Nil Yalter: Kayıt Dışı/ Off The Record

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Kayıt dışı sergisi tam zamanında İstanbul’da. Ölüm cezası tekrar gündeme getirildiğinde görmeye değer sanatsal bir yaklaşımı bulabilirsiniz Arter’de.

Küratörlüğünü Eda Berkmen’in yaptığı “Kayıt Dışı”” başlıklı sergi, Nil Yalter’ın eserlerindeki ana tema ve motiflere genel bir bakış niteliği taşıyor. 1972 Deniz Gezmiş,Hüseyin İnan ve YusufAslan’ın idam kararı verildiğinde İstanbul’da oturduğu ufal oda’da ürettikleri yer alıyor. Fransa’da Judy Blum ve Nicoıle Croiset ile 1974ünde birlikte üretilen “La Roquette, Kadınlar Hapishanesi” artık klasikleşmiş eserlerinden. Michel Foucault 1975’te  Surveiller et punir (gözetlemek ve cezalandırmak) yayınladı, toplum’lardaki ötekileştirmek mekanizmalar hakkında bir kitap.

İsmini sanatçının eserlerinde geniş bir şekilde yer verdiği kayıt dışı kalmış kişi, duygu ve bilgilerden alan sergi, bireyin toplumsal normlar ve kontrol mekanizmaları karşısında geliştirdiği var olma stratejilerini araştırıyor.

Yalter’in resim, fotoğraf, yazı, kolaj, performans, video gibi farklı mecraları bir araya getiren yerleştirmelerinin birçoğu Türkiye’de ilk kez sergileniyor.

Arter, 14 Ekim 2016 – 15 Ocak 2017 tarihleri arasında Nil Yalter’in Türkiye’de bugüne kadar gerçekleşen en kapsamlı sergisine ev sahipliği yapıyor.

Nil Yalter (born 1938) is a Turkish contemporary feminist artist. She attended Robert College in Istanbul and currently lives and works in Paris. Her work, which is included in many collections and museums, includes not only drawings and photographs, but alsoVideos and performances.

The  exhibition “Off the record” is just on time in Istanbul. When death penalty is brought back to the agenda, you can find an artistic approach worth seeing at Arter.

The exhibition’s curator Eda Berkmen is giving an overview of the main themes and motifs of Nil Yalter’s works. 1972 Deniz Gezmiş, Hüseyin İnan, and Yusuf Aslan were sentences to death. Yalter was working in a small room in Istanbul. Back to Paris she produced. “La Roquette, Women’s Prison”, in 1974 with Judy Blum and Nicoire Croiset.  It is now one of the classicized works. Michel Foucault published Surveiller et punir (to watch and to punish) in 1975, a book about the othering mechanisms in societies caused by the institution of prisons.

The exhibition explores the existential strategies that the individual has developed in the face of social norms and control mechanisms.  Yalter is usings painting, photography, writing, collage, performance, video as a tool, most of the works are exhibited for the first time in Turkey.

Yalter took part in the French counterculture movements in the late 1960s. Her artwork focused on gender and the conditions faced by Turkish migrant workers. In the 1970s, she led the beginning of the French art feminist movement^.

In 1974, she created a video titled The Headless Woman (Belly Dance). The piece shows only the belly of a woman who writes a poem on her abdomen and then belly dances. This piece expresses the idea that women who are thought of as exotic, like belly dancers, are objectified. They are sexualized by focusing on simply one part of their bodies. This piece stands out in French contemporary art history and is one of the early feminist-art classics.