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Resimde ironiyi seviyorum, hepsi bu…

Resimde ironiyi seviyorum, hepsi bu…

Kemankaşlı’nın resimlerinde, tam kendimizi, çok renkli bir rüya aleminin içinde hissederken, birden; kendi kendimize, gerçek hayatta mıydık ? yoksa sürreal bir dünyada mıyız ? diyebiliyoruz. “Resimlerimin masal’ı çağrıştırdığı doğrudur. Çünkü masallarda ironiktir. Matematiksel kompozisyonu kurup, bu ironiyi oluştururken, mutlaka bir hikaye oluşmaktadır. Ancak anlam bakımından, kullandığım nesneler, biçimler ve figürler yaşamın içindedirler, aynı zamanda yaşamdan uzak, tek başlarına yaşama dahil olmaya çalışmaktadırlar” diyen Nihat Kemankaşlı ile 17.09.2021 – 16.10.2021 tarihleri arasında Galeri Siyah Beyaz’da gerçekleşen “I’M NİHAT KEMANKAŞLI isimli sergisini ve sanat hayatını konuştuk.

  • Tane DOĞAN

Sizinle daha önceden çalışma fırsatı bulmuş biri olarak işinizde ne kadar disiplinli olduğunuzu ve tüm gününüzü hatta sanatınızı icra edeceğiniz zamanları bile önceden programladığınızı biliyorum. O yüzden şahsi bir merakımla başlayacağım sorulara: Yaşanan pandemi süreci bu sizin çok etkileyici bulduğum disiplinli çalışma düzeninizi sekteye uğrattı mı ya da yaratım sürecinizi olumlu ya da olumsuz yönde etkiledi mi?

Sanatın merkezinde olan bir kavramdır disiplin. Olmazsa olmaz. Dışarıdan bakıldığında sanat ile uğraşan, icra eden insanların eğlenceli bir uğraş içinde oldukları düşünülse de gerçek böyle değildir. Sanat ile uğraşmak çok ciddi anlamda disiplin gerektirir. Bu yaptığınız işe karşı olana saygıdan da kaynaklanmaktadır. Pandemi dönemi elbette ev ve atölyeye kapandığımız, aslında mecburen hapsolduğumuz çok zorlu bir dönemdi. Tahmin ediyorum ki birçok sanatçı da olduğu gibi benim de üretkenliğimin arttığı bir zaman dilimiydi diyebilirim. Bu sergi öncesi tüm iş’leri tekrar ele aldığım; zaman kısıtlamasının olmadığı verimli bir süreçti.

Primitif denilebilecek geometrilerle başlayan sanat serüveninizin şu anda dünyanın tüm parlak renklerini ve gündelik eşyalarını kanatlarınızın altına aldığına şahit oluyoruz. Eserleriniz retrospektif olarak değerlendirildiğinde Hacettepe Üniversitesi’ndeki öğrencilik yıllarınızdan başlayarak günümüze kadarki sanat yolculuğunuzu dönemlere ayırabilmek ya da kırılma noktalarını ne olduğunu anlayabilmek mümkün mü?

 

Bu soruya, öğrencilik yıllarımdan kalan bir anımı anlatarak başlamak isterim. GSF Resim Bölümü öğrenciliğimin ilk yıllarından itibaren renk benim için vaz geçilmezdi. O yıllarda boya ve malzeme almakta zorlandığımdan, kâğıt üzerine yaptığım resimleri fon kartonlarına yapardım. Çünkü tüm yüzeyi boyamaya gerek yoktu ve böylece boyadan tasarruf ederdim. O dönemde fon kartonlarını Ankara Tandoğan da ki küçük, gariban bir kırtasiyeden alırdım. Artık ne kadar çok fon kartonu aldıysam bir gün kırtasiyeci bana: İtiraf da bulunacağım, sayende fon kartonu satışından çok iyi para kazandım teşekkür ederim dedi. O boyalı düz yüzey kartonlar benim renkli resim anlayışımın temelini oluşturdular.
İlk yıllar evet daha primitif ve daha minimal nesne- biçim anlayışında resimler yaptım. Sanırım bu 2010 yıllarına kadar devam etti. 2010 yılında Berlinart Projects’de gerçekleştirdiğim solo sergimin hazırlıklarında resimlerime figür- nesne ilişkisi mekânsal sorgulamayla dahil oldular. Çözümlemelerim yüzey resminden yavaş yavaş uzaklaşıp, mekânsal kompozisyonlara doğru yöneldi. Daha sonraki yıllar da kompozisyona kattığım biçim ve şekillerin içine peyzajlar, natürmortlar, stilize edilmiş doğa çağrışımlarının girdiğine tanık oldum ve olmaktayım. Bu doğrultuda sanatçı olarak, kendi işlerimde, varsa değişimi, keskin dönemlere ayırmayı pek doğru bulmuyorum. Bu işi belki bir gün sanat tarihçiler yaparlar.

