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View of “Ahmet Öğüt,” 2017. Background: While Others Attack, 2016. Foreground: Pleasure Places of All Kinds, Zurich, 2017. Photo: Ladislav Zajac.

Ahmet Öğüt

KOW

View of “Ahmet Öğüt,” 2017. Background: While Others Attack, 2016. Foreground: Pleasure Places of All Kinds, Zurich, 2017. Photo: Ladislav Zajac.

One enters KOW on its upper floor, emerging onto a landing that during “Hotel Résistance,” Ahmet Öğüt’s first solo exhibition at the gallery, offered an initial and striking glimpse of a bronze statue, just over three feet high, of a man looking down at something invisible pulling at his pant leg. Placed on a plinth that rose sixteen feet from the gallery space below, the sculpture was both close and out of reach, familiar yet vague, like some strived-for ideal—setting a tone that resonated throughout Öğüt’s perceptive and thought-provoking show.

Looking at the figure while descending the steep and narrowly winding staircase to the gallery’s main exhibition space only heightened the sense of precariousness imparted by this and two other bronze figures trying to escape something tugging at their clothes. These three works are modeled on archival photographs of people being

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