The 21st Beyaz Contemporary and Modern Art Auction


welcome virus    160X148 cm     mixed technique on canvas    2008

The 21st Beyaz Contemporary and Modern Art Auction will take place at the Sofa Hotel on October 18th.

The works will be displayed at the Sofa Hotel on 12-17 october.

+ information:



—–> L’eau a été

trouvée dans

des nuages


dans notre galaxie!!!


ladders and the others


oh fuck!

the plastic tree
el marco
the tree
the road

the portraits

el sueño

don’t look at me like that!

a fan


saladdin chamcha

self portrait


in the other life, a fish?

self portrait

self portrait

back of the mirror_ 2008

back of the mirror 175X160 cm mixed technique on canvas 2008 private collection

gritando hacia donde?

falling where?

falling where?    2008



volkan on TV

at this link you can see Volkan in Spanish Television Channel “LA2”, in Metropolis. >>>

biGBanG oF ThE NeXt WeEk—>



attention! some

b r u i t

duvar otesi      140X160cm      mixed technique on canvas     2008    private collection

b r  u   i     t       175X160 cm       mixed technique on canvas       2008

necessary movement..

necessary movement     148X135 cm     mixed technique on canvas     2008  private collection


till where?

till where?     300X200 cm      mixed technique on canvas     2008


elektrik      145X200cm     mixed technique on canvas    2008

I will miss you, PEPO (1956-2008)…


Omega       61X50 cm      1998

One of the biggest painter that i have known, Pepo, has just died…

Valencia will miss you.

XXXV Painting, Sculpture and Digital Art Prize

XXXV Painting, Sculpture and Digital Art Prize Exhibition:

Centro Cultural La Asuncion, Albacete
you can see the show from 06/11/2008  until  28/11/2008
+ information: 


gagne     mixed technique on canvas     105X140cm     2008    private collection

akvaryum      mixed technique on canvas      105X152 cm      2008    private collection



seeking___16oX295 cm_______2008


Volkan Diyaroglu is in SLICK PARIS 2008..



34 160X160 cm mixed technic on canvas 2008 private collection


buyuk akaryum 150X150cm mixed technic on canvas 2008  private collection

Volkan Diyaroglu will be in SLICK PARIS 2008 ART FAIS with the FOCUS GALLERY, DUBAI on 24-27 October 2008.

More information:

from where we come? (or i had to ask: "to where we go?)

from where we come (or i had to ask: “to where we go?)     176X296 cm     mixed technic on canvas    2008

The BigBang of the Day…


the bigbang of the day 190X335cm mixed technic on canvas 2008


photos: Saida Lorente

white games_07_08


frozen 100X100 cm mixed technique on canvas 2008 private collection



se acaba el agua mixed technique on canvas 2007

paterna studio___2008




catastrophe 202X300 cm mixed technic on canvas 2008  private collection

kayip 200X300 cm mixed technic on canvas 2008 private collection


romania paintings..

alone, alone   158X192 cm    mixed technic on canvas   2008

deep    152X192 cm    mixed technic on canvas   2008     private collection

fishes on air    150X306 cm    mixed technic on canvas    2008 private collection

rumburak syndrome (fire in fire)   148X190 cm    mixed technic on canvas   2008   museul national george enescu collection

elephant driver   240X308 cm    mixed technic on canvas    2008

ahtapotlar    150X330 cm   mixed technic on canvas   2008   museul national george enescu collection

kus (painted with Jamie Green)   80X120 cm   mixed technic on canvas    2008

light games—>

volkan in press…

Opening, Bancaja Prize, IVAM

Volkan Diyaroglu wins the XXXVth Bancaja Painting, Sculpture and digital Art Prize…


el sueño de un robot…


sueño de un robot 140X150 cm mixed technique on canvas 2008 private collection

some 2008 paintings…

akvaryum II 195X200 cm mixed technique on canvas 2008  private collection

akvaryum III 210X210 mixed technique on canvas 2008

first plaq_ mixed technique on canvas 2008 private collection



digging 180X100 cm mixed technique on canvas 2008 private collection

VRV Gallery Interview, and Paintings From Another World..