Eserlerinizde bazen perspektifleriyle bazen ise formlarıyla hamur gibi oynadığınız balkon, yatak odası, mahalle gibi mekanlar bulunmakta; bu mekanlar kimi zaman 1/1 ölçekleriyle gerçeğe çok yakın bir halde karşımızdayken kimi zaman ise farklı yönlere vuran gölgeleriyle gerçeklikten bizi uzaklaştırmaktalar. Tam kendimizi, çok renkli bir rüya aleminin içinde hissederken, birden; kendi kendimize, gerçek hayatta mıydık ? yoksa sürreal bir dünyada mıyız ? diyebiliyoruz. Yarattığınız bu çok renkli hikâyeyi siz nasıl tanımlarsınız? Sürreal bir dünyada mıyız yoksa hala gerçek hayatta mı?

Bu sorunuza kısa ve öz cevap vermek istiyorum. Resimde ironiyi seviyorum; hepsi bu. Resimlerim de kurguladığım hikayeler üzerine açıkçası konuşabileceğim bir şey yok; matematiksel bir kurgu içinde oluşan bu tarz resimlerde, soyutlamalarda, ki özellikle soyutlama diyorum soyut değiller, gündelik hayattan nesne ve biçimleri çok net gördüğümüzden, anlatılmak istenilen yaşamsal kaygı, resme bakanın gözünde anlam kazanmalıdır. Ne anlatıyorsun sorusuna cevabım: Hiçbir şeydir. Sürreal bir dünyada mıyız yoksa hala gerçek hayatta mı? Sanırım gerçek hayatın içinde, sürreal bir dünya hayal ediyorum.

Yıllar önce bana anlattığınız bir hikâyede öğrencilik yıllarınızdaki bir yıl sonu değerlendirme sınavından bahsetmiştiniz. Çok resim yaptığınızı hocanızın ise bunlardan sadece bir tanesini onlar için yapıldığını geri kalan hepsini kendiniz için yaptığınız söylemişti size. Anlattığınız bu hikâyeden yola çıkarak bir şey sormak istiyorum; o günden bu yana eminim yüzlerce eser ürettiniz onlarca sergi açtınız. O zamanlar böyle bir coşku ve üretkenlikle bu yola çıkmanın size geri dönüşü nasıl oldu ya da mükafatı neydi?
Galiba 3. yıl sonu sınavıydı. Çok değerli hocam, Prof. Veysel Günay, asistanları ile birlikte atölyemizde iş’lerimizi değerlendiriyordu. O yıl hem okul atölyesinde hem de evimde o kadar çok büyük boyutlu resim yapmışım ki, resimleri ev den nakliye tutarak getirmek zorunda kalmıştım. Bilindiği üzere atölye hocaları, okul atölyelerinde canlı model’den boya ya da mekânsal boyamaları öğrencilerden ister; önce bu tarz gerçekçi iş’leri yapın sonra kendi tarzınızı bulursunuz diye serzenişte bulunurlardı. İlk yılımdan itibaren benim çok iş ürettiğimi gören Veysel hocamız bana: sen ne istersen onu yap, seni serbest bırakıyorum demişti. Bu benim önümü açan, kısıtlamayı kaldıran ve özgür bırakan en önemli bir güçtü. Elbet modelden boya çalışmalarını evimde yapıyordum ve o yıl özellikle küçük ebatlı 30 x 40 cm 3 adet canlı modelden gerçekçi yapılmış tuvali duvara astım. Veysel hocamız benim işlerim üzerine “yine herkesten çok çalışmışsın, aferin” dedikten sonra kendisine “hocam hemen arkanızda ki duvarda ki 3 resim de benim” dedim. Asistanları ile resimlere dönen Veysel hocamız tamam der gibi kafasını salladı. Ancak asistanlarından biri Veysel hocaya: Eleştirel bir söylem ile “Hocam bu 3 resim ile diğer resimler birbirinden çok ayrı tarz” dedi. Veysel hoca asistanına dönüp: “Sen herhâlde Nihat’ı tanımıyorsun, bu 3 realist resmi bizim için yapmış, diğerlerini de kendisi için” deyip, teşekkür etti. Yıllar sonra Veysel hocamız ile bu anımı paylaştığımda çok mutlu olmuş, bunu mutlaka yazılı olarak anlat demişti. Hayatımda önümü açan iki insandan biri babam, resim bölümüne girmem ve eğitimim için maddi manevi fazlasıyla destekleyen, ikincisi de çok değerli sanatçı kişiliği yanında, çok iyi bir sanat eğitimcisi olan, üniversitede geçirdiğim yıllar boyunca bana özgürlük alanımı sonsuz açan ve hep bana güvenen Prof. Veysel Günay’dır.
Elbet bu üretkenlik, birazda anarşist duruş, sonra ki yıllarda başarılı ve etkili sergiler açmamı sağlamıştır diye düşünmekteyim.

