Artists: Şinasi Güneş, Karolin Fişekçi, Nevin Aladağ, Sefer Memişoğlu, Yetkin Başarır, Fikret Atay, Seyhun Babaç, Ahmet Öğüt, Zeynep Soleyman, Nasan Tur, Erinç Seymen, Demet Yoruç, Aslı Sungu, Başir Borlakov, Ali Demirel, Fahrettin Örenli, Erkan Özgen, Ferhat Özgür, Cengiz Tekin, Oda Project: Özge Açıkol, Güneş Savaş, Seçil Yersel, Box: Ali Batı, Gökçen Cabadan, Elmas Deniz, Borga Kantürk, Gökçe Süvari, Evrim Yiğit
Curator: Vasıf Kortun
Assistant Curator: Halil Altındere
During the 1968 events, the sand under the paving stones that students uprooted to throw at the police evoked the beach and the promise of a future utopian world was reversed in this exhibition and transformed into the dystopia of “Under the Beach: Paving Stones” dystopia.
The '68 movement had paved the way for reforms and democratization steps in university education, especially in countries such as France, Germany, England and the United States, but it was not enough to establish the imagined world. Because instead of the beaches that were hoped for, the consequences of globalization led to the loss of hope for the existence of beaches that should have existed in many other fields, including art.
The '68 movement had paved the way for reforms and democratization steps in university education, especially in countries like France, Germany, England and the United States, but it was not enough to build the imagined world. Because instead of the beaches that were hoped for, the consequences of globalization led to the loss of hope for the existence of beaches that should have existed in many other fields, including art.
Proje4L's exhibition “Under the Beach: Pavement Stones” exhibition featured in this context a generation of young artists who were little or unknown in Istanbul, ranging from artists from different geographical regions of Turkey to those operating under a group identity and artists of Turkish origin living in Europe. The exhibition resonated with both the presence of these little-known artists and the way it was organized. In particular, artists from outside Istanbul were received as an extraordinary event, betraying public prejudices.
At the end of its first year, Proje4L had brought a different perspective to the relationship of a contemporary museum with society and brought a movement to the art community with its new forms of exhibition, its presentation of young artists, and the numerous conferences and panels it organized in addition to the exhibitions.
Support Us Membership Categories
