths of the gaze.
José Luis Clemente, 2020
Explorando o duplo significado da palavra emergir, Volkan retrata o estado de emergência que se instala sobre a política e a economia mundial e os seus efeitos sobre o ambiente e o quotidiano dos cidadãos. Pela pintura, impressão digital e escultura, Diyaroglu reflete sobre a permeabilidade do tecido democrático às questões nacionalistas, ataques à liberdade e ao imperialismo monetário.
A iniciativa integra o ciclo Caravana, um projeto levado a cabo pela Saco Azul Associação Cultural e pelo Maus Hábitos em parceria com a Câmara Municipal do Porto.
If the sun doesn’t rise, all the madness stops.
The sacrificial blood of martyrs, as meaningless as a flag in the moon.
We watch the world melt over a late night kebab.
Lift our fingers.
Thank our mothers.
Learn each other all over again.