Evet sanatınızı ironik olarak değerlendiren sanat eleştirmenleri var. Aslında bu kadar net ve yalın bir anlatımın içinde bu ironiyi yapabilmek çok da basit olmasa gerek. Çünkü vurguyu bazen tek bir karyola, tek bir sandalye veya tek bir uçak resmederek yapabiliyorsunuz. Bu ironiyi yaratmadan önce Nihat Kemankaşlı’nın düşündüğü veya tasarladığı bir hikâye oluyor mu? Bunu sormamın sebebi sizin eserlerinizin bana hep bir masalı çağrıştırıyor olması. Nedense böyle bir hayalim var. Sizin eserlerinizin masal haline geldiği bir kitap.

Aslında çok doğru bir saptama yapmışsınız, resimlerimin masal’ı çağrıştırdığı doğrudur. Çünkü masallarda ironiktir. Matematiksel kompozisyonu kurup, bu ironiyi oluştururken, mutlaka bir hikaye oluşmaktadır. Ancak anlam bakımından, kullandığım nesneler, biçimler ve figürler yaşamın içindedirler, aynı zamanda yaşamdan uzak tek başlarına yaşama dahil olmaya çalışmaktadırlar. Sonuçta bu durum, mutlaka bir hikaye ile sonuçlanır. Ama her zaman söylediğim gibi hiç zaman bir hikaye oluşturma çabasında olmadım. Her zaman, yaşamın ve yaşamsal birikimlerin, güncel izlerinin gözlemlenmesini istedim. Yaşam alanım içinde kaybolup gitmeyen, yaşama dair her oluşum, soyut değil; soyutlama ile kendini göstermeli resimlerimde. Bu yaklaşım, ironiyi yaratmadan önce, bir hikaye etrafında mutlaka şekilleniyordur. Kim bilir, belki de resimlerimin isimlerinde saklıdır nasıl bir hikaye bu…

Bir röportajınızda “Teknik hiç önemsemediğim bir olgu” demişsiniz. Hatta ekleyerek güçlü teknikten kaçtığınızı belirtmişsiniz. Sizce teknik güçlendikçe anlam azalıyor mu?

 

Kesinlikle teknik hiç önemsemediğim bir olgu. Resimlerime dikkatli, hatta yakından bakıldığında boyamalarımın son derece düzensiz ve altlarında ilk taslak çizgilerin bile hala duruyor olduğu görülür. Güçlü teknikten uzak ‘zayıf teknik’ boyamalarımın sebebi, ya da dediğim gibi hiç üzerinde durmuyor olmam, içimdeki resim yapma enerjisine hakim olamadığım çocuğun dışavurumu sadece…Elbet bu şekilde düşünüp, davranırken, teknik anlamda yapılmış işleri yadsımıyorum. Teknik güçlendikçe anlam azalıyor mu ? sorunuza gelince, anlam elbet azalmaz ama, teknik ile beraber ne kadar çok yetenek devreye girerse çocuk naifliğinizde o kadar sizden uzaklaşır. Bu sorunuzun cevabını, Prof. Zafer Gençaydın hocamızın öğrencilik yıllarımızda bize söylediği bir söz ile bitireyim. “SANAT, yetenek işi değil, AKIL işidir.”

