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Atay’ın sergisindeki videoları iki kavramsal bileşen üzerinde kesişiyor: Modernizm ve 'öteki' nin öyküsü. Yerel tarihin taşıyıcısı kadınlar üzerinden şekillenen hikayeler, bir sıkışmışlık ve çözüm arayışıyla beraber geliyor.
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Three different stories “The Walking Memories”, “Giants” and “Paris Village” that makes up a series following three different paths coincide at the same dimension. The artist brings multilayered stories with narrative ties together for the first time as an endeavor never experimented before.
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Boşaltılmış bir köyün kadınlarının geri dönüş(yaşam-ölüm) filmi. Film, post apokaliptik bir mekanda bir araya gelen kadınların gündelik yaşamlarını gösterir. Terk ettikleri bu mekana, anılarıyla geri dönen kadınlar, bir arayış içindedirler.
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The second movie of the series “Giants” is a post-apocalyptic love movie. The artist tries to generate a critical approach to modernity from a non-conventional perspective. The discussion offers reconsideration over a pastoral phantasy that of which the cliché on the East is imbued with. Mundane patterns like urban girl, villager boy, impossible love, endless deserts and the like come together with a view on emptiness.
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Bazen eksik bir hikayeyi anlatır, bazen oradan geçerken uğranmış gibi görünebilir bu eserler. . Her biri bir karşılaşma, bir arayıştır. Çöle yeniden döndüğünde nereden geçtiğini hatırlamak için bir işaret, hayali dünyalardan bir anı, çocukluğa yolculuktan geriye kalan birkaç nesne, mağarada elinin izini çizen o ilk insanın duygusuna geri dönüş vardır bu işlerde.
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Kubilay Mert Ural’s works open a window into the desires, frustrations, and ultimately needs of our contemporary moment. On an infinite and open-ended loop, they remind that chaos and order are identical. Sometimes they tell an incomplete story, and other times they feel like they just popped by… Each one is a quest, an encounter. They take you back to the markers you left in the desert in order to retrace your steps, they revisit a souvenir from imagined worlds, objects from a journey to one’s childhood, or feelings of the first man who left a handprint on a cave wall.
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Henry David Thoreau’nun Walden Gölü kıyısındaki bir kulübede geçirdiği iki yılda kaleme aldığı, yarı oto-biyografik yarı kendini bulma arayışı eseri Walden’daki bu satırlar, Tufan Baltalar’ın “Seyir Terası” sergisiyle çıktığı ve “aralık” ile devam eden yer yer düşsel yer yer gerçek izleği çağrıştırıyor.
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American author and naturalist Henry David Thoreau once wrote, “I went to the woods / because I wished to live deliberately / to front only the essential facts of life / and see if I could not learn what it had to teach / and not, when I came to die, discover that I had not lived.” The lines of the semi-autobiographical semi self-discovery book “Walden”, in which Thoreau described the two years he’d spent in a cabin at Walden Pont without support of any kind, remind us of Tufan Baltalar’s journey - part real and part imaginary - that lead on from his previous exhibitions “Viewing Terrace” and “in between”. In the cloud and landscape series, Baltalar continues to trace the intimate encounter of human and nature. The artist’s canvas paintings in different sizes stem from photographs taken during his frequent bike sessions and draw attention to the potential of the landscape genre for representing inner experience.