ABOUT İSMET DOĞAN

Ismet Dogan is seen as an established contemporary artist. Ismet Dogan was born in 1957. Artists born in the same year and of the same generation are Jorge Botero LujanThomas WernerStefan Mås PerssonFranco Matticchio, and Vitor Ribeiro.

Further Biographical Context for Ismet Dogan;

Ismet Dogan was born in 1957 and was primarily inspired by the 1970s. The 1970s were a period of consolidation and development in the arts, most often defined as a response to the dominant strains of the preceding decade. Conceptual art developed as a key movement, and was in part an evolution of and response to minimalism. Land Art took the works of art into the spacious outdoors, taking creative production away from commodities and looking to engage with the earliest ideas of environmentalism. Process art combined elements of conceptualism with other formal reflections, creating mysterious and experimental bodies of work. Expressive figurative painting began to regain importance for the first time since the decline of Abstract Expressionism twenty years prior, especially in Germany where Gerhard Richter, Anselm Kiefer, Georg Baselitz became highly powerful figures worldwide. New York maintained an important position in the international art world, ensuring that international artists continued to flock to the galleries, bars and downtown scene in the city. The predominantly Italian Arte Povera Movement gained global recognition during the 1970s, with artists like Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto attaining worldwide recognition.

“PENETRATUM”
Neither inside nor ouside of my body

‘ Some of his works have direct connections to famous movies like ‘A Streetcar named Desire’ or ‘The Godfather’. On canvas, the artist is freezing time, reflecting the moment when the main character is acting in an important scene. Though, we see not Marlon Brando but İsmet Dogan’s face set on the body of the actor. In other paintings, friends of him and his father become actors in his set. The spectator is literally face to face with this deliberate confusion. The artist is distorting the illusion of the movies through his ‘artistic’ and ‘artificial’  identification. Even if we do not know the films, the esthetic and its dramatic expression is universal. Hollywood esthetic became part of our cultural identity and memory. İsmet Dogan is revealing the film as an illusion made by man to cause emotional reactions of the viewer through identification. Therefore, he is using the method of visual translocation in order to goe against empathy.’…

Marcus Graf