Viola Yeşiltaç Work | Artist Statement & CV | Return to Artist List
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Artist Statement
To unfold the poetic quality of contradiction, defined by the photograph as an ephemeral enquiry.
I use this very consistent mechanism owned by photography and open it up towards an inconsistency. A forever-fragmented existence, which loses its identity in the double, at the same time it provides a possibility of a ”fictional” re-presentation of the “truth”.
My practice is not constructed in order to disapprove an established reality rather a response towards the universe of facts.
I appropriate structures and defined methods of already existing ideas manifested in pre-fabricated objects, such as for example, the Plia folding chair or the site of a signage factory which are combined in an experimental attempt to establish an ephemeral incomprehensibility.
The construction of the work and its necessity is being build upon the subject and its material matter.
Interior, Exterior, Signage Series, 2009-2010
A defunct Signage Factory in Brooklyn provides the manual
for this series of work. The production of sequencing is evident here.
The passages from image into drawing, drawing into sculpture and sculpture into signage discusses a mode of displacement which indicates the fragmentation of the work by simultaneously elaborating an interrelationship of elements such as the gesture, the poetic moment, the physical body, the photographic image and the ephemeral.
The material outcome of this fabrication of the work, looks at the mechanization of production.
Calligraphy ink drawing on photographic imagery are re-photographed on slides to be projected on faux leather to be copied and traced and then cut out. The gesture has been carried trough these processes and materializes itself in imagery, photographs and sculptures.
An attempt that repeatedly re-animates the physical gesture and concurrently freezes the photographic moment, in order to understand process and construction of both place and representation.
To unfold the poetic quality of contradiction, defined by the photograph as an ephemeral enquiry.
I use this very consistent mechanism owned by photography and open it up towards an inconsistency. A forever-fragmented existence, which loses its identity in the double, at the same time it provides a possibility of a ”fictional” re-presentation of the “truth”.
My practice is not constructed in order to disapprove an established reality rather a response towards the universe of facts.
I appropriate structures and defined methods of already existing ideas manifested in pre-fabricated objects, such as for example, the Plia folding chair or the site of a signage factory which are combined in an experimental attempt to establish an ephemeral incomprehensibility.
The construction of the work and its necessity is being build upon the subject and its material matter.
Interior, Exterior, Signage Series, 2009-2010
A defunct Signage Factory in Brooklyn provides the manual
for this series of work. The production of sequencing is evident here.
The passages from image into drawing, drawing into sculpture and sculpture into signage discusses a mode of displacement which indicates the fragmentation of the work by simultaneously elaborating an interrelationship of elements such as the gesture, the poetic moment, the physical body, the photographic image and the ephemeral.
The material outcome of this fabrication of the work, looks at the mechanization of production.
Calligraphy ink drawing on photographic imagery are re-photographed on slides to be projected on faux leather to be copied and traced and then cut out. The gesture has been carried trough these processes and materializes itself in imagery, photographs and sculptures.
An attempt that repeatedly re-animates the physical gesture and concurrently freezes the photographic moment, in order to understand process and construction of both place and representation.
CV
Viola Yeşiltaç
born in Hannover Germany
lives and works in NYC
Education:
2005-07 MFA Photography, Royal College of Art,
London UK
1999-05 Diploma School of fine Art, Braunschweig,
Germany
Performances & Solo Shows:
2011
Balice Hertling & Lewis, Performance with
support by Venus Iceberg X, the Stonewall
Inn, New York
Interior, exterior, signage, Cathrine
Bastide Gallery, Bruessel Belgium
2010
interior exterior signage Performance, space
for live art, Bruessels, Belgium
2009
NOTES on a Return, Performance, Laing Art
