February 12th 2021 – February 26th 2021
“History organizes the document, divides it into parts, distributes it, categorizes it into levels, realizes the series, separates the right from the wrong, identifies the elements, defines the unions, explains the relations. (…) The introduction of the concepts of discontinuity, discontinuity, threshold, boundary, and serial conversion reveals not only the problems of the judgment procedure but also the theoretical problems in every historical analysis.” - Michel Foucault
Hexagonal Memory questions the effect of the media on the individual's perception of reality, the relationship between social memory and recent history, and, most fundamentally, the role people play in the world and the universe with the audience. The front of the work created by combining 365 hexagonal canvases, to quote the artist, it represents “the formation of a human being from a drop of water, its development, reaching the peak of achievements and ending with a drop again after losing its power over time”, while on the backside there are news in the press from 2007 to 2012.
The back of the work, which contains published news about politics, sociology, technology, economy, and ecology from many countries of the world, turns these pieces that appear to be connected with an “umbilical cord” side by side. The hexagonal canvases at the core of the work, which were left empty during its creation process, are fed with up-to-date current news during the time of the exhibition and develop interactively with the audience.
The 24 cm sides of the canvases refer to a day, 365 to a year, and the hexagonal to the cell and nature's strongest bond. With these references, Hexagonal Memory encourages its audience to cross-check the memory, mind, history, record, time, power, and the human.
In the catalog, published to accompany the exhibition, Sinan Eren Erk's writes: "The work, rebels against humans that presumes they are the only and intelligent living creature in the universe, who are self-centered, who thinks that all the above-ground and underground resources are at their disposal because they can reach and receive, and therefore prepares the end not only of the planet but also themselves. Thus, Kendirci bases her equation between contrasts and similarities on the critical perception of the concept of distance. In her art, the canvas can describe both the universe and the cell, or the paint is water or stardust. She is able to collect everything within the boundaries of her creation into images and transfer it to her viewer, and in doing so she uses distance." This statement associates the concept of distance, it prepares the ground for the viewer to deepen the concepts under scrutiny.
Hexagonal Memory can be visited at Piramid Sanat until February 26th.
For detailed information:
Gülfem Naz Yılmaz
m. +90 (530) 0729187
t. +90 (212) 2973121