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  Pilot Galeri - Sergiler  
Sanatçının bu özel sergisinde ilk defa gösterilecek son çalışma ise bir can yeleği heykeli. Mültecileri bir kaza durumunda suyun üzerinde tutması için dağıtılan can yeleği mermerden dökülünce konunun ve yazgının ağırlığı açığa çıkıyor.
Another premiere of this special exhibition is a sculpture of a life jacket. Instead of a normal life jacket, a sculpture of it made out of marble speaks for itself on this weighty issue. Is the survival effort of actors in "Just Before Paradise" resisting to their fate and their dangerous journey in vain? As Ibn Khaldun said, is geography fate?
  Pilot Galeri - Sergiler  
İnsanın ders almazlığı ve tekrarlanan yanlışlara işaret eden "Hata I" ve "Hata II"de ise doğada çözünen / çözünmeyen plastik ayrımıyla yaratılan aldanmaya odaklanıyor. On yılı aşkın süredir doğa ve ekonomi konuları etrafında kavramsal işler üreten sanatçının bu sergisine, plastik atıklar problemi ile ilgili ürettiği eski tarihli bu işi de dahil oluyor.
Finally "Mistake I" and "Mistake II" highlight the misleading concept of labelling plastic bags as recyclable / unrecyclable and reveal how we fail to learn from past experiences and repeat the same mistakes. As the artist has been dealing with the subjects of nature and the economy through a conceptual framework for over ten years, this older work about plastic waste is included in this exhibition.
  Pilot Galeri - Sergiler  
Pilot Galeri’deki kurgunun temelinde, Şahinler’in resminin bir yüzü, yetişkin-erkek olmanın ve yaş almanın farklı aşamaları, toplumsal cinsiyet ve sosyo-ekonomik olarak farklılaşan beden algısı öne çıkarılıyor. Co-Pilot’taki sergi ise, sanatçının geçmişten bugüne farklı işlerinden alıntılarla bütünleştirdiği, 6 metre enindeki “Otobiyografi” isimli resmi üzerine kurulu.
The underlying conception at Pilot Gallery brings to the foreground one side of Şahinler’s painting, the different stages of being an adult-man and aging, and the perception of the body that shifts according to gender and socio-economics. The exhibition at Co-Pilot on the other hand, is structured around the artist’s 6 meter wide painting titled “Autobiography”, in which he integrates excerpts of his various works from the past to the present. The painting that establishes its own cultural universe with grotesque and neo-gothic elements is accompanied by an original sound composition by Cem Ömeroğlu and Şahinler.
  Pilot Galeri - Sergiler  
Antik Yunan mitolojisinde her biri farklı bir mevsim ve yönle ilişkilendirilen dört (iyicil) rüzgârın Zeus’un görevlendirdiği Ailolos tarafından kontrol edildiği söylenir. Bu dört iyicil rüzgârı yardıma çağırmanın da Typhon’dan doğduğu söylenen tahripkâr fırtınalardan (1) korunmanın da yolu adaklardan –farklı kültürlerde ise büyüden– geçer.
According to Greek mythology, the gods of the four (relatively benign) winds who were each associated with a season and a direction were controlled by Aeolus on Zeus’ orders. Ancients used offerings –and spell in other cultures- in order to call on the help of these gods in time of trouble or placate the destructive storm winds, the offsprings of Typhon. After all precautions were taken, things were left to faith and fortune, namely Fortuna (2). The word that signified chance or fate in Latin took the meaning of a shipwreck, misfortune at sea in Greek. Ottomans borrowed the term from Greek (3) –leading to fırtına in modern Turkish-. Miharbi’s
  Pilot Galeri - Sergiler  
Baltalar, sergiye adını veren Stand By serisindeki resimlerde ise çektiği veya edindiği fotoğraflar aracılığıyla ürettiği uyuyan figürlere yer veriyor. Sanatçı, gündelik akışın kesintiye uğradığı uyku halini resmin konusu yapmakla rahatlamaya duyduğumuz ihtiyacı gündeme getirirken, uykunun öncesine ve sonrasına dair de bir önermede bulunuyor.
In Stand By paintings, the namesake series for the exhibition, Baltalar portrays sleeping figures based on the photographs he took or was given. By exploring sleep beyond the physical signs, he equates this inactive state of being with rest; thus highlights our need to relief and makes a proposal regarding the before and after of the sleep.
