Haroldo Higa | Ardan Özmenoğlu
Curated by Katerina
The exhibition Play Revisited
focuses on a re-interpretation of play. Play as encounter, action,
activity, competition, but also winners and losers, childhood and
dreams. Each play has a beginning and an end, it could be seen as a
collective or non-collective action, mostly arbitrary. Considering play
as a game means that there are rules, different levels, and repetition
of some acts within a certain time-space frame. But, why play revisited? It means to redefine and adapt the role of play to one’s creative activity and purposes.
Higa (Lima, 1969) uses tin toys as a means to express his thoughts as
an adult man. They are reflections on fragile reality mixed with some
taste of humour and irony. The series of prints entitled Tin Toys are influenced by the book 1000 Tin Toys
by Teruhisa Kitahara (Taschen Ed.), in which old tin toys from mid
twentieth century are portrayed. Collection’s toys with brilliant
colours and metallic surfaces, usually registered as childhood
memories, are presented in black and white xylographies which
re-interpret the original context. With the group of sculptures Souvenirs Cremosos,
the artist re-sizes the original small souvenirs in large scale
sculptures, which give the small gifts an importance and strengthens
its meaning. These sculptures are based on indigenous and Spanish based
religion still visible in Andean Peruvian culture. Originally, they
used to be ritual objects that have become typical souvenirs and have
lost their original purpose through mass production.
In Haroldo´s works, these objects lose their original value due to the
material in which they have been created: expanded polystyrene, for
industrial and domestic use, synthetic, artificial, light and fragile.
Haroldo says: “In this material I found the soft, the fragile, the
volatile, the insignificant, the human”. The material used for mass
production becomes unique through individual sculptures.
artist Ardan Özmenoğlu (Ankara, 1979) creates her own original work by
referring to mass production. Post-it screen prints with famous faces
are displayed on a wall as a huge coloured pattern. The artist plays
with the role of women in history of art: a portrait of Warhol´s Marilyn, Frida Kahlo, or da Vinci´s Gioconda.
Furthermore, Ardan puts herself in the same spot of a huge number of
small post-it notes. Through serialisation technique faces become
blurry, insignificant, anonymous. Repetition intensifies the faces and
with this they are, at the same time, visible and invisible.
sculptures are also based on the same technique, in this case through
several layers and prints glass prints. There is a relationship from
two dimensional (printed surface) to three dimensional (glass surface).
The surface is the visible support, but also part of the image. It is
also a fragmented surface of transparency and semi transparency through
many layers, which act as a whole in the serialisation. Ardan´s
installations play with the space and the interstices of architecture.
The unique image is not important, the collective grouping makes them
visible as a whole image. In Ardan´s paper installation, the wall is
the canvas, post-its are not just notes, they reveal the face of the
Exhibition: April 4th – May 10th, 2008
[ curatorial text EN ]