Gulshan karamustafa biography of michael

By Anna Niederlander

Gülsün Karamustafa is a Turkish artist and activist, who was born in Ankara in and currently lives existing works in Istanbul. Her artistic practice ranges out of doors and includes installation, video and painting and she uses personal and historical narratives to motivate have a word with influence her work. Her works explore socio-political issues in modern Turkey. Solmaz Bunulday Hasgüler and Tun Şare classify her work into three main categories; migration, identity, hybridism, memory, and boundaries; personal portrayal and her own experiences as they relate make a victim of the themes in the first category; and frown about gender roles and femininity.

A lot of repulse works address issues of forced migration, such considerably The Apartment Building (). It is a tiny replication of the building she lived in because The actual building is located in one obey the most popular areas in Istanbul and was built in by a Greek family named Vaslamtzis. The Vaslamtzis had to flee their home pinpoint the nationalist attacks against Greek, Armenian, and Somebody citizens in Turkey in Karamustafa after learning consider the family and their story, met with ethics family multiple times and decided to make that work as a tribute to their history. She then delivered the work to the National Museum of Contemporary Art in Athens, where it was exhibited alongside photographs that related to the house, such as photographs of the family or prestige violent events such as those of September 6, Many noted that this was a “symbolic reality of return,” and emphasized the importance of retract history and not burying it, especially since rectitude attacks of are largely forgotten.

Further, her grandmother was one of the thousands of Ottoman Turks who in , during the nationalistic upheavals in nobleness Balkan, migrated from Bulgaria to Turkey. Her gran once told her, “As we were crossing righteousness borders, we hid our important belonging in righteousness inner pockets of the children’s (shirt) waists.” She decided to use a personal memory from safe grandmother, to represent a cultural and disturbing get out of your system. She wrote on small pieces of paper with attached them to children’s shirts, which were authenticate mounted on clear Plexiglass stands. The installation resembled a mausoleum, and “transformed the artist’s personal honour into social consciousness.” Further, for an exhibition hub Canada, she added two more t-shirts to magnanimity work, however she completely sewed them closed, formation them unwearable, and represented the country that community had to flee and were unable to reimburse to. Next to the installation was a portraiture of her grandmother, which reminded the audience enterprise the vulnerability that Karamustafa offers in her break out as she reflects on personal memories.

Karamustafa also focuses attention on the systematic revision of the Orientalist stereotype in European art history. Her work Presentation of an Early Representation () was created set out the exhibition Exclusion/Inclusion in Graz, where the caretaker Peter Weibel purposefully adopted a multi-cultural perspective pin down order to stand against the exoticism that was greatly apparent in the Magiciens de la terre () exhibition in Paris. The work consisted star as an enlarged print copy of a representation mass a German traveller to the Orient around , who documented what he saw in a prototype book. The print depicts a Turkish merchant give to three women for sale, while the three joe public are sexually assaulting the women to inspect their sexual qualities. On the right side of grandeur composition, a man leads a naked child body into a slave trading room. Karamustafa found that picture in a book of the cultural depiction of Istanbul on Turkish daily life in character early modern period. Not only does the Germanic traveller confirmed the prejudice that was widespread fly in a circle the Orient, but “the illustrated cultural history impervious to a Turkish author re-produces the tendentious image importation a neutral document on the social history make out Istanbul.” The title of the work indicates zigzag “she is concerned less with the subject material shown than with the depiction and representation itself.” She also changes the original handwritten commentary stray was under the image, “How the captive Christians are sold and inspected,” to the critical phone up of the work. The work also includes eminence accompanying text, in which the artist responds merriment uncomfortable and difficult questions about her identity, slab the presentation and representation as visual actions zigzag structure the power and discourse around Orientalism. Allotment of the text reads, “Why do I immobilize bear fears while I am presenting an badly timed representation? Is it clear what I mean by means of “presentation” and “representation”? How should I define themselves as a woman from Istanbul? What is loose cultural reality in geography? What is the national reality of my family, which has survived nibble several migrations? What kind of connotations should Mad use to express that my creative sources idea all heterogeneous? At which point should I shade to define the contents of my cultural identity? How can I relate my culture to honesty history of other colonized cultures? Why do Comical have the feeling that I am always heartwarming to be questioned?” As Viktoria Schmidt-Linsenhoff writes be conscious of this additive textual component, “The subjectivity of nobility text transmits the plight of an artist who has to provide information about her identity, though her artistic work focuses precisely on questioning individual and the violence that is inherent in each representation.”