What are the “postkaraoke” and “bomatik” concepts?
I first created the “postkaraoke” concept. Its explanation is simple and you can find the meaning in its name. But everybody around me began to ask me about that “postkaraoke” concept and I decided not to explain it. I wanted people to discover it. With “bomatik”, same thing… Of course they have an explanation and they are the concepts about the new way of life that we live in. This is all I can tell. No more! It is like a game.
As an artist, how do you contrast painting and sculpture?
Firstly, I want to say that I don’t feel myself like an artist. I am a man who goes to his studio every day and kills his time playing with the things that he likes. That’s all. I don’t know and I can’t imagine how somebody can realize that he/she is an artist. I don’t think sculpture and the painting are different. They are the same thing. Maybe the way that you create artworks changes –not always- but finally they are the same. And I also think for video, installation, cinema…
What would make your life as an artist easier?
Really, I don’t know. I don’t want an easier life or a more difficult one. I want to pass my time then finish it like everybody. Life is difficult now, in the actual world, for everybody. I want to see, to hear, to taste, to understand, to feel and to create as much as I can.
What did you think when one of your pieces got bought for the first time?
I thought that this person was a crazy. I was living in Turkey and one week before I moved to Spain, somebody wanted to buy my painting “All About the Advertisement”… Now, when I think of it from the financial perspective, the same painting would cost at least 15 times more. Then, he was not that crazy. It is funny. And I want to tell this. It is important for me. I always think and say that: “I don’t sell my paintings, they buy”. Because I can’t create relaxed if I begin thinking about selling something. It is my personality. It is so simple and real. If I really wanted to sell something in this life, I could take another job and earn more money in an easier way than selling paintings. A painting is one of the most difficult thing to sell in this world.
Does the idea of collaborating with other painters on one piece appeal to you?
Not really, but of course I can. I have already collaborated with my friends but that was made in the moment. We didn’t think that we might paint together. At times, it was funny because, me or other painter, would begin erasing or painting over what the other did.
Is it important for you to get feedback from art amateurs and professionals?
Of course not, because I am all the day in my studio and I don’t care what the other people do. Because if I begin caring about this, I begin losing my time.
Are you disappointed by photographs of your work versus the real thing?
Sometimes I think the same thing. When I look at a photograph of my work, I see a photograph of my work. A good photograph or a bad one. When I see my work directly, I see my work. So they are different things. But of course I prefer to see my paintings directly, not from a photography image. A painting is not an image that you can transfer to an another surface. It’s like poems… When you translate them into other language, they are completely different.
You went to a few art schools (Fine Arts Faculty of Mimar Sinan University and at the Facultad de Bellas Artes de San Carlos de Universidad Politecnica in Valencia). What did you learn there? What do you think is the most important feature of an art curriculum?
In reality, I went to these art schools for the studios that they offered me for free. I think that they don’t have anything special to offer to someone for his/her artistic life. You may have a good professor… rarely, but it is fine. It is not so simple to find them. If somebody wants really to create, he/she creates. With the school or without the school. Before, the art schools didn’t exist and people created amazing things. The art curriculum is not important. The professional life wants and insists on it but the most important thing is, if the person who creates is happy with his/her creation or not. That’s all.
Have you tried other forms of art like photography?
Before painting, I was playing music, and I still do. And, of course, I have made photographies, videos, installations etc. But for me, the most important thing in my creation is the relation between my time and my body. If I begin to be bored when I create, -in the process- I cannot create or I create boring things for me. The way that I create cannot be boring for me. And the painting is a direct and primitive form to express the things that I feel or think… Sometimes, I have many ideas for a film or a video, but when I begin to think on how to realize them with the people around me, the computers…I don’t want to do it anymore. Maybe one day, when I will have more patience, I will try to make something like this. I write poems too. It is similar with the painting, really. And I enjoy it.
Who is your favorite artist on
It is difficult to choose somebody in VRVGallery, because there are so many people I think make good work. But if I have to choose somebody, I like the “Collages” of Matthew Rose.
Your exhibition on is named “delik”; what does this name mean? Why did you chose it?
“Delik” means in Turkish “the hole”. The “delik” exhibition was realized in the real life, in 2007, in Espacio Forja, Valencia, Spain. The idea of the exhibition was to paint 19 4mX5m paintings and complete all over the walls of a huge exhibition space. And the place was finally like a “hole” that the people could dig in and lose or find themselves. Or none of those options.
Could you talk about the creative process that you used to produce those paintings?
It is difficult to explain this. I’m so inside my work and I can’t explain it. If I could explain, maybe I could be writer.
When you were working on that series, were you working only on it or you were also working on quite different artworks?
Normally, I work at the same time on many different works, but, in this case, I was living in Paris and I had two studios, one in Paris and one in Valencia. I decided to paint all of them in Valencia and I did not have so much time for to create them because I had to be in Paris for an other exhibition and for this reason, I had to lock myself in my Valencia studio and I concentrated and painted only for that project.
I have always thought that a good abstract painting could be rotated and still be good. A portrait, on the other hand, cannot be rotated. What do you think of that test?
I still don’t know what is a good abstract painting. Maybe a bad abstract painting for someone can be rotated and can be better. I think a portrait can be rotated too. Baselitz did it with interesting results. It is all about our esthetic habit. When I paint, I don’t think about the direction of the painting and I don’t want to specify how the people have to look at the painting. Maybe we have to close our eyes for to look at a painting. Finally, I don’t believe the directions. Maybe we are all born rotated.
Which music would you like to be played as a background of this “Delik” exhibition?
Coltrane? Radiohead? Boris Vian? Monk? Sonic Youth? It is so difficult to decide …
At first, I got rebuked by the similarity of the paintings, but I started paying attention to the details and I found myself traveling and exploring a world in itself. Each time I go back to those paintings, I need a few seconds for me eyes to adjust and find peace with with the artwork. Is my reaction typical?
I don’t really know if it is typical. I try to not to think so much what the people think of my paintings. Of course, it is so interesting and funny that everybody says different things about my paintings. I listen but I don’t think so much about them. It is impossible that you think the same thing as me when you see my paintings. It is similar when we look at the same stone… Are we sure that we see the same stone? But it is good that you travel in my paintings!
The first three paintings are named “buzul cagi”, “buzul cagi II”, and “buzul cagi III”. My Turkish is rusty (I am assuming this is the language here, pardon my ignorance); what do those titles mean? Why three pieces? Is there at buzul cagi IV? Would you mind to have a different buyer for each?
They mean “Ice Age”. There are four “Buzul Cagi”. They are different paintings. I don’t mind if there are different buyers. Neither do I mind if there are buyers.
How did you know that each of those paintings was finished? For instance “yavas”; why is it finished?
Good question. I think it is impossible to know if a painting is finished in the meaning that you talk about . Maybe they will be finished when I die, maybe not. We always want to explain a painting. Why? I think always you can continue to put more in a painting. It does not exist a “perfect” concept for the painting. It does not exist a concept for the painting.

