#interview with the vampire#iwtv#the vampire armand#assad zaman
seen from Germany
seen from Canada
seen from Türkiye
seen from Chile
seen from United Kingdom
seen from Germany
seen from Germany
seen from China
seen from United States
seen from Russia
seen from Russia
seen from China
seen from Canada
seen from United States
seen from United States
seen from China
seen from Japan
seen from Japan
seen from United States
seen from Pakistan
Another evocative work by #Turkish artist #GulsunKaramustafa. "Home is where you eat." #Chronographia
The patriarchal house of cards underlying the Turkish coup and Brexit
My first contribution to Frieze’s ‘Culture Digest’ speaks of confusion politics, the masculine drive behind the rising fascism in different contexts and witty criticism of Gülsün Karamustafa in her new work 'Monument of 21st Century'.
Gülsün Karamustafa’s ‘Chronographia’ will be in Hamburger Bahnhof till the end of October. A comprehensive publication is on its way.
Gülsün Karamustafa
A Promised Exhibition / Vadedilmiş Bir Sergi
September 10 – January 5 / 10 Eylul – 5 Ocak 2014
SALT Beyoglu
I really enjoyed this show. It was like reading Karamustafa’s private diary..
Prison paintings / Hapishane Resimleri
Prison paintings / Hapishane Resimleri
Imdat: Fatma’nin oglu. Yaralamadan 11 yila mahkum. Sagmacilar’da dogdu. Diş dunyayi hic bilmez
Hulya: Esrardan yatan Isid’in kizi. Iceriye uc aylik girmis. Iki kere disari gonderdiler geri geldi
Aysel: Anasinin karninda iceri girdi. Kocasini olduren Emine’nin sevdiginden olan kizi. Babasi erkekler kisminda 16 yila mahkum
Quoted from Salt Beyoglu:
A member of the 68 generation, Gülsün Karamustafa was a politically active student during her years at the university. In 1971, she was convicted of “aiding and abetting”. Unlike other offenders, she completed the greater part of her sentence at a civil prison. These paintings reflect Karamustafa’s observations at the Izmit Prison for Women where she was held for the longest part of her sentence. Most of her ward mates were there for life, due to offences such as murder.
After she was discharged, Karamustafa made these paintings between 1972-1978 in a manner of taking notes so as not to forget her experience. Because she had been convicted and due to her political activities, she was unable to get a passport for 16 years. 27 years after this experience, the artist exhibited her installation entitled Bühne (The Stage) which featured a photograph of the moment she and Sadik Karamustafa received their sentences.
Until now Karamustafa has been unwilling to confront this past history and did not want to be seen as exploiting her experience of having been imprisoned, so refrained from making these paintings public. Prison paintings are seen together for the first time at this exhibition.
//////////////////////////////////////////////////////////////////////////////////////////////////////////
68 kusagindan gelen Gülsün Karamustafa, universite yillarinda politik olarak aktif bir ogrenciydi. 1971’de yataklik suclamasiyla hukum giydi. Cezasinin buyuk bir bolumunu diger politik suclularin aksine sivil hapishanede tamamladi. Bu resimler Karamustafa’nin en uzun sure kaldigi Izmit Kadinlar Hapishanesi’ndeki gozlemlerini anlatir. Kendisiyle ayni kogusta bulunanlarin cogu, cinayet gibi suclardan muebbet hapis cezasina carptirilmisti.
Karamustafa hapishaneden ciktiktan sonra 1972-1978 yillarinda bu resimleri yasadigi tecrubeyi unutmamak uzere not alir gibi yapti. Hukum giymis olmasi ve devam eden politik kimligi, 16 yil boyunca pasaport alamamasina neden oldu. Bu tecrubeden 27 yil sonra sanatci Sadik Karamustafa ile beraber hukum giydigi ani belgeleyen fotografi iceren Bühne (Sahne) enstalasyonunu sergiledi.
Karamustafa hem bu yuzlesmeyi tekrarlamak hem de soz konusu durumu istismar etmemek adina bu resimleri simdiye kadar hic sergilemedi. Hapishane Resimleri, toplu olarak ilk kez bu sergi kapsaminda sunuluyor.
