suat ögüt

Re-Locate

2011-09-18T08:28:00.000-07:00

We are working for better/ Daha iyisi için çalışıyoruz

2011-03-16T09:00:00.000-07:00

Photo series,2011

LONG LIVE BANS

The rules that regulate the structure of traffic; roads, vehicles and pedestrians, these rules are the most common social arrangements in our daily life. Traffic is a perpetually dynamic situation; the vehicles, moving back and forth in different directions, indicate the constant flux of human activity. At this point, the term traffic may seem as a space to form ‘metaphors’. It is both chaos and an order; this order may be a sign of the oppression by the state, and affiliated institutions, on the individual and his visual surroundings. So, since much imagery and many situations are entangled in the reality of traffic, what space can be created for artistic expression in this context, on the thin border between reality and fiction?

The acts in traffic are functional; the traffic police are the ones to judge on the ‘universal’ rights and wrongs. If a police car is towed away we are facing a self-critical system. In a situation that surpasses the functionality of the acts in traffic, something worse than a traffic ticket, an accident. You don’t have to worry, in that situation there is also someone to take care; capitalism. Insurance companies will be interested in the damage of the vehicle more then caring about the victim. But still, there will be the doctors in the private hospitals to take care of the victim, why? because you are going to but yourself in expenses, being cripple. City halls are always working for the better and therefore they can change the direction of a highway even if it’s only one house blocking its way.

So, is there a chance of an artistic expression in all of this? When looking at Suat Öğüt’s photo series We are working for, we see that the events are turned into a motto by inverting the situations -or more precisely by ‘re-configuring’ them. When the police car is towed away, it comes to mind that the red and blue sirens on the police cars are the elements that code how people need to behave in a certain traffic situation. Who is not affected when the system is always ‘working for the better’, from the red and blue decorated police cars, parking officers or tow trucks? Now we have to ask ourselves; should we get troubled by these images? If the city halls are always ‘working for the better’, then there is no need to tow away anything: Long Live Bans!

Fırat ARAPOĞLU

YAŞASIN YASAKLAR

Trafik kuralları, yayalar ve araçlardan oluşan yapıyı düzenleyen yönergeler ve bu kurallar günlük yaşantıda en çok maruz kalınan toplumsal düzenlemelerin başında geliyor. Trafik, daima dinamik bir durum ve araçların çeşitli yönlerdeki sürekli gidiş – gelişi, insanoğlunun daimi akışını göstermekte.

İşte bu noktada trafik, üzerinden bir çok “metafor” yaratılabilecek bir alan olarak görülebilir. O aynı zamanda bir kaos aynı zamanda bir düzendir; ve bu düzen, devletin ve ona bağlı kurumların birey üzerindeki baskısını ve bireyin kodlanmasını görünür kılmaktadır. Peki böylece trafiğin gerçekliği içinde bir sürü imge ve durum iç içe geçerken, bu bağlamda gerçeklik ve kurgu arasındaki çizginin inceliği sanatsal bir ifadeye nasıl bir alan yaratabilir?

Trafiği gideceğiniz istikamete göre işlevsel kullanmak zorundasınız ve sizin bu kullanımınızdaki “evrensel” doğru ve yanlışları denetleyecek olanlar da trafik polisleri. Eğer polisin de arabası çekiliyorsa, o zaman kendisini sorgulamaya başlayan bir sistemle karşı karşıyayız demektir. Hem işlevsel olarak kullanmanın yetmediği bir durumda, başınıza bir trafik cezasından daha kötü bir şey de gelebilir: Kaza. Ama üzülmeyin, böyle bir durumda, kapitalizm yine yanınızda olacaktır. Sigorta şirketleri durumu merak etmekten çok, aracın ne kadar zarar gördüğü ile ilgilenecekler ama yine de sigortacılar ve özel hastane doktorları sizin durumunuzu merak ediyor gibi göründüklerinde de biraz düşünün, zira sizin başlarına ne kadar masraf açtığınız ile ilgileniyor olabilirler.

Belediyeler her daim daha iyisi için çalışmaktadırlar ve bunun için otoyolun ortasında bir ev de olsa, gerekirse o otoyolun istikametini değiştirilebilirler. Peki, tüm bunlarda bir estetik yaratı olasılığı yok mu? Suat Öğüt’ün “Daha iyisi için çalışıyoruz” serisine bakıldığında, bunu görebilmek olası ve sanatçı imgeleri tersyüz ederek, ya da daha doğrusu bir nevi “konfigüre” ederek, sloganlaşan olayları imgelerle gösteriyor. Polis arabası çekilirken, akıllara polis arabalarındaki kırmızı – mavi ışıkların insanları trafikte nasıl davranmaları gerektiğini kodlayan unsurlar olduğu akıllara geliyor.

