Continuity Error

This weekend I visited Salt Beyoğlu, which has been inactive for about two years, and the first exhibition, Continuity Error, after this long period. The exhibition consists of photographs, videos, sculptures and installations of Bülent Şangar and Aydan Murtezaoğlu, representatives of contemporary art that began to develop in the 90s in Turkey.

When you entered the exhibition hall, there were t-shirts with different messages in different colors on a S-shaped wooden table reminiscent of the production line in the factories, and employees were located in some areas of the table. This area, called the Unemployed Workers, has called themselves unemployed workers a break from the work of folding t-shirts that they have done in a timely manner, as the production line workers in the factories do, until a visitor has been in dialogue with them. This interaction is defined as a positive event because of the partition of a useful event such as communication, as opposed to the fact that a sudden stopping of the work in the factory is considered as a negative event.


Again, the same series of photographs taken from different angles belonging to the same person, the vestige named series of photographs attracts attention. This definition is portrayed on a person by the cloakroom artist Bülent Şangar, who is normally described as a place where many people, such as hotels and restaurants, enter or leave the place, or the place where the coasters such as coats, coats, hats and umbrellas are left in the houses.

There’s an old furniture radio in the middle of the screen when you go out on the second floor. There are four sentences in English on the radio, and at certain intervals these cues are being transmitted to the visitors in a radiated voice.

When we came out of the second floor, Aydan Murtezaoğlu’s 6 floodlit Panels are located in the fleet of Istanbul and the works named Hip Activities Series. Aydan Murtezaoğlu’nun Balcony Series out of his name on the wall of the panel where the light panel is still one of the most beautiful works of the exhibition can be described as one of the exhibition.


Aydan Murtezaoğlu’nun mutual positioning photo studies are located. The common feature of these two photographs is that the floor area is flat, the horizon side is trapezoidal, and the female character in the photo exhibits the same trapezoid to conform to this anomaly. The concept of the family hall which is common in Anatolian restaurants is represented by Aydan Murtezaoğlu’s photographic work in the Family Room Upper Kattadır named tavar.


The work named Cure tells a tale of 24 photos in a small album produced in 1998.


The next area, Bülent Şangar’s point of view, consists of photographic studies taken at the focus of more families, involving intense violence that will constrict the soul. Here you have to deal with the artist’s intentions to disturb the audience. In the windowed work, a male character in different activities was one of the remarkable works, consisting of a combination of photo frames in different situations, such as when he was about to shoot with a gun in his hand, sometimes reading a Redhouse dictionary, and trying to get out a window with a suitcase. At the end of the hall, the artist exhibited the prints of his own death announcements in a glance and missed his dose. A dead burying scene is mutually positioned on either side of the window where death announcements are located.




On the next floor, there is a joint work by Bülent Şangar and Aydan Murtezaoğlu, who is described as one of the master works of the exhibition, Laboratory Work. In a lab environment of a laboratory environment, the two men in laboratory uniforms on the back of the screen show the text on the back of the screen in a synchronized manner. Here, I was asked to draw attention to how political discourses conflicted with scientific reports and analyzes.


Aydın Murtezaoğlu’s Hip Activities series of two photographs with escorts are positioned side by side. The main theme of the two photographs was the contrasts and the absurdities.


In Bülent Şangar’s work titled “The death of the living with the like is similar”, the human and the object (stove) are positioned similarly in two different works. The progression of human landscapes on a double-decked public bus that covers the whole area of the wall at the end of this flood. A little named work witnesses a different story in each window.


Apart from the usual, art lovers expecting to have a nostalgia and to think a little about continuity mistakes are waiting for the exhibition, which can be described as an exhibitor who has occasionally come to the audience with his gospel. Continuity Error exhibition can be visited in Salt Beyoğlu until 22 July.

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