Sena Başöz at Yapı Kredi Tradition and Arts
Water options prominently in Turkish artist Sena Başöz’s apply—ebbing and flowing, connecting and separating, glowing one second and disappearing the subsequent. Considered one of Başöz’s preliminary forays into artwork was a collection of movies that discover emotions of alienation, together with Swimming Throughout II, 2009. The work depicts the artist carrying a swimsuit and goggles, desultorily stroking her method throughout the ground of the Reuters workplace in Istanbul the place she as soon as labored as a knowledge government. Feeling like a fish out of water, it’s there that she needs to go, flowing away from her desk job into the uncharted oceans of public artwork.
This and different early works are on show in Başöz’s newest exhibition, “Prospects of Therapeutic,” alongside a brand new two-channel video titled Seabird, 2023, during which the artist takes a ferry throughout Istanbul’s Bosphorus Strait and reaches out to faraway transport containers. As if plucked from the horizon, the crates are reproduced, now the dimensions of candies, within the artist’s hand. Başöz swallows the miniaturized cubes, a gesture mimicking the disruption of worldwide commerce through the Covid-19 pandemic. Within the second half of the video the dimensions shifts in the wrong way, displaying Başöz wandering round a dock—a fun-size shopper surrounded by large commodities.
Close by, the set up A Comfort, 2020—for which Başöz shredded paperwork and pictures from her personal archive and utilized algae to the innumerable strands of paper fragments—is displayed in a heaping pile within the nook of the gallery. A video monitor positioned among the many detritus reveals leaves of posidonia oceanica, a seaweed native to Mediterranean waters, swaying with the aquatic present.
Concluding the present is the photographic set up Leap into the Future, 2023, which repurposes archival photographs by the pioneering Turkish photographer Selahattin Giz of athletes in varied states of movement. Başöz organized the enlarged reproductions on a white wall, amongst them a picture of an unidentified feminine swimmer, diving right into a sea of adverse area in a pose anticipatory of Yves Klein’s Leap into the Void, 1960. Her physique appears to have thrown off any burden of doubt earlier than embracing the unknown.