Biraz da yeni serginiz I’M NİHAT KEMANKAŞLI’dan bahsetmenizi çok isterim.  İddialı bir isme sahip olan serginiz 17 Eylül 2021’de Ankara Galeri Siyah Beyaz’da açılacak. Serginizde takipçilerinizi neler bekliyor?

Bu sergimde, yaklaşık 5 yıldır üzerlerinde çalıştığım büyük ve küçük ebatlı 21 adet resmim sergilenecek. Bunların içinde, Türkiye de hiç sergilenmemiş 2010 yılında Berlin’de sergilediğim benim için çok özel, sadece 4 adet yaptığım “playboy” isimli resimlerimde görülebilecek. Sergimin ismini I’M NİHAT KEMANKAŞLI koymamın açıkçası özel bir nedeni yok. Sergi atmosferinde biraz ego, biraz özgüven hissi, iyi olur diye düşündüm. Şaka bir yana; bu yaşıma kadar cesaret edip, bazı egosu yüksek sanatçılar gibi, konuşurlarken, isimlerinin önüne koydukları BEN’İ sergimin adına vererek, resimlerimdeki ironik yaklaşım ile bütünleştirmek istedim.

Nihat Kemankaşlı – “The Background” İstanbul Art News 2014

“The Background”

Dilek Karaaziz Sener
dsener@hacettepe.edu.tr

Nihat Kemankaşlı’s new exhibition “The Background” opens on December 19 at Ankara Siyah / Beyaz Art Gallery. The exhibition adds an innovation to the “peinture identity” that we are used to until today: Sculptures. This new adventure can be interpreted as a “form / body”, carving or adding-on work for the artist. It seems that Kemankaşlı has modeled and shaped a hard material (metal) with the elements that accompany the figures on the surface of the background. We can say that the elements on the background of the figures, which meet the viewer with a constantly questioning gaze, with their giant dimensions on the canvas, become more visible with their three-dimensional form. I should mention that in the act of carrying figures and objects into the space, the artist has a desire to make life more visible. Each object chosen consciously from life in the paintings now takes the adventure of existence to a new dimension together with the sculptures. At this point, it is necessary to take a closer look at the bottom lines of the exhibition in order to develop a reading method for the artist’s paintings and sculptures.
First of all, painting on metal sculptures, since 2000, “why sculpture?” The question is obviously asked by the audience. Let’s think like this: if you were in the identity of an artist as a viewer and your problem was to place a serious gaile at the base of your painting, just like asking for “observing the traces of life and vital accumulations”, your answer is just like Kemankaşlı said; “why not?!” would be. I am sure of that! Yes, why not a statue ?!
Focusing on the place of objects and beings in our lives ultimately allows them to retreat from the background and become more visible. As the objects grow, their meaning in life becomes visible. There is an important meaning for Kemankaşlı in the concept of “visibility”. He is freed from the crowd with his own identity, and he says to the audience, “I am here!” We come across with the courage to bring together sculptures and paintings that can say and re-create themselves with each of their forms together, in the same space. It focuses on the importance of objects and beings in our lives. Figures and objects should be as clear and simple as possible, away from the crowd. Every life-related formation that does not disappear in the living space is not abstract. In his expression, it manifested itself in abstraction. Everything expressed on the canvas took place in isolation. We clearly know that: “Technique” is a phenomenon that he does not care about at all… Each time, he came up with his choice of “weak technique”, away from “strong technique”, the artist. The reason was the child’s expression inside, which he could not put the energy of painting into …

