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'No Entry' by Can Küçük, Cem Örgen at imalat-hane, Bursa


No Entry, contradicting its semantic nature, welcomes you with open arms via
wiggly stainless pipes, crystal beads, snot, wigs and all sorts of accidental visual
stimuli. Having the impenetrable in mind, Can Küçük and Cem Örgen penetrate
hermetic areas of the mental abyss and the physical realm. With altered warning signs,
obstacles, and even totems, they provide concrete and sincere narratives for taboo
phenomena and situations. Following the natural flow of an intimate yet mundane
conversation between friends, No Entry, dives deep into the personal but due to its
wary disposition, chooses to re-emerge halfway, and floats instead. The conversation
spreads out to the exhibition space as fragments of intimacy appear in various forms
and conditions.
For each work by Can Küçük, there is a work by Cem Örgen complementing it,
and vice versa. Objects remain loyal to their assigned tasks while refusing prohibitions
of the status quo and lifting the boundaries of intimacy. Küçük and Örgen orchestrate
subtle acts of trespass and disregard for the audience to undermine their rigid title, No
Entry. By climbing up the artwork to see a two-channel video, by lighting a wish candle
or by accessing the gallery's storage space, the audience yield to this rupture. This
way, not only the artists gain accomplices throughout the exhibition, but also, they
discern and re-outline the eroded margins of impact of the warning sign “No Entry”.
— Ayşe Ertung

10.9.22 —10.12.22

Photo by Kayhan Kaygusuz


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