nothing _____ can stay
Carrier Pigeon
Moving towards Home:
Art for Palestine in New York City 1989 & 2024
The Seeker & The Imposter
OUR HOUSE
YOU DON’T
MATTER GIVEUP
WHAT A FOOL BELIEVES
FLOATERS
Sweet Salvation
siding with things
Medium Rare
MOULT
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict
WHO IS PLUTO
Fractal Noise
Flame Casts No Shadow
TOO MUCH LOVE WILL KILL YOU
The Last City Museum in NY
Vol 2. A1 Landscape
Vol 1. 8F Figure
Carrier Pigeon
Moving towards Home:
Art for Palestine in New York City 1989 & 2024
The Seeker & The Imposter
OUR HOUSE
YOU DON’T
MATTER GIVEUP
WHAT A FOOL BELIEVES
FLOATERS
Sweet Salvation
siding with things
Medium Rare
MOULT
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict
WHO IS PLUTO
Fractal Noise
Flame Casts No Shadow
TOO MUCH LOVE WILL KILL YOU
The Last City Museum in NY
Vol 2. A1 Landscape
Vol 1. 8F Figure
03.01 - 04.22.2024
Baris Gokturk
The Seeker & The Imposter, Baris Gokturk’s solo exhibition at Subtitled NYC, constructs an environment of parallel play in the gallery space through a combination of drawing, painting and sculpture. The two inter-connecting works in the show, one on the floor, the other on the wall, reference the transformative states of the body on a plane of domestic mythology. A series of framing devices, both conceptual and physical, further extends this context of speculative potentiality.
Interested in transpositions and the way the shape-shifting possibilities within the aesthetic language can relate to a potential for realignment in the political realm, Gokturk sets in motion clashing states of the body through a layered materiality. Gokturk’s works at large reconstruct two-dimensional historical documents, photographs and archival imagery about events or individuals acting within or re-acting against dominant paradigms of power in three-dimensional layers, hybrid fragments and installations that oscillate between drawing, painting and sculpture.
The scale relation between the individual body and the larger body-politic, in the way each influences, internalizes, provokes and corrupts the other is also where personal and political mythologies cross over, resulting in charged ambiguities.
-Text by Helene Bugra
Baris Gokturk is a Turkish artist living and working in Brooklyn, New York. He is a recent graduate of Columbia University’s MFA program in sculpture. Recent museum projects include SECCA in Winston-Salem, The Jewish Museum in New York, The Frost Art Museum in Miami, and Pera Museum in Istanbul. He also completed public commissions by Columbia University’s Butler Library and The Public Art Fund in New York.
Gokturk has shown his work in the United States and internationally in Germany, Spain, France, Korea, Turkey and Puerto Rico. His solo exhibitions Public Secret (2020) and Scanner/Tarayan (2023) were on view at Helena Anrather Gallery in New York and Galeri Bosfor in Istanbul. His work has been featured in Artforum, The BOMB Magazine and The Brooklyn Rail among others. He was an ApexArt fellow in Seoul, artist-in-residence at YADDO, LMCC and ISCP, a participant in SOMA Mexico as well as at Skowhegan School of Painting and Sculpture.
In addition to his MFA from Columbia University in sculpture, he also holds an MFA in painting from Hunter College where he taught for seven years. He currently teaches at The New School and runs an art program for NYEP, part of Johns Hopkins University’s neurology department.
From 2011-2015, he ran with a group of artists a gallery and project space called Heliopolis in Greenpoint, Brooklyn. He is the co-founder of Junte, an arts and culture project in Puerto Rico currently being incubated at The New Museum’s NEW INC.
* poem by Jason Grabowski
*Baris Gokturk in conversation with Hae Won Sohn
All photos courtesy of Subtitled NYC, New York