Maronda: La orfebrería según los místicos

 

Here is the new album of Maronda: La orfebrería según los místicos. The album will be published 19/02/2013.
The illustration is mine.
The designer is Ana V.Frances —-> http://www.a-grphcs.com/

+information —-> http://maronda.es/      http://www.myspace.com/pablomaronda

You can see the vinyl below.

bc72f20ecff09d966caf5bdce940d7b7_ volkan diyaroglu

652ad2da8b0ac6850b601e43baf4a0c3_ volkan diyaroglu

25c9e5c187f19cf6af0837a53f8ed8f9_ volkan diyaroglu

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volkan diyaroglu in tuck magazine

volkan_meta2_ volkan diyaroglu

 

 

tuckmagazine

Here you can read Michael Organ’s article in Tuck Magazine —->

http://tuckmagazine.com/2012/12/14/december-art/

apocalyptic kebab

apocalyptic kebab

 

 

 

 

 

 

 

 

apocalyptic kebab       Poland, 2012

KreuzKassel ZWEI_ apocalyptic kebab by volkan diyaroglu

KreuzKassel ZWEI

Groupshow / Gruppenausstellung

Friday 24th August / Freitag 24.8.12 

Kathrin Herzner, Tetyana Zolotopupova, Erkin Gören, Volkan Diyaroğlu, Ivana Sidzimovska, Ivar Veermae, Mari Poller, Gallery Fist, Alessandro Vitali, Andreas Helfer, Sergio Racanati, Tine Günther, Udo Lindemann, Leo Sexer, Michael Gärtner, Claudia Kapp

Die Ausstellungsreihe KREUZKASSEL entwirft das vermeintlich völlig irrationale Fusionsgebiet Kreuzberg-Kassel, welches von Partygängern und Kulturschaffenden entdeckt wird, diein Kreuzberg keine bezahlbare Wohnung mehr finden.Trotz dem Zeitalter der freiwilligen und unfreiwilligenMigrationen sollen Länder,Städte, Bezirke noch kulturelleAnkerpunkte bilden.

Während aktuelle Ausstellungen wie zB. “Made in GermanyZwei” in Hannover der geografischen wie nationalenBestandsaufnahme zu dienen scheinen, versucht derKreuzberg Pavillon als ständig umherziehende GuerillaInstitution,innerhalb und außerhalb Berlins, neoliberalennationalen Einheitsbildern mit den Entwürfen visionärerRäume entgegenzuwirken.

Die Idee der Vereinheitlichung wird in den unterschiedlichenArbeiten der KünstlerInnen von Kreuzkassel ZWEI aufgehoben.

FB EVENT : https://www.facebook.com/events/175671205891253/

Frankfurter Strasse 60, 34121 Kassel

info@kreuzbergpavillon.de, www.kreuzbergpavillon.de

apocalyptic kebab      140X60X90 cm       2012

Bulletin Of Clinical Psychopharmacology, Volume 20, Number 4, December 2010

interview art-core.tv

hoy algo mal pasa en el acuario, maus habitos, 2010, porto, portugal

Nisantasi Auction, Ottoman and Contemporary Art Works

yavas yavas nallari dikmek 157X173 cm mixed technique on canvas private collection

Nisantasi Auction, Ottoman and Contemporary Art Works

June 3rd 2010, Thursday
+information ——>




Wormholes_Exibart_Ginevra Bria (text in Italian)

pubblicato giovedì 8 aprile 2010


Wormhole è la definizione scientifica (pubblicata nel 1916) che più si avvicina alla metodica surrealista delle rappresentazioni di Volkan Diyaroglu (Istanbul, 1982). Intraducibile in italiano, ‘wormhole’ è il nome conferito a un esperimento mentale, a un tunnel che connette due differenti punti nella dimensione spazio-temporale. Risucchiati all’interno di questo ‘buco cavosi potrebbe addirittura viaggiare impiegando molto meno tempo di un tragitto che comprende, nello spazio “normale”, lo stesso punto di partenza e di arrivo.
I diversi terminali del wormhole, in teoria, potrebbero anche essere intra-universali (cioè esistenti e insistenti sullo stesso universo) oppure inter-universali (portali impiantati in differenti universi, dei quali ci si può servire come punto di connessione tra le due diverse dimensioni). È da ricordare, inoltre, che l’espediente di wormhole è sorta come parte della soluzione delle equazioni di Einstein, a proposito della teoria della relatività.