Do you need “aesthetic references”? Such an approach would be an easy orientation in the course of writing. However, some clues should be sought. Because the clear and distinct references that Kemankaşlı always emphasizes in his paintings coincide with his literary discourse that he tries to create his own language. Clear attitude towards form and emotion: the penture that speaks its word with its own identity! Apart from color – which is included in the composition as quite striking and large surfaces – it creates surfaces that are free from all kinds of details and complexity, where simplicity comes to the fore and is defended. The same is true for sculptures. Attention is drawn to the only property of the object as an object. With color, the “awareness” state that is the basis of this understanding becomes evident. Geometric elements processed from metal are composited to form a certain form. Thus, just like in his paintings, he developed the concept of aesthetic form, in which simplicity is in question and the determining and striking states of color are adopted in this manner. In short, neither the story nor the indirect, complex, complicated and transparent stance of a “minimal” understanding, which is far from the narrative style that is thoroughly intertwined with all these, is displayed.
It can be seen that the artist does not deviate from the path he has followed in his paintings for years, also in painting on metal. The difference is that this time, placing the objects directly in our living space, making them visible, provides a different opportunity to read the questions / problems of art and life in the space, more precisely on a different front. Objects that are deformed on a two-dimensional surface should now show us the background (The Backgroud) … They should take up space in the “real” living spaces after the surface, that is, in space, and transform their touch and livable appearance into an unreality that can never be reached and used.
Perhaps the “unreal” confronts the “real”!
We can say that the object moves away from the surface and interprets itself in three dimensions with color and shape. The effort to show the “unreal” in its most natural way by entering directly into “real life” and taking a place here…

As a loyal viewer who follows his exhibitions until today, I deduce that rather than categorizing the language of painting, it is the necessity to go out to discover the artist, knowing that each element he uses on the surface concentrates on “crises of life”. Because “what, how?” Rather than traditional categories such as “abstract,” abstraction, or “figure”. In order to reach life again, we understand the artist’s “what, how?” I guess it’s more important to be able to decrypt what you’re using! At this stage, a question may come to mind: “Is it the meaning sought in Nihat Kemankaşlı’s painting?” All the objects of life he uses are a tool for him to move to the dimension of thought he wants to reach, to visualize. Turgay Kantürk rightly speaks of the artist trying to create “his own figurative understanding”. Thus, it frees itself from the “decorative clamp”. He achieves his originality through his macro objects by drawing a portrait of an artist who is privileged and who can clearly express his thoughts.
It takes thinking beyond the framed meanings. Liberates. Leaves free. Every object in the painting uses its own decision-making ability! Objects cannot be controlled! Cannot be prevented! Because all of them are actually the liberation area of ​​the surface in the process that seems to be routine in the life of the painter, stuck between birth and death. Without being bound by any restriction, coercion or behavior, they are a deal of reckoning with their own self-righteousness. For this reason, it pulls out objects from nature, sometimes as a whole, and sometimes in order to analyze them. It is possible to say that he thinks that he examines each object on a macro level on the canvas, and that he brings nature and our life materials to his painting.
Undoubtedly, all these things are the general problem and attitude of the artist, but they are inevitable influences for the painting. I think it is necessary to write the same words for the sculptures here. The major aspects of the role played by Kemankaşlı in the demand of nature, life and every equipment surrounding us …
Nihat Kemankaşlı’s paintings, along with his sculptures, watching us on the walls are presented as a selection of works with the concept of “Balcony” “Bedroom” and “Neighborhood”.

Nihat Kemankaşlı “The Backgroud” Painting-Sculpture Exhibition
Gallery Siyah Beyaz / Ankara
(19 December 2014 – 12 January 2015)
“Airplane” 2 m. the wingspan is again 150 cm. painted in color like the plane I sent in the pictures. It will be mounted on the wall. The seats are again 170 cm high and the bike is 235 cm colored at the painting stage. The “Boat” you see in the photos is at the painting stage. Sculptures Used paint on metal

A MATHEMATICAL STRUCTURE ESTABLISHED

Since the beginning of the 90’s, a strange tendency has been wrestling in the Turkish picture, which has not solved the problems of surface painting and has tried to form a synthesis with the picture of figure on top of it. It was inevitable that the color, the stain and the abstraction reached the peak of Mondrian, and that the surface of the painting, increasing gradually with the figurative-decorative contributions of Matisse in the world tradition, would have to come back after years. At this point Nihat Kemankaşlı, who I have been able to follow his products in the last quarter of the 90’s, tried to create his own figurative concept of surface painting by making a very correct choice – the decorative contribution I mentioned above, by transforming it into geometrical forms (ie not taking the figure concept of paint painting ‘entrustment’ I was in a privileged and important place, ‘I wrote about an exhibition of the artist I had mentioned. I saw that I was not mistaken in the past, and rather Kemankaşlı did not mislead me. The choices and preferences of the artist include a consistency that proves that all the achievements to date, my words are still valid. Not only with consistency but with a posture today. The insistent endeavor of the artisan is not only a consistency that does not surrender to the present-day galleryer, buyer and interpreter, but also an imperative aesthetic consistency in the effort to perceive and convey its own world. In short, I am not carrying a righteous pride and arrogance from the wrong side!

