2 Extra Place (@ E 1st Street off Bowery)
New York, NY 10003
Gallery Hours: Wednesday – Sunday, 12 – 6pm
For additional information please contact Ronald Sosinski, Director
Bedri Baykam’s show at The Proposition features 7 double-sided empty frames installed hanging from the ceiling. Baykam says that these frames are not empty but rather "framed live time and space". The artist asserts that "framing live time and space" creates a phenomenal situation---the outer limit, where realism, 3D and conceptual art meet. He believes that this exhibition will forever alter the 100-year long obsessive relationship of generations of artists with the object originated by Duchamp's Ready-Made...
The catalog accompanying the exhibition includes essays by NY critic Robert C. Morgan and Turkish critic Hasan Bülent Kahraman along with Baykam’s own commentary:
Baykam, one of the most internationally renowned Turkish artists, has shown several times in the USA, New York and California. He is known for his versatile and multi-faceted works with a rich spectrum ranging from heavily textured canvases to painted photos, three dimensional objects and political installations, live performances as well as a very developed portfolio of large size "4-D" lenticular works. But this time in New York, he chooses to show only empty frames....at least at first look!
• Every image is single and changes every other second in a continuous flow.
• Space and time are framed and packed together although they change constantly.
• Every image is live.
• This is the outer limit where realism, 3D and conceptual art intersect.
• This is not the ‘ready-made’ revisited by its 5th generation of would be geniuses piling
anything on top of another in any museum or gallery.
• Here, the master of the situation is the active space as followed by the viewer. The key role
given to the object, the ‘ready-made’ has shifted away.
• It brings together the fictitious rectangle plane of the art work with conceptual art. It’s total art.
It’s hard to be more realistic, more conceptual, more challenging, more arrogant and simpler.
• Just as the ready-made has taught us to read the objects and look at them differently, these
pieces will enable us to look at ‘life space’ differently and all the frontiers between life and art
will blow up. (Oh, Dear Bob!)
• Duchamp's "Bulky Heritage" (Le Figaro-15th of February, 2013) which I had defined back in
1991 as the "Post-Duchamp Crisis" in my conference (and later my 1994 Book - see p.46) had
become an almost hypnotizing obsession for so many generations of artists. The way out was
in the air and the human eye.
• This concept/object can be taken out anywhere, might reach its climax even more in
the gallery or the museum space: There, the most daily and simple environment will mix with
the ‘holy space’ where art is shown and worshiped. Art can now transcend its own
"traditional boundaries" and reign over ‘life space’.