Ahmet Güneştekin

0212 297 95 86 bilgi@ahmetgunestekin.com


10 JANUARY 2019 – 16 FEBRUARY 2019


Marlborough Gallery presents the Madrid’s first major exhibition by Ahmet Günestekin, Light upon Light. The exhibition brings together artist’s works from diverse mediums, many of which will be shown in Spain for the first time as of January 10.

Light upon Light features artist’s new groups of polychrome and grotesque ceramics in the form of fish, urns, human skulls and horns, the patchworks which show the way he combines the ancient craft of hand-weaving with the language of modern art, the op paintings of the artist and the works which are large, metal constructions reminiscent of three-dimensional crosswords.

Enrique Juncosa, who has curated exhibitions for international institutions such as the Tate Britain, Whitechapel Art Gallery, Guggenheim Bilbao, Hamburguer Bahnhof, Fundació la Caixa, MAXXI and Fundação Gulbenkian, will curate the show. The exhibition will continue through February 16 at Marlborough Madrid.

Juncosa is the former director of the Irish Museum of Modern Art in Dublin and also the great-nephew of the Spanish painter Joan Miro. He has curated shows by major international artists including Miquel Barcelo, Malcolm Morley, Willem de Kooning, Michael Craig-Martin, Panamarenko, Eva Lootz and the sculptor Barry Flanagan.

Juncosa situates Güneştekin among the new artists who have appeared on the global scene attractive because they incorporate their own autochthonous traditions into their work, making it innovative in the context of contemporary art. The artist’s works, he suggests, distinctly stands out against the uniform, commonplace background of what might be referred to as an “international anonymity” formed by submissive followers of fashion.

The artist’s works contain many references to and images drawn from literary, mythical and sacred traditions. They also suggest paradoxes or opposing ideas, such as the combination of new ideas and ancient craft techniques, speaking of the present in archaic symbols and suggesting spiritual ideas through heavy, material arrangements, in Juncosa’s views. They reveal volume and depth in a space that is imbued with a mysterious, symbolic light.

Painting allows the artist to pursue his interest in colour, texture, pattern, surface qualities and other aspects of textile language, translating those concerns onto the canvas. He creates a wide variety of effects that reveal the influence of the Anatolian textiles and artefacts he studied. Using everyday materials and inventive methods, he explores the possibilities of weaving the patterns and textures without using a loom but using found materials.

The artist creates his own patterns and motifs from his lexicon of themes and characters from ancient mythologies and superimposes them into the traditionally sewed quilts. This form of textile expression, for the artist, is as much an art, as an illustration, telling a story through several layers.

The profound, vibrant spaces he creates leads the artist to explore organically what can be thought of as hybrids of painting and sculpture, in the form of large reliefs which incorporate plastic and metal elements. Light upon Light at Marlborough Madrid presents many aspects of the artist’s practice as such.

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