2 Nisan 2013 Salı

Bedri Baykam shows double sided empty frames in NYC at the Proposition

April 3 – May 12, 2013
Opening Reception: Wednesday, April 3rd; 6 – 8pm
The Proposition
2 Extra Place (@ E 1st Street off Bowery)
New York, NY 10003
Gallery Hours: Wednesday – Sunday, 12 – 6pm
For additional information please contact Ronald Sosinski, Director 

Bedri Baykam’s show at The Proposition features 7 double-sided empty frames installed hanging from the ceiling. Baykam says that these frames are not empty but rather "framed live time and space". The artist asserts that "framing live time and space" creates a phenomenal situation---theouter limit, where realism, 3D and conceptual art meet. He believes that this exhibition will forever alter the 100 year long obsessive relationship of generations of artists with the object originated by Duchamp's Ready-Made...

Baykam, one of the most internationally renowned Turkish artists, has shown several times in the USA, New York and California. He is known for his versatile and multi-faceted works with a rich spectrum ranging from heavily textured canvases to painted photos, three dimensional objects and political installations live performances as well as a very developed portfolio of large size "4-D" lenticular works. But this time in New York, he chooses to show only empty frames... at least at first look!

The catalog accompanying the exhibition includes essays by NY critic Robert C. Morgan and Turkish critic Hasan Bülent Kahraman along with Baykam’s own commentary:
• The both sided frame looks empty. But what is shown can not be looked just as nothingness. Here everything breathes the same air as nothing. 
• Every image is single and changes every other second in a continuous flow. 
• Space and time are framed and packed together although they change constantly. 
• Every image is live and ephemeral.
• This is the outer limit where realism, 3D and conceptual art intersect. 
• This is not the ‘ready-made’ revisited by its 5th generation of would be geniuses piling anything on top of another in any museum or gallery. 
• Here, the master of the situation is the active space as followed by the viewer. The key role given to the object, the ‘ready-made’ has shifted away. 
• It brings together the fictitious rectangle plane of the art work with conceptual art. It’s total art. It’s hard to be more realistic, more conceptual, more challenging, more arrogant and simpler. 
• Just as the ready-made has taught us to read the objects and look at them differently, these pieces will enable us to look at ‘life space’ differently and all the frontiers between life and art will blow up.(Oh, Dear Bob!)  
• Duchamp's "Bulky Heritage" (Le Figaro-15th of February, 2013) which I had defined back in 1991 as the "Post-Duchamp Crisis" in my conference (and later my 1994 Book - see p.46) had become an almost hypnotizing obsession for so many generations of artists. The way out was in the air and the human eye.
• This concept/object can be taken out anywhere, might reach its climax even more in the gallery or the museum space: There, the most daily and simple environment will mix with the ‘holy space’ where art is shown and worshiped. Art can now transcend its own "traditional boundaries" and reign over ‘life space’.

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