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ARTS-CULTURE

Art and Design Festival at Marmara University

HDN | 12/19/1999 12:00:00 AM |

BERKE INEL TDN Guest Writer The Marmara University fine arts faculty has established eight art galleries on the university grounds in order to introduce the concept of a living museum of art to the students and residents of Istanbul. While we see the paintings of Gotthard Graubner, who was invited to Istanbul by the Istanbul Goethe Institute, in one of the galleries, a poster exhibition called "Hendeseden Ucgene" (From Geometry to the Triangle) is located in a separate section. In the textile

BERKE INEL

TDN Guest Writer

The Marmara University fine arts faculty has established eight art galleries on the university grounds in order to introduce the concept of a living museum of art to the students and residents of Istanbul. While we see the paintings of Gotthard Graubner, who was invited to Istanbul by the Istanbul Goethe Institute, in one of the galleries, a poster exhibition called "Hendeseden Ucgene" (From Geometry to the Triangle) is located in a separate section. In the textile arts department art gallery there is a selection of opera and ballet costumes from the collection of the Istanbul State Opera and Ballet Directorate; while in the sculpture department art gallery there is work called "Mustafa'yi Cogaltmak" (Multiplying Mustafa), which makes allusions to architect Mustafa Oney. In the painting department art gallery, there are samples of "folk painting" and handicrafts, while in the ceramics department art gallery there is an exhibition called "Selected Works."

The work of German artist Gerhard Graubner consists of 24 gouache paintings and four "Kissenbilder" (Pillow Paintings).

The unique aspect of Graubner's work is his original use of the color-light-space triad. The artist presents color to the audience as though it were a landscape. Despite his "monographic concept," Graubner pays attention to detail in image and concept. While he does not use specific shapes, he uses color shades and the warm-cold balances and contrasts very well. It can be said that these works of art, which have no specific topic and theory, represent a research into color and a "tone in tone" approach.

It is as though Graubner wants to draw attention to "two-dimensional" figures in his "Kissenbilder." Here the relation between object, color and shape enters a new stage. The artist seems to interrogate the colors he uses from an optical perspective. While modern painting is generally surface painting, Graubner's work gives a new dimension to the concept of space. For this reason, Graubner is very different to "minimalists" and other contemporaries.

In another gallery, in the poster exhibition called "Musellesten Ucgene" (From Geometry to the Triangle), a total of 26 works by Ihap Hulusi, the unforgettable master of Turkish poster art, are on show. Everyone can find something of interest among Hulusi's works.

In this section, there is a postage stamp in the name of Ihap Hulusi; a water color painting of the artist dated 1979; a poster of Ataturk with his adopted daughter Ulku studying the alphabet during the alphabet revolution; posters about village coffeehouses; and a poster called "Association for Struggling Against Disrespectfulness" where we see a citizen carrying a poster warning people who spit, do not observe prohibitions and harass others. On another poster, prepared by the artist for the National Economy and Saving Association and entitled "House Woman," there is a warning to "prepare jam and syrup" and a female figure holding a pickle jar, a bottle of syrup and fruit in her arms. In another poster entitled "Eat Fish," we see the picture of fish and a fish bone in a dish. There is one poster about Egypt and another one with a Kodak camera saying, "Kodak is the best." In the Turkiye Ziraat Bankasi poster there is a warning reading "Para Biriktiren Rahat Eder" (Those Who Save Money Find Peace), the figure of an old person and a piggy bank. In a poster depicting America, there is the word "Amerika," the Statue of Liberty and the American flag at the bottom. So it can be observed that the master of poster Ihap Hulusi has a broad perspective and the ability to move easily from one topic to another.

We notice how the artist contributed to the country's economy in a poster depicting the symbol of the Red Crescent together with a picture of a mother and son, a poster about Sumerbank Domestic Products Market and a peasant family, and posters for the state airlines, Beykoz Shoes or Yalova thermal springs.

Ihap Hulusi prepared a number of posters for the National Lottery. In this exhibition, 10 lottery tickets are on exhibition. A poster entitled "The Green Crescent and the Youth" represents a kind of warning for young people.