Sistem hep “daha iyisi için çalışıyorken”, kim etkilenmiyor, polis arabalarının kırmızı – mavi dekore edilmiş arabalarından, park görevlilerinden ve ya çekici’lerinden? Durum böyleyse, imgelere şaşırmalı mıyız? Eğer belediye hep “daha iyisi için çalışıyorsa”, o halde çekinmeye gerek yok: Yaşasın Yasaklar!

Fırat ARAPOĞLU

I have become German

2010-09-22T13:07:00.001-07:00

Sound Installation

5'36''

2010

Revolution I Love You/ Devrim Seni Seviyorum

2010-09-06T09:46:00.001-07:00

Music Album 16'40''

2010

Bu çalışmada, 1970 ve 1980'li yıllarda Türkiye'de farklı ideolojik ve sınıfsal katmanlardan gelen politik grupların, kendilerini ifade etmek için kullandıkları sloganlar yanyana getirilerek şarkı sözleri oluşturulmuştur. Bu sözler, Geleneksel Türk Sanat Müziği formlarında icra edilmiştir.

Bu Türk Sanat Musikisi CD'si bir sanat yapıtı olarak 1 Eylül- 10 Ekim 2010 tarihleri arasında İstanbul Tütün Deposu'nda gerçekleşen ''Fikirler Suça Dönüşünce'' sergisi için 500 adet üretilmiştir.

In this work, slogans from 1970s and 1980s, which were used by political groups of different ideological and class backgrounds are brought together to create lyrics. These lyrics were performed in the form of Turkish Classical Music.

This Turkish Classical Music CD is produced as an art project for the exhibition ''When Ideas Become Crime'' taking place at Istanbul Tobacco Factory between 1 September - 10 October 2010. 500 copies are produced.

Headline

2010-06-06T07:50:00.000-07:00

T-shirt Design 2008

video sketch 50x70 cm 2010

video frames 2010

The Whole World Realized

2010-04-18T08:30:00.000-07:00

Video 4'28''

2010

With the suprising approaches of advertising language, consumer products gain a delicious dimension. In metropoles, shopping malls provide closed spaces for daily life. These strategies defined by consumer culture are communicated to the consumers through posters.

In Turkey, genetically engineered products have been legally accepted and advertising is complicit in normalizing these products. The seductive visuals of advertising posters are central to the acceptance of these products.

My aim was to look for a way to deconstruct the instrumental language of advertising. Posters, which have a popular presence in public space are taken out of their aesthetic framework and merged with marginal street art through a performance. By placing posters related to food products on the road, their aesthetic existence becomes secondary and the cars pollute, destroy them just like they do the environment. This allows for a strategy that undoes the content of the posters through the intervention of another vehicle.

Consumption practices sketches

2010-03-21T05:58:00.001-07:00

Video Sketches

2009

Exhibition : ''Unplugged''

Manzara Perspectives, 2010

Widening narrow space II

2010-03-11T01:33:00.000-08:00

video installation

9'08''

2010

In order to exchange tho ughts and opini ons and to communicate with others we use a system which on a lingu istical level consists of fixed structures that reach infinite possibilities of combination when performed in the act of spe aking.
In the interventi ons of 11 artists, architects and designers repetitive acts which overlay each other, compose a constantly changing narrative by interacting and influ encing one another. A communication consisting of signs, codes and gestures evolves, resembling a new langu age which spontane o usly became. The performance is examining the utopia of a lingu istical unity, which implies that by overcoming langu age barri ers and designing a new langu age a universal understanding of each other can emerge.

http://www.manzara-perspectives.com/?m=201001

Center of Appeal

2010-03-08T08:50:00.000-08:00

Photo series and Installation,

20cm x 10cm,

2010

An emerging name in the contemporary art scene, Suat Ogut focuses on the body exercises in his most recent work. ‘Center of gravitiy’, the work he has produced for ‘tourist(in)formation’, is a photo installation with indirect references to his older work. Public transportation is where you can observe the actions of the urban population in the routines of dailiy life, the handles that people use to stay in balance have a documentary presence and remind us of the urban regeneration projects in Ogut’s work.

The handles that are placed on a yellow pipes, which are used by the standing passangers, are referenced as material in Ogut’s latest work based on body exercises. The artist noticed a common image in the photographs he took in Izmir: the natural gas pipes in front of the buildings. The definition of ‘Area Subject to Disaster” in the artist’s work, which references both the vertical natural gas pipes and the horizontal bus pipes, reminds us of urban regeneration projects and makes visible the social environment, which is being consturted around class and identity conflicts.

?BAse

2010-03-08T08:23:00.000-08:00

Tepebaşı,2010

speeding up domestic life

2009-10-23T04:35:00.000-07:00

2008

Manzara Pespectives Pera Pera Hotel Flat

Too many people move daily from a to b, they get stuck or blocked, but somehow things are still moving which raises the question, whether people got closer to the aim they originally persuit or not.

Domestic life seems to continue day by day due to its repetition.Thus it appears to be the outside´opposite. Suat Ögüt alienates with his works the domestic environment as well as disturbs it with little inventions in order to unmask the assumed silence.