Volkan Diyaroglu - Hole - 2009 - collage e inchiostro su carta - cm 27x37I wormhole sono cadute dello spazio da usare per il viaggio ad alta velocità nel tempo.
Seguendo lo stesso processo dirappresentazione spaziale, gli undici lavori – tra collage e inchiostri su carta – di Diyaroglu sono una sorta di riflesso simbolico e compositivo di queste teorie. Sintetici, piacevoli e divertenti, sono “la trasposizione figurativa” dei suoi enormi murales, progetti già sviluppati fuori dall’Italia ma che, per questa personale milanese, sono stati ridotti fino al nocciolo, appiattiti in un cortocircuito (spazio)temporale.
Nelle tele e nei collage, Diyaroglu gioca a inserire elementi improbabili all’interno di sfondi che sembrano imperituri, a causa di texture ancestrali e di cromie inspiegabilmente di un’altra epoca. Secondo Diyaroglu, noi “veniamo da dove andremo”: il futuro e il passato sono nella stessa direzione all’interno della sua opera. Guardare avanti significa guardare come nello specchio retrovisore di un’immensa macchina per il tempo e nella notte affianco, viaggiarci dentro.Nelle opere allestite negli spazi della nuova galleria, il presente e il passato e il passato e il futuro si incontrano cadendo, attraverso botole temporali che portano l’elemento vita (terminazioni umane e animali) all’interno della fissità dello scenario compositivo. Definiti tra scienza e letteratura fantasy, i wormhole sono ipotesi intuitive che mantengono al loro interno il buio, per riversare luce di contrasto all’interno di paesaggi naturali e prospettive urbane.

Volkan Diyaroglu - Inekler gelirken - 2009 - collage e inchiostro su carta - cm 18x30
Nelle immagini sovrapposte, spazi e tempi sono collegati da passaggi improvvisi e onirici, di evocazione surreale. Finestre e armadi segnano la strada, aprendo una crepa nella realtà. Mucche, uomini, pesci e mani appaiono o cercano la fuga, e falle perdono acqua. Il meccanismo figurativo-compositivo di Diyaroglu scherza e permea immagini selezionate per il gusto dell’assurdo, ma anche pregne della drammatica ricerca di una fuga, di un ingresso, di un wormhole.

ginevra bria
mostra visitata il 19 marzo 2010

al primo febbraio al 15 aprile 2010
Volkan Diyaroglu – Wormholes

a cura di Francesco Clerici
AR Contemporary Gallery
Via Marco Polo, 11 (zona Repubblica) – 20124 Milano

Orario: da martedì a sabato ore 11-19.30
Ingresso libero
Info: tel. +39 0245498902; fax +39 0245498354; info@contemporarygallery.it;www.contemporarygallery.it

[exibart]

you can see the text——-> http://www.exibart.com/notizia.asp/IDCategoria/57/IDNotizia/31141

volkan diyaroglu upv tv interview 2007

volkan diyaroglu 2007 studio

the visual artbeat magazine… "The Art of Volkan Diyaroglu", Nicholas Forrest


download the magazine ———>

The Art of

Volkan DIYAROGLU

By Nicholas Forrest

When I was asked to write this article about the work of the 27 year old Turkish born, Spain

based artist Volkan Diyaroglu I was excited and honoured because Volkan is one of the most

talented artists I have ever come across. An artist whose use of colour and form suggests a

heightened visual-spatial intelligence and an extra-sensory perception of the visual language.

However, no matter what I write I cannot do his work justice because it is not the sort of work

that should be written about, it is the sort of work that should be experienced. Neither can I

really explain his work as it is the result of a process that even the artist himself cannot

explain – a process where Volkan surrenders himself to his work and allows intuition to guide

his every move. It is a very personal and intimate process which is driven by the subconscious

mind and is more about the artists own journey than anything else.


Just like with a piece of music, Volkan’s paintings take you on a journey that can evoke

emotional and psychological reactions even though you have no idea why or for what purpose

those reactions are being evoked. In order to appreciate or enjoy a piece of music one does

not have to know who the composer was, what the music is about or, for that matter, anything

about the piece of music what so ever. If you or I were to hear a piece of music that we had

never heard before and knew nothing about, we would still be able to experience and

appreciate that piece of music on a purely sensory level. In much the same way, Volkan’s work

is to be experienced on a purely sensory level.


