YESART

                             

Artists|藝術家

伊卡 / Ilke Yilmaz

(1978~)長期關注女性議題的她,擅於運用各種形式媒材創作,從拼貼、裝置、雕塑、到行為藝術等,打破人們習以為常的社會常規和身分認同,指出集體意識常深植於人們內心…
Focusing on Women’s issue for years, Yilmaz is talented at media and forms. From collage, installation, sculpture to performance art, she shatters the identity and social convention which people are used to, and points out how collective memories has reflected on us.

「土耳其」,其名由「突厥」詞演變而來,在韃靼語中,「突厥」是「勇敢」之意,這座千年古城,意即「勇敢人的國家」。來自這座美麗祕境的年輕藝術家Ilke Yilmaz(下作伊卡),長期關注女性議題的她,擅於運用各種形式媒材創作,打破人們習以為常的社會常規和身分認同,指出集體意識常深植於人們內心,成為一種生活模式與規範,卻不為人們察覺。
 
展覽名稱「自己的空間(Room of One’s Own)」,靈感來自維吉尼亞.吳爾芙(Virginia Woolf)於1929年的同名作品《自己的房間(A Room of One’s Own)》,該作被視為是女性主義文學理論的經典。在此次「自己的空間」展覽中,最值得關注的作品,可算為伊卡的行為藝術表演《反社會政治失序──毀書系列三》,當中伊卡將以自己嫻熟的繪畫技法,搭配行為現場演出,演出結束後物件,也將成為裝置呈現在畫藝廊內。這件精煉、創意、也極具討論性的作品,自2010年起,在歐、亞如德國、新加坡等地都發表過,作品內容會因展出地不同,而有所更易,此次在台灣的演出,可說是絕無僅有。
 
此次是伊卡首次來台舉行個展,將在台灣YESART AIR GALLERY有全面性的呈現,從拼貼、裝置、雕塑、到行為藝術等皆有等做全面性的呈現。從她的作品,觀眾可有機會獲得不同文化觀點的新啟發,進而重新檢視在日常慣習裡,我們是否為那些集體性的意識所限,在藝術家的創意啟發下,或也能帶領觀者進行一次自我的蛻變與覺醒。
ILKE YILMAZ
 
 
Education:
2009-                                     Yildiz Technical University, Art and Design, MFA, Istanbul / Turkey
2004-2009                            Student,Staatliche Akademie der Bildenden Künste Stuttgart (State Academy of Fine Arts Stuttgart), Freie Kunst ,  
                                                Facbereich Bilhauerei, ( Faculty of Fine Arts, Department of Sculpture) with Prof. Micha Ullman, Markus Ambach,
                                                Prof.
                                                Rainer Ganahl, Stuttgart / Germany
2003-2004                            Guest Student,Staatliche Akademie der Bildenden Künste Stuttgart (State Academy of Fine Arts Stuttgart) Freie  
                                                Kunst,  
                                                Facbereich Bilhauerei, ( Fine Arts, Department of Sculpture) with Prof. Micha Ullman, Stuttgart / Germany
1996-2002                            Bilkent University, Faculty of Fine Arts, Design and Architecture, Department of Fine Arts , BA,  Ankara / Turkey
1992-1996                            Eskisehir Anatolian Fine Arts High School, Painting Department Eskisehir / Turkey


Scholarship:
1996-2002                             Bilkent University, Ankara / Turkey
 

Awards:
2006                                        Freunde der Akademie Award, Group Project, “ Museum     
                                                 für Sedimentierte Kunst, Stuttgart (Museum for Sedimented  Arts), Germany
2006                                        Academy Award, Group Project, “ Museum für Sedimentierte
                                                 Kunst, Stuttgart (Museum for Sedimented Arts), Germany
2005                                        Academy Award, Group project,“Zeit und Raum”, Stuttgart, Germany
2003                                        Balkan Youth Festival, Katerini / Greece
 
