Pg Art Gallery is proud to present ‘In Between’, an exhibition by Reysi Kamhi, between April 13th and May 12th.
Just like plants striking root to the ground, people take root to the things and the land of the country they reside in. This, perhaps, is how identity holds on to memory... But what happens to people when their land changes? A new window opens before them. Yet the objects that are or could not be left behind keep remembering. Just like covering everything that has been left behind with vegetation, nature strikes its roots deep into the objects in this exhibition.
As Sabahattin Ali says in “Bir Orman Hikayesi” (Tale of a Forest), nature is the legacy we can leave behind for our children. Just like certain objects that pass on from generation to generation. Some of the objects from the exhibiton are subjective, some are anonymous while the owners of some others are known.
This exhibition is an attempt to hold on to and be covered with the past attachments of roots that carry the feeling of seperation, that change and grow within the years like everything else. The figures featured in the exhibition move around in the emptiness, disjointed from history and the habitants who own them. This is to greet a new life with a compulsory instinct.
Home and Away
The series is especially prepared for the 5th Canakkale Biennial in 2016 for the concept of "Homeland" but the biennial was cancelled due to political issues in Turkey.
Through the charcoal drawings of empty, worn houses located on Jewish neighbourhood in Çanakkale, Reysi Kamhi focuses on the phenomenon of migration through a community and on a memory of spaces.
Why does people abandon the city or the country? And how abandoned, vacant houses turn into "ghost masses" ?
When Objects Dream
2016 - on going project //
With the series of oil paintings of the objects, i create a scene of still life and wonder if it is possible to see a world through the eyes of another object, elements of nature?
The series, with the representation of objects, highlight the transmission and constitution of identity.
A Garden of Thoughts
''Everything that is of my kind, in nature and history, speaks to me, praises me, spurs me on, comforts me - everything else I don't hear or forget right away. We are always only in our own company. ''**
Reysi Kamhi's exhibition ''A Garden of Thoughts'' associates the garden with the library space by structuring the process of the production of a space through her drawings of elements from nature.
One always get into a special dialogue with nature and gardens, based on process and time. In this realm, one can keep away from chaos and speed and go beyond the limits of time and space by simply subsisting.
In ''A Garden of Thoughts'', Kamhi invited us to look through the eyes of another being, with her ongoing nature mort drawing serie. While most of elements such as subject and object have been delineated seperately from each other, what could be the similarities and mutualities of our essence? At what point is it forced to be deviated?
Taking these questions as a reference, the artist invites the audience to spend time within this imaginary garden where the forgotten is remembered and the remembered is forgotten as well as to participate to the ongoing collective reading sessions .
**Quoted from Friedrich Nietzsche's book ''The Gay Science''
"Thinking about the nature and its perfect system, knowing that human beings are an inseparable part of it."
Thinking about the nature and its overwhelmingly perfect system and knowing that human beings are an inseparable part of it drives her to observe it more closely. As a result, Dear Universe, departing from her experiences in Subatan Highlands last summer, narrates this experience in the midst of the nature and reveals the maps her own personal universe.
In this show, we see collages, large works, created with a technique that is a combination of fluid Ebru (Marbling) and oil, and paintings on tree trunks that successfully present the concepts like nothingness, flux and relinquishment, in a dreamlike environment through shadowy characters.
Group exhibition at Oktem Aykut Gallery.
2013 - still on going //
An Attempt at Exhausting a Place
"The command to remember has been given. But to remember is my job and I'm the one who remembers." Henry Miller
Houses are building stones of modern cities. People express their own culture, their life styles through their houses and although they are ours, they host strangers, or in other words, guests, people are who are not ours. Just like what I plan to do for the exhibition. I'm re-confiruging the inner spaces of houses in Galata, Şişhane, Balat by using the images I find on real estate websites. We are encountered with rugs, couches and wardrobes that are familiar to us from our grandmothers' houses. These images represent "memory spaces" for me. Because these spaces represent remnants before anything else.
Through my memory cards project called "Paper Memory" that I produced for the "Uncanny Games" exhibition at the Tahtakale Hamam in October 2011, I'm again focusing on the transformation potential of a space (a hamam). In this interactive game, the participant is invited to recognize objects related to the space drawn on paper. I sought in the abandoned objects of the now the transforming shape of the hamam by using this game that realizes the game of remembering and forgetting when we are children. Because memory is rooted in the image and the object.
When I try to read my work "Emotional Museum" through the concept of memory, I see that it points to the transforming city and more specifically, the areas where the transformation is relatively easier. I started collecting information on areas such as Asmalımescit, Tünel, Şişhane and created inventories like a "flaneur." This book is constituent of this information, interviews and thus expresses a museum. Everything was recorded but through my emotional hues. In this work, I'm suggesting the book form as a space (maybe a museum) and I'm also bringing together the personal and the quotidian to the notion of historicizing that is referred to by the idea of museum. I'm focusing on the question of whether it is possibel for a museum to be "emotional" and subjective and also objective through its sharability and the commonness of its constituents?
I Skip Descriptions
“I Skip Descriptions” portrays locations that continue to occupy a place in modern life in some way. In her art pieces fort he exhibition, Kamhi is again focusing on seeing and presenting shops, their owners and numerous objects (watches, hats, old machines,etc.) as though they were part of a novel.
The spaces that somehow continue to exist and that we think make a neighborhood a neighborhood, or make Istanbul Istanbul, in front of changing power of history, as described by Pierre Nora, come to life with the need to be protected from the idea that memory does not exist. Giving importance to pointing out memory of the shops and people living in them from various occupations that have been successful in continuing to exist for long periods of time, the artist is in fact documenting the visual records of a specific era through the depictions of occupations and spaces that are repeatedly ignored.
The exhibition, also featuring interviews made by Rita Ender for Agos Newspaper.
The first series that I worked was an album as a part of the Facebook Project. In a small notebook, I made paintings using Facebook photographs. The impetus was diaristic.
In this work, I focus on people's self-representation in the delienated space of the Internet. The images in this window display where people almost market themselves, Facebook, a place for exhibition, are transformed when carried to a notebook or a gallery space, changing our perception of the images. I re-produced these images that I chose randomly in oil paint.