BACK CONTAMINATION
Humanity is likely to face extinction not through deliberate malice, but as a consequence of neglect, error, or systemic blindness.
Yonca Karakaş’s exhibition Back Contamination, on view at G-art Gallery from 12 May to 27 June 2026, exposes the speculative and unfounded nature of all scenarios that attempt to imagine an “after” of humanity.
Known for her hybrid compositions and the sterile, tension-laden arrangements she constructs, Karakaş, in this exhibition, draws on the threat-oriented selectivity that the human mind has evolutionarily developed, focusing on recurring narratives of catastrophe embedded within media and collective memory. She underscores how this constitutes a regime of perception that constrains thought and narrows the field of possibility.
Wars, environmental crises, and extinction scenarios are shaped not only by historical experience but are continually recirculated through cultural production and media, influencing the ways in which the future is conceived. This repetition renders certain forms of catastrophe more visible, while relegating others to the background. At this juncture, Karakaş’s practice navigates the limits of foreseeable scenarios, turning toward forms of risk that remain underrepresented, unshared, and uninscribed within collective memory. She translates this multilayered condition of contamination into a spatial construct through photography, video, and installations. The threshold space she establishes, along with the positioned figure of a mouse, intimates the possibility of transition; yet the direction and destination of this passage remain indeterminate. On a plane where boundaries dissolve, the very notion of transition loses its function, suspending its own meaning.
“Back Contamination” articulates how humanity’s projections of the future are contaminated by recurring narratives of catastrophe carried from the past and embedded in collective memory; rather than proposing a definitive “after” or a potential exit, it opens these assumptions to reconsideration.
CONSTELLATIONS
(or we don’t know what we are going to do…)
G-Art Gallery hosts the group exhibition CONSTELLATIONS (or we don’t know what we are going to do…), curated by Vahap Avşar, from 5 March to 24 April 2026. Opening a space to interrogate the possibilities of art, the exhibition places under scrutiny the only discipline capable of articulating resistance to prevailing socio-economic and political Powers, capitalism and its consumerist apparatus of propaganda, while simultaneously generating alternative fields of meaning in opposition to these structures.
Departing from the function of contemporary art as a practice that renders hidden truths visible and reflects the manifold dimensions of lived experience, the exhibition repositions art not merely as an aesthetic object but as a vehicle for critical thought and the production of meaning.
Bringing together works by Ateş Alpar, Beyza Durhan, Cengiz Tekin, Didem Erbaş, Ergin Çavuşoğlu, Erkan Özgen, İpek Duben, Merve Ünsal, Onur Fendoğlu, Pelda Aytaş and Vahap Avşar, the exhibition addresses, through art’s conceptual and material modes of production, the contradictory relationship between the global network structures generated by our era’s boundless possibilities of connectivity and the simultaneously intensifying mechanisms of isolation, surveillance and control. Through inventive experiments in aesthetic and material world-making, the artists focus on the shaping of meaning.
CONSTELLATIONS (or we don’t know whatwe are going to do…) proposes to consider the fragmented structure of the contemporary world through the metaphor of a “constellation,” bringing together practices formed within multilayered networks of ideas, materials, images and relations. The exhibition invites viewers to move within the charged space between the materiality of art and its conceptual processes, and to reread the invisible connections that structure global reality.
WORDS | PHOTOGRAPHS
Hilmi Yavuz – Kamil Fırat
G-Art Gallery brings together, in a remarkable exhibition, a book compiling the texts that philosopher-poet Hilmi Yavuz has written over the past three decades on the photographic works of Kamil Fırat, alongside an exhibition of the photographs that inspired those writings. Taking place between 5 December 2025 and 31 January 2026, this encounter offers a concise yet intense retrospective of Kamil Fırat’s oeuvre, while rendering visible the enduring intellectual partnership between two distinguished figures of thought.
Hilmi Yavuz has always approached the photographic practice of Kamil Fırat—once his student in the 1980s, later a close friend, though never entirely relinquishing the teacher-student bond—with particular interest and attentiveness. This engagement began in 1996 with a text written on Fırat’s Cappadocia series and has since evolved into a sustained reflection through which Yavuz’s understanding of the concept of the “image” may be traced across Fırat’s photographs.