On first sight everything seems to be normal: a very personal arranged appartment, an atmosphere as if the resident would step in any moment. The TV runs and the housework equipment is ready installed to be used. Only on second sight it is striking that the news are that too accelerated to understand and that the daily headlines get lost in the irrelevance of highspeeded pictures.

In the performance series „The rest of the world“ Suat simulates with simple means how to be independent from the development of modern household technology. Another hint to the supposed resident, seems to be the framed pictures of a young man in a soldier´s uniform. The man, who is decorated several times for serving his country is Suat Ögüt himself. And on second sight it becomes apparent that he wears the uniforms of various nations.

Suat occupates and implements the domestic environment with his own ideas. And exactly from that aspect he creates an own images that of the „Outside world“ that is pointed out in the news and the soldiers´photographs.

Kristina Kramer & Anna Heidenhein

İstanbul Audio Tour ''Safety Guide''

2009-10-17T03:40:00.000-07:00

''Safety Guide''

Sound 26 ' 41 ''

2009

Safety Guide, 2009, Suat Öğüt
At Istiklal Street, renowned as 'one of the most important streets of civilization', the notions of art, trade, freedom and entertainment have been increasing and expanding to cover more and more ground everyday, sustaining a habitat consisting of various different resident profiles.
Sound work "Safety Guide" tells the stories of the owners of small businesses that play supporting roles on this vast stage. Following a pre-determined route with the directions of a guide, events that were witnessed by the shopkeepers on that same route are being told.
On the audio tour, the shopkeepers from electricians to tailors, on street pilaf rice vendors to textile merchants at Istiklal Street's most busy sidetrack Balo Street evaluate Istanbul through a paranoid tongue.

This work is cooperation with C.U.M.A Organization.

http://www.c-u-m-a.org/tr/projects/

“Consumption Practices”

2009-10-17T03:22:00.000-07:00

Video 8'27''

2009

The video “Consumption Practices” reflects on the condition of the individual in a society that is mainly focused on consumerism where the single one is reduced to one role and becomes a the character of an advertisement campaign. Especially in places like the big shopping malls and anonymizing supermarkets that are emerging more and more, this becomes visible. As Jean Baudrillard stated, ‘The hypermarket is already, beyond the factory and traditional institutions of capital, the model of all future forms of controlled socialization: retotalization in a homogeneous space - time of all the dispersed functions of the body, and of social life (work, leisure, food, hygiene, transportation, media, culture); retranscription of the contradictory fluxes in terms of integrated circuits; space .

In the standardized space of the Profilo Shopping Center in Istanbul, which follows global norms with shops, restaurants and entertainment areas featuring the same as everywhere in the world, Nine different persons to interrupt their shopping with a kind of gymnastic exercise. In doing so the consumers resemble images and strategies from advertisement campaigns, more than that they create their own advertisements (turning into a “collective entreprise” to be able to impose its own image of society) in these spaces. By complementing advertisement’s melting position with the critical, thought provoking visuals of the exercises the video work aims to communicate this problem to the public.

'' The Rest of the World ''

2009-10-17T00:44:00.001-07:00

Photo series

2008-2009

In the performance series The rest of the world Suat Ögüt simulates with simple means how to be independent from the developments of modern technology. The series was realised between November 2008 and 2009 and consists of four episodes in which Ögüt reduces common technological items like a washing machine, an iron, a computer and a vacuum cleaner to their basic functions to turn the relation man-machine upside down.

Kristina Kramer

''disco disco petrolium''

2009-04-12T13:03:00.000-07:00

video 5'18''

2009

Anecdotes, the primary elements of the art of humor, are the oldest samples of literary texts. In the case of Turkey, anecdotes are mostly associated with certain persons, regions and communities and acquire a special effect as reminders of their funny features.

These primary elements, being expressed in spaces of entertainment and establishing links between the languages of the region (Kurdish-Turkish), feature “oil” as their main theme, which is the most valuable raw material in the world, thereby pointing to the transitions between the global character of entertainment and the local identity.

unnecessary action

2009-03-17T05:43:00.000-07:00

video 5'36''

2008

Uncanny encounter

2009-03-17T05:24:00.000-07:00

2009

As a representativ e f or the body ' s turning into a social f igure; making the f igures telescope and people' s belief s and personalities

transf orming into a chaotic f rom in the social process hav e an important f actor f or being handled ironically in this work.

First of all , by combining the silhouettes of the f igures in a way , their phy sical activ ities are made anonymous. The phy sical language in

the action what the body gets about the soul is more important than belief or disbelief . What is aimed at by making the phy sical

mov ements , which are meaningf ul on their own, telescope is try ing to decode the language and show how much symbolic is the action.

Widening narrow space

2009-03-16T21:00:00.000-07:00

video 2'42''

2008

BLUE,RED,WHITE

2009-03-16T18:33:00.000-07:00

video 2'45''

2007