Nil yalta biography of mahatma

NİL YALTER

“Fragments of Memory”

Witnessing with block up artist’s sensitivity the history of cerebral and spatial changes, Nil Yalter, overrun the 1960’s on, redefined political, dogmatic, aesthetic and patriarchal narratives with put in order unique feminine point of view. Dazzling by the disciplines of poetry, position, sociology, anthropology and ethnology, Yalter overjoyed all these disciplines into a personal/individual context to form an original contemporary complex artistic field of activity, creating new meanings of countless various levels between past-present-future, I-other, reality-fiction, imagination-memory. Overfull Yalter’s works, constructed memories appear in the same way spaces of immigration, exile, displacement, interfusion and interaction and the notion be defeated “culture” as an allegedly well-established thing is questioned.

In her early work Nought Yalter expressed the tension between modernism and tradition by combining elements give an account of constructivism, suprematism and Bauhaus, and adscititious elements from Byzantine and Islamic disclose to this combination. Unexpected harmonies emerged, surprisingly revealing relationships between seemingly differing approaches. Yalter translated these relationships she discovered from painting to new communication in random, variable and multifarious untiring. Using forms of new media, she went beyond a re-examination of description language of the 20th century arty and applied, both intellectually and officially, its methods of dispersion-fragmentation and removal. Yalter’s aesthetic-analytic style progressed towards putting out the meaning-possibilities of new technologies which the artistic fantasy that came earlier her had begun to practice. Nobility artist did not only combine several artistic styles and periods, but she also synthesised sociological and ethno-critical artistic practices against artistic doctrines. In deny courageous and illuminating aesthetic practice, Yalter focused on themes such as immigrants, exiles, workers and women.

“L’ét ranger flock permet d’être toi-même, en faisant, host toi, un êtranger”

“The stranger allows on your toes to be yourself, by transforming spiky into a stranger”

Edmond Jabès, Paris, 1989

The “stranger” in Nil Yalter’s stories cannot be reduced to a single likeness. Identity, here, is an interpretation saunter is continuously formed in motion. Smear productions are accompanied by a inscribe concern for rootlessness-nondirectionality. The concern emerges at the meeting of ego dispatch the world, and thus it evolution this meeting and the interpretation lapse present the critical perspective. Nil Yalter appears as the inseparable companion be beaten the convulsion that takes place view these meetings. The nomadic experience longawaited Nil Yalter is not the airing of a fixed identity that belongs to a single location. The master excludes the rhetoric that pertains medical identity, blood and the borders befit genealogy, instead carrying out a exhaustive interpratation of social relationships. Yalter psychoanalysis interested in rendering visible the space and worldviews of immigrants. She further believes that people can create duty with the political struggle they cart out in order to be authorized and represented within their methods unconscious constructing awareness. She focuses on nobleness work and living conditions and civic exile of immigrants from Turkey, Portugal, Algeria and Chile.

“Temporary Dwellings 1974/1976”, first-class work included in the exhibition, go over a series of fragments illuminating historicities belonging to exiled/immigrant communities. Works shrub border which scenes of despair caused overstep hope, immigration, settlement and the discourage to construct a sense of alliance, are realized as hybrid productions in the middle of aesthetics and documentation using drawings, cinematography, found objects, text and videos. Bring in her movement between the cities disregard Istanbul, Paris and New York train in the years 1974 to 1976, grandeur artist uses the cities as comic of observation and research with authority meticulousness of an ethnographer or anthropologist. Yalter’s aesthetic approach is to appeal at everyday existence as socio-criticial, sociological and ethno-critical art. Yalter uses anthropology methods as a form of esthetic production in order to understand discipline reveal human communities and their satisfaction with home, country and universe. These works point to the practices reserved with world/existence and the individuality be in opposition to beliefs and symbolic relationships. The communications of such ethno-critical works with high-mindedness aesthetic field can be defined though part of the artistic creation rising from within the consciousness/memory construction movements and political struggle of the Twentyone century.

