9 / 2019 - 7 / 2020
We live in a world of images. Hundreds of images flutter unprompted through our lives and flow like a high-speed film unto those of others. In such a rapid world, we need to be selective in our possession of moments, people and objects. Elsewise, this torrent of images suck almost everything out of lives and make them a part of a void. Our memories function as a channel with intense points of ingress and egress. Though I do not distinguish, in this rapid procession, what is natural and what is social, certain things may occupy a space within a familiar zone. As such, familiarity simultaneously represents chaos, as well as belonging.
I’ve known Şakir Gökçebağ for a long time. For all that time, he’s always pursued ascribing meaning unto the mundane. He elevates many familiar objects unto a surprising level of aesthetics and constructs a temporal order. He positions objects of daily use, even those deemed as “kitsch” to such a startling relation that the spectator initially forms a relationship of familiarity with his works, followed by an impressive artistic voyage. The meaning Şakir Gökçebağ ascribed that mundane object departs it original function, magically surrounding and impressing the spectator.
Due to its cultural position, Baksı Museum is a centre of migration. People depart there, build new lives and travel to cities or countries previously unknown to them, joining the battle for existence elsewhere. Such people meet the new every day, reckon with it, affect it and are affected by it, carrying it to their field of familiarity. For this reason, they’re familiar with change and differences. Theirs is the world of familiars, because that world is boundless. Thus, when constructing its own identity, Baksı Museum has shown diligence on this fact and has built itself up as an experimental and interdisciplinary museum that is open to innovation and cultural diversity. In this context, it has cast aside distinctions, such as high or low art and constituted a field of representation for the creation and living for humanity. The exhibition, Familiar, forms a strong bond at this point with Baksı Museum. Its sole difference is its opposition to objects and forms, so diligently privileged by memory, ascribing meaning unto the mundane and offers new forms and proposal to the spectator. Such a groundbreaking manner pulls the spectator’s attention to her daily life, as well as dares to challenge the fundamental attitude that constitutes the general consensus. Şakir Gökçebağ’s dissent from the local has earned him a privileged position in our art world. This position urges us all to consider that everything around us possesses a meaning and that object without a meaning also belong there. Şakir Gökçebağ conveys new forms from the world of familiars to the world of meanings, proposing new points of view to the spectator. He’s an innovator, though not a destroyer. He transforms the objects, but does not eradicate it.
In the past three years, Baksı Museum has commenced a solo exhibitions process. Following “Thorn In My Foot” by Hüsamettin Koçan in 2017, “Soil” by Alev Ebuzziya in 2018 and “Nuri Bilge Ceylan at Baksı” by Nuri Bilge Ceylan in 2019, the museum now hosts “Familiar” by Şakir Gökçebağ. The exhibitions so far have brought together many different identities. Yet, the dimension that truly relates them with one another is their profound interest for life, memory and future. These interests will keep seeking answers to the questions of the people of this land. For all those who contributed to this, I’d like to extend my thanks, especially to Şakir Gökçebağ, for their parts.
President of Baksı Culture and Art Foundation
Yönetmen, senarist ve fotoğraf sanatçısı Nuri Bilge Ceylan eserleriyle Baksı Müzesi’ne konuk oluyor. “Nuri Bilge Ceylan Baksı’da” adlı sergi 1 Mayıs – 25 Ağustos 2019 tarihleri arasında Baksı Müzesi’nde izlenebilecek.
Dirimart’ın katkılarıyla gerçekleşen ve Ceylan’ın 2003-2013 yılları arasında ürettiği fotoğraflarını Ceren Erdem küratörlüğünde bir araya getiren sergi iki bölümden oluşuyor. “Babamın Dünyası” ve “Sinemaskop Türkiye” serileri izleyiciyle buluşurken olağanüstü bir görsel şölene dönüşüyor.
Sergi Nuri Bilge Ceylan’ın çok yönlü ve derin dünyasının Anadolu’ya taşınması tahayyülünün bir bölümünü oluşturuyor. Bu sergi sanatçının sinema ile fotoğraf dünyası arasındaki geçişkenliliğin ve çok katmanlılığın bir kutlaması düşüncesi üzerine inşa edildi. Sanatçı yakın ilgi duyduğu kırsal dünyayı, kırsal bir alanda varolma kararlılığı taşıyan Baksı Müzesi’ne götürüyor. Bu nedenle sergi, sanatçının yapıtlarıyla kırsala olan yolculuğu olarak da değerlendirilebilir.
