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Last updated on: 23.11.2014.
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"untitled"
sandpaper
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"untitled"
sandpaper
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"untitled"
sandpaper
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"the sleepers"
swarf
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"readers"
sandpaper, sand
...
"untitled"- "sheperd"
sandpaper
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"behind the door"
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"glove"
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"untitled"
sandpaper
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"fault line"
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"untitled"-sleepers"
y. bahadır yıldız "psişik savunma stratejileri"
[10.12.2011 - 14.01.2012]

Artists are, within the system, subjects, but in the contemporary art market are they dealt with as predicates?
Never before has there been such freedom (materials, language, thought, techniques, etc.), but despite this can we speak of a “contemporary”, complicated obligation for the artist to institutionalize?
A situation involving the need of developing new strategies to be at the center of contemporary art, and of constantly updating oneself?
Has art lost its power to change and ameliorate, lost its sacred function?
Do artists and art institutions concern themselves only with the realities of their own markets?
As I asked, and was unable to ask, this sort of question concerning the present situation, as a mechanism for defending art against the trend I did installations, pictures in sand, and spiral sculptures. In these works sand is connected with evanescence, while sandpaper stresses an inauspicious, corrosive ground.
At the same time, I have produced these works cut off from the outside, on a tense line where I am caught in the middle, and shuttling back and forth to my other world.
I describe these works as “psychic defense strategies,” and they can be seen within a spatial covering which is also made up of sandpaper.