 
Congress:
2006 November                    Turkish Congress of Aesthetics, “Diski Bilimi ve Beyaz Küpteki Fobik Nesne”
                                                 (The Science of Filth and Phobic Object in the White Cube), Metu, Ankara/Turkey
2006 July                                XVIIth International Congress of Aesthetics, "The Aesthetic Knowledge of War", Metu, Ankara /Turkey

 
Publication:                  
 
E-skop/Skopbülten/Mikroskop, “Rum46: Taşeronluk”
E-skop/Skopbülten/Kaleydoskop, “İstanbul Bienali’nden Geriye Kalan”
Turkish Congress of Aesthethics, Metu, Ankara /Turkey “Diski Bilimi ve Beyaz Küpteki
Fobik Nesne” (The Science of Filth and Phobic Object in the White Cube), elected and published in refereed publication of the Congress.
 
http://www.e-skop.com/skopyazar/ilke-yilmaz/10100
 
Artist Talks:
 
2014 June                            Taipei University, Taipei / Taiwan
2009 June                            Open Space Bae, Pusan / South Korea
2008 December                  Art Center Istanbul, Istanbul / Turkey
2008 June                            State Academy of Fine Arts, Stuttgart / Germany
2008 June                            Gallery Heppächer, Esslingen / Germany
2008 April                             Beykent University, Istanbul/ Turkey
2007 October                       Daejeon Museum of Art, Daejeon / South Korea
2007 October                       Pusan Arts College , Pusan / South Korea
 
Artist in Residency Program:
2009 May-June-July          Open Space Bae, Pusan / South Korea
2010 May-2012 May          Art Center Istanbul, Istanbul / Turkey

Art Fairs:
2014 May                               6th Young Art Taipei / YESART  AIR GALLERY, Taipei / Taiwan
2013 January                       Art Stage Singapore, Project Stage / Sanatorium Gallery, Singapore
2012 November                   Contemporary Istanbul, Sanatorium Gallery, Istanbul / Turkey
2009 June                             Blue Dot Asia, Seoul / South Korea
 
Solo Exhibitions: 
2014 June                             “Room of One’s Own”, YESART AIR GALLERY, Taipei / Taiwan
2013 March                           “Mind Bending”, Sanatorium, Istanbul / Turkey
2013 January                        Art Stage Singapore, Project Stage, Singapore
 
Group Exhibitions:
2012 October                        “Who Left What Behind”, Ankara Çağdaş Sanatlar Merkezi, Organized by Flying Broom, Ankara / Turkey
2012 August- September     Who Left What Behind”, Ilya Beshkov Gallery, Plevne / Bulgaria
2012 Feb-March                   “What I Love”, Borusan Music House, Istanbul / Turkey
2011 Sep-Oct                        “Tekinsiz Oyunlar”, in Tahtakale Hamamı by PGArt, Istanbul / Turkey
2011 Feb-March                   “Considering the Circumstances The II. Show”, Borusan Music House, Istanbul / Turkey
2010 September                   “Dvina Silo Art Complex”, “Local to Local”, Dvina Silo nuclear rocket base,  Plokstine, Plunge/ Lithuania
2010 September                    Dvina Silo Art Complex, Gallery Kaire Desine, Vilnius / Lithuania
2010 September                    Sence of Place / Construct of Other (Urbanizm Project),Gelsenkirchen / Germany
2010 April                                Ambiguous Situations, Yüksel Sabancı Sanat Merkezi, Istanbul / Turkey
2010 January                        “Performans / performance: ÜGYCUTIOWIRFAHKPNE”, Perspektif-Manzara, Istanbul / Turkey
2009 Dec-2010 Jan             “Kaser Tablaeu”, “Local to Local”, Museum of Modern and Contemporary Art Bolzano, Bolzano / Italy
2009 Sep-Oct                        “Büyükada Resort Residence”, “Local to Local”, Büyükada, Istanbul / Turkey
2009 August                          “Moving Sea Shore” Space Bandee, Pusan / South Korea
2009 June-July                     “Into the Woods”, Exhibition with Natalie Lafortune,Open Space Bae, Pusan / South Korea
2009 June                               Blue Dot Asia, Seoul / South Korea
2008 June-August                “Institute for Alpine Cases”, “Local to Local”, Manifesta7/Parallel Events, Bolzano / Italy
2008 June                              “Made in Germany”, “Local to Local”, Gallery Heppächer,Esslingen / Germany
2008 May                               “Unhomely”, Roxy Art Gallery, Istanbul / Turkey
2008 May                               “Orbits and Borders ‘03”, Siemens Art Galery, Istanbul / Turkey
2007 October                        “Made in Germany”, “Local to Local”, Open Space Bea, Pusan / South Korea
2006 July                               “Umsonst und Draussen„ different public spaces in Stuttgart, Mannheim, Karlsruhe / Germany
2006 July                               “Museum für Sediementierte Kunst„ Staatliche  Akademie der Bildenden Künste Stuttgart, Stuttgart / Germany
2006 May                               “Frühblüte „ Bunker, Stuttgart / Germany
2004 October                        “Guten Tak”, Möbel Oase, Stuttgart / Germany
2004 May                               “Station Ullman”, Theatre Rampe, Stuttgart / Germany
2003 July                               “Balkan Youth Festival”, Katerini / Greece
 