Gallery, Newcastle Upon Tyne England
2007
when time becomes form Performance, Artists
Space, New York
2006
in rest of the room, Kunstverein
Langenhagen, Germany (solo)
2005
Monounisverso, Gallery L`Union Rom Italy
(solo)
selected Group Exhibitions:
2011 Balice Hertling & Lewis, Front Desk
Apperatus, New York
Tax DAY & SMOKE, Emily Harvey Foundation,
New York
2010
Evas Arche und der Feminist, Gavin Browns
Enterprise, New York
In Practice Projects Fall, Sculpture Center,
New York
Session_12_Words + Untitled, Four Boxes
Gallery, Krabbesholm Højskole, Denmark
Teaching Photography Europe, Museum Folkwang
Essen, Germany
Session_8_Video, Am Nuden Da, London England
2009
NOTES on a Return, Laing Art Gallery,
Newcastle Upon Tyne England
Words, Am Nuden Da, London England
No Bees No Blueberries, Harries Lieberman
Gallery, New York
Moholy, Telephone paintings and other works
organized by Hugo Canoilas, Rua da
Boavista, Lisboan, Portugal
2008
the storm dissolved and it no longer
existed, Lorem Ipsum Gallery, London England
Clinch/ Cross/ Cut, Team 404 & John
Armleder, New Jersey, Basel Switzerland
2007
Body City, Hanover Wharf Docklands, Dublin
Ireland
Stopover, DAAD Stipendianten, Ada Street
Gallery, London England
Spectacle und Situation, Sommerakademie
Centrum Paul Klee, Bern Switzerland
The Region of Unlikeness, Bank Gallery, Los
Angeles
The Great Exhibition, Royal College of Art,
London England
2006
Prix Leica, L Ecole des Arts Decoratifs,
Paris France
Could be about Landscapes, Kunstklub Berlin,
Berlin Germany
Lovely Shanghai Music, Team 404 & John
Armleder Museum of Modern Art, Shanghai
Installations, interventions and fuck-ups,
The Hockney Gallery, RCA, London
2005
Performance im Paul Klee Zentrum Bern
Switzerland
La Galleria dell amore, Galleria Civica di
Arte Contemporanea, Trento Italy
Kunststudentinnen und Kunststudenten stellen
aus, Bundeskunstshalle, Bonn Germany
2004
Jahresgaben 2004, Westfälischer Kunstverein,
Muenster Germany
Performance Loop, P.S.1.Contemporary Art
Center, New York
Yellow Pages, Museum of Modern and
contemporary Art, Geneva Switzerland
Yellow Pages, Kunsthalle Palazzo, Basel/
Liestal Switzerland
2003
Junger Westen 2003, Kunsthalle
Recklinghausen Germany Germany
Scholarships/ Awards:
2009 MAN Photography Prize, Royal College of
Art,London UK
2007 Sommerakademie Zentrum Paul Klee, Bern
Schweiz
2006 visiting scholar / department for
Photography School of Visual Arts NYC
Prix Leica Europe, Photography
2006-07 DAAD Scholarship for United Kingdom
2003-05 Scholarship Studienstiftung des Deutschen
Volkes
Viola Yeşiltaç
born in Hannover Germany
lives and works in NYC
Education:
2005-07 MFA Photography, Royal College of Art,
London UK
1999-05 Diploma School of fine Art, Braunschweig,
Germany
Performances & Solo Shows:
2011
Balice Hertling & Lewis, Performance with
support by Venus Iceberg X, the Stonewall
Inn, New York
Interior, exterior, signage, Cathrine
Bastide Gallery, Bruessel Belgium
2010
interior exterior signage Performance, space
for live art, Bruessels, Belgium
2009
NOTES on a Return, Performance, Laing Art
Gallery, Newcastle Upon Tyne England
2007
when time becomes form Performance, Artists
Space, New York
2006
in rest of the room, Kunstverein
Langenhagen, Germany (solo)
2005
Monounisverso, Gallery L`Union Rom Italy
(solo)
selected Group Exhibitions:
2011 Balice Hertling & Lewis, Front Desk
Apperatus, New York
Tax DAY & SMOKE, Emily Harvey Foundation,
New York
2010
Evas Arche und der Feminist, Gavin Browns
Enterprise, New York
In Practice Projects Fall, Sculpture Center,
New York
Session_12_Words + Untitled, Four Boxes
Gallery, Krabbesholm Højskole, Denmark
Teaching Photography Europe, Museum Folkwang
Essen, Germany
Session_8_Video, Am Nuden Da, London England
2009
NOTES on a Return, Laing Art Gallery,
Newcastle Upon Tyne England
Words, Am Nuden Da, London England
No Bees No Blueberries, Harries Lieberman
Gallery, New York
Moholy, Telephone paintings and other works
organized by Hugo Canoilas, Rua da
Boavista, Lisboan, Portugal
2008
the storm dissolved and it no longer
existed, Lorem Ipsum Gallery, London England
Clinch/ Cross/ Cut, Team 404 & John
Armleder, New Jersey, Basel Switzerland
2007
Body City, Hanover Wharf Docklands, Dublin
Ireland
Stopover, DAAD Stipendianten, Ada Street
Gallery, London England
Spectacle und Situation, Sommerakademie
Centrum Paul Klee, Bern Switzerland
The Region of Unlikeness, Bank Gallery, Los
Angeles
The Great Exhibition, Royal College of Art,
London England
2006
