[2024-10-21 17:19:07]

【黄山上苑展讯】 Gökcen Dilek Acay(德国) 工作室开放展

 [Exhibition News of Mount Huangshan Shangyuan] G ö kcen Dilek Acay (Germany) Studio Open Exhibition

阴影中的视觉艺术

Visual ArtsIcons in Shadow

Host: Shangyuan Art Museum
Exhibiting artist: Gökcen Dilek Acay

Exhibition time: August 30, 2024 (Friday) at 6:00 pm Opening
Exhibition address: the first floor of Shangyuan Art Museum, Changyuan Village, Xintan Town, Tunxi District, Mount Huangshan City

混合纺织品,尺寸可变，2021-2022

Mixed technik textile object in banner form, various sizes, 2021 - 2022

“阴影中的图标”是一个系列，探讨了圣索菲亚大教堂从博物馆到清真寺的转变。

“Icons in Shadow” is a series that explores the trans , formation of Hagia Sophia from a museum to a mosque.

这个具有普遍文化意义的历史遗址被改建的决定，导致了其内部基督教偶像的阴影。这一系列作品以视觉方式提醒人们，那些利用胡历史共同价值观谋取私利的政治力量。该系列中描绘的基督教偶像现在徘徊在黑暗中，是对当下的尖锐反映。

The decision to convert this historic site, which holds universal cultural signifcance, has resulted in the shadowing of the Christian icons within. This series serves as a visual reminder of the political forces that have leveraged the shared values of hu  man history for their own gain. The Christian icons depicted in the series now linger in the dark, a poi gnant refection of the present moment.

钩针编织,尺寸可变，2021年 crochet varios sizes, on going since 2021

塑造DNA、人类头发、尺寸可变，自2013年

室内装置：视频、文字、瓷器、“超越人类”的各种展览视图

在千鸟文化（日本）项目空间，2022展览探讨了人类想象与现实之间的相互作用。它通过并置现实人物和现实人物，对当今的政治和社会问题提出了一种国际观点。

room installation: video, textil, porcelain, various exhibition view of “More then Human”at project space Chidori Bunka (JP), 2022 exhibition explores the interplay between thehuman imagination and reality. It presents an al ternate viewpoint on today’s political and socialissues by juxtaposing fctional and real characters.

展览是一本视觉日记，通过奇幻人物和我们周围的问题探索人类的复杂性。作为一名艺术家，我试图将自己的经历和艺术视野与展览的主题交织在一起。我从童年、想象中的旅行和时事中汲取灵感，通过人类情感创作了一段神奇的旅程。展览“超越人类”邀请观众对人类精神进行超现实的探索。我将传统手工艺技术与当代艺术相结合，带来了独特的视角。通过使用织物染色、锦、传统刺绣和地毯编织，我在视觉和技术上融合了新旧。其结果是对传统与创新之间的相互作用有了新的认识。

The exhibition is a visual diary that explores the complexities of being human through fantastical characters and the issues surrounding us. As an artist, I sought to intertwine my own experiences and artistic vision with the themes of the exhibi tion. I drew inspiration from my childhood, imagi nary travels, and current events to craft a phan tasmagorical journey through human emotions. The exhibit, “More Than Human”, invites viewers on a surreal exploration of the human spirit. I blended traditional handicraft techniques with contempo rary art to bring a unique perspective. Through the use of fabric dyeing, kintsugi, traditional embroidery, and carpet weaving, I merged the old and the new in both visual and technical terms. The result is a fresh take on the interplay between tradition and innovation.

“Angst Hase”展览是“超越人类”的一部分

金和瓷器混合品，35x26x15cm

在亚洲的那段时间里，我有幸在Butoh艺术家Emiko Agatsuma的帮助下，了解了Butoh舞蹈的哲学及其与当代舞蹈的关系。作为这项调查的一部分，我与舞蹈家Emiko Agatsuma合作设计了一种舞蹈，将传统的日本舞与包豪斯的迷你malist和几何形状融为一体。在《Butoh》中，从“空身”开始，通过舞蹈转变的概念启发了我在编舞中描绘转变。Emiko和我一起将传统和现代舞蹈动作结合在一起。我的目的是质疑我们与过去、现在和未来的联系。我曾试图通过简化时间和空间来创造一种新的形式，并相信“旧的东西必须让位于新的东西的出现”。奥斯卡·施莱默芭蕾舞中使用的革命性的极简主义几何和线性元素让我们对过去和未来持开放态度。

“Angst Hase” part of exhibition More Than Human

found porcelain objects mixed with kintsugi, 35x26x15cm

my time in Asia, I was fortunate enough to ex amine the philosophy of Butoh dance and its relationship to contemporary dance with the help of Butoh artist, Emiko Agatsuma. As a part of this investigation, I collaborated with dancer Emiko Agatsuma to devise a choreography that blended traditional Japanese Butoh dance with the mini malist and geometric forms of the Bauhaus. The concept of starting with an “empty body” and transforming through dance in Butoh inspired me to depict transformation in the choreography. Together, Emiko and I combined traditional and contemporary dance movements. My aim was to question our connection to the past, present, and future. I at tempted to create a new form by simplifying time and space with the belief that “the old must give way for something new to arise.” The revolutionary minimalist geometric and linear elements used in Oskar Schlemmer’s ballet keep our perspectives on the past and future open.

