PRO 2006 Charlottenborg Retur til forsidePRO 2006 Charlottenborg Retur til forside
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> Playing with line, I imagine myself as one of those old-time storytellers - a storyteller, however, who cannot control the story and is eventually swallowed by it. > I feel for directness between my body and its extremities as well as the family romance and psychic shadows that fall upon it. These are not pictures, but a conspiracy that the body has entered into with line - a fugitive, escaping both the centuries-long Western hegemony of the paint(ing) and its alleged owner, the drawer. > Thus, just like every effort to convey an experience to others, every attempt to control and possess, line turns out to be an impossible desire, for it reminds line of the captivity it has suffered under the paint(ing). > Free of any historical encumbrance, it
refuses to belong on the surface of paper, turning it into a
void. Line is self-imposing, yet betrays, cheats, and ridicules
its owner. |
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Inci Eviner har en kandidatgrad og en PhD i kunsthistorie fra Mirnar Sinan University i Istanbul, Tyrkiet. På PRO 06 deltager Inci Enviner med to værker på lærred. I sin artikel fra 2005, skriver Inci Eviner om sine Fugitive Images således: Kom væk fra repræsentationen! Det, jeg stræber efter, er at placere billederne, som jeg har samlet fra forskellige kilder, sætte dem op mod hinanden for at bekæmpe de forestillinger, som kunst har placeret i vores sind, og konfrontere den fremmede i os selv. Jeg bruger for eksempel billedmateriale fra samlinger, som for det meste er medicinske illustrationer, billedsamlinger fra plante og dyreriget fra 1800-tallet samt motiver, der hører til islamisk og vestlig kultur. Så sætter jeg alle disse billeder i en sammenhæng med min personlige forestilling om håndlavede billeder. Jeg troede, at jeg skabte dem, mens jeg tegnede, men de gengav det, der var uundgåeligt. I denne samling, bliver hvert enkelt billede rystet, indtil de enkelte billede er befriet for alt, hvad det har repræsenteret. De kombinationer, billederne skal danne sammen og uden deres skabers medviden, bliver tolereret til en vis grænse. Processen fortsætter, til billederne er blevet fremmede for mig og for dem selv. Der er intet at se; men de er symboler på herreløse tegn, et dyrs brølen, knurren eller højlydte gab. Og man skal kunne læse dem. Disse ophobninger, punkter og linier transformeres til introspektive handlinger for at bryde øjets tillid. Formålet er at destruere det paradigme på den basale forståelse, at kunst er den såkaldte kunst. Her er teknikken, evnen, kunstsmagen og den æstetiske nydelse kun en fælde. Kunstneren beholder sin frihed ved at indeholde forbrydelsen. Ved at dispensere fra det årtusind år gamle kunstner-ego, mesterskab og geni, forvandles kunstneren til en forhistorisk samler såvel som en koldkrigskonspirator. Da jeg overførte dette glatte computer-rum til overfladen som tapet ved hjælp af vinyl-printet, så jeg, at pladsen blev forvandlet til en overflade, rummet til en mur og bygningen til et rammeværk. Her er muren også truet af at blive forvandlet til et billede. Derfor har de billeder, der har evnen til
at flytte sig fra den frustration, at fremskridtets ideologi
er indeholdt i kunstens sprog, kun en kort eksistens. Der er
kun tale om kortvarigt opsparede modstandspunkter. Inci
Eviner Udvalgte separatudstillinger: Udvalgte internationale gruppeudstillinger:
Udvalgte nationale separatudstillinger: Udvalgte nationale gruppeudstillinger: Udvalgte publikationer (tyrkisk og engelsk) Merete Mørup |
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European Reflections - Reflections on Europe on PRO 06 Inci Eviner Selected International Solo Exhibitions: Selected International Group Exhibitions: Selected National Solo Exhibitions Selected National Group Exhibition Selected Publications (Turkish & English) On the PRO 2006 exhibition, Inci Enviner will have two pictures on show. In her article from 2005, Inci Eviner writes about her Fugitive Images as follow, Get away from representation! What I'm pursuing here is to place the images, which I've been collecting from different sources and create them against each other in order to fight the agents that art had placed in our minds and souls, and to face the stranger within ourselves. For instance, I'm using collective image sources, which are generally medical illustrations, visual records of plants and animal kingdom from the 19th century, and motifs belonging to Islamic and Western culture. Then I'm throwing all these into an online pool with the personal memory of hand-made images. I used to think that I created them as I was drawing, but they were reflecting what was inevitable. In this pool, every single image is shaken until they get rid of the things they have been representing. The combinations they are going to form together, without their creator's knowledge, are tolerated to a certain extent. This process continues until the images are alienated to me and to themselves. There is nothing to watch here. However, these are the notes of ownerless signs, a roaring, groaning or a moaning of an animal and one has to manage to read this. These heaps, spots and lines transform into introspective gestures to break the trust in the eye. The aim here is to destroy the paradigm of the basic reconciliation that art is the so-called art. Here the technique, skill, the art taste, and aesthetic pleasure are only a trap. The artist keeps her freedom by harboring the crime. Dispensing with the thousand-year-old artist ego, mastery, and genius, the artist turns into a prehistoric gatherer as well as a cold war conspirer. When I transferred this slippery computer space as wallpaper into the surface with the help of the vinyl print out, I saw that the place turned into a surface, the space into a wall and the building into a framework. Here, the wall is also under the threat of being turned into an image. Therefore, the existence of the images, which are capable of getting away from the frustration that the ideology of progress ingrained in the language of art, is momentary. These are just the temporarily saved points of resistance!
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