PG Art Gallery: Circus

Circus / Kerem Ozan Bayraktar

October 3 – November 3, 2013

Kerem Ozan Bayraktar will present a selection of his works produced using 3D rendering software in an exhibition titled “Circus” between October 3 and November 3, 2013. “Circus” is a show about spectacle, closed systems and dance. 

The artist, who has been working on the relationship between images and their “meaning,” simulates the structural qualities of the photographic image that turn photographs into documents in time, producing visuals that are both dynamic and static. In a sphere in which artificiality -from computer graphics to photorealist visualizations- is highlighted, Bayraktar’s works play with the relationships we have established with photographs through historical habits. 

In this series, he delves into simulation games such as Simcity and the aesthetics of fake analogue filters used in popular phone applications such as Instagram through a dull, distant and repetitious language. It is possible to consider these works as an evolution of the projects he did previously with models, toys and empty rooms. The player, who acts as a God in games such as Simcity or Farmville, constructs each element of a timeless and space-less image that tries to be like a photograph in computer software and creates settings in which theatricality is intensely emphasized. Bayraktar believes that the artist playing the God in a Cartesian world should give away the buffoonery by emphasizing the extent of the fantasy. 

According to Bayraktar, his works are entirely meaningless in terms of technique. He says he tries to make the figurative language as absurd as possible. He argues that rather than treating signs as illustrations of a concept or theme, they should be grasped as empty illustrations that must simply be looked at. Bayraktar purposefully constructs connotations that lead spectators to create stories or messages resulting in a feeling of emptiness, just like the works themselves, and he uses the connotations in a way that the viewers cannot reach their desire to find the relationship between the image and the meaning. Thus, it is only possible to construct the meaning in Bayraktar’s works through the aesthetics of the contemporary culture or the abstract relationships among them. By categorizing, sampling or classifying images he suggests indirect similarities among the pieces that the viewers can realize. The repetition of the same image with different textures or an edit that is repeated in another work reveals the industrial infrastructure of the emergence of computer visuals and the quality of the images’ means of production.

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