Every Inclusion is an Exclusion of Other Possibilities

DAILY SABAH
ISTANBUL
Published 10.06.2015 22:52
Updated 10.06.2015 22:56
Every Inclusion is an Exclusion of Other Possibilities

SALT Beyoğlu is currently hosting a collective contemporary art collection titled ‘Every Inclusion is an Exclusion of Other Possibilities,' which combines the work of several artists from around the world in search of common ground to discuss the dynamics of organizing exhibitions

The exhibition "Every Inclusion is an Exclusion of Other Possibilities" gathers various aspects of three private, independent collections in an attempt to open a dialogue about and critique of the act of collecting, and to publicly share the works they have collected. The first part of the exhibition's program was presented at the SALT Beyoğlu Forum, which was held from April 21 to May 17. The second part of the collection is a multifaceted exhibition of more than 50 works of art that is displayed across all three floors of SALT Beyoğlu. The collectors' diverse range of acquisitions has inspired a layered exhibition structure that was conceived through a series of different approaches to making exhibitions, which includes two focused solo presentations. One brings together the works of Emre Hüner while the other features the works of Christodoulos Panayiotou. A video installation of Hale Tenger's "Swinging on the Stars and Hope" is featured along with Ahmet Öğüt and Şener Özmen's "Coloring Book."



There are two other compositions planned as group presentations. The most comprehensive one includes the works of Francis Alys, Kutluğ Ataman, Ayşe Erkmen, Leyla Gediz, Jonathan Monk and others. It aims to play with mimicry and repetition via attention to both form and spirit. The smaller group presentation of works compiled from CANAN's "The Fountain" and Ed Atkins' "Death Mask III" addresses the complex and challenging issues of sexuality, gender, the unconscious and death. A selection of additional video works will be screened throughout the run of the exhibition at SALT Beyoğlu's walk-in cinema. On the opening day of the exhibition, a conversation between the collectors and some of the artists took place at SALT Beyoğlu, introduced by Vasıf Kortun and moderated by Merve Çağlar. Speaking to Haro Cümbüşyan, Saruhan Doğan and Agah Uğur and the collections they have built with their partners, this exhibition attempts to mediate individual explorations into artistic practice over the last 10 years. Composed of local and international artwork, the exhibition reveals a selection of some of the most powerful and confronting choices made by the collectors. Included are works that are socially critical, political and sometimes disturbing. The collections also feature works that are more difficult to display, such as video, audio, book installations and film and slide projections. Additionally, there are numerous pieces that many will find hard to imagine a collector of art ever considering buying.


Composed of local and international artwork, the exhibition reveals a selection of some of the most powerful and confronting choices made by the collectors. The collections feature works that are difficult to display such as video, audio, book installations and film and slide projections.

The collectors have shared and discussed their approaches to collecting, in particular with regard to video art, among themselves for a number of years. While each collection shows a singular characteristic, together they shed light on the changes that have taken place in contemporary art in Turkey over the last decade to a certain extent. At the same time, as a result of the rapid growth and engagement of contemporary art with international platforms since the early 2000s, these collections expand beyond local boundaries and connect with artists coming from a wide-range of geographic contexts. Moreover, all works are displayed in their original language. To imagine private collecting as a highly idiosyncratic activity, untethered from the accepted norm of what peers acquire, may be quite optimistic today. In the absence of gold standards and erudite research-driven art history, shared conventions are steered by the opinions considered in vogue. That is not to say that this exhibition acts as an endorsement of these collections or even of every selection in the show, but it does affirm that each collection is driven by forms of commitment, curiosity and rare characteristics. Additionally, the project does not claim to support any exclusivity to these collections, but rather underscores that they sit among only a few in the country that are unique in terms of specificity.

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