2019
Curated by Yekhan Pınarlıgil, the group exhibition 2019 aims to revive the memory of the 90s cult nightclub of the same name through the senses and the emotional connections we have with memories and spaces. Bringing together works by Ateş Alpar, Alpin Arda Bağcık, Aïda Bruyère, Guido Casaretto, Isaac Chong Wai, Bawer Doğanay, Memed Erden- er, Camille Henrot, Fatoş İrwen, Zeynep Kayan, Maria Klonaris & Katerina Thomadaki, Jaffa Lam Laam, İz Öztat, Furkan Öztekin, Erinç Seymen, son:DA and Lucia Tallová in a spatial design, the exhibition offers a space for reminiscence of the feelings of freedom, hope and openness that were felt in the 90s but that we cannot experience in the same way today. Using a wide range of mediums such as installation, painting, sculpture and video, the exhibition delves into many issues such as memory, space and queer.
Son installation Never Again est une fresque saisissante inspirée des peintures murales que l'on retrouve dans les bars de nombreuses villes d'Afrique de l'Ouest. Un énorme corps allongé dans une posture nonchalante recouvre tout le mur. Il a un air de dépit envers ceux qui dansent, peut-être sur une plage ou sur l'un des sièges de l'épave de 2019. Il a une posture impertinente et ombragée. L’œuvre d’Aïda Bruyère raconte l’histoire d’une nuit qui voyage de Paris à Istanbul en passant par Bamako. Aïda Bruyère est une féroce guerrière, ses armes sont le nail art, le bootyshake et le maquillage. Sur la scène de 2019, ils se transforment en une armée, une foule qui se déhanche, tire la langue, et est prête à entrer en transe, à attaquer avec ses ongles rouges avec du rouge à lèvres, à se fondre dans une nuit scintillante sans fin en vue. Le reste est un twerk vertigineux !
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— Yekhan Pinarligil
Her installation Never Again is a striking fresco inspired by the murals found in bars in many West African cities. An enormous body reclining in a nonchalant posture covers the entire wall. It has the air of spite against those who are dancing, perhaps on a beach or on one of the seats in the wreckage of 2019. It has a sassy and shady posture. Aïda Bruyère’s work tells the story of a night that travels from Paris to Istanbul to Bamako. Aïda Bruyère is a fierce warrior, her weapons are nail art, bootyshake, and make up. On the stage of 2019, they turn into an army, a mob which sways their hips, sticks out their tongues, and is ready to go into a trance, to attack with their nails red with lipstick, to blend into a glittering night with no end in sight. The rest is a dizzying twerk!
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— Yekhan Pinarligil
Zilberman Gallery (Istanbul)
Septembre 2023
Commissariat : Yekhan Pınarlıgil