Symphony in Green

Yeşil Senfoni

Ahmet Aydın Atmaca

15/11/2012 – 15/12/2012

ALAN İstanbul

Think of an art work which is not recognized as much as its name and the artist who made it. In that perspective the artwork is a mere production which is talked about and sold at an auction company. Also the speculations about its content is only a few phrases that have been scattered around. This kind of perspective has been justified by showing the artwork’s price rather than its importance in the history of Turkish painting.

A production will lose its reality and livelihood even though it becomes reality or marked as a milestone after defined categorized and marked in the periods of art history. This is the plain situation that avant-garde and neo avant-garde tried to avoid. For instance the artists who used posters to create a new kind of collages  in late 1950’s (affichistes) were thinking of separation from known and marked  definition production techniques of modernism throughout the history of art.

Symphony is no aware of its extinction even at its birth due to not having opposite meaning. I’m speaking of a positioning that is isolated from the contradictions like light to shadow, left to right and good to bad. Symphony is picturalised as the production of a misunderstood method. Reality (?) seems to have been recorded as a representative more like a simulation like non-existing digital images -but not here-. Its price was low but it has risen up. But this is not the problematic here!

Fırat Arapoğlu