  Pilot Galeri - Sergiler  
ise sanatçının BStart üretim desteğiyle hayata geçirdiği Fısıltı’nın devamı niteliğindedir. İnsan gırtlağının konuşurken aldığı şekillerden yola çıkılarak üretilmiş akustik kaplardan daha gür, neredeyse tehditkâr sesler çıkar.
, a continuation of Whisper that was produced with the support of Bstart. The deep almost threathening sounds are created by the acustic cups that were shaped after the human throat take while making sounds. These noises resembling a, e, i, u, o draws a set to a part of the gallery to not be.
  Pilot Galeri - Sergiler  
Terk ettikleri bu mekana, anılarıyla geri dönen kadınlar, bir arayış içindedirler. Tekrarlara dayanan davranışları, zamanın devam ettiği ancak ancak hafızanın belirli anlara takılı kaldığı bir durumu işaretler. Köye geri dönüş ise, geride yarım kalmış birşeyler olduğunu imler.
The second movie of the series “Giants” is a post-apocalyptic love movie. The artist tries to generate a critical approach to modernity from a non-conventional perspective. The discussion offers reconsideration over a pastoral phantasy that of which the cliché on the East is imbued with. Mundane patterns like urban girl, villager boy, impossible love, endless deserts and the like come together with a view on emptiness.
  Pilot Galeri - Sergiler  
Kara sevda üçlemesinin ikinci ayağındaki Suçlular Aramızda (1964) filmi, benzer bir imaj/gerçeklik dilemmasını işliyor. Üçüncü çalışma ise bizi Erksan'ın kritik filmlerinden “Sensiz Yaşayamam”(1977)’a gönderiyor.
Another part of the exhibition consists of three works that Altındere produced as a result of his interest in Metin Erksan, one of the main figures in modern Turkish cinema. The cult piece by Erksan, Time to Love (1977), which hasn’t been screened even after 20 years of its shoot, is the first part of his ‘’blind love trilogy’’. Through the idea of falling in love with an image, it reaches out to an ideal level of ending with an artistic production. The second part of blind love trilogy, Criminals Among Us (1964), deals with a similar image/reality dilemma. Finally, the third work refers and addresses us to I Can Not Live Without You (1977).
  Pilot Galeri - Sergiler  
Leblebici’nin kimlik/beden, aidiyet ve suç ekseninde kurduğu üçlü serisinin masumiyetine vurgu yapan çalışması “Zırh”, sanatçının göğüs kafesinin bir kelebeğe dönüştürülmesi jestini içeriyor. Eserin tam karşısında ise, olağan bir şüphelinin göz altındayken çekilmiş röntgen filmlerini görüyoruz.
In “Armor” - the work with a focus on innocence - he turns his rib cage into a butterfly with one simple gesture. In front of this painting we see the piece depicting a usual suspect’s X-ray images taken while in custody. Frontal and profile mug shots are now replaced by imaging machines that reveal the inside of the body. Leblebici invites the audience not only to look into his eyes, but also to look through his soul. The recent “Selfie-Portrait” reveals the issue of loneliness and frenzy of getting likes through the selfie pandemic. Unlike the quick and ready-to-upload selfies, the “Selfie-Portrait” took over 200 hours to finalize.
  Pilot Galeri - Sergiler  
Berlin’de yaşayan Suriyeli hip hop sanatçısı Abu Hajar’ın yazıp söylediği rap şarkısının eşliğinde mültecilerin Suriye üzerinden Türkiye, Akdeniz, Balkanlar ve Almanya’ya göç güzergahı takip ediliyor. Berlin’deki HAU Tiyatrosu’nda sergilemek üzere ürettiği fotoğraf çalışması Köfte Airlines ise, mültecilerin serbest dolaşım hakkına dikkat çekiyor.
Space Refugee makes up the first portion of the exhibit; it consists of over twenty works that are centered around Aleppian astronaut Muhammed Ahmed Faris, who has spent seven days in outer space in 1987 and had to settle in Istanbul as a refugee in 2012. This work envisions Mars as an utopia without tyranny and injustice, somewhere that could belong to anyone for it belongs to no one. This is why it provides an alternative shelter to the refugees, and the work presents various experiments regarding life on Mars. While Space Refugee investigates an utopic suggestion for a home, Homeland, that which music is one of the main components of, puts forward Syrian rapper Muhammad Abu Hajar who lives in Berlin as a porte-parole and exhibits the present situation of the refugees with a road story aesthetic. Large scale photograph Köfte Airlines addresses the transportation problem of the refugees. Altındere’s response to “how will they go?” is a mise-en-scene.