But I do not want to mislead you either. Because I am an intermediary in the end; The pictures of Kemankaşlı do not promise you great enthusiasm or they seem to be first hand. When you look at them, they will not be able to produce exciting stories, respond to your longings and a colorful world design you’ve dreamed of. You will not see charming figures or imaginary lands that do not exist. The artist just wants to see you again and see what you see and see with a new look. The color and the isolated state of the scheme will probably attract you, if you do not want to. But one step after you can also recite new works by Kemankaşlı: you can say that you can rearrange what you see beyond what they see, to the canvas. Sometimes they have an attitude that does not hesitate to produce works that can be regarded as ‘plain’ as simplified, reduced or minimal tune. Sometimes, it does not hesitate to put together all the forms that we have created by preserving all the features we consider. I’m talking about putting together forms that seem to be side by side or complicated (like me), in the way that I ask them to read like a figure personally. We come to the most important point that distinguishes Kemankaşlı from similar ones or different ones; It is an effort to reach, reaching the whole starting from the smallest elements of the picture or the picture. We can say that to keep away from the linear, color and figurative (first readable) figure that is made up of the masses and stacks of today’s painting, we can say to the common point of all efficiencies.

Kemankaşlı reflects the reduction of the experience and accumulation in canvas, paper, and hand (collage can not test them) work. An understanding that does not change the fact that we are faced with a regulator who does not aim at material but does endlessly questioning in the purpose canvas. Some of the items (athletes, t-shirts, pants, blankets, sheets, curtains, etc.) that match the look of paper, paint, fabric or image are of equal importance in the work of the artist. It places places (such as workshops, neighborhoods, balconies, beds, etc.) that have lived like many artists, or objects that occupy space (beds, chairs, sofa beds, tables) in the center of the picture. Basically, the artist, who is leaning on the main traces of his paintings from his life’s impressions, should add rhythm to his compositions which can be considered to be static, and also to say that the place of objects and beings concentrates on the importance of life. But this concentration does not include a crowd we have just mentioned. It seems to be especially caring if it does not exist. Everything that we look or want to see, that is, what he wants to show us (somewhat), finds space in an isolated form on his canvas.

I hope that I take care to not say abstraction, I hope. Geometric or semi-geometric forms, each of which reminds the parts of a puzzle and evoke the thought of being constantly displaced, the standpoint of the image of Kemankaşı resident versus the figure and the clear indicators of composition concerns. The purpose is not an adventure against the space (ie canvas) its picture. Neither the paint, nor the line, nor the pattern forming the linear whole is adventurous in his works. We will witness the completion and the things that have been completed, lived, studied, consumed and become a long-suffering object before passing to the canvas; a mathematical structure formed by the establishment and color of the stain, the composition of the stained line is opened Kemankaşlı picture; the result of a downright adventure we remain alone.

 

Turgay KANTÜRK 2011

BUILD A WORLD

Nihat Kemankaşlı, who boldly uses colors, has an ironic attitude that we frequently encounter in perspective and paintings, sculpted his paintings for the first time in the new exhibition “The Background” and added a new dimension to them. From 19.12.2014 to 12.01.2014, Sin meets the audience.

I expressed the creation process by saying “I concentrated on the importance of the place of the object and the assets in our lives”. “Work” and “object” give important clues in following the relationship. The close proximity to the actual dimensions of the figures and figures and objects leads to ‘reality’ by removing the indirect impressions between these two concepts, with the colors, the lack of light, and the sharpness in the lines. At this point it is possible to make a reading from Martin Heidegger. Heidegger, “The object concept is not an intensification of the object, but as directly as possible, it is the experiment of bringing the object closer to ourselves. As long as we carry what we perceive in our senses as objectivity, the object will not reach a position. For that reason he should be left in his stay. It must be adopted with its own endurance. “[I] The reality and sense of simplicity that we reach through objects and figures in Kemankaşlı’s paintings manifest themselves here. This interpretation of Heidegger tells us that the world in which the object exists must be expressed and perceived by the projection. The worlds and meanings convey that they should not influence the object and distract us from the reality at the point.

