November Paynter

  • Mustafa Hulusi, Expander, 2007, screenprint on paper, each 118 1/8“ x 78 3/4”.
    picks October 01, 2007

    “This Then That”

    The first exhibition at this new gallery presents a number of special commissions and sets the tone for director Sylvia Kouvali’s curatorial program. Rodeo’s space, a former tobacco warehouse, is homely yet sparse, its renovated interior a gracious support for the work it hosts. The ground floor features a permanent intervention by Ahmet Ögüt of poured asphalt, which transforms the space into a generous play area for children, whose energy enlivens the gallery’s entrance. This enduring statement is followed by a series of temporary site-specific installations that transform the upper three

  • Duncan Marquiss, still from A Nothing with a Vengeance, 2007, color video with sound.
    picks June 01, 2007

    Che ci faccio qui?” (What Am I Doing Here?)

    “What am I doing here?” asks the exhibition’s title, but there is a clear reason why artists Artur Zmijewski, Duncan Marquiss, and Sancho Silva are exhibiting in Montevergini: This is the final part of a new residency program that focuses on using historical sites as stages for contemporary works of art. Commissions by Zmijewski and Silva create a relationship between Siracusa's streets and the more elusive and separate sphere of the gallery space. To produce his films Salvatore, Aldo, and Giuseppe (all works 2007), Zmijewski followed three maintenance workers for a twenty-four-hour period. It

  • Black on Black and Others, 2006.
    picks November 14, 2006

    Güçlü Öztekin

    The paper-based wall works and looped video projections in Güçlü Öztekin’s debut solo show play innocent tricks on both the eye and the imagination. Employing found film footage, Öztekin’s videos concentrate on single short snippets, repeating the moment in a monotonous cycle reminiscent of an obscure screen saver. In the corner of one room, a lion roars in routine boredom; opposite, a triangular shape cut out from a woman’s face bounces around the wall, trapped within the frame of the projection. Clearly taken from a pornographic movie, the reduced image continues to echo the film’s sentiment,

  • Still from Just Visiting This Planet, 2005.
    picks August 01, 2006

    Tova Mozard

    Located atop the Marmara Pera Hotel, “Yama” (Patch) is a standard Lumacom advertising screen that has been repurposed as a platform for public art. Sylvia Kouvali is the first curator to organize a yearlong series of videos made by international and local artists, each of which faces the particular challenges of this very public site: The work is only visible at night, with no sound, and must be made in accordance with the specifications of the display. Working with the spectacular nature of the presentation and the hectic rhythms of the city below, her program, “. . . as long as it’s dark . .

  • sun, cigarettes and software solutions, 2006.
    picks June 23, 2006

    Bob Partington

    Until Canadian artist Bob Partington set up a studio in Istanbul a year ago, his practice consisted of computer-generated technical drawings and the occasional handmade mechanical sculpture that mimicked the systematic nature of these two-dimensional images. Istanbul’s organic, energetic urbanism inspired him to abandon his laptop and produce more hands-on work, so he began to paint.

    The six works on display depict Formula One race cars made with acrylic and other industrial materials such as fiberglass. This combination of media allows Partington to articulate areas with glaring, highly pigmented