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Flat Earth / W Axis

ÖZGE TOPÇU

11 APRİL - 18 MAY

 

Pilot is hosting Özge Topçu’s first solo show at the gallery between 11 April and 20 May. 

Özge Topçu, at the exhibition “Flat Earth / W Axis”, refers to Rosalind Krauss’ concept sculpture in the expanded field by researching the experiences of the 4th dimension. Along with the form she explores the elements that constitute the environment and social life. The sociological case that inspired the exhibition is the Flat Earth Society which claims that the world is flat with a sensational belief ignoring the last 600 years of history. Artist is trying to understand why this form of belief which corresponds to empiricism and the Middle Ages is popular again. 

Agora


2018
Site-specific installation

Agora is a participatory site-specific installation project. It is inspired by the idea of the marketplace - arguably one of the most organic urban landscapes in history. The project was a part of Art Night London 2018.

The aim was to engage with the local community through a series of workshops in which I asked the participants to come up with designs for alternative public spaces which can be built from one of the key components of the market place – the market box.

After the structure is built we created a conviviality with the participants and have discussions around this new public space, considering its temporality.

The aim of this participation was giving the ownership of the urban landscape back to local residents, to empower the participants and ask them, and the audience, to consider their role in building the urban landscape of the future.

Exhibited in Art Night London 2018, New Covent Garden Market 


Supported by SAHA and Faruk Sade Sanat Fonu
http://2018.artnight.london/projects/ozge-topcu/

Peninsulian,

 

2017

Site Specific installation (wood, glass, metal)

400 cm x 80 cm x 50 cm

 

 

According to my installation, “Peninsulian” is the name of the identity that creates the visuality of Istanbul. This identity is belong to the craftmen and shopkeepers which are living in historical peninsula and shap- ing the peninsula by their crafts and marketplace. They are the people who moved to Istanbul a long time ago by leaving their hometown and settled on Istanbul peninsula. These people had grown there and de- veloped the geography as well. The objects in the installation are the results of these ‘Peninsulian’ s crafts and an occure the ironic alternative of the Istanbul Skyline by the Peninsulan craftmen’s methods... 

 

Exhibited in “Syncronicity” exhibition, Meclisi Mebusan Caddesi 25 No, İstanbul

Ömer Ozyürek Collection

The Presence II

 

2016

Installation (ready made and painting)

 

“Presence II” is an attempt to generate insight about object fetishism. In this work, installation is composed as an Architectural model which consisted of everyday objects. The arcitectural model intends to be a representation sample of gigantic urban planning and crazy projects which are belong to star architects. It try to unfold the problem of “construct” notion in that field by setting a playground for kids. And go to show capitalist construction is a game, an exclusively forceful adult game...

Exhibited in "Open City" Exhibition in Pilot Gallery, İstanbul/Turkey

Placed on Ömer Özyürek Collection

 

Nature Morte 

 

2016
Installation (Concrete)

In this work, I attempt to analyse modernist and postmodernist visual representations using examples of iconic architectural buildings. In the installation key examples of modernist architecture, “Guggenheim Museum” ( by Lloyd Wright), TV Tower (by Oscar Niemeyer), Buzludzha Communist Party Building (in Bulgaria) loose their own specific idealist statements and contexts and are presented as ancient archeological found objects. They are ordered and presented together to resemble still life objects on a table such as a fruit bowl, candle, flowerpot etc... 

Exhibited in "Open City" Exhibition in Pilot Gallery, İstanbul/Turkey

The Mandalas

 

2015

Frottaged canvas

Different sizes

 

This occupation explores different examples of manhole cover as infrascructure of urban (Istanbul) . To scan the textures of covers by frottage method, recorded the memory of urban’s old infrastructure before the Istanbul's totally regeneration. At the end of the proccess, the manhole covers are transformed into canvas' which are located on the wall in the “White Cube” by sublimation.

Selected for “Siemens Borders and Orbits 17” competition

Exhibited in Tütün Deposu, İstanbul / Turkey

 

 

 

 

 

“When it needed to, where were you ?”

2015

Installation (Painting on glass, print on pvc)

 

The installation presents the apartment name examples on the buildings in Istanbul (Turkey) based on a master sign painter's phrase. Aforementioned Istanbul apartments are in the urban transformation process and will be collapsed and the technique of the golden sign painting is almost extinct. The phrase is belong to a master Armenian sign painter who I met him luckily when I was in my exploring process. These words were spoken to me by an Armenian sign painter and express a sarcastic reproach about disappearing self-identity... Also the mean meets with doom of sign painting technique simultaneously. At the and of the project, I also specified one route to follow the Armenian sign painter's potential route that I couldn't find him again one more unfortunately and invited the participant in the project to seeing his signs in several perspective on the route and feel the both of identities.

