TEXTS
ARTBOOK DAYS
EDITIONS
EVENTS / FAIRS
BOOK FUND
PAPER
ABOUT
SUPPORTERS
TEXTS
ARTBOOK DAYS
EDITIONS
EVENTS / FAIRS
BOOK FUND
PAPER
ABOUT
SUPPORTERS
Body Pressure (After Bruce Nauman)
Body Pressure
(After Bruce Nauman) 2018
Nazlı Gürlek
scroll down for text in Turkish
Press as much of the front surface of
your body (palms in or out, left or right cheek)
against Earth’s surface as possible.
Press very hard and concentrate on the
image pressing very hard.
(the image of pressing very hard)
Press your front surface and back surface
toward each other and begin to ignore or
block the thickness of Earth’s surface. (remove
the Earth’s surface)
Think how various parts of your body
press against Earth’s surface; which parts
touch and which do not.
Consider the parts of your back which
press against Earth’s surface; press hard and
feel how the front and back of your
body press together.
Concentrate on the tension in the muscles,
pain where bones meet, fleshy deformations
that occur under pressure; consider
body hair, perspiration, odors (smells).
This may become a very erotic exercise.
Body Pressure (After Bruce Nauman), Nazlı Gürlek, 2018, photo by Ian Hodder, courtesy of the artist.
This is an adaptation of the work by Bruce Nauman, titled Body Pressure, 1974, © 2002 Bruce Nauman / Artists Rights Society (ARS), New Yor.
Nazlı Gürlek, Beden Basıncı (Bruce Nauman’ın Ardından), 2018
Bedeninin ön yüzeyinin mümkün olduğunca fazla kısmını
Yeryüzü’ne doğru bastır (avuç içlerin yere dönük veya açık olabilir,
sağ veya sol yanağını yere koyabilirsin).
Çok sıkıca bastır ve dikkatini buna yoğunlaştır.
(çok sıkıca bastırdığın imgesi)
Bedeninin ön ve arka yüzlerini
birbirlerine doğru bastır ve Yeryüzü’nün kalınlığını
yok saymaya veya engellemeye başla. (Yeryüzü’nü
aradan kaldır)
Bedeninin çeşitli kısımlarının Yeryüzü’ne nasıl
baskıda bulunduğu üzerine düşün; hangi kısımlar
değiyor ve hangileri değmiyor.
Bedeninin arka tarafının Yeryüzü’ne değen kısımlarına
dikkatini ver; sıkıca bastır ve
bedeninin ön ve arka taraflarının
uyguladığı basıncı hisset.
Kaslardaki gerilime, kemiklerin temas ettiği
yerlerdeki acıya, baskıdan dolayı
etlerde oluşan deformasyona dikkatini ver; beden kılları,
ter, kokular üzerine düşün.
Bu çok erotik bir egzersize dönüşebilir.
Beden Basıncı (Bruce Nauman’ın Ardından), Nazlı Gürlek, 2018, sanatçının izniyle.
Bruce Nauman’ın Body Pressure, 1974, © 2002 Bruce Nauman / Artists Rights Society (ARS), New York, adlı işinin bir adaptasyonudur.
All
Berkay Tuncay - At the Intersection of Text, Sound and Internet
Fluidity Unwrapped
The Dreamy Atmosphere Of The Time Regulation Institute
Gülsün Karamustfa - Hollow and Broken: A State of the World
making a game out of the conflict between desire and order
A Warm Welcome
My world has no judgment against those categories that the human world has created
Also your wound, Rosa
12th Berlin Biennale: The World of Wounds
Documenta fifteen: Collective solidarity seeping through authoritarian pressures
5th INTERNATIONAL MARDIN BIENNIAL | THE PROMISE OF GRASS
Sugar and heat: red, blue, green, purple, orange
Is it possible to talk about the art of the future?
Freeze Frame: the cinematic sculpture of Aslı Işıksal
Memory is a word that is imbued with subjecthood
Latif Project
"riddles, deaths and detours"
Görünmeyenlere Sığınmak
a cliff above the sea
Citizen-level wisdom will prevail over the old-think of runaway capitalism
The loss of time and my waking life
‘here and there’
that’s a tiny small step, but a step
Symbols and Narratives
In addition to the still lives
Şimdiyi ve sonrasını bambaşka kabullerle kurabilelim
It is not a boat, it is just a mountain
Mourning the future
Anatolian Studies
evdeyim ama sakin olamayacağım champ...
