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15
Hello Tunç, and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
We all born with specific ethnic origin (We are all part of a specific dialectic).
Then some of us become citizen of the world or re-exist again under their cultural riot in 21th.
century. My identity is similar with the titles of my works. For example I dedicated my
'Holy Water' work to Jean Genet. The way I choose is completely gnostic and organic.
I always study like smoking; smokes come and go.
Would you like to tell us something about your artistic as well as life background?
What inspired you to be in this artistic point in your life when you are now?
I was born in 84 and have been producing animation.
I educated graphic design but I've never been influenced by commercial issues. I've been deeply influenced by reymond reynaud,jan svankmajer,cocteau,man ray,otto dix (mostly Svankmajer and Otto Dix). I grew up with the short films of Svankmajer and designs of Otto Dix.
In fact, I'm 10 years old because I have been transforming my imagination to visuality for 10 years.
I participated lots of festivals, got many awards, many of them were selected and exhibited officially.
I wrote automatic texts, made collages, even founded my own group. I just used social media as it should be.
My imagination has been refined over years. I started following tsai ming liang,bruno dumont,norman mc laren,harmony korine,alejandro jodorowsky,bela tarr,tarkovsky. I read their stories involved with their works. Every work agony till they reach their own freewill.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
Merzbau by Kurt Schwitters and Sana Sangre by Jodorowsky.
If Merzbau would be a music, it probably become a part of Allan Holdsworth. As for Santa Sangre, it is even better than my best dream.
Many of your works carry an autobiographical message. Since you transform your experiences into
your artwork, we are curious, what is the role of memory in your artistic productions? We are
particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather
use memory as starting point to create.
People get marry, have children. Those children grow and encode all kind of behaviors
in and out of the family. Some of them pass through the sifter and become traumas.
Some of them become obstacles and some of shine as an art; provoke you to think and discover.
In the end, you realize, you taste and become yourself. You read, you become lonely,
you discover and draw yourself. But it that drawing does not contain some autobiographical values it means that you're a merchant.
There is no cheap work but there are insincere ones. Faithful translations of the past experiences have meanings when they carry some memories.
And for me, dreams, arrogance, egos and experiences are memories.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
The last thing I focus is technique. I even have a Fragment Manifest (Animations and designs that I produced for 10 years completed their transforms.
European Cinema was always powerful. Bergman had a tight mentality. Bunuel followed his beautiful 'ism', Tarkovsky painted the poetry (and many more countless artists). And Spielberg, opposite of Ken Loach, added a huge detail to that era. His art was dead but his collage was a soul that was created by fragments. And what I present is a new avant-garde
following these fragments that contain fetish and provoking factors. It is like to add an uncany touch re-editing the most powerful frames of the artists.
Artists like reymond reynaud already tried that. This ecole already existed. I just added what was already existed to reach a final point. The rules don't exist when they are unpleasant to me. Apart from that, all objects,
living or dead creatures are material for me as a masturbating figure, as a man who suck feet or a chicken that is cooked.
tion of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
No I don't have a specific artwork that has influenced my artistic practise but many.
I'm influenced by some philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.
It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.
And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...
My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.