It is normal for the viewer of a work of art to search for an ultimate truth or an obvious

meaning in an image as that is what our minds are trained to do, but as an abstract

artist in the purest sense, Volkan produces paintings that defy logic and reject reality.

There is nothing wrong with looking for an answer or a meaning in Volkan’s paintings

as long as you do not expect to find what you are looking for because, with his work,

there is no ultimate truth, and no beginning or end. The characteristic array of shapes

and colours that form the basis of Volkan’s paintings are the culmination of a series of

thoughts, feelings and movements. Each individual form represents a moment of

meditation which is the product of what has been, and an influence on what is to come.

Each painting represents a period of time during which Volkan surrenders himself to

the moment and immerses himself in his own thoughts and feelings. During that

time, the artist exhibits what I can only describe as an amazing ability to translate

his thoughts and feelings into colours and forms. It is these colours and forms that

engage the sub-conscious of the viewer and make his work so engaging.


Just like his latest body of work which includes works with titles such as

‘Catastrophe’, ‘A Beautiful Bomb’ and ‘Hortum’ (Turkish for Tornado), Volkan’s

paintings are spontaneous and chaotic events that have a momentary effect on the

participant’s perception of time and space. At first the viewer may be overwhelmed by

the chaos and energy, but the hypnotic qualities of Volkan’s paintings encourage the

viewer to surrender themselves to the experience and go beyond the purely visual.

An endless number of possibilities are available to the viewer, with each movement

of the eye revealing yet another path to follow and another experience to be had.


You might even come across one of the faces or familiar forms that are sometimes

hidden in his works. These familiar elements evoke a momentary sense of

disorientation and uncertainty during which the viewer is suspended between two

alternate realities. As to which reality is the true reality, well, that is up to you.

I think that the final word should come from the artist himself so here is a quote by

Volkan taken from a recent interview: “When we look at something, depending on

our point of view, we may find something beyond what’s represented, or not. That’s

something about ourselves, not something in the work, or in the objects or things that

we believe exist. What I know is I don’t lie when working on a canvas, and this attitude

doesn’t permit me to understand my paintings, what more can I say, my painting

represents all that has happened, all that will happen, all that can or could happen in

the moment that it is created and in the space that it is created”


END


**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney,

Australia. He is the founder of http://www.artmarketblog.com, writes the

art column for the magazine Antiques and Collectibles for Pleasure and Profit and

contributes to many other publications.

tendencias fashion mag _ june 2009 _ nº 143

 

volkan on TV

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

http://www.rtve.es/alacarta/videos/metropolis/metropolis-espacios-alternativos/370632/#aHR0cDovL3d3dy5ydHZlLmVzL2FsYWNhcnRhL2ludGVybm8vY29udGVudHRhYmxlLnNodG1sP3BicT04Jm1vZGw9VE9DJmxvY2FsZT1lcyZwYWdlU2l6ZT0xMiZjdHg9MTY2NSZhZHZTZWFyY2hPcGVuPWZhbHNl

unreleased 2003 _ 3




jason anaya text about Volkan Diyaroglu

evene.fr_2007

volkan in press…

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

 

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 vrvgallery.com?
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 vrvgallery.com 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:
http://www.vrvgallery.com/volkan_diyaroglu

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



——-

Volkan in TVE 2… Metropolis


jhon magazine, issue:20


https://volkandiyaroglu.wordpress.com/2008/08/31/776/

"MI VERTIGO" PAINTINGS AND TONI CALDERON TEXT

 


la posibilidad de ser un loco  220X440 cm    mixed technique on canvas     private collection

 

 

Volkan Diyaroglu. Mestizaje y sincretismo.