本期主打學生

學生 Student

伊卡 Ilke Yilmaz
9x14x9cm
SOLD
本期主打女巫──藝術家

女巫──藝術家 Witch—The artist

伊卡 Ilke Yilmaz
13x5x9cm
NTD 23,000
本期主打罩頭罩身的女人

罩頭罩身的女人 Woman in Shador

伊卡 Ilke Yilmaz
16x18x8cm
NTD 23,000
本期主打品味很差的女人

品味很差的女人 Frump

伊卡 Ilke Yilmaz
14x9x15cm
NTD 23,000
本期主打奶奶

奶奶 Grandmother

伊卡 Ilke Yilmaz
16x19x10cm
SOLD
自己的空間(Room of One’s Own)              文/吳金桃
 
我第一次看到伊卡的「娃娃」時,是在她伊斯坦堡駐村的工作室裡。不到兩坪大的工作室,井然有序,好幾個「娃娃」就擺放在工作室的一個角落裡。這些不到十幾公分高的「娃娃」,外表造型可愛,直接勾起我童年對娃娃的記憶。但伊卡的娃娃,卻不是我童年回憶裡那種金髮碧眼的妖嬌美女,而更神似於在土耳其市井裡行走的尋常婦女。最引人注意的是這些「婦女娃娃」的體型,相對於頭與四肢,她們都有個肥大的身軀。記得當時我正前後觀望這些「娃娃」時,伊卡在我身後,笑說:「妳不覺得伊斯坦堡的女人都很胖嗎?」
 
多年以後,為了辦這個展覽,我和伊卡再度溝通起這些「娃娃」的身世。伊卡說,創作這些娃娃的靈感,來自於在伊斯坦堡的加拉塔(Galata)大橋上釣魚的婦女。加拉塔橋是橫越馬爾馬拉海(Marmara)上的一座橋,連結了伊斯坦堡古城區和主要的商業區,一向是南來北往的交通要道,電車、汽車在橋上呼嘯而過。因為是交通要道,加拉塔橋平日眾聲雜沓,幾乎一刻不得清閒,但橋上已經擁擠的人行道,卻白天黑夜裡,無時不站滿著釣魚的人群──或者更確切地說,是釣魚的男人群。在這個嚴密區分男女公共活動的社會裡,拋頭露面顯然是屬於男人的行動,點綴在這群釣魚男中的釣魚女,自然是少見,但正因為罕見,她們──釣魚女的出現,伴隨她們的裝飾與體態,才在人群中更顯得特出。
 
