Hayal ve Hakikat 16.09.2010 / 22 01. 2012 / İstanbul Modern / İstanbul
Hayal ve Hakikat // Dream and Reality
İstanbul Modern
16 Eylül 2011 – 22 Ocak 2012
Küratörler: Fatmagül Berktay, Levent Çalıkoğlu, Zeynep İnankur, Burcu Pelvanoğlu
Mihri Müşfik, 1886 - 1950
Portre
Portrait
Tuval üzerine pastel
Pastel on canvas
116 x 89 cm.
Hale Asaf, 1905/1906 - 1938
Natürmort
Still Life, yaklaşık / c. 1928-1930
Kontrplak üzerine yağlıboya
Oil on plywood36 x 36 cm
Naile Akıncı, 1923Eyüp, 2004
Tuval üzerine yağlıboya
Oil on canvas100 x 100 cm
Tuval üzerine yağlıboya
Oil on canvas100 x 100 cm
Eren Eyüboğlu, 1907 - 1988
Balıkçı Dükkânı
FishmongersTuval üzerine yağlıboya
Oil on canvas
73 x 116 cm
Balıkçı Dükkânı
FishmongersTuval üzerine yağlıboya
Oil on canvas
73 x 116 cm
Fahrelnissa Zeid, 1901 - 1991Cehennemim
My Hell, 1951
Tuval üzerine yağlıboya
Oil on canvas205 x 528 cm
My Hell, 1951
Tuval üzerine yağlıboya
Oil on canvas205 x 528 cm
Otoportre
Self Portrait
Gravür
Engraving
25 x 19,5 cm
Şükriye Dikmen
Turuncu Elbiseli Kız
Kontrplak üzerine yağlıboya
120 x 73,5 cm
Neş’e Erdok, 1940“Abi, Gaste?”
“Paper, Mister?”, 1986
Tuval üzerine yağlıboya
Oil on canvas200 x 160 cm
“Paper, Mister?”, 1986
Tuval üzerine yağlıboya
Oil on canvas200 x 160 cm
MODERNLEŞMİŞ SESLİ HİZMETLER YAN SANAYİ-İ
SES TURU
Ses turunu aşağıdaki adresten indirebilirsiniz.
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
Audio tour can be downloaded from the link below.
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WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible. They are audible through their stories, paintings and their life stance.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ-BELIEVE IN TO WHAT I SAY (by Erkin Koray)
MİHRİ HANIM (Lady)
SLEEPING KID: -My first encounter with Mihri Hanım is quite after I held a brush. The first time that I was struck by her was when I stepped in the painting department’s main office and saw her profile black and white photograph, hung in between the male heads of the department. This gave me courage; I was not alone in there. Later on I was going to learn that this woman was the first female painter to hold a brush…
NARRATOR: Now we must go to the beginning all over again, and look over and over again the things written on us.
Attaching a brush in women’s hands during the decadence era of a one multi-cultured culture.
We really don’t know if there was someone else prior to Mihri Hanım, but she penetrated in history as an epic character “WONDERWOMAN PAINTER”. She even had painted the portrait of the Pope. To be a hero, above all to become ‘woman painter’, had never been one of her concerns as a woman.
MİHRİ- I lived and I died
I lived and I died.
COFFEE MAKING GIRL: -Yes, we call her the first woman painter, because art was once making attributed uniquely to men. Especially painting, as it was based on knowledge, ability and observation, was considered to deserve a dangerous, though and insecure life, outside the safety zone of one’s home. At the time, no woman dared to paint yet…
Till when, according to eastern calendar, in the year of 1301, in Istanbul, Mihri Hanım came into the world by Mehmet Rasim and Enise Hanım, where she was raised in a surrounding open to novelties, subject to privileged private lessons. In this atmosphere fit to flourish, besides various foreign language tutorials, she had private painting lessons. But, the art of painting that should have been kept, as a hobby for a girl, was going to become a sine qua non way of living for Mihri Hanım. Due to this, she was going to face various struggles and difficulties in her life.
SLEEPING MAN: -It’s unacceptable! In our private life, painting, above all painting and womanhood, have never ever considered to be in harmony and it will always be this way.
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
HALE ASAF
NARRATOR- Now if we go back again right to the beginning,
The only evidence, which remained, were the statements of her friends, passing along through one person to another.
She lived her life in between Istanbul-Munich-Paris -Rome
It was not deemed necessary to talk about the reality of her life, except incisive lines drawn as background details.
ANOTHER PAINTER: “At that time, Hale, was coming from Berlin. She had run to Paris, to breathe its lively air.”
NARRATOR:-She was both like a mother, as well as like a father.
