image text special shop

‘Keep Smiling is the Art of Living’ by Bora Akinciturk at Alyssa Davis, New York

article image; primary-color: #A8A19B;
Installation view
article image; primary-color: #B0AAAA;
Installation view
article image; primary-color: #9F9E9C;
Bora Akinciturk, Red Fever Nightmare, 2016
article image; primary-color: #B1ADAC;
Installation view
article image; primary-color: #B8B6B7;
Bora Akinciturk, A New Hope (name tag), 2017
article image; primary-color: #908981;
Bora Akinciturk, A New Hope (name tag), detail, 2017
article image; primary-color: #B4AFAC;
Bora Akinciturk, A New Hope, 2017
article image; primary-color: #7B6B6C;
Bora Akinciturk, A New Hope (shepherd ant), 2017
article image; primary-color: #7D6F4C;
Bora Akinciturk, A New Hope (choice), 2017
article image; primary-color: #535459;
Bora Akinciturk, A New Hope (come back), 2017
article image; primary-color: #526176;
Bora Akinciturk, A New Hope (come back), detail, 2017
article image; primary-color: #A29F2E;
Bora Akinciturk, A New Hope (choice), detail, 2017
article image; primary-color: #55504D;
Bora Akinciturk, A New Hope, detail, 2017
article image; primary-color: #473C36;
Bora Akinciturk, A New Hope, detail, 2017
article image; primary-color: #B1ABAB;
Bora Akinciturk, A New Hope, detail, 2017
article image; primary-color: #A7A6A1;
Bora Akinciturk, A New Hope, detail, 2017
article image; primary-color: #A9A9AB;
Bora Akinciturk, A New Hope, detail, 2017
article image; primary-color: #A2A7AB;
Bora Akinciturk, A New Hope, detail, 2017
article image; primary-color: #AFB4BA;
Bora Akinciturk, Joe W. Speier, R.I.P, 2017
article image; primary-color: #CBD0D3;
Bora Akinciturk, F.E.A, 2016
article image; primary-color: #A9A693;
Bora Akinciturk, Flowers, after Ben Quinn, 2016
article image; primary-color: #868283;
Bora Akinciturk, Amber #14, The Mask, 2017
article image; primary-color: #B0B1AC;
Bora Akinciturk, Amber #14, The Mask, 2017
article image; primary-color: #958470;
Bora Akinciturk, Amber #14, The Mask, detail, 2017
article image; primary-color: #B2B4B3;
Bora Akinciturk, Amber #15, The Mask, 2017
article image; primary-color: #636059;
Bora Akinciturk, Amber #15, The Mask, detail, 2017
article image; primary-color: #CACBCF;
Bora Akinciturk, None of Us Is As Good As All of Us, 2017
article image; primary-color: #B2B1AF;
Bora Akinciturk, None of Us Is As Good As All of Us, 2017
article image; primary-color: #A49E9E;
Bora Akinciturk, None of Us Is As Good As All of Us, 2017
article image; primary-color: #BDB4B7;
Bora Akinciturk, Coat of Arms, 2017
article image; primary-color: #A19B9F;
Bora Akinciturk, Woman Kill Tremp, 2017
article image; primary-color: #835756;
Bora Akinciturk, Woman Kill Tremp, detail, 2017
article image; primary-color: #B2A59C;
Installation view

Keep Smiling is the Art of Living
is a slogan of an Indian paintbrush company “Keep Smiling” to market paintbrushes in Turkey. With its meaning unclear and syntax seemingly inadequate, the Englishlanguage motto of an advertising campaign in a non-English speaking country becomes a linguistic manifestation of rapid digital internationalization and its side effects. Everything in the exhibit, including its title, is an image, text, or object that has been reexamined, recontextualized and/or repurposed to serve as a barometer for the current age of global culture. The result is that the paintings, carpets, and sculptures form a coherent universe, but simultaneously stand alone as individual works that exhibit fluid authorship.

A New Hope
, 2017, is a hybrid flag composed of multiple layers of textiles demarcating soil in a potted plant as the territory of a confluence of national ideologies. Resin assemblages Amber #14, The Mask and Amber #15, The Mask (both 2017) encase disused SIM cards, motherboards, cellphones and houseflies as future artifacts of the present.Woman kill Tremp, 2017 is an acrylic overpainting of a digital print that portrays the dismembered head of the current US president whacked with a baseball bat. The original propaganda comes from a North Korean pamphlet distributed in primary schools of South Korea. Stripped of its native designation, the image immediately redefines itself within a new political context, raising questions about the violent aspects of any totalistic ideology. As a whole, the installation responds to our present—an age of global digital cultures misinterpreting and consuming each other on the way to an uncertain future.

14.12.17 — 14.1.18

Alyssa Davis

'Duru Duru' by Stefano Serusi at Galleria Arrivada, Milan

'Ø' by Andrea Nacciarriti at DISPLAY, Parma

'Vore' by Jenkin van Zyl at Rose Easton, London

'Bigag & The Bando' by Theodor Nymark at aaaa Nordhavn, Copenhagen

'Mitla' by Andy Medina at Estrella Gallery, New York

'INSIDE OUT' by Poupak Sarah Shoughi at Herrretics, Derbyshire

'LIBERTY' by Débora Delmar at GALLLERIA PÌU, Bologna

'HEARTH' by Liam Denny at Greenhouse Off-Site, Melbourne

'CANDALÙ' by Rachele Maistrello at Almanac, Turin

'Thought-Forms' by Andy Ralph Presented by Final Hot Desert, Nephi, Utah

'The Laws Of Hospitality' by Travis John Ficarra at Lindberg Galleries, Melbourne

'Firmament' by Aaron Christopher Rees at NAP Contemporary, Mildura

'Take The Day Out In Baskets', Group Show at St. Chads, London

'Open Shut Them' by Michala Paludan at C.C.C., Copenhagen

'ELEPHANT’S LEG', Group Show at TONUS, Paris

'Liz's Childhood Computer: 2003-2005' by Liz Vitlin at Prairie, Chicago

'Agua Malva' by Elizabeth Burmann Littin at LOCAL, Santiago

'Decomposition Evaluation' by SoiL Thornton at Kunstverein Bielefeld

Next Page