An important aspect of the work of art is that it establishes a world and produces the earth. These are the main characteristics of the artifact, the existence of the artifact. Every work opens a world in itself and makes it permanent. The work means to build a world. The artist has been able to create a new world with the compositions he created, the space over the objects, the audience, and the relationship he established with himself.

An audience who first encountered these pictures unwittingly “simply” introduces himself to the picture with three levels of examination that deal with the art form in terms of form, subject, and comparison, with the method of “iconographic and iconological art criticism” and form the basis of today’s art history method. as I mentioned, that this method, which is not very valid, can be synchronized with Kemankaşlı’s paintings, the simple, clear and direct process in the artist’s paintings. Thus, the viewer creates a new space between work and himself. When talking about communication; we used them frequently in the pictures we made in our childhood. For that reason, internalization is easier to accept as an extension of a memory. This situation, where personal experience is important, also points to the conservative side of the viewer. As a matter of fact, Kenan Evren said that he did not like the paintings of Picasso he had seen in Beyazsaray during his trip to the US in the Presidency, “he said,” I even make the tables. ”

When we come to the year 2014, contemporary art is talking about methods of reaching the audience filled with minds. These methods are generally applied to the artist in conscious manner by the galleries during the installation. However, the person lives in tabularasa at the first meeting with the pictures of Kemankaşlı. That’s why instead of methods, the viewer’s own experience is revealed. This is also very suitable for the contemporary ‘not being sub-text’. “This relationship is evil, which has argued that the work has spent all of its experience on a fancy paper. The work is only good when it is a diamond-finished surface that is scraped from experience, without any limitations of the inner glow. In the first case, there is redundancy, there is an assertion of immortality. Secondly, the work is productive because the richness is expressed without being told the whole experience which is sensed. The problem for the artist is gaining ‘survival’ that exceeds ‘can not do’. In short, the great artist in this climate is a great survivor. “[Ii]

Therefore, Nihat Kemankaşlı’s paintings and paintings, which have been ‘livable’ for the first time together with the new exhibition “The Background”, are not a new phenomenon, but the contemporary space and event fiction that has been created by paintings has moved into our living spaces, . This interdisciplinary approach has been linked to, nurtured and followed by the artist’s past work. The naive nature of figurative imagery, the positive perception of color, and the pictures that can be interpreted as ‘childish’ in the form of using perspectives are basically based on a strong technique and idea.

Senem Çağla BİLGİN / 2014

 

[i] Heidegger, M., The Origin of the Artifact. Ankara 2007.

[ii] Camus, A., Sisifos. Istanbul 2012.

Are you ready to explore the world from scratch?

I believe that it is necessary to start to explain the picture after going through an important clue to the artist who was a follower since the first solo exhibition he opened in the Black / White Art Gallery in 2000 before he wrote his new exhibition on Nihat Kemankaşlı. We must go out exploring the artist knowing that every element he uses on the surface from the categorization of painting language intensifies the “life crises”. Because it is more important that we understand the “what, how” than the traditional categories such as “abstract”, “abstraction” or “figure” and to solve the passwords of the artist in the same way “what, how?” Because in the name of the official, his residence is life. At this stage a question might come to mind: “Is the meaning sought in the picture of Nihat Kemankaşlı?” E. Michel Cioran argues that in his book “Existence of Existence” is a destructive and lethal knowledge of life. At the same time, the author said, “The fashion of meaning is about to pass. We can not look at the canvas for a long time now. “We should recall Kemankaşlı’s passion for universal art, knowing the importance of his pointing in his paintings. All the objects that life uses are a means to pass, to imagine, the dimension of thought that it wants to reach. Turgay Kantürk rightly speaks of the artist trying to create his “figurative understanding”. So it saves itself from the “decorative clamp”. An artist who is able to manifest his privilege and his ideas clearly through his macro objects reaches his originality by drawing his portraits.