Placed on Redbull Art Around 2016, Moda Neighborhood, İstanbul

 

 

 

 

Circumambulation

 

2014
Participated environmental installation (project)

 

 

This work which is on the occupation of the city center by the enormous “Double Tree” Hotel located at the seaside of Moda neighbourhood of Kadıkoy, is an environmental installation project aiming to be executed at public area. The environmental installation that will be carried out with participation, includes couple of practices that determine the footprint of the shadow of the building on the city and transforming darkness into white. Some examples of the practices: painting the roads to white, covering the buildings with white fabric, planting white flower etc. With this project an anti-worshipping activity against theinsolent abusive is being planned.

La Turquie Construit

 

2013

Installation

 

In this work, I tried to built a imaginative pavillion of early modernist period of Turkish Republic. I aimed to create playful artefacts of alteration which explore parallels between the morphological properties of modernist architecture and restructuring of Turkish society.
The starting points of these series were the ambivalence of nation identity issue during modernist construction of early Turkish Republic. Images on the objects selected through a thorough / comprehensive scanning of archived publications of 1925-1945’s Turkey. Then these images were transformed into original collages and imitations of advertisement icons on the objects in the appearence of corporate gifts.

 

Exhibited and selected Mamut Art Project Fairy, İstanbul/Turkey

Placed on Mustafa Taviloglu Collection 
 

 

 

Revetment

 

2014

Installation

 

This work consists of two media: A setting on the wall and a book. All the pages recorded the texture of the government building facades’ in Ankara (capital city of Turkey) from the early modernist years in there by frottage method. In this manner, a memory book is formed titled; “Alteration Memory” and tried to turn the facades into new space as a book through the buildings facade. “Revetment” transformed the gallery walls into pages of the book by locating the pages on the wall.

Selected for “New Generation Young Contemporary Artist from Turkey” competition which is organized by Cite de Enternational Paris and  Maçka Art Gallery (Finalist work)

 

Exhibited in Od'A-Ouvroir d'Art, İstanbul/Turkey

Alteration Depression

 

2014

Multiple mixed media

 

 

This series covers the early era of the Modernist Turkish Architecture by deformed works on different media. Sometimes the work transforms the examples of the avant-garde architecture of the era to “body without organ” through the concept of “deterritorialization ”. The facades of the buildings, human flesh, and wall are unified on the wall. The black holes – one of the most crucial elements of the work- intend to pierce the wall. The common purpose of the works is revealing the traumatic transformation of the era.

 

Exhibited in “Second Nature” group exhibition, METU Art 16, Ankara/Turkey

 

“Dispossession” group exhibition, TUYAP Artist 2014, İstanbul/Turkey

If There is An Apartment in Kadıköy

 

2012

Assemblage, ink on paper,

paper cut- out

 

This artwork that is based on the reflections of the laws of international modernism on Kadıköy, investigates the facades of the early works. It recovers the facades from their regular arrangement and degrades them on a two dimensional plane and unites them in void. The shadows of the images, symbolize the

vagueness as if they imply the modernism’s useless anxiety of representing the rational fact.

 

Selected for “UPSD Youth Activity 6” compitition

Exhibited in UPSD Exhibition and

Rotary Art Award Exhibition

 

 

Atelienternasyonal

 

2011

Iron, nickel

Site-spesific installation, İstanbul

 

“Atolie International” (Atelier Enternasyonal) , is an installation which I composed at my School’s metal studio. This site-specific installation was inspired by the extension idea of Soviet Constructivism. Also, it is a flat adaptation of Tatlin’s Monument to Third International on the studio’s roof construction. The idea is based on the roof’s resemblance to the Monument’s structure. Furthermore, the metal studio’s function is important for the “Constructivist Ideal” as the processed iron was creating a temple for industrial revolution and modernism.

 

 

Leftover

 

2016

Soap, Cream, Paper

"The artist is transforming wax, flaxoil and paper leftovers which are the rest of her 2 and 3 dimensional self portrait production proces. She is reproducing the same worktable which she used to work on in the Science Center as a demonstrator of chemical experiments  during at the beginning of her art career. By repeating the same chemical experiments on her 'artistic worktable' for this exposition, she is trying to include those on her artistic practise. Or she is taking back the remainings of her artistic practise to the science center to create a new alchemy between the artwork, her art practise and herself as an artist."