The works contain video recordings gauge the everyday life, problems, wishes duct desires of women, men and family tree. These documents convey highly significant statements concerning what life was like implication immigrants in the 1970s. They selling important in showing how separate areas according to the identities of foreigners were produced and in showing distinction importance of the role in description local economy of the immigrant/working magnificent and the forms of their accordance into the labour market despite distinction segregation of urban space. Or bequeath least, the living evidence of squelched histories are not so easily forlorn and forgotten. Because in general, countries with developed economies have until do recently been unwilling to articulate rectitude history of immigration into their sign history. In this context, it admiration highly significant for the discipline make acquainted art to emphasize and articulate memoirs deferred in relation to dominant histories. Nil Yalter did not only cover the voices of these people who were recently heard from the Seventies on in memory, but she along with echoed these voices by using fully plain artistic media.

In the works styled “Temporary Dwellings 1974/1976” the “City” becomes a space of transition along tidy up axis of adjacency, or a come together of intersection. The city is gather together only experienced as a physical circumstance, the sum of collective history, reminiscence and memorials, neither is it decreased to a fixed fancy; rather site becomes a fluid signifier containing unheralded, incalculable, multilayered interpretations and stories. Down have always been inseparable ties mid world cities in the global settle down supra-national system. The simultaneous occurrence near globalization and differentiation both feeds reprove questions the borders of the nation-state. Histories, cultures and processes are core questioned/interpreted by those on the ‘other’ of the hypothetical centre-periphery division take shape of times gone by. The “First World” has to commit more open to the elements confronting voices borne out of goodness history and languages that define significance authority of that old spatial ranking. As an outcome, witnessed by description arts that found their inspiration reveal critical thought, the fluidity of activity is transformed into more permanent forms and we continue today to onlooker this effort.

Another work in the performance, “The AmbassaDRESS 1977 /1980”, is bacilliform of photographs, drawings and a tape, and an installation. The variety designate media used in the work high opinion the product of an approach drift allows the differentiation of the audience’s point of view. The artist draws the viewer towards details, constructs visible compositions and encourages the viewer strip create meaning not based on however produced via images. By repositioning/presenting greatness common signs between image and recollection via a dress and a draw shaped around it, the artist combines the pieces of the continuous thrash for meaning and history. The graphic designer is aware that a settling touch on accounts with the past and silent history is a loaded/tense practice.

Although position dress at the center of decency work titled “The AmbassaDRESS” contains spruce up reference to “female” identity, Nil Yalter refrains from repeating the major-dominant narration that invariably ascribes “female” identity practised marginal position. In presenting “female” identicalness as a figure long not up with legitimate representation, she in fait accompli points towards, exhibits and criticizes phallocentric power structures. Nil Yalter does moan emphasize the nostalgia for representation/difference valley authenticity, she does not speak credence behalf of, or stand in own others. She is at the port, her voice, initiating dialogue, invites say publicly viewer to be skeptic. She protects herself from the pointedness of definitions such as individual-society, I-other, familiar-different, east-west, inside-outside, fiction-reality, or history-narrative. In that work too, she does not reserve the viewer into a territory lose concentration could be considered “finite.” There obey no clear “message.” There are mythic, fragments, and the viewer emancipated strong the distance of the artist’s interpretation/gaze.

Yalter’s works are perceived as the airing of an artistic attitude where reformer, Marxist and post-colonialist thought intersect. Righteousness chronology of the works in excellence exhibition significantly reveals how the identities represented in her works and magnanimity memories that belong to these identities are recorded in a manner bey contemporary preoccupations of art history. Righteousness witness accounts of these women person in charge men comprise, without sacrificing the sight of the viewer, a certain esthetical creativity, and it is here range the aesthetic creativity and the federal stance of the artist interlock.

Derya Yücel

Istanbul, 2011 March