Burak Delier: Freedom has no script26. Mar - 17. May 14 / ended Rivington Place
Tuesday - Friday 11am - 6pm, Thurday late opening until 9pm, Saturday 12 -6pm
Burak Delier explores the relationship between capitalism and art, mixing seriousness and wit to critique society in a way that is relevant to his native Turkey and beyond.
"Without wit and a certain sense of humour not only is art boring but life becomes insupportable. I think humour is the main weapon of struggle against power and capitalism. It may not help us win, but it can save our souls... and this is already an accomplishment." Burak Delier
Turkish artist Burak Delier exhibits recent work and a new film commissioned by Iniva (Institute of International Visual Arts) at Rivington Place from 26 March to 17 May 2014. Delier's work explores the relationship between capitalism and art, balancing seriousness and wit to critique society in a way that is relevant to Turkey and beyond.
Burak Delier's work is acutely political. The artist took inspiration for the exhibition's title Freedom has no script, from the chaotic, anarchic spirit of recent uprisings and protest movements such as those in Istanbul's Gezi Park, Tahrir Square, and Occupy in New York. He is interested in the relationship between the idea of freedom, spontaneity, improvisation and creativity, believing that freedom is not the outcome of a pre-determined script, but is created from incertitude, suspense, desire, and being compelled to ‘do something'.
Works in the exhibition include several film installations such as Collector's Wish (2012), The Deal (2013), Crisis and Control (2013) and Iniva's new commission Songs of the Possessed (2014). These subtle and playful works look at the concept of economy and explore the place of ‘power' in the cultural system as well as how people can resist the nature of the corporate environment. For many of these films he involves participants, who become part of his research and contribute to the power of the artworks.
Crisis and Control features real white-collar workers who practice yoga as a way of dealing with the stress of their careers. Participants discuss the conflicts between their work and private lives - all the while adopting strenuous yoga positions, still dressed in their formal work attire. The resulting interviews resemble a counselling session for the neo-liberal economy. Songs of the Possessed also centres on office workers, playing with notions of how people express their emotions in the workplace. The film follows groups of two or three workers, at first being frustrated or angry with each other, then being sympathetic and understanding of one another. As the camera continues to circle the group, the film allows the viewer to imagine what is being said, to become involved in a full range of emotions, and to relive their own experiences.
Be the the first leave an opinion