伊卡此次到台北的展覽,將創作一系列以土耳其釣魚女為發想的小型雕塑。這系列作品共30件、在《釣魚──紙娃娃(Fishing-Paper Dolls)》的大標題下,各有不同的身分和名稱。對伊卡而言,零星釣魚女在男性群體中的存在,不論有意無意,都因個體的行動介入公共空間而產生政治意涵。伊卡說,釣魚女讓她想起Carol Hanisch的名言:「個人的,即是政治的」,這些男性中罕見的女性個體,無疑觸動了土耳其性別區隔森嚴的敏感神經,伊卡透過娃娃所開展的土耳其女性眾生相,更因此而具性別顛覆性。這些娃娃涵概了土耳其社會中不同的社經階層與生活角色的女人,當中有伊卡生活中熟悉的:祖母、母親、妹妹、和對自己的記憶;有其關注的社會議題:性工作者、蓋茲公園示威者等。這些年齡、造型、神態各異的娃娃,充分表現出伊卡對自己環境中女性角色的觀察與想像。伊卡也將在這一系列娃娃作品中特別量身打造一位「台女」,作為首度來台對台灣女性的第一印象速寫。我們可能習以為常的形象,換在一個細膩而敏銳的異鄉人眼中,相信將會有令人眼睛為之一亮的呈現。
 
並不是說身為女性藝術家,天生就必然關注性別議題,然而,伊卡對性別議題顯然相當感興趣。本次計畫展出的另一系列作品《在遠古的從前(Once upon a Time)》,也和女性的生活經驗有著密切的關聯,伊卡透過《在遠古的從前》,對自己祖母的家展開一連串的記憶探尋。「前往奶奶的家」,是許多人童年記憶中的一部分,奶奶家與自己家不同之處在於,「前往奶奶的家」本身即是一種外出、一種移動,此一外出移動蘊含的意義更包括了:可能需要稍事著裝、或甚至穿戴美麗,並持續期待一份可以撒嬌、耍賴與受關照的親情。從作品可得知:伊卡記憶中祖母的家是個五彩繽紛的家園,由五個主要的生活空間組成:客廳、廚房、浴室、臥室和花園。每一空間各有特色,空間既可被獨立看待,也可以被當作一個集合整體(entity),此一集體即呈現了完整的「家」的概念想像。對土耳其文化社會背景所知有限、且地理距離遙遠的台灣觀眾如我們,伊卡記憶中的祖母的家──一個她不直接屬於、但又能夠藉著移動以完成連結關係的空間,更是富含了異國情調的想像可能。
 
從土耳其到台灣,藝術家自己經歷的不也是一種外出和移動?從踏出自己的土地起,伊卡在我們眼前再現了土耳其女性眾生相,在那看似簡單、平凡、甚至可愛的外貌之下,無疑有著藝術家對其所生所長社會的關注,以及深刻的人文底蘊。在伊卡所建構的女性自主空間中,我們不免要問:我們除了讀到來自他方的異國風情外,是否也能深入體會她對階級、性別等議題的深切關懷?是否也觸碰到了一個熱愛藝術、執意創作、且不畏懼成為異數的心靈呢?她或許是個獨行者,但以她在台灣所受到的歡迎來看,她並不是孤獨地在曠野中呼喊著。






Room of One’s Own
 
        It was in her studio in Istanbul that I first saw Ilke Yilmaz’s “dolls”. In a tidy room no larger than 6 or so meters square, the “dolls” were neatly laid out in a corner of the studio. These “dolls”, less than 20 centimeters in height, were adorable, and they awoke in me a childhood memory of my own dolls. Yet, Ilke’s dolls are nothing like the blond-hair, blue-eyed beauties from my childhood; they are more akin to the real life women that walk the streets of Istanbul. What first attracted my attention was the build of these dolls; compared to their heads and limbs, they all had large oversized bodies. I remember that, as I was observing them, Ilke stood behind me, asking with a laugh: “Don’t you think the women of Istanbul are all very fat?”
 
