Dirimart is pleased to announce Splinter in My Eye, Nasan Tur’s first solo exhibition at
the gallery. Comprised of new works, the exhibition runs through December 3 at Dirimart
Nasan Tur has a diverse practice that ranges from sculpture, drawing, video, and photography
to performance, and installation. Placing observation, analysis, and reproduction
at the core of his works, Tur explores political ideologies, subliminal messages, and the
symbols of power and dissent. The relationship between production and value and modes
of communication as well as variability of people’s perceptions and reactions depending
on their cultural background constitute the significant part of the social conditions that
the artist observes and indicates.
The exhibition takes its title from an aphorism, “The splinter in your eye is the best magnifying
glass,” in Theodor W. Adorno’s book Minima Moralia: Reflections from Damaged
Life, written in 1944-1949 during his exile in the US. Here, Adorno shows how the smallest
changes in everyday behavior stand in relation to the most catastrophic events of the
twentieth century. Moving forward, Nasan Tur takes on splinter in the eye as a metaphor,
the possibility to get an awareness what it means to see rather than a thing that destructs
the ability of seeing. In the exhibition, Tur works with symbols of power, wealth, and
status and questions their existence as well their function inside the society in order to
reveal their vulnerability. Could the objects and words Tur chooses as his raw material be
more appropriate now, shaping anew as deformed by the artist, for the questions of our
society and political situations we are confronted? As he smashes a diamond or destroys
the cliches of politicians, Nasan Tur draws attention to the fragile and transient nature of
the power that we assume is permanently ours and the value systems that constitute it.
The damaged chandeliers, spectacular and yet dangerous, a photograph that contains
the infinity of the universe, and the words hung on the wall, simultaneously familiar and
strange, resettle the imagery and their language, as we are familiar from Nasan Tur’s practice.
Thus, he disorganizes the value, function and potentiality of art itself and poses new
questions and possibilities. And we are facing one of these questions as we are looking at
ourselves in a mirror at the end of the show: Who am I?
Nasan Tur (b.1974, Offenbach, Germany) has exhibited extensively internationally, including
solo exhibitions at Oldenburger Kunstverein (2017), Fondazione Adolfo Pini, Milano (2017);
Blain/Southern, Berlin (2016), Deweer Gallery, Belgium (2016); Kunst Haus Wien (2016); Blain/
Southern, London (2015); Kunstraum Innsbruck (2014); Kunsthal 44 Moen, Denmark (2014);
Kunsthalle Mannheim (2011); Kunstmuseum Stuttgart (2009) and Yapı Kredi Kazım Taşkent Art
Gallery, Istanbul (2009). A major solo show at Pori Art Museum in Finland in 2018 is upcoming.
Important group exhibitions include Documenta 14 (2017); Bucharest Biennale (2016); Lentos
Museum Linz (2016); Palais de Tokyo, Paris (2015); Fondazione MAXXI, Rome (2015); Centre
Pompidou, Paris (2015); Museo d´Arte Moderna, Bologna (2015); Martin Gropius Bau, Berlin
(2014); Hamburger Bahnhof, Berlin (2013); Istanbul Modern (2013); Whitechapel Gallery, London
(2013); Arter, Istanbul (2011); Schirn Kunsthalle, Frankfurt (2009); Taipei Biennale (2008)
and Istanbul Biennial (2007).
Nasan Tur lives and works in Berlin.
For detailed information please contact the gallery at firstname.lastname@example.org or T +90 212 232 66 66.
All images are subject to copyright. Gallery approval must be granted prior to reproduction.