The opera and stage costumes on display bear the signature of creator Hale Eren. Eren, who graduated from the State Fine Arts Academy (DGSA) in 1953 and began to work as a costume designer at the Ankara State Opera and Theater in 1954, served as general director there and later joined the faculty of the Istanbul University State Conservatory, where she still teaches, in 1992. She also gives lectures at the Mimar Sinan University (MSU) Fine Arts Faculty and Conservatory and she has designed the costumes for countless performances, operas and ballets for.

One of the most interesting exhibitions in the gallery, that entitled "Selected Works," includes works by students from the department of ceramics. Among the works displayed on the staircase leading to the ceramics department are student creations shown at the Sixth International Istanbul biennial "The Passion and the Wave."

The works, executed by students of the ceramics department, under the guidance of Professor Gungor Guner, the head of the department, were marvellous.

After graduating from the State Applied Fine Arts Academy, Guner studied at various schools of art in Germany between 1964-72 and graduated from a ceramics engineering school there. The students' impressive performance shows how important the guidance of their teacher was.

These works, which give very positive signals from the point of view of creativity and technical mastery, were prepared by using the potter's lathe as a basic instrument. The students' education started with observations of nature and drawings during the first year and continued as they learned to give shape to mud. The creativity and accomplishment of the students' works indicated how wise the choice of topics like "Hayal Kutusu" (Dream Box), "Tukenen Deniz" (Extinguished Sea), "Deli Kulp" (Crazy Handle) and "Mutluluk" (Happiness) on the part of their teachers had been.

Among the homework given by Guner to his students we find the topic "Find coins and create a whole with it" which inspired students to put layers on layers of mud; the composition of a wooden door from which birds escape to a sky covered with a few clouds entitled "Mutluluk"; and we are delighted with the humor in the representation of three adjacent pots in "Deli Kulp," where the zips at the top, in the middle and at the bottom of each container create an unusual impression.

"Hayal Kutusu," the design of another student who retired from the postal administration and entered the ceramics department depicts a female figure resembling a mermaid.

On the topic of "Tukenen Deniz," there is a dead fish in a glass coffin. Above the fish is a figure wearing a mask to escape from pollution.

In ceramics education, it is important for students to conduct abstract and practical research with the lathe and mud in order to find their own designs and to make functional works later.

A piece by the students called "Muhru Suleyman" attracts particular attention as an interesting work. In this work writings, which symbolizes the character embodied in the genes, gain a new meaning in ceramics frames. Telephone designs, ladybug design, original wineglasses and dishes which might have been inspired from paper coins were works of art that showed us how the limits of creativity were challenged.

The art of Serap Erdogan, who is both student and assistant to Professor Gungor Guner, was produced under the influence of the events in Bosnia Herzegovina and was also displayed at the biennial. We see in this work the situations of people who are broken and scattered.

Starting from the shape of a bottle, the artist depicts the arduous process through which the brain continues its development by using the concepts of emptiness, body and mind and an expressive style.

In another work, "Fountain," there are two pots resembling breasts which one thinks of as symbolizing blessing and nourishment and the tap figure in the middle complements the composition in a meaningful way.

"Kafesler" (Cages) is a composition which really makes one think. In this work, which was included in the Istanbul biennial, mud symbolized passion, two rings represented marriage and a pacifier indicated a child.

The exhibition of children's work in the tent proves that the efforts of teachers and lecturers who have gone to the earthquake area since August to teach children ceramics have borne fruit not only by providing therapy for children but also by discovering new talents.

In the Mehmetcik Tent Art Project, developed in the earthquake area with contributions from the Ministry of Culture and the Yegin group, the applied paintings of the children and the ceramic clay appear like flowers blossoming in the faculty garden.

We can say that the exhibitions presented at the Acibadem campus, which will continue throughout the month, will be very useful for both students and society. At this point we must congratulate all the teachers and students, especially the dean of the fine arts faculty, Husamettin Kocan, who conceived and arranged the organization.

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