Stand-by (stuck moment collection)

STAND-BY (stuck moment collection), 2013

Sanat Dünyamiz 138. issue Jan-Feb
Fragmentation 11
curator: Necmi Sönmez, editor: Mine Haydaroğlu

Turkish art magazine Sanat Dünyamiz gives its 14 pages as an exhibition space under the title of FragMENtaTION since March 2012.

The project we realize for FragMENtaTION shifts the visual content from artists to art writers and aims to create a stand-by situation within the magazine. For the project, various art writers were asked to send an image that represents their stuck moments.

with contributions by;
Page 1: Azra Tüzünoğlu, Christiane Meyer-Stoll, Özge Ersoy, Sevil Dolmacı, Pelin Derviş, Rana Öztürk Page 2: Lara Fresko Page 3: Necmi Sönmez, Georg Imdahl, Yasemin Nur, Shulamit Çoruh, Marcus Graf Page 4: Evrim Altuğ, Seda Yörüker Page 5-6: Nazlı Pektaş Page 7: Ebru Nalan Sülün, Burcu Pelvanoğlu, Ayşe Erek, Elaine NG, Grit Weber Page 8: Nilgün Yüksel, Barış Acar, Ayşegül Sönmez, Merve Ünsal, Necla Rüzgâr Page 9: Elmas Deniz, Süreyyya Evren, Jörg Heiser, Erden Kosova, Nazlı Gürlek Page 10: Işın Önol, Jörg Restorff Page 11: Ceren Özpınar, Huo RF, Fırat Arapoğlu, Berin Golonu, Didem Yazıcı, Ferhat Özgür Page 12: Şener Özmen, Çelenk Bafra, Derya Yücel, Michele Robecchi, Nermin Saybaşılı, Tevfik Çağrı Dural Page 13: Özgül Kılınçarslan, Ali Akay Page 14: Tuba Parlak

Özlem Günyol & Mustafa Kunt’s Project
Moments of Writer’s Block

...Just as production of art is a constant source of curiosity, how and under what conditions writing on art is done has been a point of focus for centuries. The point of departure of the “Stand-By” project is the question of what people who write about art do when they experience an interruption or writer’s block during production. The duo Günyol & Kunt sent this question to writers, kindly asked them to provide a photographic image to depict the moments they feel blocked. As can be seen clearly upon closer look, they framed each photograph with a different color and created a special conceptual graphic design. Even though this design, before anything else, brings forth the acts and non-acts during these blocked moments, it actually examines the conditions of the process of writing; it does so by the esthetics they employ in the staging of these images on the pages (as staged both by Günyol & Kunt and the participants). The colored frames -some thick, some thin- make these moments of writer’s block look pretty, and at the same time put the subjects of the photographs between brackets. One shouldn’t forget; the moment of a writer’s block also needs to be evaluated as part of the writing process. That moment when the writer hesitates is by no means “a final point”. Even in these hard times when there is nothing more to say, nothing more to write; can’t we consider this stage of creative writing on art as the first flames of new beginnings? These initial sparks are a fertile result of a writer’s solitude; but do they have to carry the imaginary strength needed to finish the text? These and such questions are among issues the “Stand-by” project conjures up.
Another issue to discuss is the “the space created by the writer’s block” of all the project participants. Together they present a remarkable body of visual reflections on the pages of a magazine that publishes mainly texts on art. Most of the participants write regularly for this magazine and their texts are normally published side by side; here in Günyol & Kunt’s project visual silence replaces textual matter. Hence, acts of writing, interpreting, criticizing are subjected to “a conceptual interrogation” within this project, and these acts here manifest themselves in a “different form of representation”, shedding the positions and titles they usually carry around. The virtue of the “Stand-By” project lies in its visualization of the “political power of writing” from unexpected perspectives at a time when the claims that criticism is dead, texts on art are no longer read, art does not need writing are on the agenda.
Necmi Sönmez
Göttingen-Düsseldorf, December 2013

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