PS. You can see the other part of the show at:

los bichos ya han comenzado a comer a mi abuelo…

los bichos ya han comenzado a comer a mi abuelo        170X205 cm   mixed technique on canvas    2008

artiz magazine, volkan’s article in the turkish art magazine..

2008, crayon…

Madrid, CEET..



faller     150X290 cm      mixed technique on canvas     2008

Volkan in TVE 2… Metropolis



strange trip mixed technique on canvas 2008 private collection


Cuenta Orhan Pamuk en Estambul. Ciudad y recuerdos que nunca ha podido dejar la ciudad en la que nació. Otros, dice, como Conrad, Nabokov o Naipaul pudieron apartarse de ella e incluso escribir en otras lenguas, pero Pamuk sintió que no podría alejarse de aquellas calles que lo vieron nacer en la antigua Constantinopla. A Volkan Diyaroglu, que de bien joven salió de esa ciudad para recorrer medio mundo antes de llegar a Valencia, alguna vez le preguntaron sobre las influencias de su obra. ¿Quizá el action painting, tal vez el expresionismo abstracto? Y tras meditarlo un poco, respondía que puede que en la Mezquita Azul de Estambul residiera el embrión de su práctica pictórica.

Repletas de mosaicos, las paredes de la Mezquita Azul aturden al espectador que vislumbra, avasallado por el impacto visual, el orden de las cenefas y las flores que se multiplican casi hasta el infinito. No es extraño reconocer ante la obra de Volkan un impacto semejante al que proporcionan aquellos muros. Sea por su magnitud, por su colorido, el rojo, el azul, al amarillo sobre los que se incrustan multitudes de dibujos o quizá por el orden que se intuye tras la algarabía de los pequeños objetos que en ella aparecen, lo cierto es que su obra consigue quedarse con la mirada de quien a ella se acerca.


never   250X525 cm     mixed technique on canvas   2008   private collection


Algún objeto es que el entra de primeras en esa rápida mirada. Una casa, pirámides. A continuación se intuyen otros pocos, aunque unidos sin sentido. La cabeza de un perro, la raspa de un pescado. Aparecen, están ahí, pero podrían no estar. Se combinan con garabatos carentes de sentido desligados de su contexto. En realidad todos perderían su esencia apartados de donde están, pero la verdad es que esa esencia no se vislumbra clara para quien se planta enfrente del lienzo. ¿Importa?


intim  300X860 cm   mixed technique on canvas 2008  private collection

Vasos, conos, vasijas, cajas, cubos… Cuesta ver que hay entre tanto ruido. Las trompetas ensordecen al espectador. No es música, no son trompetas. Ruido y más ruido. Las gruesas líneas que salen de los tubos y que con Haring, y con toda la tradición de viñetas y cómics, denotaban movimiento, aquí están más cerca de la artillería onomatopéyica de Marinetti. El futurista conseguía con la tipografía remarcar el ruido de la onomatopeya, como en Zang tumb tumb. Volkan se basta con las rayas para inundar el lienzo de estruendo.

Entre los extraños objetos pintados resaltan unas huellas de zapatos. Aparecen por aquí y por allá. El pintor ha estado trabajando de pie encima del lienzo, y no se ha molestado en ocultar las marcas de su calzado. Quizá sea esta la más rara performance: el proceso de creación de la obra está presente en ella sólo cuando está acabada. Volkan no nos enseña el momento en que crea, pero ese momento, con las huellas, con las pequeñas gotas que le han caído mientras pintaba y que se esparcen por el lienzo, denotan que nos lo quiere enseñar aunque sea después. Son las intimidades de la creación, ¿para qué ocultarlas?

Pau Andrés
Marzo de 2008


warning warning 450X200 cm mixed technique on canvas private collection

jhon magazine, issue:20