  Pilot Galeri - Sergiler  
Sergi ateşin tahrip edici gücüne de yaratıcılığı ve gelişimi tetikleyen özüne de atıfta bulunuyor. Video ile birlikte çalışan heykeli ise, yakıcı/yıkıcı durumlarda insanın/sanatçının çaresizliği ve yapabileceklerine odaklanıyor.
The exhibition centers on fire, which is the most basic yet powerful motif in mythology. During her days in Sicily, İrem Tok becomes fascinated by the view of Mount Etna; after her return she asks a local friend to send her photos on a daily basis, which allows her to keep this one-sided and long-distance relationship alive despite being away. This landscape she has painted in an obsessive manner for a period inspires the animated volcano that stands in the center of the exhibition. In the show, fire appears both as a destructive force and a creative one. The sculpture that is part of the video installation stands as a symbol of mankind's (and the artist’s) helplessness in face of damaging conditions.
  Pilot Galeri - Sergiler  
Özge Topçu’nun son yerleştirmeleri “Natürmort” ve “Presence II” ise, Aktaş’ın kaotik tasvirlerinin tersine, ehlileşmiş ve steril kentler öneriyor. Eserlerinde, içinde yaşadığımız dünyanın politik ve ekonomik düzenini oluşturan "sistem" lerin yapay kurgusuna odaklanan sanatçı, mutlak gerçeklik alanları yaratmaya çalışır.
The recent installations of Özge Topçu, entitled "Still Life" and "Presence II", propose clinically sterile and tamed cities, in contrast to the chaotic and wild depictions of Aktaş. The artist, focusing on the artificial fiction of the contemporary "systems" -both political and economical-, intends to create spaces of absolute reality. Studying and deforming various modernist buildings from different countries, she reinterprets them. In her latest works, Topçu points out the arbitrariness of the current ‘constructing’, ‘demolishing’ and ‘reconstructing’ techniques through restructuring samples of postmodern architecture and urban design with objects of daily use. Canonized and iconized architectural structures are turned into quotidian household objects.
  Pilot Galeri - Sergiler  
Özge Topçu’nun son yerleştirmeleri “Natürmort” ve “Presence II” ise, Aktaş’ın kaotik tasvirlerinin tersine, ehlileşmiş ve steril kentler öneriyor. Eserlerinde, içinde yaşadığımız dünyanın politik ve ekonomik düzenini oluşturan "sistem" lerin yapay kurgusuna odaklanan sanatçı, mutlak gerçeklik alanları yaratmaya çalışır.
The recent installations of Özge Topçu, entitled "Still Life" and "Presence II", propose clinically sterile and tamed cities, in contrast to the chaotic and wild depictions of Aktaş. The artist, focusing on the artificial fiction of the contemporary "systems" -both political and economical-, intends to create spaces of absolute reality. Studying and deforming various modernist buildings from different countries, she reinterprets them. In her latest works, Topçu points out the arbitrariness of the current ‘constructing’, ‘demolishing’ and ‘reconstructing’ techniques through restructuring samples of postmodern architecture and urban design with objects of daily use. Canonized and iconized architectural structures are turned into quotidian household objects.
  Pilot Galeri - Sergiler  
Kadınlar, gerçekle rüya arasındaki eşikte, tarihi ve coğrafyayı arşınlarken, dünya kültürünün acımasızlığını, su politikalarının çıkmazlarını, eşitsizliğin kaynaklarını, bir kahve falı bakar gibi okuyorlar. “Mirage”(2008) ise, filmi geriye sarıyor ve Hasankeyf’in bugünü ile olası geleceği arasındaki gerilimi katediyor.
The artist’s work titled Dengbejs (2007), which had been exhibited at Documenta 12 in 2007, is the first part of Mesopotomia Trilogy. It chases the subsiding cultures of Dengbejs and plays an entertaining game with tradition and modernity dilemma. As the council of male talks about love, heroism and their losses everything seems allright until the final sequence. In Oracle (2010), the final of the trilogy, we listen to birth givers of Dengbej cultures i.e. women in requiem. These women read the cruelty of world culture, problems of water policies and roots of inequality on the verge of a dreamlike wander around history and geography as they read the fortune from a coffee cup. Mirage (2008) rewinds the film and portraits the suspense between today of Hasankeyf and its probable future.