        Years later, Ilke and I started to talk again about the stories behind these “dolls” and the prospect of making them the subject of an exhibition. The inspiration for them, she said, came from the women who fished on Istanbul’s Galata Bridge. The Galata Bridge is a bridge spanning the Marmara, the divide between Istanbul’s Old Town and the major commercial district. It has always been a very busy place, with trams and cars continually rushing past. Being so heavily used, the Galata Bridge is a place of frantic activity on most days, with never a moment’s peace. Yet, day or night, on the already crowded sidewalks of the bridge, stands a large crowd of fishermen. In a society where men’s and women’s activities in public are strictly divided, public exposure is apparently still a man’s domain. Adorning this crowd of men, fisherwomen are naturally rare, but precisely because of their rarity, they stand out from the crowd, from which they are further distinguished by their unusually generous build, not to say plumpness.  
 
        For her current exhibition in Taipei, Ilke will be creating a collection using these Turkish fisherwomen as her point of departure. This collection, under the banner of “Fishing-Paper Dolls,” consists of 30 dolls, each with individual names and identities. For Ilke, the fisherwomen, located as they are among groups of men, inevitably take on political implications as their individual actions impinge on public space. Ilke says that these fisherwomen remind her of a celebrated motto, attributed to the 1960s radical feminist, Carol Hanisch: “The Personal is Political.” The presence of these female individuals within predominant clusters of men undoubtedly touches a sensitive nerve in the context of Turkey’s gender divide, and this makes Ilke’s attempts at sculpting the many faces of Turkish women even more disruptive to the establishment mind set. These dolls encompass women of different socio-economic backgrounds and roles in life, and amongst them are faces familiar to Ilke, such as her grandmother, mother, sister and memories of her younger self. Certain dolls are presented in order to highlight contemporary social issues: the sex worker, the Gezi demonstrator…etc. These dolls, varying in age and demeanor, give expression to Ilke’s imaginative vision of the female characters that surround her. To celebrate her visit to Taipei, Ilke will also be sculpting a “Taiwanese Girl,” as a representation of her first impression of Taiwan females. It will be an eye-opening experience for us to see ourselves as a sensitive and acute foreigner sees us.
 
        This is not to say that, as a woman artist, Ilke would inevitably be concerned with gender issues. Yet this is a topic in which she is, in fact, very interested. Another series of works on display in this exhibition, entitled “Once upon a Time”, is also closely linked to a woman’s life experience. In “Once upon a Time,” Ilke unfolds a series of explorations into memory. “Heading to Grannies” is a part of our childhood memories. The difference between the grannies’ and our own homes is one of distance and involves movement. It also implies dressing up and making an event of it, but there remains the continuous expectation of familial love, where one will be cherished and cared for. From Ilke’s works, we can learn that she remembers her grandmother’s house as a vibrant home, full of colour, comprising five main living areas, the living room, kitchen, bathroom, bedroom and garden. Each space can be viewed individually and also as a whole, as a single entity, the interrelation of these five spaces contributing to the concept of a complete “home”. For Taiwanese viewers, geographically distant and with limited knowledge of Turkey’s cultural background, Ilke’s memories of her grandmother’s house, a place where she does not belong in absolute terms, but connects with through movement, is filled with exotic possibilities.
 
        Does the artist herself not also experience a sort of displacement in coming to Taiwan from Turkey? Stepping out of her homeland, Ilke presents Taiwan with the multiple faces of Turkish women. Behind the simple, plain or even loveable exteriors of her dolls we glimpse the artist’s abiding interest in the society where she has grown up and still lives, and a deep cultural and human heritage. Within the sphere of female autonomy that Ilke creates, we must also ask ourselves to what extent we can empathize with her compassion for issues such as social class and the gender dichotomy. Have we also been moved by the passion of an artist who is lovingly devoted to her art, who insists on continuing working against all odds, and is unafraid of becoming an anomaly, even an outcast? She might well be a lone voice, but, as her reception in Taiwan shows, she is certainly not crying in the wilderness.
 