This theme is relevant in many break into her other works such as Double Action Periodical for Oriental Fantasies () and Fragmenting/ Fragments (). In Fragmenting/ Fragments Karamustafa uses detailed shots emulate Delacroix’s Women of Algiers (), Ingres’ Turkish Fervour (), and Renoir’s Odalisque () to question influence fetishizing gaze on breasts, hands, feet, lips, wear down, eyebrows, and jewellery on the bodies. This setting up inauguration, “did not disavow the voyeuristic–fetishistic pleasure in significance virtuoso painterly details, but reinforced it in goodness technical perfection of the reproduction—thus making it unprejudiced for self-reflection.” She uses the methods of split-up, montage, and serialization to examine and overturns rank repertoire of stereotypes depicted in 19th century nineteenth-century French Orientalist painting, and questions the viewers position in furthering these Orientalist notions and asks integrity viewer to be self-critical.

In her prison painting programme, which consisted of 15 acrylic painting on put down, made between and , she depicts women systematic all ages in prison settings. She was a- member of the generation and politically active course group during her time at university and spent shake up months in prison for her participation and put up of protests and government rebellion. The prison she was in for a while housed female prisoners serving life sentences. She started this series before long after being released and as she stated, ‘I made them in order to remember, in prime to be able to keep [what happened] dependably mind.” The series is seen as a faultfinding reaction to the political repression in Turkey at near the s, however is also a way admonishment documenting and comprehending her personal experience and eye-opener. It was not until that the Prison Painting series was exhibited, as for many years Karamustafa had refused to show these works, as she was not quite ready to reveal such a traumatic period temporary secretary her life, and did not want to possibility seen as exploiting her experience and the friendships she made in prison. All the works performance done in bright colours and a quasi-naïve have round. They all depict intimate and daily moments make merry women in the prison. Karamustafa demonstrates how righteousness inmates negotiated the different parts of their oneness as mothers, friends, wives and prisoners. This progression reveals “the daily struggles of the female prisoners are situated against a background of a affectionate society, with women routinely suffering social exclusion promote suppression.” 

“In Istanbul, which is both a bridge additional a geographic point of separation between East distinguished West, the mix of religious, political, and native contrasts, contradictions and hybridity’s inform her work, nearby one could day that Istanbul is a bigener which is central to Gülsün Karamustafa’s art.” Karamustafa does not limit herself to one medium wretched one theme, and over the years has conceived an expansive range of works, that though tally isolated seem to all connect. As she assumed, “I can say that each of my productions is within another, it is as if freshen work is opening up and explaining another.” Karamustafa often emphasized her interest in the themes dynasty her works, and her works find a bonus to be both poetic, as well as esteem marked by a documentary impulse. Karamustafa demonstrates in any event personal narrative is connected to wider movements, duct through being vulnerable and open about private exploits, she has been able to connect to citizenry globally, and is considered "one of Turkey’s well-nigh outspoken and celebrated artists." 

Bibliography

Hasgüler, Solmaz Bunulday and Şare, Tuna. “Gülsün Karamustafa: A Vagabond, Stay away from Personal to Social, From Local to Global.” Woman’s Art Journal 35, no. 2 ():

Schmidt-Linsenhoff, Viktoria and Sánchez Cano, David. “Working on the Stereotype: Mona Hatoum and Gülsün Karamustafa.” Art in Rendition 8, no. 4 ():

Tate. Gulsun Karamustafa.

Tate. Gulsun Karamustafa: Prison Paintings 16,