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On the House

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ayşe erkmen, On the House (2012). Reproduceret til referenceformål; alle rettigheder er forbeholdt rettighedshaveren.

Fakta om værket

Kunstner
ayşe erkmen wahooart.com/da/artists/ayse-erkmen/
Kunstnerens levetid
1949 – ?
Malet
2012
Bevægelse
Contemporary Minimalism

I kontekst

On the House — ayşe erkmen

Hvornår er dette malet?

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990
  7. 2000
  8. 2010

Skyggelagt: ayşe erkmen' livstid (1949–?) ▲ dette værk, 2012

Farver

Målt ud fra billedet

    Hovedfarve

    Gray #7a6a5c

    Gemt palet

    • #7A6A5C
    • #E9EAE9
    • #B4B2AE
    • #D6D6D4
    Farvepalette
    Neutrals Den dominerende farvefamilie i billedet.
    Primær farve
    Gray
    Intensitet
    Monochromatic Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Serene Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Balanced Harmony Hvor godt farverne spiller sammen, fra modstridende til fuldstændig harmoniske.
    Lysstyrke
    Brilliant Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Muted Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Om dette kunstværk

    On the House — ayşe erkmen

    The majority of Ayşe Erkmen’s projects are closely tied to the space, situation, and time they occupy. The place and environmental context in which she works always becomes part of the work; they begin to belong one another, as though something borrowed from that place (a measure, a form, a motif, a story, a possibility...) has been restored to the place from which it was taken. In her projects, Ayşe Erkmen incorporates unexpected directions and intervals, architectural and environmental scales, and distances and proximities, into the experience of the artwork. “On the House” (Am Haus) is one of Erkmen’s works that is closely tied to the places where it is exhibited and as a consequence cannot be identically repeated anywhere else. Initially conceived for the façade of a building in Kreuzberg, Berlin in 1994, where it remains today, the work was also displayed on the façade of Arter’s atrium for the “What Time Is It?” (2019) exhibition. “Am Haus”, which Erkmen made with suffixes that are completely useless when left on their own and need to be combined with a verb in order to gain functionality and to express meaning, harbours countless expressions regarding the past, the present, and the future, all without telling a clear story. Rather than asking here what might have happened, what might be happening, what might happen (ne ol-muş, ne oluyor-muş, ne olacak-mış), the work triggers us to think instead about the context it occupies. In the book of the same title that accompanied the artist’s solo exhibition “Whitish” (2019), curated by Emre Baykal at Arter, Erkmen talks about the work: “ “Am Haus” is one of my more functional works (...) For the German residents of the neighbourhood, they present a new aesthetic by means of their different alphabetical characters, with their dots and tails. At the same time, they also present the Germans with a tense, a mode of time that they haven

    Kunstner og museum

    Kunstner

    ayşe erkmen

    Født i Istanbul, Turkey

    A Life Sculpted by Space: The World of Ayşe Erkmen

    Ayşe Erkmen, born in Istanbul in 1949, is more than a sculptor; she’s an alchemist of environments, a subtle disruptor who transforms the mundane into the mesmerizing. Her work doesn't shout for attention but rather invites contemplation, subtly altering our perception of the spaces we inhabit and the histories they hold. To call her simply a “Turkish artist” feels limiting, though her origins are undeniably foundational to her practice. Istanbul, with its layered past, complex social fabric, and intimate relationship with water, is not merely a birthplace but an enduring source of inspiration—a palimpsest upon which Erkmen continually re-imagines possibilities. She graduated from the Academy of Fine Arts in Istanbul’s sculpture department in 1977, studying under Sadi Çalık, a period that instilled within her a rigorous understanding of form and material, yet also sparked an early desire to move beyond traditional sculptural boundaries.

    Beyond Form: Transforming Architectural Contexts

    Erkmen’s artistic journey is characterized by a deliberate rejection of invention in favor of transformation. She doesn't seek to create new forms ex nihilo, but instead meticulously examines existing architectural and social conditions, revealing hidden potentials within them. This approach isn’t about imposing her will upon a space, but rather engaging in a dialogue with it—listening to its history, understanding its function, and subtly shifting its narrative. Her work often manifests as interventions: walls that seem to wander, rooms gently corrected geometrically, or the unexpected appearance of water where none was expected before. This is not about grand gestures; it’s about delicate adjustments that force us to reconsider our assumptions about the built environment. She describes her process as a “long process of working through,” reducing and redirecting elements until a new tension emerges—a balance between form and function, context and perception.