Related Links:
 
http://www.radikal.com.tr/hayat/kirmizi_baslikli_kiz_sehirde-1127284
 
http://www.taraf.com.tr/haber/dogayi-bertaraf-eden-erktir.htm
 
http://www.derwesten.de/staedte/gelsenkirchen/im-spiegelbild-einer-strasse-id3570463.html
 
http://www.artstagesingapore.com/exhibitors/project-stage-2013/
 
http://www.artstagesingapore.com/wp-content/uploads/2012/12/Sanatorium_Ilke-Yilmaz_W.jpg
 
http://www.artnet.com/artwork/426227644/425934654/ilke-yilmaz-becoming-a-wolf.html
 
http://www.hurriyetdailynews.com/Default.aspx?pageID=238&nID=40691&NewsCatID=432
 
http://www.radikal.com.tr/kultur/sanat_ve_toplum_nereye-1082195
 
http://www.wholeftwhatbehind.org/sanatcilar/ilke-yilmaz
 
http://www.siemens.com.tr/web/977-3812-1-1/siemens_sanat_-_tr/sinirlar_ve_yorungeler_3/sanatcilar_ve_kuratorler/ilke_yilmaz_sayi_3
 
http://www.haberturk.com/kultur-sanat/haber/826586-13-marttan-itibaren-sanatoriumda
 
http://bantmag.com/news/tag/ilke-yilmaz/
 
http://ezgibaltas.blogspot.com/2013/03/ilke-ylmazdan-aklalmaz-bir-sergi.html
 
http://erkansaka.net/archives/20940
 
http://www.hayatinitasarla.com/life/ilke-yilmaz-sergisi---sanatorium-galeri-1539.htm
 
http://www.sanatorium.com.tr/News-Detail/Ilke-Yilmaz-Soylesisi-Radikalde-30313/15
 
http://tasartdergi.com/ilke-yilmaz-akilalmaz/
 
http://m-est.org/tag/ilke-yilmaz/
 
http://kultursanathaberleri.com/akilalmaz-ilke-yilmaz-sergisi.html
 
http://www.e-skop.com/skopyazar/ilke-yilmaz/10100
 
http://www.acabaneyapsak.com/etkinlik/14336/akilalmaz---mind-bending-|-ilke-yilmaz-sergisi-
 
http://en1.artclue.net/sanatorium-istanbul-ilke-yilmaz-mind-bending/
 
http://ozlemdevrim.blogspot.com/2013/03/sanatorium-sanat-galerisi-ilke-yilmaz.html
 
http://www.haberler.com/etkinlik/etkinlik-17618/
 
http://www.borusancontemporary.com/koleksiyonlar/egitim-programlari.aspx
 
http://mashallahnews.com/?p=7385
 
http://www.grizine.com/2013/03/14/sarapsevenler-13-14-mart/
 
http://www.halkaartproject.net/egitim.html?id=251
 
http://bianet.org/bianet/sanat/141094-40-kadin-sanatcinin-eserleri-ankara-da
 
http://www.ekavart.tv/sergiler/diger/tahtakale-hamaminda-tekinsiz-oyunlar
 
http://antiistanbul2013bienal.blogspot.com/2013/06/artist-signs-against-istanbul-bienal.html
 
http://www.morjee.com/tag/ilke-yilmaz/
 
http://fancy.com/things/312884891308005179/%C4%B0lke-Y%C4%B1lmaz-Exhibition---Sanatorium
 
http://www.timeoutistanbul.com/sanat/etkinlik/liste/kategori/610/Heykel-Sergisi
 
http://www.sesbenim.com/2013/03/aklalmaz-13-marttan-itibaren.html
 
http://www.feminkurd.net/content.php?newsid=1418
 
http://www.tamsanat.net/haberler/?post=2832
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