The exhibition and accompanying publication encompass ten distinct periods of Kamil Fırat’s artistic production. The texts devoted to Cappadocia, Subject = Hilmi Yavuz, Whirling Moth, Shore, Dome, Dream Cities, On the Horizon, Stone Faces, Horses & Cities, and Letters reveal both Hilmi Yavuz’s reflections on the image and key trajectories within Kamil Fırat’s photographic journey.
Throughout a photographic career spanning nearly fifty years, Kamil Fırat has consistently concentrated on a single subject at a time, developing bodies of work over extended periods. Each project is conceived as a foundational element within a larger artistic voyage. In Cappadocia, he investigates the existence of the universe through form, structure, and light. In Subject = Hilmi Yavuz, he enters the realm of phenomenology, carrying the narrative of an object into the boundaries of the image itself. In Dome, he constructs a photographic discourse between Islamic aesthetics and the history of the Ottoman Empire. In Stone Faces, he invokes the concept of irony as a means of reflecting upon today’s political landscape. In On the Horizon, he interprets the problematics of time by reducing them to form. Whirling Moth is devoted to labour, one of humanity’s highest values. In Horses & Cities, he transforms the long history of the geography we inhabit into a narrative structured around the ancient image of the horse. Letters offers a forward-looking reading of contemporary environmental concerns.
That all of these works converge around the axis of language is not coincidental; it is, rather, a necessity. While photography appears to be the visible point of intersection between Kamil Fırat and Hilmi Yavuz, the true subject at stake is language itself.
Through both the exhibition and the book, Words & Photographs reconnects Hilmi Yavuz’s writings with Kamil Fırat’s artistic production, inviting viewers into a profound journey through the narrative forests of photography.
The exhibition Words: Hilmi Yavuz | Photographs: Kamil Fırat may be visited at G-Art Gallery until 31 January, daily from 11:00 to 19:00, except Sundays and Mondays. The accompanying publication, Words: Hilmi Yavuz | Photographs: Kamil Fırat, is available at the gallery throughout the duration of the exhibition.
G-Art Gallery is proud to present Kargaşa / Pêle-Mêle / Disorder, a solo exhibition by Yasemin Şenel, opening on October 15, 2025. Based in Belgium, Yasemin Şenel returns to Istanbul after a decade. Her exhibition Disorder will open as part of the XII edition of Artweeks Istanbul, and will be on view at The Ritz-Carlton Residences Istanbul, Block B between October 15–26. The exhibition will then continue at G-Art Gallery, Çukurcuma, from October 28 to November 22, 2025.
Since the mid-1970s, from Istanbul to Liège and onto the international art scene, Yasemin Şenel has built a unique visual universe, blending figuration, unexpected harmonies of color, and mythological references. As art historian Sezer Tansuğ noted, her paintings are “born of the consciousness of artistic freedom, original and rare in personality.”
The works on view invite the audience into a carnival-like realm. Within this universe shaped under the absolute reign of imagination colors, figures, and symbols unlock the doors to different narratives. In the words of Roger Pierre Turine: “Imagination is her most powerful canvas.” Nature spirits, deified female figures, birds, snakes, masks, and skeletons intertwine; innocence emerges within violence, and grace within fear. These striking contrasts create an atmosphere in Şenel’s paintings that is at once alluring and unsettling.
The exhibition centers on the notion of “conscious chaos and organic order” that defines the artist’s practice. For Şenel, art is where chaos dances with order; where disorder becomes the first breath of creation. Working without sketches, layering paint, and keeping every stage visible, she constructs her canvases with a temporal dimension what she calls a “living vanitas.” Indelible traces draw viewers into the depths of the subconscious. Across a wide palette from bright pinks to earthy tones, purples and greens to golden highlights images are redefined. Disorder becomes the birth of a new order.