The idea is framed and goes beyond stereotyped meanings. Liberate. Leave it free. Each object in the picture uses the ability to make decisions on its own! Objects can not be controlled! inevitable! Because all of them are in fact the area of ​​emancipation in the process of being trapped between birth-death, which seems to be routine in life of the painter. It is a reckoning on its own initiative without depending on any constraint, enforcement or behavior. For this reason, it pulls objects away from nature to solve them in whole, sometimes in pieces. It is possible to say that we think of each object in a macro level on the canvas and carry our nature and our life utensils to the field of transportation. Undoubtedly, all of these things are inevitably affected by the artist’s general problem and attitude. It focuses on life in a metropolis like Istanbul, heart beats and mind. In return, he frees the soul. The surface is now the maneuver area of ​​the “free” thinker. Seeking insistent trouble is solving life and transferring causality to the canvas. For this reason, it is obvious that every time we brush the brush and put it on the canvas, it is with us in our lives. For this reason, standing at the limits of classical narration around abstract, abstraction, or figurative headings, pushing the boundaries of the “meaning” helps us to look more realistic and right in its picture.

As a matter of fact, the artist emphasizes that the language of painting, which we can call abstraction, is “going through a more consistent path,” based on “orientation” and “influence”. We can determine the direction of his path by identifying the surviving objects, which are more than 12 years old, and adding them back to life and giving them different meanings. Any object selected from life based on color expression can be easily seen on the surface. What can we say in terms of “readability” for the sake of appearance? Or, in other words, can we say that the object in the picture carries symbolic meanings outside of what appears? Such questions make the statement “objects easily identifiable” that we perceive in the artist’s picture and what we immediately perceive is a little bit complicated. Let’s remember Kemankaşlı’s words “to create good and new compositions using all my creatures, objects” in order to get rid of this confusion!

After all, as I said at the beginning of the artist’s picture, whether it is a visible figure or a nonfigurative object, symbols are only tools. In a more short word, we jump out of the living room, hanging clothes, chaise lounges, chaise lounges, closets or bathtubs / small pools, hanging in leaves, leaves or jewels. All these objects, which are scattered in every moment of life like ordinary, differ on the surfaces of Kemankaşlı. It must be your life to be able to reinvent itself and add itself! You yourself too! You are worried about how much more you are getting along. The artist’s paintings are simple, comfortable and peaceful with geometric and striking colors in a life of doubtful, fearful and even inconsiderate strangeness of ordinary events strangling him.

Nihat Kemankaşlı’s smile on the picture in recent years and the leaked figures are obvious today.they are not satisfied. The front planer is settled with half naked bodies on the entire surface of the picture. Monumental constructions of female and male figures in the standing singular or duo groups. All figures are calm, worried and silent. They are frozen in an intermediate zone of their own, jumping out of the routine confusion of everyday life with unfounded body structures. In modern life, Adam and Eve will soon leave the escaping mist of the forbidden fruit, and among the trees in the background, the punishing hand will go to another fairy-tale scene by showing them the gates of the “real” world. At this stage, life will be shaped from the beginning into a lifestyle, with special privileges proposed by the modern world. The water beneath your feet reflects back to them the shadows of the reality that has come out of your bourgeois lives. The colors of the artist are perfect! What about life? Lives? Lives? Have you managed to be perfect, just as in the red and green colors of such pure and dull? As long as the questions continue to find answers, I must say that Nihat Kemankaşlı will not give up his life, his determination to self-discipline. It is clear that in painful life, one day a figurine, I mean, is it a new “style”? As I mentioned at the beginning of the article, it is necessary to move Kemankaşlı’s vision of the image of the painting from today to today, beyond the traditional categorizing concept in a certain style. Because of his university years, there has been a certain attitude and stance towards styling and stylism. Hacettepe University, Faculty of Fine Arts, starting from the student years began to face the existing frames with courage. The artist has always appreciated the word “stopping unscathed!” It is only then clear that Hayatat senses the universal pursuit of hunting, starting from the moment that the selected objects pass to the canvas for re-flow to life, until reaching the final paint point. It is the deep interest of all universal arts and artists / the re-transmission of their own words into the life of unrequited lovemaking that they have done with objects, paintings and colors. Absolutely, there will be some angry sides of every love. Obvious: An attitude that responds to the dictatorial philosophy of the search for style in Turkish Painting. One of the meanings of the life that we can find in these new paintings in the Black / White Art Gallery is that the artist crossed us with his own philosophy of life. The viewer who knows how to look at this intersection will be separated from his or her own surface and from every surface he stands in front of the picture by putting different words first in his palms and then in his pocket.

Dilek Şener (October 2011)