Art Talks: Elif Biradlı & Nazlı Yayla
Bilsart is pleased to host Elif Biradlı’s solo exhibition entitled ‘Package III’ between June 27 and July 7. The exhibition takes its name from the third work of Elif Biradlı’s series entitled ‘Package’.
In her series entitled “Package”, which is composed of three videos, Biradlı takes the skin as her subject as it contains different organs within and covers and forms boundaries. A person who can continue his/her life without the sense of sight, hearing, taste and smell cannot keep himself/herself intact without the skin and cannot be distinguished from others by losing his/her identity. Thus the skin expresses the representation of the person by separating the surface of the body from the area in which it is located, as it provides the exchange between the body and the outside. According to the definition of French psychoanalyst Didier Anzieu; “It is a shaping that the child uses during his early stages of development departing from the experience of the body surface to represent himself to himself”.
In the first video of the series, the artist handles the concept of birth through the body of an old woman eating grapes, and in the second video the artist describes the skin with the garbage bags filled with life. In Package III, which is shown at Bilsart, a body stripped of his skin enters the butcher and buys meat in contrast to its synthetic make-up. In the video that is structured on the birth-life-death line, the artist points out to birth, which is the first step towards death, by combining the pain of the skinned flesh with the cheerful sounds of a tickled baby.
About ELİF BİRADLI:
Elif Biradlı born in 1992. Resides in İstanbul. She graduated from Yıldız Technical University, Department of Photography and Video. The works of Elif Biradlı possess Surrealism laden with black humour.She projects the tension between her themes of fear and passion onto the production process through primitive drawings, costumes and masks.She halts the disarray and irregular flow of the unconscious with a playful method, as if pulling the arm of a slot machine, and sets it in order. What emerges is a series of calm but tense, humorous yet disconcerting, vivid yet disjointed landscapes. With these landscapes, the artist sets up scenes about the human being’s shock at existence, reproduction, and birth experience and seeks to domesticate the chaos.