Pantherella (1983) silkscreen
Bir kiz , Bir ceyiz / One girl one dowry (1980) Left
Ortulu Medeniyet / The Lacemaker (1976) Right
Dogum/Birth (1974) Left
Oku Oglum / Read my Son (1980) Right
Adab-i Muaseret / Etiquette
Based on a French Etiquette book (1910 ) that was translated into Ottoman Turkish, this installation in form of an elegant dinner table mocks the absurdity of social etiquette rules.
Gülsün Karamustafa
A Promised Exhibition / Vadedilmiş Bir Sergi
September 10 – January 5 / 10 Eylul – 5 Ocak 2014
SALT Beyoglu
I really enjoyed this show. It was like reading Karamustafa's private diary..
Prison paintings / Hapishane Resimleri
Prison paintings / Hapishane Resimleri
Imdat: Fatma'nin oglu. Yaralamadan 11 yila mahkum. Sagmacilar'da dogdu. Diş dunyayi hic bilmez
Hulya: Esrardan yatan Isid'in kizi. Iceriye uc aylik girmis. Iki kere disari gonderdiler geri geldi
Aysel: Anasinin karninda iceri girdi. Kocasini olduren Emine'nin sevdiginden olan kizi. Babasi erkekler kisminda 16 yila mahkum
Quoted from Salt Beyoglu:
A member of the 68 generation, Gülsün Karamustafa was a politically active student during her years at the university. In 1971, she was convicted of “aiding and abetting”. Unlike other offenders, she completed the greater part of her sentence at a civil prison. These paintings reflect Karamustafa’s observations at the Izmit Prison for Women where she was held for the longest part of her sentence. Most of her ward mates were there for life, due to offences such as murder.
After she was discharged, Karamustafa made these paintings between 1972-1978 in a manner of taking notes so as not to forget her experience. Because she had been convicted and due to her political activities, she was unable to get a passport for 16 years. 27 years after this experience, the artist exhibited her installation entitled Bühne (The Stage) which featured a photograph of the moment she and Sadik Karamustafa received their sentences.
Until now Karamustafa has been unwilling to confront this past history and did not want to be seen as exploiting her experience of having been imprisoned, so refrained from making these paintings public. Prison paintings are seen together for the first time at this exhibition.
//////////////////////////////////////////////////////////////////////////////////////////////////////////
68 kusagindan gelen Gülsün Karamustafa, universite yillarinda politik olarak aktif bir ogrenciydi. 1971’de yataklik suclamasiyla hukum giydi. Cezasinin buyuk bir bolumunu diger politik suclularin aksine sivil hapishanede tamamladi. Bu resimler Karamustafa’nin en uzun sure kaldigi Izmit Kadinlar Hapishanesi’ndeki gozlemlerini anlatir. Kendisiyle ayni kogusta bulunanlarin cogu, cinayet gibi suclardan muebbet hapis cezasina carptirilmisti.
Karamustafa hapishaneden ciktiktan sonra 1972-1978 yillarinda bu resimleri yasadigi tecrubeyi unutmamak uzere not alir gibi yapti. Hukum giymis olmasi ve devam eden politik kimligi, 16 yil boyunca pasaport alamamasina neden oldu. Bu tecrubeden 27 yil sonra sanatci Sadik Karamustafa ile beraber hukum giydigi ani belgeleyen fotografi iceren Bühne (Sahne) enstalasyonunu sergiledi.
Karamustafa hem bu yuzlesmeyi tekrarlamak hem de soz konusu durumu istismar etmemek adina bu resimleri simdiye kadar hic sergilemedi. Hapishane Resimleri, toplu olarak ilk kez bu sergi kapsaminda sunuluyor.
Pantherella (1983) silkscreen
Bir kiz , Bir ceyiz / One girl one dowry (1980) Left
Ortulu Medeniyet / The Lacemaker (1976) Right
Dogum/Birth (1974) Left
Oku Oglum / Read my Son (1980) Right
Adab-i Muaseret / Etiquette
Based on a French Etiquette book (1910 ) that was translated into Ottoman Turkish, this installation in form of an elegant dinner table mocks the absurdity of social etiquette rules.