Nuri Bilge Ceylan sinemasında olduğu gibi fotoğraflarında da yaşamı bir zamanlar katmanı olarak anlatır. Bu katmanlaşma geçmişe yönelik görsel üst üstelikle geleceği besleyen bir kutlamadır. Bu anlamda sinemayla fotoğraf arasında medyum farklarından söz edilebilir. Ancak söylem bütünlüğü asla değişmez.
Nuri Bilge Ceylan, 1959 yılında İstanbul’da doğdu. Boğaziçi Üniversitesi Elektrik Mühendisliği Bölümü’nden mezun olduktan sonra iki yıl Mimar Sinan Güzel Sanatlar Üniversitesi’nde sinema eğitimi aldı. 1995 tarihli “Koza” adlı kısa filmi Cannes’de gösterildi ve Cannes Film Festivali’nde yarışma için seçilen ilk Türk kısa filmi oldu.1997'de ilk uzun metrajlı filmi olan “Kasaba”’yı, 1999’da ise otobiyografik izler de taşıyan “Mayıs Sıkıntısı”'nı çekti. 2002 tarihli “Uzak” filmi 56. Cannes Film Festivali’nin yarışmalı bölümünden Büyük Jüri Ödülü (‘Grand Prix’) ile döndü. 59. Cannes Film Festivali’nde ise “İklimler” adlı filmi ile FIPRESCI Ödülü’nü aldı. 2006’da “İklimler”, 2008’de “Üç Maymun” filmlerine imza atan Ceylan, “Üç Maymun” ile Cannes Film Festivali’nde En İyi Yönetmen Ödülü’nü kazandı. 64. Cannes Film Festivali’nde “Bir Zamanlar Anadolu'da” filmiyle Büyük Jüri Ödülü’ne layık görüldü. 67. Cannes Film Festivali'nde ise en büyük ödül olan Altın Palmiye'yi "Kış Uykusu" adlı filmiyle aldı.
Fotoğrafları gerek yurt içi gerek yurt dışında pek çok kez sergilenmiş olan Nuri Bilge Ceylan’ın “Sinemaskop Türkiye” serisi en son Ağustos 2018’de Saraybosna’da yer alan Bosna Hersek Ulusal Galerisi’nde izleyiciyle buluştu ve 24. Saraybosna Film Festivali’nde Saraybosna’nın Kalbi Yaşam Boyu Başarı Ödülü’nün sahibi oldu. Festival kapsamında, Ceylan’ın, “Ahlat Ağacı”, “Bir Zamanlar Anadolu’da”, “Kış Uykusu”, “Mayıs Sıkıntısı”, “Uzak”, “İklimler” ve “Kasaba” fimleri de sinemaseverlerle buluştu. Yine 2018 yılında “Ahlat Ağacı” adlı filmiyle 91. Akademi Ödülleri’nde Yabancı Dilde En İyi Film dalında Türkiye’nin adayı oldu.
2003 yılının sonunda “İklimler” filmi için mekan arayışları sırasında, askerlikten bu yana ilk kez fotoğrafçılığa geri döndü. Bu andan itibaren vaktini hem sinemaya hem de fotoğrafa ayırmaya başladı.
20 June-20 October 2018
Curated by Haldun Dostoğlu, the “EARTH” exhibition brings Alev Ebüzziya’s modern ceramic forms and the traditional production together under the same roof, with the aim of sharing the magic of this synergy with the viewers. The exhibition aims to write the thousands of years old story of the struggle to beat the land of this region.The artworks of Ebüzziya were gathered from the Kemal Servi collection and the traditional pottery comes from the collections of Baksı Museum and Hüsamettin Koçan. Just like Servi who has been collecting the Ebüzziya’s works from all periods since 2001, Koçan’s passion towards the local, craftsman and traditional objects that brought this collection together has been the main source of inspiration for this exhibition. In addition to Ebüzziya’s works and local pottery, a video art by Ali Kazma entitled “Studio Ceramist” which was filmed in the artist’s studio, will also be displayed at the exhibition “EARTH”.
First my father's brother left, then others, and then my father followed the road of leaving. He told me that he spent many days traveling with horses; I learned from him the stories of Çetinkaya - Erzincan railway passengers. And since this journey has begun, this day never ends. That's why I had my memories of leaving the most, in my seventy-one years of life. Perhaps for this reason; I chose a childhood memory, the story of a thorn that sinks on my feet, itches, then leaves me as a title for my exhibit.
