Bora Akıncıtürk, who has been living in London since 2007, was in Istanbul last summer with his "I am very happy because" exhibition that opened at the Pilevneli Gallery. Returning to London after the exhibition, Akıncıtürk's voice sounds tired but hopeful on the phone. "Actually, I'm basically talking about a couple of things," he says. “The whole story is about the disappearance of the world in a sweet way.”
The video produced by Akıncıtürk with Berk Çakmakçı for this exhibition is watched in a tent he designed in science fiction / apocalyptic aesthetics. Akıncıtürk frequently covers themes such as the end of the world, life after death, the relationship between capitalism and art in his paintings, videos and installations. When I asked him to tell about this tent where many things create a cluttered space, from cigarettes to pet bottles, from clothes to an iPod, which is no longer easily encountered in daily life, he says that he bought his model from Faraday tents that do not contain magnetic fields. “I have an obsession with quarantining something and examining it from the outside. This is about apocalypse, extinction and saving something out of it.”
Akıncıtürk, who said that the most impressive work he has recently seen is the Jordan Wolfson’s VR work “Real Violence”, which made a lot of noise at Whitney Biennial, that he couldn’t get it out of his mind for weeks. (Wolfson’s very controversial, two-minute twenty-five-second project was forbidden to people under the age of 17 because of the high violence it contains, and has been described by some art critics as “horrible” and “disgusting”) Akıncıtürk describes “Real Violence” as follows: “There is a very realistic and disturbing fight, you turn your head, you hear everyday’s New York sounds, and nobody around is concerned with the fight. It impressed me not only because of the violence it has but also because it brought an observation about the society.”
Akıncıtürk, who has been very productive and active especially for the last year, will continue with this intense exhibition program by communicating with nonprofit venues managed by artists. He says that the exhibition he opened at Alyssa Davis Gallery in New York in 2017, and the one in Brussels BOZAR in 2018 has developed this way and organized very quickly. “The more exhibitions you have, the more it works to keep your name in today’s contemporary art production systems. But what does it work, i’m not so sure. Actually it’s a very capitalist system, not something emotional. I no longer want to make easy-to-produce exhibitions to have frequent exhibitions. I realized that I miss painting very much and I want to focus more on painting”. Akıncıtürk’s next exhibition will take place in mid-November at 427 Gallery in Riga, Latvia, which was established by artists again.
“TODAY’S CONTEMPORARY ART PRODUCTION SYSTEM IS VERY CAPITALIST, NOT EMOTIONAL.”