EVERYTHING IN ITS PLACE
21.11 – 13.12.2014
In the exhibition titled ‘Everything In Its Place’, Can Aytekin establishes a connection between the past and the future, transferring his own subjective interpretations onto canvas. Throughout the exhibition, Can Aytekin takes on the subject of the true experiences of human life, and the ‘monuments’ that represent them on a conceptual and physical level.
Visitors can observe the artist’s philosophical critical view. In addition to ‘Abide-i Liberty Monument’, ‘Barbarossa Monument’, ‘Algerian Hasan Paşa Monument’, ‘Armenian Cemetery’ and ‘Beautiful Istanbul Sculpture’, other works are included that are not connected with any date or period, representing the disconnectedness and chaos that have infiltrated human life, topics from the ‘Concrete Wall’.
‘The city is a place that stays alive by devouring and depleting itself’
Born in İstinye in 1970, Can Aytekin graduated from Painting in Mimar Sinan University Faculty of Fine Arts in 1997, after which he completed an MA in the same faculty. The works in ‘Everything In Its Place’ give an interpretation of the continuity of history. The academic and artist Emre Zeytinoğlu says that the exhibition lies somewhere between an attempt at a historical interface and Freud’s ‘Psychic City’, criticizing how the city and city life plunder themselves.
‘They won’t say reminiscence, they’ll say monument; they will understand that reminiscence is a goal’
‘Remembering or reminding? Living or past experiences? Does a city have its own organic reality? Can history maintain all of the changes of time on the same plane without destroying itself? In the formation of consciousness, where do memories and monuments belong? A work that should be remembered, or one that is inspired?’ In Can Aytekin’s works, philosophical questions like these can be strongly felt.