GEL ZAMAN GİT ZAMAN

Time flows towards the future, while artworks and memories belong to the past. This represents an inspiring and epic encounter... Baksı brings the art of the future to rural areas, while simultaneously embracing traditional culture and connecting it with the present. This kind of encounter is not typically pre-approved in a world where museums have defined and nearly standardized boundaries.

All the pieces in the exhibition have been donated by artists and art enthusiasts. This exhibition aims to share traces of diversity and humanity, possibly making it the first museum collection in the world created entirely through donations.

Baksı aims to provide a robust production environment to end the ordeal of alienation, loss, and self-discovery—tools of cultural estrangement. This effort has been primarily brought to life with the involvement of women.

The exhibition titled "Time Flows, Time Moves On," which focuses on the values forming Baksı's philosophy, is expected to facilitate questioning the current dominant view of art. Reminding us of the need for a new perspective and conscience to perceive time, we will expand this discussion under the title "Conversations on the River" on a raft built on the Çoruh River. Rather than merely saying that time will reveal our outcome, we are prepared to share our exhibition, which draws on various disciplines and creates concepts of placelessness within space and timelessness within time, with the audience.

It's time to view everything anew.

Hüsamettin Koçan Ayça Okay

We find ourselves in a captivating paradox, in a space where the distinction between art and commerce becomes blurred, and in an environment where aesthetics prevail within the framework of late capitalism. Inspired by TBWA's 30-year journey, the “de-mold”exhibition navigates our path with the concept of disruption, exploring the subtle dialectic between aesthetics and critical thinking.

The exhibition prominently features the influences of deconstructionism, which embraces complexity and uncertainty, challenges traditional narratives and norms, and provokes the questioning of widely accepted spatial design approaches. To such an extent that the traditional concept of exhibition space with its white, neutral, and uniform aesthetics is disrupted in this exhibition. It has been reimagined through scattered white cubes, inviting viewers to contemplate the multiple meanings of symbols and encouraging them to transcend structural limitations with fresh perspectives.

The exhibition's title, “de-mold,” draws its metaphorical expression from the act of breaking molds, signifying breaking free from conventions, boundaries, and limitations. When examined conceptually, “De-mold” in English, with the “de” prefix, directly disrupts the state of conformity. Linguistically, it refers to breaking molds. Spatially, it involves the intervention of cubes into space. By engaging artists whose practices disrupt and shape the creative space, the exhibition aims to offer a multi-layered artistic expression.

In this interdisciplinary selection of artists who view tradition from a certain distance and transcend molds, the works of Ahmet Öğüt, Anouk Kruithof, Ali Kazma, Erinç Seymen, Büşra Çeğil, and Ahmet Rüstem Ekici & Hakan Sorar are featured, all interpreted through the lens of “disruption.” The exhibition presents artworks that focus on diverse and scattered concepts and production methods, providing a platform for artists to critically address contemporary issues through artistic expression.

Ayça Okay

*disruption, represents a creative approach aimed at breaking traditional norms and expected patterns, promoting innovation and challenging the existing order.