The exhibition co-curated by Lara Fresko and Esra Sarıgedik Öktem brings together the works of 15 artists including Etel Adnan, Hüseyin Bahri Alptekin, Francis Alÿs, Otto Berchem, Attilla Csörgő, Ergin Çavuşoğlu, Cengiz Çekil, Nilbar Güreş, Berat Işık, Çağdaş Kahriman, Yasemin Özcan, Funda Özgünaydın, İz Öztat & Zişan, Kiki Smith, and Ali Taptık.
The exhibition takes its inception and title from a scene in Noah Baumbach’s 2012 film Frances Ha, in which Frances, talking to strangers in semi drunken fervor, points out a fleeting moment when the transformative potential of love as well as the miracle of unmediated communication is rendered visible and possible. Focusing on the potentials of interpersonal relations and social movements to envision alternative worlds, the exhibition brings together works from different histories and geographies.
Etel Adnan’s paintings are often abstracts which evoke landscapes. Along with Ergin Çavuşoğlu’s Place Series introduces the framework of the exhibition in two distinctly opposite gestures: abstract painting and worded canvases.
Hüseyin Bahri Alptekin’s narrative piece, Francis Alÿs’ installation, and İz Öztat & Zişan’s works take a cartographic approach to story telling, constructing alternative routes, living spaces and worlds. Funda Özgünaydın’s human-animal collages, Kiki Smith’s animal drawings, and Nilbar Güreş’s spider woman-mother imagine a different habitat’s fictional life forms. Berat Işık’s video duo, produced as two separate pieces, pin points his interest in the livelihood and potentials of a breath, the life source closest to one’s voice.
The exhibition explores the momentary encounters Frances imagines, not only in fantastic narratives, but also in daily walks, a square that one watches from one’s window, someone else’s life stories, weekly soap operas, and daily newspapers. Ali Taptık’s photographs depicting the urban flora and Çağdaş Kariman’s lament for an urban tree refreshes our perception of our quotidian living spaces.
Yasemin Özcan looks into the reflections of the zeitgeist in popular media, its repetitions and the potentials of change in repetition in her reconstruction of a work from 1997. Cengiz Çekil’s newspaper collages dated 1977 opens up alternative readings through images as well as questioning the very credibility of the image itself. Otto Berchem brings together the color abstractions from his photo collages on a may pole that precedes social movements.
Bringing together works that twist, open up or change our perception, the exhibition aims to create a space where the secret world that exists right there in public appears as a possibility. The exhibition hails the social movements that will surely leave a mark on the 10’s of this century by taking a fresh look at history, geography, architecture, and nature.