SANATORIUM will host the exhibition entitled “Hopeless Emptiness” between January 9 – March 10, 2018. The exhibition’s conceptual framework has been developed by Mehmet Dere who also participates in the exhibition as an artist along with Yunus Emre Erdoğan, İsmail Şimşek and Nezaket Ekici.
The exhibition took its inspiration from Dücane Cündioğlu’s article entitled “Hopeless Emptiness”. In his article entitled “Hopeless Emptiness”, based on the film “Revolutionary Road” directed by Sam Mendes, Cündioğlu opens up for discussion the ‘hopeless emptiness’ that a couple is stuck in, which is tried to be described as a spritiual dilemma, by means of the madman character.
The exhibition title “Hopeless Emptiness” draws its strength from hope rather than emphasizing a pessimistic mood. This hope is the ability to be confronted with hopelessness emphasized in the sense of the artist’s credo. One can say that artists, in a sense, manifest this understanding. The artist is the one who expresses the inability to transform ‘emptiness’, the anxiety, the collapse or, on the contrary, the ineffability of this. The reality quotient of the artist is, in this sense, within the ‘emptiness’ that s/he has created. The representation problem of the artist or the representation of her/his non-representation generates itself by displacing itself according to the displaced values inversely proportional to the values of the world we are living in. The artist’s search adventure for failure and silence is, in a sense, her/his destiny. ‘Emptiness’, in this sense, emerges as the visible production of the invisible.
The exhibition is an invitation in the sense of enlarging, between imagination and reason, the autonomy of art and the artist’s ‘state of being in between’ outside the spaces ascribed to her/himself and of taking this responsibility. The exhibition should be read as a modest introduction to reconsider the balance between art and life and the emptiness created by artists in order to challenge the art world and the system that preserves its institutional structure in the name of the ‘autonomy of art’ once again.