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  EXTRAMÜCADELE — Extramü...  
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ME: E o zaman ne yapacağız? Böyle gidecek mi? Bittiğini nasıl anlayacağız? Bir ipucu var mı? Peki en başta amacımız neydi? Onu hatırlayan? Sen mesela hatırlıyor musun ne için yola çıktığını?
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ME: So what is the plan? Will it go on like this? How will we know when it ends? Is there a clue? What was our target in the first place? Does anyone remember? Do you, for instance, remember with what aim you set out in the first place?
  EXTRAMÜCADELE — MAKALELER  
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1997’de ‘hayali siparişler’ üzerine çalışan bir proje olarak hayata geçirilen Extramücadele, Galeri Non’daki yeni kişisel sergisinde politik içeriği biraz arka plana alarak formların ve arayışın öne çıktığı çalışmalarını…
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Extramücadele (Extrastruggle) aka Memed Erdener is a versatile artist who is known for his pop art-influenced works that have direct references to the political atmosphere and history of the Turkish Republic. He has a particular style and humor in…
  EXTRAMÜCADELE — “Gündel...  
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1997’de ‘hayali siparişler’ üzerine çalışan bir proje olarak hayata geçirilen Extramücadele, Galeri Non’daki yeni kişisel sergisinde politik içeriği biraz arka plana alarak formların ve arayışın öne çıktığı çalışmalarını sergiliyor.
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Extrastruggle, created in 1997 as a project working on ‘imaginary demands from imaginary customers’, shows its new works in its solo show in Gallery NON. The show features works that accentuate the form and the search rather than the political content we are used to seeing.
  EXTRAMÜCADELE — Masum Y...  
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Musa, kavmini firavunun şerrinden kurtarmasıyla (ama ne pahasına!) ünlü Musa, yılan (kitaptaki adı:nehaş* ) onları ısırmasın diye tunçtan bir yılan anıtı (nehaş nehoşet) yapmayı niye önersin? Gazabından korktuğuna tapın!
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Why would Moses, famous for saving his tribe from the evil of the pharaoh (but at what cost!), propose the building of a bronze serpent monument (nachash nechoshet) to protect them from snakebites (the name of the snake in the Book: nachash)? Worship he whose wrath you fear! An antidote made from the poison itself. Put the biter on a pedestal to protect yourself from its bite, from trouble, from his wrath! Who else but Yahweh could think of this… That is also what the Book says. Forced into proving himself to his tribe, Moses keeps Yahweh’s word to build the bronze monument. Time passes. Hezekiah, king of Judah, who reigned over Jerusalem for 29 years, destroyed Moses’ bronze serpent because it had become an object of idolatrous worship (its name: nehushtan∗∗, transformed because it had become an idol). Just like all the other idols. But why? To do what was right in Yahweh’s eyes. He who knows how to order the construction of a building, has that building destroyed when the time comes; he also knows how to destroy. Contradiction is reserved for the subjects of God. The Book says that, too. Who knows, perhaps the trouble had been thwarted in the meantime.
  EXTRAMÜCADELE — YENÄ° Ä...  
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Gül kokulu bahçeden çıktım ve düşündüm: Evet, akıl ile gönül bir olmalı. Karınca savaşları durdurmalı, husumet bitmeli. Dilenci, mal ile saadet arasındaki bağı koparmalı, parayı yok etmeli. Mecnun, aşk ile matematiği barıştırmalı.
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I left the garden that smelled of roses and began to think: Yes, the mind and the heart should be one. The ant should stop all the wars, and animosity should cease. The beggar should sever the tie between possession and wellbeing, and destroy money. The madly-in-love Mejnun should reconcile love and mathematics. The slave must defeat the tyrants, must determine the sentence and the award, must be merciful, and hand out justice fairly. Teachers should, of course, forget about syllabi. Children should read what they feel the need for, experience the development and maturation of the soul with love, live as they deserve to and die when the time comes. / Extrastruggle*
  EXTRAMÜCADELE — Masum Y...  