“el lienzo es un campo de juego en el que reproducir, rediseñar, analizar o expresar un objeto real o imaginario”
Harold Rosemberg

La obra del joven artista turco afincado en París Volkan Diyaroglu es mucho más que pintura. Para Volkan el proceso, las dimensiones y el espacio forman parte de su trabajo. Si su trabajo se analiza desde un punto estrictamente pictórico se evidencian claras similitudes con artistas universales del arte contemporáneo, en concreto, con los creadores de la “action painting” de los años cincuenta y también con la pintura renovada de principios de los ochenta o lo que es lo mismo, con el expresionismo abstracto de Jackson Pollock o la nueva pintura cuyo máximo exponente es Jean Michel Basquiat. Estas influencias, a priori, pueden definir a Volkan como un artista ecléctico en el sentido literal de la palabra, lo que no presume entenderlo en sentido peyorativo, pues el arte progresa y se anticipa cuando es capaz de conjugar pasado y presente a la hora de recorrer nuevos caminos. Son indiscutibles las influencias formales y procesuales en las que se sumerge y que están muy presentes tanto en su parte más intuitiva como, sobre todo, en su posterior desarrollo creativo. El uso continuado del “dripping” técnica en la que se vierte directamente la pintura del cubo o con grandes brochas en chorros que gotean toda la superficie del lienzo es, sin lugar a dudas, la protagonista formal en un escenario donde prima el impacto visual que provoca la pureza de su paleta de colores. De la misma manera, hay otros elementos que apuntan en esta dirección: el tamaño de sus lienzos, la acumulación de materia y el uso matérico de los pigmentos.

 

 

sin titulo     220 X300 cm     mixed technique on canvas        2007

 

 

Desde un punto de vista conceptual su trabajo está muy próximo a las teorías surrealistas del automatismo. Es un pintor intuitivo, mecánico en su praxis, inconsciente deliberadamente y espontáneo en la medida que se puede ser cuando un proceso se adecua a un guión preestablecido. En esta línea de paralelismos también hay que destacar la ausencia de un punto de vista central hacia el cual se vea forzado a mirar el espectador. Practica lo que se denomina sistema “all over” de representación y que consiste, a grandes rasgos, en la ausencia de composiciones centralizadas, es decir, con un solo punto de vista en el plano, si bien es habitual que en una obra aparentemente abstracta, entendida la abstracción como un proceso de estilización, introduzca elementos representativos que se convierten en referencia objetual hacia la cual dirigir nuestras miradas.

 

 

todo esta roto      225X300 cm       mixed technique on canvas      2007

 

 

En su pintura hay indicios que prueban la horizontalidad del lienzo en su proceso creativo. Volkan crea una superficie habitada, transitada por un artista despreocupado que deposita su huella en la superficie a modo de firma y pone de manifiesto su interés por generar unos residuos que formen parte ineludible del significado de su pintura. La consecuencia es un universo creado por un artista profundamente preocupado por el resultado final, por la apariencia revestida de momentos del pasado. Aunque en apariencia es una pintura azarosa, nada es caprichoso ni escapa de sus planteamientos primigenios. Los motivos que invaden toda la superficie están cuidadosamente seleccionados aunque parezcan fruto del transcurso aleatorio del acto de pintar.

 

 

agua     240X420 cm      mixed technique on canvas       2007

 

 

Una vez hechas las comparaciones y analizada la escena, cuidadosamente elaborada por el artista, cabe resaltar que la originalidad no recae precisamente en la obviedad de sus referencias sino en su capacidad de síntesis. Es hábil al incorporar iconos visiblemente identificadores de la cultura occidental junto a elementos más propios de su cultura de origen, la oriental. Este sincretismo hace que la obra mantenga la energía propia del proceso de un pintar intenso. Incorpora elementos decorativos, minuciosos, delicados, e incluye signos que se repiten sistemáticamente por toda la superficie. Es aquí donde reside la cualidad de su obra. El resultado es un trabajo donde emerge el mestizaje propio de quien conjuga, con extraordinaria destreza, aspectos expresivos y representativos al mismo tiempo. El énfasis en el acto de pintar, la obcecación por cubrir toda la superficie, la intención de crear con técnicas caóticas no es contraria a que broten historias, se narren conceptos y sobre todo enfatiza la inquietud de quien devora la pintura porque es parte íntima de su forma de concebir la vida. Imágenes o sucesos, historias detenidas en el tiempo, instantes emocionales, reproducir o expresar, qué más da si todo es producto de una evolución cuyo final, real o imaginado, sólo está en la mente de quien lo contempla.

Toni Calderón

 

 

col yalniz aksam       mixed technqiue on canvas      2007

mi vertigo catalog….

decalages…





vulture..

miyoplar icin (for the myopics)…

https://volkandiyaroglu.wordpress.com/2008/08/31/1067/