Mehmet Ali Uysal: "Suspended" and “Tebdilibeden”

Mehmet Ali Uysal’s exhibitions titled "Suspended" and “Tebdilibeden” shall be displayed in Pi Artworks Galleries 1 and 2 between September 21 – October 30.

Simultaneously with his solo exhibitions titled "Suspended" and "Tebdilibeden" which will be displayed respectively in Galleries 1 and 2 at the Pi Artworks Gallery in September 2010, the artist shall also be attending in October the opening of the “ Festival 5 Saisons “  residence program which he participated in Belgium and the exhibition titled “White Chaos” and curated by Eva Liadtjens and Cassandra Mehlhorn in Germany. 

The artist puts forth his first personal exhibition in Pi Artworks by utilizing two different spaces of the gallery. The exhibition titled “Tebdilibeden” in Gallery 2, which he prepared taking the relationship of similarity among the architectural structure and the body as the starting point, is based on works making references to the “Tebdilimekan” exhibition in 2005. In his works, Mehmet Ali Uysal compares the relationship of the Architectural structure to the body with the relationship of the skin to the wall and replies the relationship between Body/Skin with the metaphor of Architectural Structure/Wall.

The exhibition titled “Suspended” which is displayed in Gallery 1 may be evaluated as “art” criticism. The artist utilizes the canvas, which was built as a two dimensional surface and emerged as the domain of the artist's expression and the gilded frame, symbolizing it being dressed up in the ostentation and the pageantry of the burgeoise (the capital) afterwards as the materials of his work. These frames, which have been the symbol of a direct relationship that has emerged through the work of art in the relationship between art and capital for many years, are also a display of irony regarding the powerless submission of the work, wrapped up in the arms of the rising capital values, to non-avantgarde quests.  They may also be regarded as the symbol of a mutual embrace. These gilded frames, which become the fancy dresses of the works of art, continue to be utilized in our day as the representation of the ownership and the hegemony of the capital.  

In the works, an intervention and the transforming symbolic values of the object can be seen. This intervention, which is primarily a distortion points out to a questioning and finally to taking an oppositional stand. This intervention is a criticism put forth over the gilded frames transforming into works of art. This situation, as a general attitude, enables the values and the emerging objective reality forming in art's own domain of reality to be intervened.