Prix Leica, L Ecole des Arts Decoratifs,
Paris France
Could be about Landscapes, Kunstklub Berlin,
Berlin Germany
Lovely Shanghai Music, Team 404 & John
Armleder Museum of Modern Art, Shanghai
Installations, interventions and fuck-ups,
The Hockney Gallery, RCA, London
2005
Performance im Paul Klee Zentrum Bern
Switzerland
La Galleria dell amore, Galleria Civica di
Arte Contemporanea, Trento Italy
Kunststudentinnen und Kunststudenten stellen
aus, Bundeskunstshalle, Bonn Germany
2004
Jahresgaben 2004, Westfälischer Kunstverein,
Muenster Germany
Performance Loop, P.S.1.Contemporary Art
Center, New York
Yellow Pages, Museum of Modern and
contemporary Art, Geneva Switzerland
Yellow Pages, Kunsthalle Palazzo, Basel/
Liestal Switzerland
2003
Junger Westen 2003, Kunsthalle
Recklinghausen Germany Germany
Scholarships/ Awards:
2009 MAN Photography Prize, Royal College of
Art,London UK
2007 Sommerakademie Zentrum Paul Klee, Bern
Schweiz
2006 visiting scholar / department for
Photography School of Visual Arts NYC
Prix Leica Europe, Photography
2006-07 DAAD Scholarship for United Kingdom
2003-05 Scholarship Studienstiftung des Deutschen
Volkes
Foreground: vier Gaukler, 2010Background: über die Fähigkeit absichtlslos warten zu können, 2010
(Interior, Exterior, Signage)
Faux Leather
“65 x 194”
black & white digital print
lee filter CT blue full
three“Plia” folding chairs by Giancarlo Piretti 1967
Installation view:
In Practice Projects, Fall Exhibition
Sculpture Center, NYC
2010
über die Fähigkeit absichtlslos warten zu können, 2010(Interior, Exterior, Signage)
lee filter CT blue full
three “Plia” Folding Chair by Giancarlo Piretti 1967
Installtion view:
In Practice, Fall Exhibition
Sculpture Center, NYC
2010
vier Gaukler, 2010(Interior, Exterior, Signage)
detail:
faux leather
Installation view:
In Practice Projects, Fall Exhibition
Sculpture Center, NYC
2010
vier Gaukler, 2010 (Interior, Exterior, Signage)
detail
faux leather
Installtion view:
In Practice, Fall Exhibition
Sculpture Center, NYC
2010
the Oyster wears an Ivory dress tonight, 2010(Interior, Exterior, Signage)
vinyl
Installation view:
In Practice Projects, Fall Exhibition
Sculpture Center, NYC
2010
Foreground:Untitled, 2009- 2010
(Interior, Exterior, Signage)
two times 80 black and white slides
one 12 ¼ x 18 5/8” and 18 5/8 x 12 1/4” marble pieces
Background:
the Oyster wears an Ivory dress tonight, 2010
Installation view:
In Practice Projects, Fall Exhibition
Sculpture Center, NYC
2010
Interior, Exterior, Signage 2009-2010
8” x 10” calligraphy ink drawings on inject print
series of 189
Interior, Exterior, Signage series 2009-2010
8” x 10” calligraphy ink drawings on inject print
Interior, Exterior, Signage series 2009-2010
8” x 10” calligraphy ink drawings on inject print
Interior, Exterior, Signage series 2009-2010
8” x 10” calligraphy ink drawings on inject print
Interior, Exterior, Signage 2009-2010detail:
2x 80 black and white slides each projected
onto a 12 ¼ x 18 5/8”,
and a18 5/8 x 12 1/4” marble piece
installation view
Gallery Catherine Bastide
Brussels, Belgium
2011
Interior, Exterior, Signage 2009-10ein Gaukler
2x 80 black and white slides
marble
Installation view
Gallery Catherine Bastide
Brussels, Belgium
2011
Interior, Exterior, Signage 2009-102x 80 black and white slides
faux leather
Installation view
Gallery Catherine Bastide
Brussels,Belgium
2011
Vorschlag für eine mögliche Entfaltung eines Punktes, 2010six “38 x 46” black & white photocopies
two IKEA floor protectors
80 color slides
Installation view:
Eva’s Arche und der Feminist
above
Gavin Browns Enterprise, Gallery
NYC 2010
Vorschlag für eine mögliche Entfaltung eines Punktes, 2010photograph turned into
six “38 x 46” black & white photocopies
for Installation at
Eva’s Arche und der Feminist
above,
Gavin Browns Enterprise, Gallery
NYC 2010
Vorschlag für eine mögliche Entfaltung eines Punktes, 2010excerpt of slide sequence
80 color slides
for
Installation at
Eva’s Arche und der Feminist
above,
Gavin Browns Enterprise, NYC
2010
Vorschlag für eine mögliche Entfaltung eines Punktes, 2010single Photograph from slide sequence
for Installation at
Eva’s Arche und der Feminist
above,
Gavin Browns Enterprise, NYC
2010
I really must congratulate you on your attention to detail, 2011box frame 24” x 28”
color c-print, envelope
Untitled,2011(I really must congratulate
you on your attention to detail)
24” x 28”
color c- type print
Untitled,2011(I really must congratulate
you on your attention to detail)
24” x 28”
color c- type print