{"id":1684,"date":"2026-08-09T09:53:17","date_gmt":"2026-08-09T09:53:17","guid":{"rendered":"https:\/\/www.melisgolar.com\/?p=1684"},"modified":"2026-08-09T14:37:59","modified_gmt":"2026-08-09T14:37:59","slug":"ucgen","status":"publish","type":"post","link":"https:\/\/www.melisgolar.com\/en\/ucgen\/","title":{"rendered":"Triangle"},"content":{"rendered":"

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The curatorial and conceptual framework of the Traingle project was developed by Derya Y\u00fccel. Y\u00fccel, who also serves as the project\u2019s coordinator, aims through this structure to establish a sustainable dialogue and a production-based model of collaboration between artists, curators, and collectors.<\/p>\n

Each \u201ctriangle\u201d consists of an independent artist, a curator, and a collector. Working together around the artist\u2019s practice, each trio engages in a process of thinking, selecting, developing, and presenting. The 2025 edition brings together artists Rozelin Akg\u00fcn, <\/b>\u015eafak \u015eule Kemanc\u0131,<\/b> and Sinem Di\u015fli; collectors Banu \u00c7arm\u0131kl\u0131,<\/b> K\u0131na Demirel, <\/b>and Leyla Pekin; and curators Dicle Be\u015fta\u015f, <\/b>Melis Golar, and Nergis Ab\u0131yeva.<\/b> While the exhibition allocates distinct spatial sections to each artist\u2019s practice, these areas are further enriched by the curators\u2019 conceptual frameworks and the collectors\u2019 vision statements. In this way, visitors can navigate between diverse artistic approaches while experiencing each artist\u2019s universe as a coherent and self-contained whole.<\/p>\n

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\u015eafak \u015eule Kemanc\u0131, installation view of the exhibition, Rast Gallery, 2025<\/figcaption><\/figure>\n

\u015eafak \u015eule Kemanc\u0131 envisions an erotic queer ecosystem where the boundaries between being plant, mineral, human, or animal dissolve into fluidity. It is a journey into the lap of desire and exuberance, suspended between the artificial and the natural, the real and the imaginary.<\/p>\n

In the Middle Eastern context, women are often given flower names, attributed with fertility, grace, and beauty. Yet naming women after flowers is in fact a form of domestication. In their works for the \u00dc\u00e7gen project, Kemanc\u0131 dismantles these multiple meanings attributed to flowers by playing with feminine archetypes. Kemanc\u0131 fearlessly represents the taboo of sexuality and the body, celebrating it with a joy that unites all species. The language is genderless, rebellious, yet never devoid of tenderness. This is also made visible through choice of materials and techniques. In the practice, sculptural materials traditionally coded as masculine are softened and become fluid, while sidelined traditional methods and materials\u2014often coded as feminine\u2014are exalted and placed at the center of the artistic practice.<\/p>\n

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\u015eafak \u015eule Kemanc\u0131, Vulva Series, 2021, reverse glass, 50×70 cm<\/figcaption><\/figure>\n

At the farthest corner of the gallery, confidently occupying its spot, grows a houseplant, a kind of succulent. At first glance, it seems unassuming: it does not take root deeply in the soil, confined within its pot, its roots trapped, swaying quietly in place. Its colors and textures are as sweet, soft, and velvety as a peach. Yet this is a trap Kemanc\u0131 sets to draw the viewer closer. With its long red nails, restless and bursting with energy, this cracked creature takes on a hybrid form, part human, part plant. What we see\u2014is it the succulent\u2019s sprouting arms or a cluster of fingers emerging from the pot? This ambiguity is left to the viewer\u2019s imagination. It reminds us that the human body may not exist solely within its own world, but can be rethought in another mode of movement. Defying all expectations of domesticity, it erupts through concrete, spilling out, asserting its presence. This exaggerated performance, in all its \u201cexcesses,\u201d winks at non-normative intimacies, unspoken pleasures, and permeable desires that resist patriarchal order. The nails act as extensions of instinct; they grasp, beckon, and affect. Their eeriness does not diminish their seductive queerness nor their potent feminism.<\/p>\n

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<\/figcaption><\/figure>\n

In the series revisiting the traditional technique of glass painting, Kemanc\u0131 once again conceals the details of human and plant bodies behind calm, innocent, and repetitive floral motifs. Inspired by the range of vulva tones from different individuals, a garden of proliferating, interwoven flowers is created that gently yet nobly affirms their own presence.\u00a0<\/span><\/p>\n

A rose, while beautiful and delicate, also protects itself with its thorns\u2014embodying both pain and desire in a single form. When attributed to human beings, this name, along with all the cultural, historical, and literary meanings carried by other floral representations, is reimagined. Kemanc\u0131 invites us to update these meanings, opening up the possibility of perceiving them as images of resistance, transformation, and polyphony.<\/p>\n

T. Melis Golar
\nSeptember, 2025<\/p>\n

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Artists: Rozelin Akg\u00fcn, Sinem Di\u015fli, \u015eafak \u015eule Kemanc\u0131<\/p>\n

Courtsey of Derya Y\u00fccel, the artists and Rast Gallery , Triange, Istanbul, 2025<\/p>\n

Photo Credits: Nazl\u0131 Erdemirel<\/p>\n

For more information: https:\/\/www.instagram.com\/rast.gallery\/<\/a><\/p>\n

Press reflections: https:\/\/www.unlimitedrag.com\/post\/sanatci-kurator-ve-koleksiyoner-arasinda-yeni-bir-ekosistem<\/a><\/p>\n

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[vc_row gap=”0px” content_placement=”top” css_animation=”none” css=”.vc_custom_1786282517470{margin-top: -50px !important;}”][vc_column][vc_column_text] The curatorial and conceptual framework of the Traingle project was developed by Derya Y\u00fccel. Y\u00fccel, who also serves as the project\u2019s coordinator, aims…<\/p>\n","protected":false},"author":1,"featured_media":1675,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[],"class_list":["post-1684","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sergiler"],"_links":{"self":[{"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/posts\/1684","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/comments?post=1684"}],"version-history":[{"count":17,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/posts\/1684\/revisions"}],"predecessor-version":[{"id":1765,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/posts\/1684\/revisions\/1765"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/media\/1675"}],"wp:attachment":[{"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/media?parent=1684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/categories?post=1684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.melisgolar.com\/en\/wp-json\/wp\/v2\/tags?post=1684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}