In an era where the art world is rapidly drifting into superficiality, Şenel’s persistent commitment to figuration and painting stands as both a political and radical gesture. On her canvases, color is a vibrant field of energy carrying memory, myth, and the unconscious. Violence and grace, fear and innocence, pagan stories from the Middle East and the political echoes of our time coexist, offering viewers an experience that is simultaneously enchanting and disquieting.
Kargaşa / Pêle-Mêle / Disorder represents not only Yasemin Şenel’s personal mythology, built over more than fifty years, but also her courage to reveal the beauty that arises from conflict and disorder. With this exhibition, the artist invites us to pass through a dream.
Kargaşa / Pêle-Mêle / Disorder
EVERYBODY KNOWS
The human cost of political turmoil...Democracy is in crisis. The post-democratic era has already begun. Its symptoms are manifold: populist leaders, fake news, autocratic surges, totalitarian propaganda, and the shadow of neoliberalism. In the face of such forces, what role can art play? How can the artist contribute to the reconciliation of clashing ideas?
On May 15, 2025, artists Rafet Arslan, Nazan Azeri, Sidar Baki, Osman Bozkurt, Ramazan Can, Buşra Çeğil, Eda Çekil, Balca Ergener, Çınar Eslek, Kamil Fırat, Renknar Burcu Günay, Berat Işık, İrfan Önürmen, Şener Özmen, Cem Sonel, and Nil Yalter gather at G-art Gallery, seeking to create polyphony between personal and political concerns. Working across diverse disciplines, these artists strive to contribute meaningfully to a process of writing history — one that often unfolds without our awareness, in moments seemingly random. Through distinct artistic practices, they confront the crisis of democracy head-on.
This exhibition may remain on the periphery of Turkey’s increasingly superficial art scene — a scene that avoids confrontation, eschews debate, and embraces political neutrality for the sake of easier control. And yet, thankfully, the act of coming together, of coexisting, offers a glimpse of hope: the belief that art can expand dialogue, cultivate understanding, and — perhaps most vitally — become change itself.
Invited artists delve into the crisis of democracy through a historical lens — drawing inspiration from one of the most extraordinary narrative textiles of all time: the Bayeux Tapestry. This nearly 68.3-meter-long and 70-centimeter-wide embroidery, dating back to 1066, recounts the Norman conquest of England by Duke William of Normandy, and the momentous events that surrounded it. Both a rare chronicle of the 11th century and a masterpiece of textile artistry, the Bayeux Tapestry is a singular witness to a defining moment in medieval Europe. With its intricate composition of images and Latin inscriptions, the tapestry weaves a visual epic: Viking ships slicing through stormy seas; arduous journeys; round shields and chainmail armor; mythical beasts and brutal battles — all orbiting around the central figure of William. It offers not merely a glorification of conquest, but a vivid, layered account of power, resistance, and the cost of rule. Preserved for nearly 950 years, this “black box” of the Middle Ages is more than a symbol of victory or sovereignty. It is a silent testament to how war, authority, and ambition imprint themselves upon the social fabric. It provides insight and information found in no other source — a fragile relic, yet a resilient record of civilization, conflict, and control.
In dialogue with this historical artifact, the invited artists explore the fractures and frictions of contemporary democracy. Through their works, they ask: How does one depict power today? Who narrates history, and to whom does it belong? Can the visual language of art — like that of the Bayeux Tapestry — bear witness to the truths often left unwritten?
Contemporary victories and struggles for power unfold not only on visible battlegrounds, but within hidden arenas: the media; economic warfare; cultural hegemony; propaganda; digital disinformation; cyberattacks; and cultural conflicts. These “invisible wars” of the present mirror the historical warfare depicted in the Bayeux Tapestry. In today’s world, multinational corporations and global economic powers occupy a role strikingly similar to that of the traditional monarchies and aristocracies portrayed in the Tapestry — commanding, consuming, and controlling. The injustices of our age — income inequality, class divisions, and economic oppression — echo the rigid social hierarchies of the medieval world. Issues like migration, racism, xenophobia, cultural polarization, authoritarianism, and global political strife are not merely contemporary crises; they are symptoms of a profound unraveling. And in this unraveling, the Bayeux Tapestry emerges not just as a relic of the past, but as a lens through which we trace the parallel trajectories of historical and modern political dynamics. It allows us to visualize how power and resistance have shifted shape over centuries; how war persists in altered forms; and how societal inequalities endure — adorned in new symbols, fought with new tools, yet rooted in age-old struggles.