Baksı Museum started as a dream 10 years ago. From the outset, the museum was founded on a character based on participation and co-operation. The museum, which always emphasizes connection with the people living in the region, has united the local arts in their own fields and has developed projects together with the people of the region. The "ON" exhibition brings together contemporary Turkish artists, local art works and historical and ethnographically important works and presents a selection of the museum's collection. Due to the pluralistic character of the Baksı Museum, the "ON" exhibition was formed by a curatorial strategy linking art and craft works to reveal the multi-layered character of the collection. The exhibition ignores historical and contemporary differences with the traditional hierarchy between high art and folk art, plastic arts and handicrafts. Thus, visitors of the exhibition have a chance to look at our world from different ways and angles.
Sculptured roads are always perceived as the main arteries of the cities with a habit coming from antiquity and leading people to the center. The center of the city displays the values the community; monuments of heroes, artists or philosophers, administrative buildings of the city, temples, museums, theaters and so on, these always takes place in centers where these sculptured roads lead to. Although the sculptured roads have undertaken the function of transporting people to the center, these roads themselves are at least as valuable as the center. Because all the city planners, artists, designers and even managers of the city have tried to make this way the same as the ones in the center and establish a sense of meaning with them. So, centuries later, when we look at those ancient cities today, we view the values in the center and the sculpted roads with the same level of admiration. What influences us is that after so much time, an aesthetic harmony can be caught between what is considered important at that time and the way in which the value given to them is expressed. Baksı Museum also deserved to exhibit the famous Catalan artist Joan Miro's sculpture "Femme aux Beaux Seins" for one year due to winning the 2014 Council of Europe Museum Prize. And during this time the Baksi Museum set Miro in the center and built a metaphorical sculpture road with an exhibition created around it.
"Distance and Contact" consists of four main sections. The exhibit’s design department Faruk Malhan, the fashion department Arzu Kaprol, the food culture department Engin Akın and the art department were prepared by Fırat Arapoğlu, Mürteza Fidan and Kurucu Koçanoğlu, who also determined the general frame of the exhibition. Ayşegül Sönmez, Emre Zeytinoğlu and Hüsamettin Koçan undertook activity consultancy for the project. "Distance and Contact" aims to transform the distance created by migrants living in major cities and the resulting cultural breaks into an encounter. The theme of this project is to bring local and contemporary know-how together and to renew and replicate production and employment opportunities for the region. In all this, the goal is to revive the production and employment opportunities in Bayburt's villages and towns, to revitalize the lost professions like weaving and carpentry. The exhibition aims to support the creative and productive aspects of the women in the region in particular.
In the opening exhibition held in 2010, Ali Kazma, Alp Sime, Aslımay Altay, Ayşen Urfalıoğlu, Aziz Sarıyer, Beril Anılanmert, Burak Bedenlier, Esma Paçal Turam, Gülay Semercioğlu, Güler Güngör, Hüsamettin Koçan, Kurucu Koçanoğlu, Murat Morova, Mürteza Fidan , Nermin Er, Ramazan Bayrakoğlu, Suzi Hug Levi, Şakir Gökçebağ, Tuğrul Selçuk and Zafer Mintaş were involved with their work in today’s art section. These artists started with 'tradition and art' phonemenon and realized their works in a wide range of works such as painting, sculpture, video, installation. The clothes designed by Özlem Süer from Ehram Fabric in "Asma Kat Gallery" were exhibited under the name "Associations 9".
March 16 - April 3, 2004
The "Shaman’s Diary" exhibition, which took place with the participation of 123 artists from different generations, is at the forefront of artist events that have made a significant contribution to the establishment of the Baksı Museum. The first believers and supporters of the Baksı Museum project were artists. The difficulties encountered during the construction of the museum were overcome with the support of artists. When the facilities were exhausted, the artists were not willing to delay the museum and every time they said, "We too are here." The "Shaman’s Diary" exhibition was born like this ... The exhibition brought new proposals about the region as well as the charming existence of art and artists.
December 14 - January 7, 2003
The "Charmed Hands 2" exhibition, organized with the participation of leading artists of contemporary Turkish painting, is a special collection of original print works produced for the purpose of contributing to the establishment of Baksı Museum complex. With the contribution of 19 artists, the original prints produced in 41 series in two series provide both a collection and a meaningful contribution to the art lovers who acquire this collection.
The Baksı Museum, which started its preparations in 2000, was publicized in Bilgi University's Art Space Information Workshop 111 in 2002. Hüsamettin Koçan's "Charmed Hands” files, which consisted of original prints, were intended to contribute to the museum.