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Exhibition
22 September 22 October, 2016, Öktem&Aykut

Where is Eros? Vol.3

Vol.3 will present the third part of Furni's two previous installations, first in İstanbul's Polistar in 2014 and the second one within Kyiv Biennial in 2015. In herexhibitions before this particular series,Furni invested the representational capacity of subjects in the expression of personal (and even autobiographic) moments through the very practice of painting.At the third volume of Where Is Eros?, she is exploring the ways to express the collective moments in Istanbul's quotidian social life through investigating references to the tradition of Islamic visual culture.The gallery space of Öktem&Aykut is situated upon a traditional tea house the regulars of which tend to stick to rather conservative life ideals. In Where is Eros? Vol. 3, this space will entertain Furni's artistic production that were mostly materialized during her stay in Caferiye Han, an old traditional commercial building in historical Eminönü,central Istanbul, where Furni was in daily contact with her tea-lover neighbors that happened to specialize in bird care. Through her series in display, Furni invites us to look simultaneously towards both, atypical moments like bird care within the rigidly defined homosocial public spaces in Muslim societies and the exceptional use of patterns within Islamic architecture - hence to question whether there are any parallels between our unsatisfying theories of societal models that we have come to develop to better understand Turkish society and our long eroded bones to Islamic visual traditions.
To provide us access to this very remote realm of discussion, Furni chiefly assumeswatercolor drawings that automatically appeal to intuition and anticipation. The drawings involve little angel boys that make themselves visible over round tea trays and among Turkish tea glasses. These drawings are accompanied by a large and central piece of sculpture that very well reflect the vulnerability and gentle sense of spacepeculiar to her watercolor drawings. The sculpture that renders both inner and exterior architectural elements and bears references to both Islamic and Modern Western schools of architecture may be treated as both, a magnified version of an highly stylized spatial detail or a miniature of the framework of magnificent building.Either case, it proves an offer for an abstraction of the social grace that reveals itself in collective moments that either occur less and less, or become hard to pick out with every passing generation.

Tankut Aykut
2016 September