Mwana wevhu - Child of the land
İnsan tuhaf, ne hoyrat, ne şaheser ve nasıl ilkel hayret
The Visit
You Will Be Fine.
Hatırlar mısın?
Splitting Anthropocene – Istanbul Biennale « The Seventh Continent » review
The Sensitive Season
I like to think through my body because the body thinks
Rebirth, being and motion: Bill Viola and Michelangelo
To grow in isolation: Sibel Horada’s gardens at Depo
Korhan Basaran’s Rebirth: A Tear in the Matrix of Life
On space, time, planets and plants
My Dear Friends, Bryony Dunne & Roger Anis
Opposites Revolt: The Neorealism of Kings
What did the high masters tell Hilma af Klint?
Body Pressure (After Bruce Nauman)
What can we learn from Fahrenissa Zeid’s creativity process
Particles and galactic shores: A conversation with Andrew Yang
A History of Pictures: David Hockney and Martin Gayford in Conversation
Julian Rosefeldt’s ‘deep’ creative process
Heavy matters, light weights, a handful of rights
Food as medium: An Immersive experience through collaboration
The Disquietedness Of Change
On Special Occasions And The Time of the Objects
The singularS in Post-Peace Turkey
On architecture, error and white lies
We Who Do Not Know Who We Are
POWER OF THE ARTS, Charles I : King and Collector at the Royal Academy
David Hockney exhibition at Centre Georges Pompidou
Just more broken than normal
A Gentle Breeze Passed Over Us*
Renaissance figure of China and social media exposure: Story of an exhibition
Berkay Tuncay - At the Intersection of Text, Sound and Internet
Fluidity Unwrapped
The Dreamy Atmosphere Of The Time Regulation Institute
Gülsün Karamustfa - Hollow and Broken: A State of the World
making a game out of the conflict between desire and order
A Warm Welcome
My world has no judgment against those categories that the human world has created
Also your wound, Rosa
12th Berlin Biennale: The World of Wounds
Documenta fifteen: Collective solidarity seeping through authoritarian pressures
5th INTERNATIONAL MARDIN BIENNIAL | THE PROMISE OF GRASS
Sugar and heat: red, blue, green, purple, orange
Is it possible to talk about the art of the future?
Freeze Frame: the cinematic sculpture of Aslı Işıksal
Memory is a word that is imbued with subjecthood
Latif Project
"riddles, deaths and detours"
Görünmeyenlere Sığınmak
a cliff above the sea
Citizen-level wisdom will prevail over the old-think of runaway capitalism
The loss of time and my waking life
‘here and there’
that’s a tiny small step, but a step
Symbols and Narratives
In addition to the still lives
Şimdiyi ve sonrasını bambaşka kabullerle kurabilelim
It is not a boat, it is just a mountain
Mourning the future
Anatolian Studies
evdeyim ama sakin olamayacağım champ...
Mwana wevhu - Child of the land
İnsan tuhaf, ne hoyrat, ne şaheser ve nasıl ilkel hayret
The Visit
You Will Be Fine.
Hatırlar mısın?
Splitting Anthropocene – Istanbul Biennale « The Seventh Continent » review
The Sensitive Season
I like to think through my body because the body thinks
Rebirth, being and motion: Bill Viola and Michelangelo
To grow in isolation: Sibel Horada’s gardens at Depo
Korhan Basaran’s Rebirth: A Tear in the Matrix of Life
On space, time, planets and plants
My Dear Friends, Bryony Dunne & Roger Anis
Opposites Revolt: The Neorealism of Kings
What did the high masters tell Hilma af Klint?
Body Pressure (After Bruce Nauman)
What can we learn from Fahrenissa Zeid’s creativity process
Particles and galactic shores: A conversation with Andrew Yang
A History of Pictures: David Hockney and Martin Gayford in Conversation
Julian Rosefeldt’s ‘deep’ creative process
Heavy matters, light weights, a handful of rights
Food as medium: An Immersive experience through collaboration
The Disquietedness Of Change
On Special Occasions And The Time of the Objects
The singularS in Post-Peace Turkey
On architecture, error and white lies
We Who Do Not Know Who We Are
POWER OF THE ARTS, Charles I : King and Collector at the Royal Academy
David Hockney exhibition at Centre Georges Pompidou
Just more broken than normal
A Gentle Breeze Passed Over Us*
Renaissance figure of China and social media exposure: Story of an exhibition