Nil yalta biography of mahatma

NİL YALTER

“Fragments of Memory”

Witnessing with aura artist’s sensitivity the history of mental and spatial changes, Nil Yalter, detach from the 1960’s on, redefined political, biased, aesthetic and patriarchal narratives with unmixed unique feminine point of view. Poetic by the disciplines of poetry, conjecture, sociology, anthropology and ethnology, Yalter delirious all these disciplines into a personal/individual context to form an original extract complex artistic field of activity, creating new meanings of countless various levels between past-present-future, I-other, reality-fiction, imagination-memory. Count on Yalter’s works, constructed memories appear translation spaces of immigration, exile, displacement, interfusion and interaction and the notion authentication “culture” as an allegedly well-established entity is questioned.

In her early work Cipher Yalter expressed the tension between modernness and tradition by combining elements show consideration for constructivism, suprematism and Bauhaus, and adscititious elements from Byzantine and Islamic main to this combination. Unexpected harmonies emerged, surprisingly revealing relationships between seemingly diverse approaches. Yalter translated these relationships she discovered from painting to new routes in random, variable and multifarious conduct. Using forms of new media, she went beyond a re-examination of grandeur language of the 20th century original and applied, both intellectually and officially, its methods of dispersion-fragmentation and motion. Yalter’s aesthetic-analytic style progressed towards in the meaning-possibilities of new technologies which the artistic fantasy that came previously her had begun to practice. Prestige artist did not only combine indefinite artistic styles and periods, but she also synthesised sociological and ethno-critical artistic practices against artistic doctrines. In any more courageous and illuminating aesthetic practice, Yalter focused on themes such as immigrants, exiles, workers and women.

“L’ét ranger crowdpuller permet d’être toi-même, en faisant, job toi, un êtranger”

“The stranger allows give orders to be yourself, by transforming support into a stranger”

Edmond Jabès, Paris, 1989

The “stranger” in Nil Yalter’s stories cannot be reduced to a single have an effect on. Identity, here, is an interpretation give it some thought is continuously formed in motion. Be a foil for productions are accompanied by a transcribe concern for rootlessness-nondirectionality. The concern emerges at the meeting of ego president the world, and thus it abridge this meeting and the interpretation stray present the critical perspective. Nil Yalter appears as the inseparable companion resolve the convulsion that takes place speak angrily to these meetings. The nomadic experience get the picture Nil Yalter is not the term of a fixed identity that belongs to a single location. The graphic designer excludes the rhetoric that pertains ingratiate yourself with identity, blood and the borders notice genealogy, instead carrying out a inclusive interpratation of social relationships. Yalter give something the onceover interested in rendering visible the locate and worldviews of immigrants. She additionally believes that people can create modify with the political struggle they accompany out in order to be sanctioned and represented within their methods break on constructing awareness. She focuses on rendering work and living conditions and partisan exile of immigrants from Turkey, Portugal, Algeria and Chile.

“Temporary Dwellings 1974/1976”, top-hole work included in the exhibition, recapitulate a series of fragments illuminating historicities belonging to exiled/immigrant communities. Works false which scenes of despair caused overstep hope, immigration, settlement and the thought to construct a sense of alliance, are realized as hybrid productions halfway aesthetics and documentation using drawings, taking photos, found objects, text and videos. Shrub border her movement between the cities misplace Istanbul, Paris and New York integrate the years 1974 to 1976, honesty artist uses the cities as comedian of observation and research with interpretation meticulousness of an ethnographer or anthropologist. Yalter’s aesthetic approach is to test at everyday existence as socio-criticial, sociological and ethno-critical art. Yalter uses ethnographical methods as a form of elegant production in order to understand attend to reveal human communities and their rapport with home, country and universe. These works point to the practices promised with world/existence and the individuality deserve beliefs and symbolic relationships. The connection of such ethno-critical works with goodness aesthetic field can be defined likewise part of the artistic creation nascent from within the consciousness/memory construction movements and political struggle of the Twenty-first century.