She had had intense longing for the city she had left behind.
There had been only one Hale in Turkish Painting
There had been A Mustafa Kemal book dedicated to Hale
There were also paintings that had been lost inside a suitcase
She had died on 6th of June 1938, at a time when she was just about to exhibit 37 paintings.
The conspiracies surrounding her death, alleging it to be due to suicide, were baseless.
In 1947 it was discovered that her bones were somehow transferred to Nice.
FROM PARIS:- Haven’t we gone through the same things in today’s world Hale? Aren’t we considered to be one of those women who crossed the defined frontiers of our lives, Hale? Wasn’t the name you had used, Asaf, the name of your grandfather, instead of your fathers, Salih? To make our dream come true, didn’t we have to go from one place to another??
We were never going to have a permanent studio.
BOTTLE:-Stubborn as she was! She was one of those who collected everything about her whole life in one single luggage and just like all women, she preferred this luggage to vanish, instead of having it out in the open, susceptible to be transcribed.
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
NAİLE AKINCI
LITTLE GIRL:-She was going to become a painter. But this idea was provoking the highest pitch of resentment in her father.
THE PORTRAIT OF ARTIST’S FATHER:- Rumour has it, Salih Bey, from Erzurum considered the art academy as ‘Yüksek Kerhane Mektebi-High School of Whorehouse”. He thought that sending her daughter to that school would be like leaving her in a whorehouse. He said: “Something like this is impossible.”
EYÜP: They were very different from each other. The husband was wishing to go to a picnic, to built a tent, to sail in a boat and in all these outings he wanted the wife at his side …But the woman happened to be a wife that was not fitting to this structure.
OLD WOMAN: - She was first a wife than a mother…She was going to realize her life belonged to her when she reached her 60’s.
Naile’s phrase: “I will draw till I die.”
Now if we go back to the beginning again…
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible. They are audible through their stories, paintings and their life stance.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
EREN EYÜBOĞLU
NARRATOR:- This story is a short life story of an artist.
She was born as Ernestin Letoni
She was the eight child of a bourgeois family.
For of her brothers chose a career in music. They became famous.
Now if we go back to the beginning.
Ernest was in Paris
She began to wrok in her own studio. Ernestin met him in that studio.
She became Eren in Turkey.
From that day on in and outside of Turkey she was known as a Turkish painter.
She died in Kalamış.
She never gave up her principles.
She never painted so that others would like it.
She always inquired.
She said that she never did her paintings to ornate walls.
Until 1979 she made several murals.
She knew only one thing,
EREN:-to work, and to continue my struggle until death takes away my brush.
NARRATOR:-she said
Eren Hanım was no longer satisfied with plate form so she moved on to Hasan Usta’s “addictives coffee cubs”
She was no longer satisfied with plate form.
Now if we go once again to the beginning,
Wall-Eren Eyüboğlu-Painting of a fisherman’s shop-poster-short life story-Born as Ernestin Letoni-eight child-Four of her brothers-composer and pianist-famous Europe and the States-Ernest in Paris-Her own studio-Ernestin and him. Turkey-Eren-in and out of the country-Turkish painter-Kalamış-the end
Never gave up
Always inquired
To work to struggle ‘till death took away her brush’
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible. They are audible through their stories, paintings and their life stance.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
FAHRELNİSA ZEYD
NARRATOR:-Fahrelnisa
Proud, honored, well-known woman
She started to her profession with her own name.
She walked a path starting from princess Island, Dame de Sion and Fine Arts Academy to Venice.
OUTSIDE VOICE: My mum was leaving in a different world.
When Paris was French
She became an abstract in Parisian abstract
But the light came from the east
OUTSIDE VOICE: My mum was leaving in a different world.
French communist
The motivating reality of the Soviet’s
Free spirit of abstract art
They called her the light and color of the east. The light came from the east.
They called her the thief of soul.
OUTSIDE VOICE: My mum was leaving in a different world.
They described her paintings as being in mosaic form. The light came from the east. While discussing whether it is lyric or geometric they have also alleged that she had the Islam’s geometrical abstract approach in her blood. Now if we have to go back to beginning. They called her work of art deriving from decadence era of Ottoman type aristocracy, in old Istanbul atmosphere.
They said that she was a sentence. Fahrelnisa couldn’t have cared less.
The light came from the east.
To the artist’s world, to Fahrelnisa who was alone in this world.
OUTSIDE VOICE: My mum was leaving in a different world.
Fahrelnisa cared for the dissonant encounter between the moon and the astronaut.
