Future Perfect

05.10.2019 - 19.01.2020
Contemporary Art from Germany

The two words that make up the title of this exhibition, “future” and “perfect,” suggest a kind of promise, perhaps even a notion of redemption, as if the course of history were leading to a rosy future. But these hopes belong to the history of ideas and ideologies of early modernism. Today, we see the future in its global complexity as a far more sober affair. FUTURE PERFECT is strictly a reference to the verb tense that gives expression to the completion of an action. Something will have been—the future perfect is a speculative preview in the past. It signifies a leap ahead to the future, supposing that things may very well happen as we imagine. Today, the future appears to us as a critical concept, and even the near future, despite all our digital and mobile acceleration, can scarcely be anticipated.

The end of the division of Germany and of our thinking in two opposed blocs has not only led to globalization in economic terms but also to the demise of a good number of European preconceptions and mindsets. The future is an emancipatory concept. In the southern Mediterranean region, civil societies are demanding and embodying the future in the face of massive resistance. And what is happening in Europe’s center? Here, thought is dominated by an odd sense of cluelessness. It is as if the future were more a source of concern than of motivation.

For these reasons, we believe that the conceptual parameters of this exhibition—thinking about the promises of the future—make a good deal of sense. What positions are artists adopting in their use of material, form, imagination, plot, or narrative? How are they rethinking the past? Where do they see options for action?

At present it is said that there are some seven thousand visual artists living in Berlin, meaning that every fifth hundredth inhabitant views him- or herself as a visual artist. Since the fall of the Berlin Wall, this once-divided city has become home to artists from all over the world. The reunification of Germany triggered a fundamental urban transformation that facilitated a temporary and inexpensive intermediate use of real estate by artists. Nearly all the artists represented in this exhibition live in Berlin. The city has four hundred seventy galleries trying to make a living, although there are scant economic resources and no affluent suburbs surrounding the city. Just as in the neoliberalist years, when artists were seen as the “paragons” of flexible work identities, today they are the springboard for discussions over the new precariat with its unstable strategies of economic survival in the midst of our society.

In her essay titled Back to the Present, Jennifer Allen, until 2013 editor-in-chief of the German-English edition of the British art magazine frieze, reviews the changes in the conditions of artistic production in Berlin from the 1990s to the present. In addition to essays, this catalogue also includes interviews with the artists. These short conversations focus on questions related to different ways of working, presenting the artists’ language and means of expression to provide insight into the structure and intellectual contexts of their works. 

Traces of The Past

05.10 - 24.11.2019

“Everything occurred beyond my knowledge, I was only aware of the days and hours.”
Tezer Özlü

Memory is an apparatus that shows tolerance to errors. Every time we ask for some data, it always presents them us in a slightly transformed way. Each and every decision we made to live; our choices, the roads we have entered and the roads we have finished transform into some suspicious traces within the recording storage of this defective piece of equipment eventually. Thus, the lives of those traces begin to develop also in that dark storage. While every hour we have spent turns into days, memory runs its own show by following a counter order, it splits the days into hours first and then separates hours into pieces which comprised of moments. Sometimes, it seams moments together with a scent and binds them to an utterly different smile. These pieces that the memory itself rolled them to its vast map, establish bonds with different molecules in each time. Thus, they show up in their brand new forms when we recall those memories. They now bear the traces of our personal history, they became personalized. 

ArtOda gathers artworks of 8 different artists from the museum collection around the traces which have been created by the apparatus we call memory. The exhibition focuses on reconsidering the past through these plastic “traces” which had been produced by different artists within different periods.

Bedri Baykam
Eda Gecikmez
Erdal Duman
Gülşah Bayraktar
Hakan Gürsoytrak
Kemal Önsoy
Levent Morgök

SENA 7 Dip

07.12.2019 - 26.01.2020

Evliyagil Dolapdere is getting ready to open its doors on the 7th of December, Saturday with the 7th solo exhibition of  SENA, 7 Dip curated by Beral Madra as a first solo show at Evliyagil Dolapdere since its opening.