  Pilot Galeri - Sergiler  
Sanatçı sergisiyle ilgili; “Yaklaşık dört yıldır Massachusetts, Cambridge’de yaşıyorum, buranın dört mevsimine tanıklık ediyorum. Evimim yakınındaki Charles Nehri’nin önce donmasını, sonrasında ise buzlarının çözülmesini ve nehrin yeniden akmaya başlamasını izliyorum. Burası Lahor, Berlin ve İslamabad’dan sonra kendime ev yaptığım dördüncü şehir. İstanbul’a 2007’deki ilk ziyaretimden beri sürekli geri dönüyorum. Bu şehirlerin her birinde iş ürettim, ve gündelik hayat’larının sıradanlığından esinlendim.” diyor.
.” It is obvious that her travels have informed her work in a number of ways. Context is very important to her, which lends her practice an anthropological dimension, signifying elements that have broader implications. The present exhibition is her second solo show to be held in Istanbul. It represents a wide collection of her work, produced in various locations, and brings together under one roof the divergent, yet complementary, trajectories of her experimental oeurve. It is evident that the theme of cities and its people continues to influence her art. She deals with traditional iconography and motifs, displacing, and at times, creating new platforms to view the familiar. She aims to disrupt linear narratives, provoke questions, and gently titillate our senses while we are at it.
  Pilot Galeri - Sanatçılar  
2011’de Abraaj Capital Art Prize’ı kazandı; 9. Sharjah Bienali’nde ise Jüri ödülünü aldı. Çalışmalarında kültürel olarak kodlanmış görüntü ve ikonografileri eğlenceli bir üslupla ele alırken, topluma içkin çatışmaları sorgulamak için geleneksel motiflere ve stillere başvurur ve onları dönüştürür.
Hamra Abbas was born in Kuwait in 1976 and lives and works between Boston and Islamabad. Abbas has a versatile practice that straddles a wide range of media. Drawing upon culturally loaded imagery and iconography, in an often playful manner, Abbas appropriates and transforms traditional motifs and styles to examine questions of conflict within society. She is an artist of nomadic temperament, which lends her practice an anthropological dimension and her themes range from the poetic to the political to the absurd. Hamra Abbas is the 2011 winner of the Abraaj Capital Art Prize, she was awarded a Jury prize at the Sharjah Biennial 9. Her work has been included in 2nd Kochi-Muziris Biennale (2014), Asian Art Biennial, Taiwan (2011); the International Artist’s Workshop of Thessaloniki Biennial and International Incheon Women Artists Biennale (2009); Guangzou Triennial (2008); Istanbul Biennial (2007); the Biennale of Sydney (2006); and the Cetinje Biennial (2004). Abbas’ work has been exhibited at Singapore Art Museum; Royal Ontario Museum, Toronto; V&A Museum, London; Asia Society Museum, New York; ARTIUM de Álava, Vitoria-Gasteiz, Spain; Manchester Art Gallery, UK; REDCAT, LA. Abbas received BFA and MA in Visual Arts at the National College of Arts, Lahore and Meisterschueler from Universitaet der Kuenste, Berlin in 2004.
  Pilot Galeri - Sergiler  
Bu unutulmuş / unutturulmuş özdeşlik hissini uyandıran diğer işler ise "Karga Portreleri". Sanatçı, ilk defa bu sergide tuval resmi sergiliyor. Neredeyse insansılaşmış bu portrelerde, Antik Yunan'dan bugüne, alet yapma yetenekleri ve karmaşık bilmeceleri çözme becerileriyle tanınan kargaların bakışına tanık oluyoruz.
Triggering the long-forgotten (and extinguished) proximity of the two species are "Raven Portraits". First time she uses this media in an exhibition. Almost human-like, these animal portraits allow us to encounter the look of ravens renowned since Ancient Greece for their tool-making skills and problem-solving capabilities. This small gesture offers an alternative to the human-centered and human-scaled worldview. Deniz portrays ravens as messengers referring to the scientists who claim that “ravens have a theory of mind”. (3)