FAHRELNISA:We are in hell
We are in hell
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible. They are audible through their stories, paintings and their life stance.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
ALİYE BERGER
NARRATOR: Now if we go back once again to the beginning,
She is born in Istanbul…Seventh of seven edition.
ALIYE: She describe her school as a horrible place where Jesus was covered in blood and Saint Pierre was dyeing, pray pray…
Because of her music lesson her paths crossed with Karl Berger.
When she saw nude paintings in the attic the art of painting triggered her interest for the second time.
1/10
Passionate Aliye 23 years the short marriage and death. Şakir Paşa solved the problem.
2/10
The tabloids in 1929 and 1930 are filled with the details of a bullet triggered due to love.
3/10
She wins a painting concour on the subject of work and production. She becomes famous with just like the bursting of colorful firecracker.
4/10
Engraving engraving love love and love
I know this love and many more…
She was attracted to painting three times in her life. She surrendered at the third occasion. While in Paris she decides to give herself to engraving.
5/10
She brings along the luggage full of her family’s documents, that survived the destructive heirs.
6/10
She is the unknown edition of a love bullet carved into the metal.
The first of that print
The second of this print
The third of this and that print
Etc. the fourth of the print…
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible. They are audible through their stories, paintings and their life stance.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
ŞÜKRİYE DİKMEN
NARRATOR:- Now if we go once again to the beginning,
For years she worked hard to stylize woman.
This female painter for usually painting female and children and generally painting a single figure, she had her own style by stylizing a schematic drawing by covering with plane, shadow less colors. She mainly worked on contra-plaque.
The woman in her paintings were urban women or made everyone believe to be so who embraces life. So they say. The women in her paintings are not form the rural area. To the contrary they are the women whom the artist herself, who is leading a modern life, observed around her. So they say. She drew portraits of women from different age groups, who took care of themselves, but never appeared as coquettes. So they say. Women in her paintings were always very graceful, calm and quiet. So they say. They attract our attention with their large, meaningful eyes. So they say. The portraits that she drew were like stylized female faces from the miniatures, calm and quiet, but those large eyes were in fact like windows opening to the outside world. So they say.
The women that she drew, who were defined with contour, with oval faces, bearing large eyes, with long neck lines and with folded hands, reflected a certain type of defined personality. So they say.
It was also possible to find the remainings of the artist's past behind this plain and graceful setting in her paintings. So they say.
A WOMAN: Always portraits! She always had portraits on the mirror. All majestic women looked into the same mirror. They were all plain and majestic.
WESTERN/MODERNIZED AUDIO SERVICE SUPPLY ANCILLARY INDUSTRY
AUDIO TOUR
The vocals of audio tour prepared by AtılKunst’s imagination and fiction are the paintings of women painters. The written anecdotes of their lives, paintings and particular and exceptional stands are audible. They are audible through their stories, paintings and their life stance.
To put it clearly and sharply, AtılKunst “never lies, but never has been heard telling the truths.” Anyhow “to repeat is to lie.”
İNAN Kİ- BELIEVE IN TO WHAT I SAY (by Erkin Koray)
NEŞE ERDOK
NARRATOR:- Now if we go once again to the beginning,
OUTSIDE VOICE:Hey Bro, newspaper?
The year of 86, three years before the wall went down
Free economy and period of mass migration form the countryside
It was the time that resembled to realism
I said to my mother then
Hey Bro, newspaper?
To forgive me because I became a painter
Hey Bro, newspaper?
“Draw this.” They said. First time in my life I was asked to sit in front of something and draw it, but I did draw.
Hands and feet were very important.
I did paint growing hands and feet, but they were under the control of the narrative not the narrator…
Then that naked was not made as nude. Naked in that painting was naked because of the content of the painting…It was not a painting made naked.
There is also no figure!
Hey Bro, newspaper?
Actually I did not feel the discrimination that much.
Hey Bro, newspaper?
She was saying we should not paint any color that we can not give an explanation for.
Thus let them to carry all the complications.
Let the burden of complications on them.
She was saying that one must give explanation for fierce colors
We should draw the seeds of pomegranate one by one.
Be careful do not change the angle
The angle should not be changed be careful
The angle should never be changed be aware
We should use color tones from the streets, street colors.
In those days general census of population was carried out.
Thriller-Micheal Jackson
Ibrahim Tatlıses-mavi mavi (blue-blue)
Hey Bro, newspaper?
She heard all that we said but she left as she heard nothing.
It was necessary to detach.
If you can detach yourself you could not be yourself.
If you could be yourself you could not paint.
“You are one good hand and brush but wouldn't it be better if you have made more paintings of more cheerful subject?”
Hey Bro, newspaper?
She answered saying what if we go once again to the beginning.