漫长的时期

与Agatsuma Emiko合作

单频道视频，17:22分钟，2020

AEON

collaboration with Emiko Agatsuma

one channel video, 17:22 minutes, 2020

15天生活

视频中的图像植根于现实，但加上作为森林声音的鹿和萨满故事讲述者，它呈现出一种奇幻的品质。壁纸由人工智能生成的拼贴图像组成，提示观众质疑他们对

考虑世界事件和日常习惯的影响。

15Daily Life

fneliner drawing on paper, hair and gold tread, on goingThe imagery in the video is rooted in reality, but with the addition of a deer fgure that serves as the voice of the forest and a shamanic storyteller, it takes on a fantastical quality. The wallpaper, comprised of AI-generated images collaged together, prompts viewers to question their perceptions of the

world and consider the effects of world events and everyday habits.

“生命！我们的渴望像树一样独特而自由，像森林一样兄弟般。”（Nazim Hikmet Ran）《邀请》通过Nazim Higmet的诗《生命！我们对生命的渴望像树木一样独特而免费，像森林那样兄弟般兄弟般兄弟。”这部视频作品带领观众穿越Schmalkaden的森林，呈现了一个由3通道视频、纸上绘画和壁纸组成的混合媒体装置。

“Life! Our longing is singular and free like a tree and brotherly like a forest.” (Nazim Hikmet Ran) “Invitation” explores the themes of freedom, equal ity, and brotherhood through the lens of Nazim Hik met’s poem “Life! Our longing is singular and free like a tree and brotherly like a forest.” The video work takes the viewer on a journey through the forest in Schmalkaden and presents a mixed media installa tion of 3-channel video, a drawing on paper, and a wallpaper.

房间安装

1个同步视频，1个单独的视频频道，1幅画，采用拼贴技术的壁纸，图像展览视图Acc画廊的诱惑视频装置截图表演、椅子、烟雾持续时间：40分钟在萨尔茨堡Periscope画廊2014和Watermill Center（美国）完成，2022

Room installation

1 synchronized video, 1 separate video channel, 1 drawing, wallpaper with collage technique which images exhibition view Seduction at Acc Gallery screenshots of video installationPerformance, chair, smoke Duration: 40 min Realised in Salzburg at Periscope Gallery 2014 andWatermill Center (USA), 2022

抗议形式

“抗议形式”表演是一种动态的多媒体创作，探索活雕塑的概念。我试图通过使用电机和简单的运动元件（如吸烟机）来结合运动，以增强稳定性，并为作品增添新的运动维度，从而使这件作品栩栩如生。

Forms of Protest

The “Forms of Protest” performance is a dynamic and multi-media creation, exploring the concept of living sculpture. I tried to bring to life this piece by incorporating movement through the use of motors and simple moving elements, such as a smoke machine, to enhance the stability and add a new dimension of movement to the piece.

Gökcen Dilek(简介)视觉艺术家/音乐家

教育类
2003-09 Yildiz技术大学艺术与设计音乐系小提琴学士，土耳其伊斯坦布尔
2006-07德国魏玛李斯特音乐学院交换生项目
2010年明尼阿波利斯艺术与设计交流项目
2009-16魏玛包豪斯大学，自由艺术与媒体艺术硕士，德国

2024图林根州视觉艺术州
2024 IFA-北京上苑美术馆Künstlerkontakt
2022年SAHA国际项目协会大伊斯坦布尔展览项目在日本
2022年NEUSTART KULTUR助学金
2022年柏林文化中心
2022年斯德哥尔摩项目、弗赖斯塔茨图林根文化基金会和魏玛体育场盛大开幕
2021/22魏玛校长文学奖学金
2021 Freistats图林根视觉艺术家文化基金会，德国
2016年魏玛包豪斯大学硕士论文展
2015年青年土耳其艺术家3。Preis由伊斯坦布尔马卡美术馆组织
居留计划（已选择）
2023/2024巴德利特助学金，巴登-巴登
2023帕尔博克艺术工厂，KR
2022年，土耳其SAHA基金会和日本大阪市为Tra/Travel艺术家驻留提供支持
2020台北艺术家村，台北
2018 Dialogfeldern，Klub Soliter e.V.，开姆尼茨
2016年Yarat艺术家项目，巴库
2016年SulcisHub艺术家项目，Bjcem，Tratalias
2015年巴黎国际艺术节，IKSV支持
2013年LKV艺术家项目，特隆赫姆，NO
个展
2024“Knapp unter dem Himmel”，旧丹普巴德，巴登-巴登，德国
2023“日本作品”，艾根海姆画廊，德国
2022“超越人类”，日本大阪市千鸟文化馆
2022年“Unruhe”奖学金获得者，Gotha艺术论坛；判定元件
2021“Die Konferenz Die Tiere”，柏林艾根海姆画廊（沙龙），德国
2020“İçim（iz）deki Kötü-我心中的邪恶”，艾根海姆画廊项目空间，德国魏玛
2018“快乐反乌托邦”，NRVK，德国拉文斯堡
2016“未来原始”，涅夫画廊，伊斯坦布尔，TR
2015“对话”特邀艺术家展览WTA，巴塞罗那，ES
2013“连接”客座艺术家展，巴别塔艺术空间，特隆赫姆，NO
2011“精神控制”，Alan Istanbul，TR
2008“无尽的故事”，Rumkammerat画廊，哥本哈根，德国
2008年FI地下摄影馆摄影展

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