    A Global Dialogue: Teaching and Recognition

    Erkmen’s influence extends beyond her own artistic production. From 1998 to 1999, she held the prestigious Arnold Bode Professorship at Kassel Art Academy, followed by a long tenure as a lecturer at Kunstakademie Münster from 2000 to 2015. These positions allowed her to nurture a new generation of artists, encouraging them to question conventional boundaries and embrace site-specificity in their own work. Her commitment to artistic education is interwoven with her broader practice—a belief that art should be a catalyst for critical thinking and social awareness. This dedication has been recognized through numerous accolades, including the Maria Sibylla Merian Prize of the Ministry for Science and Art of Hesse in 2002, and membership in the Akademie der Künste, Berlin since 2012.

    Plan B and Beyond: Major Achievements

    Perhaps Erkmen’s most internationally recognized work is Plan B, which represented Turkey at the 54th International Art Exhibition of the Venice Biennale in 2011. This ambitious project transformed a room within the Arsenale into a complex water purification unit, complete with functioning machinery that filtered canal water and returned it clean to its source. Plan B wasn’t merely an aesthetic installation; it was a functional sculpture—a commentary on Venice's precarious relationship with water, its history of flooding, and the urgent need for sustainable solutions. The audience became integral to the work, witnessing the filtration process firsthand and contemplating the delicate balance between nature and human intervention. Other significant works include On Water (2017) at Skulptur Projekte Münster, where she created an underwater bridge using repurposed cargo containers, inviting visitors to literally walk on water—a powerful metaphor for navigating societal challenges and hidden infrastructures. Her recent installation Left Overs II (2025), commissioned by Autostrada Biennale, continues her exploration of site-specificity, repurposing materials from local workshops and engaging with the history of a former military hangar.

    A Lasting Legacy: The Power of Subtle Intervention

    Ayşe Erkmen’s historical significance lies in her ability to redefine sculpture—to move it beyond the confines of the object and into the realm of experience. She challenges us to see the world anew, to question our assumptions about space, and to recognize the hidden potential within the everyday. Her work is not about providing answers but rather prompting questions—about history, culture, politics, and our relationship with the environment. She doesn’t invent new forms; she reveals existing ones, transforming architectural and social conditions into spaces of contemplation and critical engagement. As a leading voice in contemporary art, Erkmen continues to inspire artists and audiences alike, demonstrating the power of subtle intervention to create profound and lasting change.

    Her kan du læse mere

    Findes online

    QR-kode med link til downloadside for On the House

    wahooart.com/da/art/download/ayse-erkmen-on-the-house-D7DQV2-en/

    Kildehenvisning til dette kunstværk

    MLA
    erkmen, ayşe. On the House. 2012, https://wahooart.com/da/art/ayse-erkmen-on-the-house-D7DQV2-en/
    APA
    erkmen, ayşe (2012). On the House [Painting]. https://wahooart.com/da/art/ayse-erkmen-on-the-house-D7DQV2-en/
    Chicago
    ayşe erkmen. On the House. 2012. https://wahooart.com/da/art/ayse-erkmen-on-the-house-D7DQV2-en/
    Harvard
    erkmen, ayşe (2012) On the House. Available at: https://wahooart.com/da/art/ayse-erkmen-on-the-house-D7DQV2-en/

    Kig nærmere efter

    On the House — ayşe erkmen

    Kig nærmere

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Vores katalog klassificerer dette værk under: architecture, reflection, space. Er du enig? Hvad ville du tilføje eller fjerne?
    4. ayşe erkmen var omkring 63 år gammel, da dette blev skabt. Hvad i værket ligner arbejdet fra en kunstner på det stadie?
    5. Temaer, der går igen i ayşe erkmen' værker: architectural echoes, space play, temporal distortion. Hvilke af dem ser du her?

    Dit svar

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