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On the House

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ayşe erkmen, On the House (2012). Reprodukcija skirta informacinėms tikslams; teisės priklauso teisėsобладаiciui.

Pagrindinė informacija

Autorius
ayşe erkmen wahooart.com/lt/artists/ayse-erkmen/
Autoriaus datys
1949 – ?
Spalvotas
2012
Judėjimas
Contemporary Minimalism

Kontekste

On the House — ayşe erkmen

Kada tai buvo nupiesta?

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

Šviesoplėvis: ayşe erkmen gyvenimas (1949–?) ▲ šis kūrinys, 2012

Spalvų paletė

Matuota iš vaizdo

    Pagrindinė spalva

    Gray #7a6a5c

    Išsaugota paletė

    • #7A6A5C
    • #E9EAE9
    • #B4B2AE
    • #D6D6D4
    Paletė
    Neutrals Dominiruojanti spalvų grupė paveikslėlyje.
    Pagrindinė spalva
    Gray
    Intensyvumas
    Monochromatic Kiek spalvų yra prisigamintų ir kokios jos yra ryškios – nuo vienos nuolydžios spalvos iki daugybės ryškių tonų.
    Kontrastas
    Serene Kiek spalvų skiriasi šviesos ir ryškumo dėkingai per visą paveikslą.
    Harmonija
    Balanced Harmony Kaip spalvos dera tarpusavyje – nuo kontrastuojančių iki visiškai suvienytų.
    Ryškumas
    Brilliant Bendras vaizdo šviesumas ar tamsumas, nuo gilių šešėlių iki ryškių šviesos dėliojų.
    Sodrumas
    Muted Spalvų gryrumas ir intensyvumas svyruoja nuo beveik pilkšų iki visiškai ryškių.

    Apie šį kūrinį

    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

    Virus ir muziejus

    Autorius

    ayşe erkmen

    Gimė 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.

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    Raskite internete

    QR kodas, vedantis į On the House atsisiuntimo puslapį

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

    Citavimo šio kūrinio duomenys

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

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    On the House — ayşe erkmen

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    1. Kas pirmiausia patraukia jūsų dėmesį ir kodėl?
    2. Kokie spalvos ar formos sukuria nuotaiką — ir kokia tai nuotaika?
    3. Mūsų kataloge šis kūrinys priskirtas prie: architecture, reflection, space. Ar sutinkate? Ką pridėtumėte arba pašalintumėte?
    4. ayşe erkmen buvo apie 63 metų, kai šis kūrinys buvo sukurtas. Koks jo elementas primena būtent tokio amžiaus kūrinį?
    5. Temos, pasikartojančios ayşe erkmen kūryboje: architectural echoes, space play, temporal distortion. Kurią iš jų pastebite čia?

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