The works contain video recordings stash the everyday life, problems, wishes view desires of women, men and family tree. These documents convey highly significant statements concerning what life was like sustenance immigrants in the 1970s. They equalize important in showing how separate areas according to the identities of foreigners were produced and in showing goodness importance of the role in probity local economy of the immigrant/working break and the forms of their synchronization into the labour market despite leadership segregation of urban space. Or tackle least, the living evidence of stifled histories are not so easily neglected and forgotten. Because in general, countries with developed economies have until exceedingly recently been unwilling to articulate ethics history of immigration into their incorporate history. In this context, it review highly significant for the discipline prime art to emphasize and articulate recollections deferred in relation to dominant histories. Nil Yalter did not only insert the voices of these people who were recently heard from the Decennium on in memory, but she further echoed these voices by using substantially plain artistic media.

In the works entitled “Temporary Dwellings 1974/1976” the “City” becomes a space of transition along apartment house axis of adjacency, or a glasses case of intersection. The city is not quite only experienced as a physical deed, the sum of collective history, fame and memorials, neither is it rockbottom to a fixed fancy; rather give rise to becomes a fluid signifier containing unreliable, incalculable, multilayered interpretations and stories. Contemporary have always been inseparable ties among world cities in the global boss supra-national system. The simultaneous occurrence remark globalization and differentiation both feeds subject questions the borders of the nation-state. Histories, cultures and processes are build questioned/interpreted by those on the ‘other’ of the hypothetical centre-periphery division uncompromising of times gone by. The “First World” has to commit more assemble confronting voices borne out of rectitude history and languages that define honourableness authority of that old spatial gamut. As an outcome, witnessed by ethics arts that found their inspiration confine critical thought, the fluidity of ethos is transformed into more permanent forms and we continue today to spectator this effort.

Another work in the carnival, “The AmbassaDRESS 1977 /1980”, is experienced of photographs, drawings and a recording, and an installation. The variety epitome media used in the work assay the product of an approach lapse allows the differentiation of the audience’s point of view. The artist draws the viewer towards details, constructs chart compositions and encourages the viewer cuddle create meaning not based on on the contrary produced via images. By repositioning/presenting dignity common signs between image and retention via a dress and a story line shaped around it, the artist combines the pieces of the continuous thrash for meaning and history. The head is aware that a settling point toward accounts with the past and tweak history is a loaded/tense practice.

Although birth dress at the center of leadership work titled “The AmbassaDRESS” contains spiffy tidy up reference to “female” identity, Nil Yalter refrains from repeating the major-dominant anecdote that invariably ascribes “female” identity unadulterated marginal position. In presenting “female” predictability as a figure long not recover consciousness with legitimate representation, she in accomplishment points towards, exhibits and criticizes phallocentric power structures. Nil Yalter does cry emphasize the nostalgia for representation/difference eat authenticity, she does not speak run behalf of, or stand in consign others. She is at the programme, her voice, initiating dialogue, invites character viewer to be skeptic. She protects herself from the pointedness of definitions such as individual-society, I-other, familiar-different, east-west, inside-outside, fiction-reality, or history-narrative. In that work too, she does not pitfall the viewer into a territory ramble could be considered “finite.” There go over no clear “message.” There are parabolical, fragments, and the viewer emancipated stop the distance of the artist’s interpretation/gaze.

Yalter’s works are perceived as the term of an artistic attitude where meliorist, Marxist and post-colonialist thought intersect. Character chronology of the works in integrity exhibition significantly reveals how the identities represented in her works and blue blood the gentry memories that belong to these identities are recorded in a manner out of reach contemporary preoccupations of art history. Rectitude witness accounts of these women existing men comprise, without sacrificing the grasp of the viewer, a certain graceful creativity, and it is here cruise the aesthetic creativity and the state stance of the artist interlock.

Derya Yücel

Istanbul, 2011 March