Istanbul's art scene has been enriched by Ahmet Güneştekin's groundbreaking exhibition, "Kayıp Alfabe" ("The Lost Alphabet"), a compelling exploration of history, identity and the fractured nature of contemporary life. Curated by Christoph Tannert, the exhibition is hosted at the historic Feshane, a restored cultural venue managed by the Istanbul Metropolitan Municipality (IBB). The opening of "The Lost Alphabet" marks a pivotal moment for Istanbul's cultural landscape, rapidly establishing Feshane as one of the city's most exciting cultural hubs. The exhibition offers a powerful commentary on the intersection of personal and collective memory, societal fractures and the complex relationship between past and present.
Currently open to the public, "The Lost Alphabet" runs from Jan. 17 to July 20 at Feshane in Istanbul. Supported by the DG Art Project and Yıldız Holding and directed by Angelo Bucarelli and Paola Marino, this cultural initiative provides a rare opportunity to experience Güneştekin’s large-scale works and intricate installations, offering profound insights into the dynamic interplay of history, culture and memory.
Ahmet Güneştekin is one of Türkiye's most acclaimed contemporary artists, celebrated for blending ancient mythologies with modern artistic expressions. His diverse body of work includes sculpture, painting, installation and video art, and he uses these mediums to explore themes of history, memory and transformation. Drawing on mythology to address contemporary issues, Güneştekin examines the connections between people, objects and memories, often questioning how these elements shape both personal and collective identities. His works, crafted from materials such as stone, metal, fabric and ceramics, reflect cycles of creation and destruction, inviting viewers to engage with the metaphysical and material aspects of the world.
The exhibition delves into how material culture mirrors historical events and societal changes. The title, "The Lost Alphabet," evokes the themes of cultural memory and language loss. Güneştekin’s pieces touch on migration, collective memory and the tension between history and the present, while also exploring the impact of these forces on identity. The exhibition presents everyday objects – such as shoes, street signs, gas masks and bicycles – alongside abstract and mythological references, creating a dialogue between the personal and the collective. These "memory objects" encourage viewers to reflect on the people and places they represent, while prompting us to reconsider how we remember, forget and interpret history.
A key aspect of Güneştekin's practice is his focus on the materiality of memory. His use of stone, metal and fabric evokes the passage of time and the enduring imprint of history. From sculptural works that respond to the industrial past of Feshane to immersive video and sound installations, "The Lost Alphabet" invites viewers to engage with the tactile and temporal aspects of everyday objects, challenging traditional ideas of time and space.
A distinctive strength of Güneştekin's work is his integration of mythology to explore the individual and society’s sense of self. In "The Lost Alphabet," he reimagines ancient myths in a contemporary context, blending them with modern themes to reflect the fragmented and sometimes illogical nature of today’s world. His canvas works are filled with mythical creatures and stories, inviting the audience to reflect on how these ancient narratives resonate – or not – in the present.
In addition to mythology, the exhibition explores the concept of language, with Güneştekin examining various alphabets and scripts. His interest in language politics and the ways different writing systems have been used to assert cultural and ideological dominance throughout history is evident in his work. Through metal letters merged with soundscapes, Güneştekin challenges viewers to consider how language, in all its forms, shapes our understanding of history and identity. His exploration of endangered languages – those that have been suppressed or are at risk of disappearing – underscores the fragility of cultural heritage and the urgent need to preserve it.
The exhibition also features a series of sculptures that transform raw materials such as stone and metal into striking, site-specific works. Using stone formations that may be millions of years old, Güneştekin imbues them with new meanings, while his manipulation of metal structures creates visually stunning contrasts with the natural forms of the stones. The sculptures are often labyrinthine, creating a sense of movement and exploration within the space, as visitors are encouraged to navigate the works and engage with them from multiple perspectives.
The works challenge traditional ideas of space and perspective. With circular metal frameworks that encase marble and stone, the sculptures act as metaphors for the cyclical nature of history, where past, present and future are constantly in motion, influencing one another. Güneştekin’s sculptural arrangements, whether massive or intimate, are designed to create a dialogue between the works and their surroundings, inviting the audience to reflect on the material and immaterial connections between people and the objects they create.
"The Lost Alphabet" is more than just an art exhibition; it is a cultural dialogue that invites viewers to reflect on the ongoing relationship between memory, identity and transformation. The exhibition is a space where time is not linear but fluid – where history and mythology intertwine with contemporary issues to create a multi-layered narrative.
By combining objects, sounds and visuals, Güneştekin transforms the gallery space into a living organism that evolves with the movement and perception of the audience. The exhibition challenges us to reconsider how we view the objects, symbols and language that shape our world, urging us to confront the fractured nature of history and the ways in which our identities are constructed.
As Güneştekin himself notes, “The Lost Alphabet” is an invitation to pause and reflect on our shared history, to reimagine the meanings embedded in the objects around us, and to think deeply about the future that we are building from the fragments of the past. The exhibition, in its entirety, is a call to action – to remember, to question and to imagine new possibilities for what language and memory can offer in shaping a sustainable future.