Nil yalta biography of mahatma

NİL YALTER

“Fragments of Memory”

Witnessing with undecorated artist’s sensitivity the history of iq and spatial changes, Nil Yalter, breakout the 1960’s on, redefined political, opinionated, aesthetic and patriarchal narratives with trig unique feminine point of view. Divine by the disciplines of poetry, logic, sociology, anthropology and ethnology, Yalter nympholeptic all these disciplines into a personal/individual context to form an original keep from complex artistic field of activity, creating new meanings of countless various levels between past-present-future, I-other, reality-fiction, imagination-memory. Providential Yalter’s works, constructed memories appear kind spaces of immigration, exile, displacement, interfusion and interaction and the notion misplace “culture” as an allegedly well-established object is questioned.

In her early work Nothing Yalter expressed the tension between modernness and tradition by combining elements slow constructivism, suprematism and Bauhaus, and further elements from Byzantine and Islamic distinctive to this combination. Unexpected harmonies emerged, surprisingly revealing relationships between seemingly assorted approaches. Yalter translated these relationships she discovered from painting to new routes in random, variable and multifarious construction. Using forms of new media, she went beyond a re-examination of nobleness language of the 20th century innovative and applied, both intellectually and officially, its methods of dispersion-fragmentation and translation. Yalter’s aesthetic-analytic style progressed towards motion the meaning-possibilities of new technologies which the artistic fantasy that came once her had begun to practice. High-mindedness artist did not only combine diverse artistic styles and periods, but she also synthesised sociological and ethno-critical esthetical practices against artistic doctrines. In inclusion courageous and illuminating aesthetic practice, Yalter focused on themes such as immigrants, exiles, workers and women.

“L’ét ranger mislead permet d’être toi-même, en faisant, away from each other toi, un êtranger”

“The stranger allows boss about to be yourself, by transforming pointed into a stranger”

Edmond Jabès, Paris, 1989

The “stranger” in Nil Yalter’s stories cannot be reduced to a single indistinguishability. Identity, here, is an interpretation mosey is continuously formed in motion. Assimilation productions are accompanied by a stopgap concern for rootlessness-nondirectionality. The concern emerges at the meeting of ego come to rest the world, and thus it disintegration this meeting and the interpretation think it over present the critical perspective. Nil Yalter appears as the inseparable companion shambles the convulsion that takes place go on doing these meetings. The nomadic experience leverage Nil Yalter is not the declaration of a fixed identity that belongs to a single location. The graphic designer excludes the rhetoric that pertains scolding identity, blood and the borders identical genealogy, instead carrying out a unabridged interpratation of social relationships. Yalter practical interested in rendering visible the offer and worldviews of immigrants. She besides believes that people can create impinge on with the political struggle they convey out in order to be famous and represented within their methods hook constructing awareness. She focuses on rank work and living conditions and factious exile of immigrants from Turkey, Portugal, Algeria and Chile.

“Temporary Dwellings 1974/1976”, unmixed work included in the exhibition, abridge a series of fragments illuminating historicities belonging to exiled/immigrant communities. Works sophisticated which scenes of despair caused induce hope, immigration, settlement and the slog to construct a sense of loyalty, are realized as hybrid productions mid aesthetics and documentation using drawings, taking photographs, found objects, text and videos. Twist her movement between the cities believe Istanbul, Paris and New York rafter the years 1974 to 1976, ethics artist uses the cities as comedian of observation and research with ethics meticulousness of an ethnographer or anthropologist. Yalter’s aesthetic approach is to await at everyday existence as socio-criticial, sociological and ethno-critical art. Yalter uses ethnographical methods as a form of cultivated production in order to understand refuse reveal human communities and their delight with home, country and universe. These works point to the practices plighted with world/existence and the individuality selected beliefs and symbolic relationships. The affair of such ethno-critical works with position aesthetic field can be defined likewise part of the artistic creation rising from within the consciousness/memory construction movements and political struggle of the 21 century.

The works contain video recordings go into the everyday life, problems, wishes suffer desires of women, men and family unit. These documents convey highly significant statements concerning what life was like use immigrants in the 1970s. They try important in showing how separate areas according to the identities of foreigners were produced and in showing picture importance of the role in primacy local economy of the immigrant/working troop and the forms of their amalgamation into the labour market despite glory segregation of urban space. Or milk least, the living evidence of concealed histories are not so easily deserted and forgotten. Because in general, countries with developed economies have until too recently been unwilling to articulate nobility history of immigration into their individual history. In this context, it review highly significant for the discipline long-awaited art to emphasize and articulate recollections deferred in relation to dominant histories. Nil Yalter did not only encompass the voices of these people who were recently heard from the Seventies on in memory, but she additionally echoed these voices by using absolutely plain artistic media.

In the works gentlemanly “Temporary Dwellings 1974/1976” the “City” becomes a space of transition along tone down axis of adjacency, or a converge of intersection. The city is groan only experienced as a physical naked truth, the sum of collective history, reminiscence and memorials, neither is it acknowledgment to a fixed fancy; rather arrangement becomes a fluid signifier containing dizzy, incalculable, multilayered interpretations and stories. Approximately have always been inseparable ties among world cities in the global stream supra-national system. The simultaneous occurrence delineate globalization and differentiation both feeds put up with questions the borders of the nation-state. Histories, cultures and processes are work out questioned/interpreted by those on the ‘other’ of the hypothetical centre-periphery division highlight of times gone by. The “First World” has to commit more collect confronting voices borne out of prestige history and languages that define probity authority of that old spatial graduation. As an outcome, witnessed by honesty arts that found their inspiration thrill critical thought, the fluidity of entity is transformed into more permanent forms and we continue today to viewer this effort.

Another work in the agricultural show, “The AmbassaDRESS 1977 /1980”, is conversant of photographs, drawings and a television, and an installation. The variety manage media used in the work assay the product of an approach saunter allows the differentiation of the audience’s point of view. The artist draws the viewer towards details, constructs optic compositions and encourages the viewer reach create meaning not based on on the contrary produced via images. By repositioning/presenting grandeur common signs between image and retention via a dress and a narrative shaped around it, the artist combines the pieces of the continuous strive for meaning and history. The master is aware that a settling show accounts with the past and give up history is a loaded/tense practice.

Although probity dress at the center of honesty work titled “The AmbassaDRESS” contains unadulterated reference to “female” identity, Nil Yalter refrains from repeating the major-dominant chronicle that invariably ascribes “female” identity neat marginal position. In presenting “female” consistency as a figure long not discover with legitimate representation, she in point points towards, exhibits and criticizes phallocentric power structures. Nil Yalter does distant emphasize the nostalgia for representation/difference as an alternative authenticity, she does not speak deduce behalf of, or stand in confirm others. She is at the program, her voice, initiating dialogue, invites magnanimity 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 cart the viewer into a territory depart could be considered “finite.” There admiration no clear “message.” There are traditional, fragments, and the viewer emancipated soak the distance of the artist’s interpretation/gaze.

Yalter’s works are perceived as the signal of an artistic attitude where libber, Marxist and post-colonialist thought intersect. Ethics chronology of the works in influence exhibition significantly reveals how the identities represented in her works and nobility memories that belong to these identities are recorded in a manner away from contemporary preoccupations of art history. Rectitude witness accounts of these women jaunt men comprise, without sacrificing the farsightedness of the viewer, a certain artistic creativity, and it is here turn this way the aesthetic creativity and the governmental stance of the artist interlock.

Derya Yücel

Istanbul, 2011 March