Ahmet Elhan
Mappings
in der Villa Schlicker
Ahmet Elhan (1959, İzmir) lives and works in İstanbul.
The departure point for Ahmet Elhan’s works is the ontology of photographic image. Analysing the structural similarities between the photographic image and human perception, he decodes the ideological structures of time and space.
Drawing attention to the parallels between central perspective and power relations in society, he disrupts social codes through creating lapses on the surface of photographic image.
Selected solo exhibitions include: Ground Glass (Zilberman Gallery, Istanbul, 2016), Composed (Zilberman Gallery, Istanbul, 2013), Diptychs (C.A.M. Art Gallery, Istanbul, 2011), Time/Space IV (Platform Contemporary Art Center, Istanbul, 2002), Object/Space I (Yapı Kredi Art Gallery, Istanbul, 1999), Object/Subject I (Women’s Library Art Gallery, Istanbul, 1996).
His work has been included in many group exhibitions including: The Red Gaze, (Zilberman Gallery, Berlin, 2016), La Photographie Contemporaine Turque (Maison des Métallos, France, 2009), Istanbulart (Galerie Hübner&Hübner, Germany, 2008), Appearances As We See Them (Istanbul Modern Art Museum, Istanbul, 2004), Self (Mudam Camp de Base, Luxembourg, 2004), Contemporary Artists (Atatürk Cultural Center, Istanbul, 1997).
Ahmet Elhan (1959, İzmir) lives and works in İstanbul.
The departure point for Ahmet Elhan’s works is the ontology of photographic image. Analysing the structural similarities between the photographic image and human perception, he decodes the ideological structures of time and space.
Drawing attention to the parallels between central perspective and power relations in society, he disrupts social codes through creating lapses on the surface of photographic image.
Selected solo exhibitions include: Ground Glass (Zilberman Gallery, Istanbul, 2016), Composed (Zilberman Gallery, Istanbul, 2013), Diptychs (C.A.M. Art Gallery, Istanbul, 2011), Time/Space IV (Platform Contemporary Art Center, Istanbul, 2002), Object/Space I (Yapı Kredi Art Gallery, Istanbul, 1999), Object/Subject I (Women’s Library Art Gallery, Istanbul, 1996).
His work has been included in many group exhibitions including: The Red Gaze, (Zilberman Gallery, Berlin, 2016), La Photographie Contemporaine Turque (Maison des Métallos, France, 2009), Istanbulart (Galerie Hübner&Hübner, Germany, 2008), Appearances As We See Them (Istanbul Modern Art Museum, Istanbul, 2004), Self (Mudam Camp de Base, Luxembourg, 2004), Contemporary Artists (Atatürk Cultural Center, Istanbul, 1997).
Ahmet’s photographic work fragments his subjects as well as our viewpoints, he’s come to great notoriety lately for the large views involving hundreds of photographs to create a unitary image. In Mapping he adopts a similar methodology but with the subject of maps, the resulting image reminds us of the original map but with interrupted and overlapping images of Turkey’s cities. The aesthetic of the map reminds of the old school maps that we grew up with, while the fragmentary, overlapping zooms and parts of the city are also a reference to our current ways of using a map, not as unitary continuous object but often, through technology, a fragment that only refers to our most immediate interest.
Ahmet’s photographic work fragments his subjects as well as our viewpoints, he’s come to great notoriety lately for the large views involving hundreds of photographs to create a unitary image. In Mapping he adopts a similar methodology but with the subject of maps, the resulting image reminds us of the original map but with interrupted and overlapping images of Turkey’s cities. The aesthetic of the map reminds of the old school maps that we grew up with, while the fragmentary, overlapping zooms and parts of the city are also a reference to our current ways of using a map, not as unitary continuous object but often, through technology, a fragment that only refers to our most immediate interest.