“7 Dip” which will take place in Evliyagil Dolapdere as SENA’s 7th solo show, is telling that amongst her generation SENA has a distinctive way of contribution to the a present requisite to neo-surrealistic image. With paintings, drawings, prints and ceramic and mixed media 3D works she uses the archetype aesthetics and neo-surrealistic aura to experiment with singular styles or modes of representation that pushes her beyond the usual day-to-day practices.

“...With SENA's paintings, drawings, prints and ceramic and mixed media 3D works we enter into the traditional forms and aesthetics of art-making. Large scale drawings and their conceptual equivalent prints show her skill and mastery of depicting the convived image. The 3D works are the audacious outcome of these cosmos of images. The overall reflection of the works openly displays a correspondence to the "archetype" aesthetics of Carl Jung's philosophy and to the current explorations in Surrealism, as a means to explore the relation between conscious and subconscious realm...”*

*From catalog text “RE-Emerge”, Beral Madra, SENA “7 Dip” Evliyagil Dolapdere 2019

Future Perfect Exhibiton Events

Book Lounge & Exhibition Talks

27 October 2019, Sunday

Beral Madra Curator

Yorgos Sapountzis Artist

*Free transportation to the museum will be done from the Goethe-Institut, Kızılay at 13:00.

Performance Workshop with Nezaket Ekici

20-24 November 2019

Nezaket Ekici Performance Artist

Workshop dates and hours
20-21-22-23 November 10:30-17:00

Performance Presentations
24 November, Sunday 14:00

Future Perfect Curatorial Workshop with Derya Yücel

12-14 December 2019

Derya Yücel Curator and Academician

Workshop dates and hours
12-13-14 December 10:30-17:00

Open Call For Performance Artists!

Applications with short biography must be sent to info@muzeevliyagil.com, until December 8th, Sunday. There is no age limit, attendance limited by 12 participants.

Attendance to the workshop is free of charge. Travel and accommodation expenses of the participants are at their own expense.

Sarp Evliyagil Collection

The pieces in the Sarp Evliyagil Collection were first seen in the collection exhibition “Menzil” by M1886 gallery between May 24 – August 24, 2013. As Menzil’s name suggests, it must be seen as a moment of respite in the story and evolution of Evliyagil’s own art world. The exhibition took the works in Sarp Evliyagil’s collection down from under the lights of his family house and family company and placed them outside, under the spotlight and critical views; leading to another viewing, at a remove from the personal memories they conjured up, and a weighing-up of their merits. After this stage, the journey would speed up and the paths would shorten.

Three years after Menzil, the collection, now enhanced for the opening of the Evliyagil Museum, has been collected in the form of a book independent from the museum’s first exhibition “Anakara”. This book can be seen as the second stop on the journey of the works belonging to Sarp Evliyagil, which are dotted across the world’s museums, gallery exhibitions, artistic workshops, and of course the walls of his home. All these works have been brought together in order that others can add or be added to their journey. Hence, this is just the first page of both Evliyagil’s enormous atlas of history and an endless travelogue.

Evliyagil Museum

When we consider how collectors’ works are bought from exhibitions at galleries that last a few weeks, from fairs that last a few days, or from auctions in which everything is decided in a few minutes, we may become uncomfortable at how many works are spirited away after insufficient inspection to “private” spaces.

Sarp Evliyagil wanted to open his collection to everyone wishing to see these “unseeable” works, or, in other words, to “museumize” it.

Evliyagil Museum allows this public viewing through temporary exhibitions with different focuses from works selected among hundreds collected by Chairman of the Board of Ajanstürk Sarp Evliyagil, including, due to his occupational interests, many original series of prints, plus the enormous statues which set the collection apart.

Evliyagil Museum was conceived in 2008, and from its construction in 2014-2015 in “center far from the center” İncek, it has enriched art in Ankara with a three-floor 750 m2 exhibition area, statue garden, screening room and library.

Visiting Information

Turgut Özal Bulvarı 

Şevket Evliyagil Sokak No: 1
İncek / Ankara / Turkey

t +90 312 460 11 06

Visiting days and hours:
Thursday, Friday, Saturday and Sunday 
11.00 - 17.00

Admission is free.