PİLEVNELİ presents a new group exhibition on the gallery’s terrace floor between December 9 and January 17. Bringing together works by :mentalKLINIK, Nevin Aladağ, Daniel Knorr, Tony Matelli, Frank Nitsche, Serkan Sarıer, Erwin Wurm, and Pınar Yolaçan, the exhibition unfolds around themes of playfulness, aesthetic intricacy, complexity, and irony.
Uniting the contradictions of contemporary life with the sharp sensibilities of contemporary art, the exhibition makes the absurdity of postmodern existence visible, at times through subtle humor, at other times through sudden and unexpected shifts. Disrupting the ordinary, overturning the static, and keeping the viewer constantly alert, this selection constructs a coherent universe built on surprising encounters, humorous ruptures, and ironic gestures.
:mentalKLINIK’s speculative and experimental practice channels the exhibition’s playful and high-tempo spirit with a striking visual energy. Infused with dark humor and paradoxes, their works invite viewers into an experience oscillating between exhilaration and unease.
Rasim Aksan’s works stand out with a layered surface language that highlights the textural qualities of figures and objects. Combining acrylic, calligraphy ink, and marbling pigments with the airbrush technique, the artist accentuates the physicality of his materials, creating a sense of fluid movement and depth within his paintings.
Nevin Aladağ’s Stiletto series presents a rhythmic choreography driven by sound and movement. The clicks of stiletto heels on metal plates reveal the cultural and social codes embedded in everyday objects, adding a performative dynamism to the exhibition.
Daniel Knorr’s conceptual interventions transform spatial perception through the unexpected impact of unconventional materials. Polyurethane castings and objects placed on the wall spread the absurdity of postmodern life throughout the space like a tangible vibration.
Tony Matelli’s hyperrealist plants and his upside-down, flower-filled vase introduce a subtle sense of eeriness to the exhibition’s humorous tone. Details such as bronze weeds sprouting from wall corners lead viewers into both visual and conceptual disorientation.
Frank Nitsche’s abstract and encoded compositions deepen the exhibition’s aesthetic intricacy through a multilayered visual language. Constantly repositioning shapes, erasing, and repainting surfaces, Nitsche brings forward an ongoing search for tension and balance.
Serkan Sarıer’s grotesque figures examine the fragility and commodification of the body, keeping the viewer’s perception on edge. These works open a strong emotional and conceptual space that questions the individual’s position within social structures.
Erwin Wurm’s sculptures bring together everyday objects in unconventional ways—stretching, enlarging, or distorting them to generate new clusters of meaning. By assembling seemingly unrelated elements into an absurd yet coherent whole, Wurm adds a distinctive layer to the exhibition’s ironic tone.
Works from Pınar Yolaçan’s Mother Goddess series strengthen the conceptual framework of the exhibition through visual inquiries into body, identity, and history. Drawing on archetypes from pre-Neolithic fertility figures to the Venus of Willendorf, these works reframe ancient forms through a contemporary lens, adding depth to the exhibition’s paradoxical structure.
This exhibition is organized with the support of Samsung.