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Musa, kavmini firavunun şerrinden kurtarmasıyla (ama ne pahasına!) ünlü Musa, yılan (kitaptaki adı:nehaş* ) onları ısırmasın diye tunçtan bir yılan anıtı (nehaş nehoşet) yapmayı niye önersin? Gazabından korktuğuna tapın!
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Why would Moses, famous for saving his tribe from the evil of the pharaoh (but at what cost!), propose the building of a bronze serpent monument (nachash nechoshet) to protect them from snakebites (the name of the snake in the Book: nachash)? Worship he whose wrath you fear! An antidote made from the poison itself. Put the biter on a pedestal to protect yourself from its bite, from trouble, from his wrath! Who else but Yahweh could think of this… That is also what the Book says. Forced into proving himself to his tribe, Moses keeps Yahweh’s word to build the bronze monument. Time passes. Hezekiah, king of Judah, who reigned over Jerusalem for 29 years, destroyed Moses’ bronze serpent because it had become an object of idolatrous worship (its name: nehushtan∗∗, transformed because it had become an idol). Just like all the other idols. But why? To do what was right in Yahweh’s eyes. He who knows how to order the construction of a building, has that building destroyed when the time comes; he also knows how to destroy. Contradiction is reserved for the subjects of God. The Book says that, too. Who knows, perhaps the trouble had been thwarted in the meantime.
  EXTRAMÜCADELE — Eks-tra...  
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Şüphesiz bu mücadeleyi kendi içinde kollara, dallara, yönlere ayırmak da mümkün. Rüyada rüyayla, tarihte tarihle, sokakta sokakla aralıksız ekstra mücadele. Aileden devlete toplumun her dilimini tarihte, coğrafyada, dilde, siyasette, dinde bulduğu önyargılarla eğip şekillendirmiş iktidar bloğu pis bir kovadır, onu denizde çalkalar balıkçı sanatçı.
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It is no doubt possible to divide this struggle into branches, routes. Permanent extrastruggle in dreams versus dreams, in history versus history, on the street versus the street. The block of history which has bent and shaped every slice of society from the family to the state with prejudice borne from history, geography, language, politics and religion is a dirty bucket, the fisher artist will rinse it in the sea. And whilst extrastruggling with history, the struggler sits alone in a deserted city square with an empty mind, knowing the crowd will soon arrive, yet scanning space and thinking of the following: history is on its way, yet up against now, history is history, no matter how it may strive to disturb it. No matter how stern, how ordinary, how untouchable, how flashy an image is, it will soften when confronted with art, it will soften just like the brain of a politician which has turned into a pulsing synthetic carpet of static from waiting in the protocol line at the Anıtkabir in summer wearing a wool suit, it will soften like the rapidly beating heart of a friend who returns the second he realizes he has shouted one sentence too much at a friend, it wll soften like the cracked soil which has sucked in the first overnight rain after the blazing summer months, and it will leave itself into the safe hands of the artist. O artist, will you prove yourself in charge of thy hands? Will you be able to look upon those that confront you in your world of graphic ideas from the sharpest angle and ask: A statue, a portrait, or a socialite? A dress, a backdrop, or the curtain which has fell on a lost period? The frowning brows of Atatürk will dissolve, the drops of sweat accumulated on his increasingly receding hairline will glide down his forehead, then his cheek, to wet his lips, and his lips will form a swinging sultanate boat of a smile between his dimples when they catch the sight of Turban Soray, herself a master of optimistic compromise, beating the social democrats at their own game, with her face shining like the moon from within that black frame. Thus the couple, wearing black, leaning on each other, and now nearly consumed by the darkness they gaze into, will whisper these words: "Graphic artists, do not listen to those who cry "You arrogants, what arrogance!" and take a look at the forest first! Look at the forest, and think, not where we come from, but how this forest came to be..."