Bagmana
As someone who uses words when researching the image, the curator›s practice-method and technique requires control over the connotations of the word or language on the widest scale, which is important for understanding and conveying meaning. While I have been working like a researcher on meaning, recently I have been analyzing the differences in the divergent attitudes of artists who incorporate typographic elements into their production with its formal and semantic qualities as the fictitious structures that make up the word as the smallest meaningful part of the language. As a new word that does not state any meaning, the title of the exhibition, ‘Bağmana’, suggests a method of deriving meaning with a contrast- ing approach from artists who produce absolute form oriented works that do not include a typographic element.
In this context, what is the difference between the bond established with the viewer and the bond established through the language? The semantic connection of language and its equivalent in the field of psycholo- gy are studied under ‘word associations’; the alterna- tive semantic connections established by the word require that the orientation and emotional intensity of these connections be investigated through social memory as a form of collective recall. As the primary place that shapes the social structure, city is the source for individual interpretation. In other words, it is difficult to define memory independently of the social and physical environment in which it is located. (Halbwachs, 1992). In this context, while considering the city as the area where the meaning is formed, Şerife Bilgili Ercantürk, who traces the formal ties within the image in her production, continues to discuss the relationship between the structure and the individu- al. Since the exhibition “Minus Two” in 2019, we have been defining the city as a landscape of freedom and restriction; now we see a new approach in her method which all elements added to the canvas surface are reduced, and absolute formal color spaces are connected to each other. The bond that the artist has established with the structure individually constitutes the ‘meaning’ that she has built with the raw material that she left alone this time. The two parts that make up the exhibition are; paint-canvas pictures as the main material where the meaning is built by the artist and metal-installation as the material for the city. The huge screws left in the middle of the half-built space were left over the possibility of connecting the meanings and connotations to each other in the two sections where the exhibition takes place.
In this context, what is the difference between the bond established with the viewer and the bond established through the language? The semantic connection of language and its equivalent in the field of psycholo- gy are studied under ‘word associations’; the alterna- tive semantic connections established by the word require that the orientation and emotional intensity of these connections be investigated through social memory as a form of collective recall. As the primary place that shapes the social structure, city is the source for individual interpretation. In other words, it is difficult to define memory independently of the social and physical environment in which it is located. (Halbwachs, 1992). In this context, while considering the city as the area where the meaning is formed, Şerife Bilgili Ercantürk, who traces the formal ties within the image in her production, continues to discuss the relationship between the structure and the individu- al. Since the exhibition “Minus Two” in 2019, we have been defining the city as a landscape of freedom and restriction; now we see a new approach in her method which all elements added to the canvas surface are reduced, and absolute formal color spaces are connected to each other. The bond that the artist has established with the structure individually constitutes the ‘meaning’ that she has built with the raw material that she left alone this time. The two parts that make up the exhibition are; paint-canvas pictures as the main material where the meaning is built by the artist and metal-installation as the material for the city. The huge screws left in the middle of the half-built space were left over the possibility of connecting the meanings and connotations to each other in the two sections where the exhibition takes place.