Art in Turkey is becoming increasingly superficial. The dominant trend of politically "neutral" art production renders the art world more governable, more easily contained. We acknowledge that oppositional slogans and explicitly activist works are no longer visible in the mainstream — yet we believe contemporary political art continues to seep through, albeit in subtler ways. Voices have been silenced, yes — but artists will always find a way to speak. Art does not exist to react like politicians or the media. It is not meant to replicate the simplified, populist language of public discourse. In fact, direct artistic responses to political situations often have limited efficacy in the political arena. They may result in strong artworks, but more often, they make for very poor politics. The unique strength of art lies precisely in its refusal to become a mouthpiece for any party or ideology. Instead, it accesses its own set of tools — poetic, conceptual, sensory. It opens spaces for thought, for experience, for complexity. It allows us to engage with layered realities, beyond the binary logic of daily politics. It does not dictate; it resonates.
We hope this exhibition may also offer responses — or at least resonances — to some persistent and urgent questions:
• How is political art permitted — or how should it be permitted?
• What are the conditions that shape the visibility of political artistic practices?
• What is the role of images and objects in today’s political art, especially when many artists choose to work covertly — even invisibly?
• Do “embedded” narratives only acquire meaning once they become visible?
• Must a work leave a trace in order to be effective?
• What forms can artistic resistance take — and where are its boundaries?
• In an era of hyper-aestheticized capitalism, rising authoritarianism, and collective historical amnesia, what are the strengths and limitations of critical art practice?
• As media images become increasingly manipulable, what new faces are emerging for political participation and the production of ideas?
We believe society must also experience the reverse path — the path through which art reengages with the political. This exhibition seeks to offer a comparative lens, a deeper reflection shaped by overlapping times and truths.
With belief in justice, rights, law, and freedom...
("The poem at the beginning of the text is a reinterpreted excerpt from Ahmet Arif’s poem Anadolu.")
ROAD
Photography has been one of the most powerful ways of conveying the human experience since the day it was invented—more than an image, it is an instrument of language. Since the mid-1970s, artist Kamil Fırat has used this language with an originality, sincerity, and innovative clarity that not only heightens our awareness of the world, but also allows us to approach its issues from multiple perspectives. The cultural depth embedded in his works creates both an individual and collective memory. The most striking examples of this can be seen in “YOL / The Road,” a series that will meet its audience for the first time on February 27. Beginning in black and white and concluding with surprising techniques and color interventions, the exhibition unfolds as a process of design in its content, technique, and aesthetic. As viewers, we find ourselves drawn into the vortex of this cinematographic narrative placed before us—as its very subjects.
The artist describes the YOL series in his own words:
“The road is the interval at the center of the ‘surroundings’—the place that explains me to myself, reminds me of who I am, and forces me to confront myself.
That is why, while wandering through the surroundings, the road is the greatest witness.
For a very long time, the road has held its place as a ‘keeper of history’ in modern confrontations. While doing so, it is also a ‘black box’ that may never be opened.
Silent, without question, without calculation… It shakes you at times only so you may hear what the surroundings are saying.
There is no such thing as ‘where the road leads.’ There are merely intervals within the surroundings.
And in fact, the multiplication of roads is the disappearance of the surroundings.
For this reason, the road is our falling in love with what destroys us.
This exhibition is the road’s testimony to the ‘surroundings’ that are being taken from us, slowly and persistently.”
By invoking this notion of “surroundings” and “landscape,” the artist opens a space for us to rethink our cultural anxieties, political realities, and social concerns. Born on this land and shaped by its knowledge and its culture, Kamil Fırat speaks of these places—of their troubles and their possibilities—through photography.
And he leaves us with a question that lingers:
Are we troubled enough about the ‘surroundings’ being taken from us to make this world a better one?