GROUP EXHIBITION

From the Top, On Repeat aims to open a space for an alternative way of studying repetition and imitation, which artists oftenadopt in their practices, through movement, materiality, language, and rhythm. Taking repetition as a base, originality,copying, and appropriation that are inherent in art making, are being re-assessed in the selection of artworks. Under theinfluence of these natural connections, the exhibition offers a visual, auditive as sensual experience of the inescapabletemporal, physical, and mental differences that emerge as a result.While the act of repetition distances itself from theoriginal, through disruptions, mistakes, failures, and echoes, the expected consequences on the other side lead to undesired paths, in other words, to the endangerment of meaning.

The exhibition aims to decompose centralised structures, examining the layers down to their smallest or highest unitsthrough imitation, repetition or reproduction in order to understand their material and immaterial significance. It alsoquestions where this may lead one regarding culture, matter, gesture, language, or mind while asking, whether a wholethat is divided into its fragments can maintain its originality when put back together and at what point would it be possibleto break the systematic cycle?

In Left Thumb, Guido Casaretto investigates upon the relationship between culture and a uniform structure that getsde-identified through repetition; by forming orecchiette pasta from clay, he exercises a series of mechanical hand andbody movements. In the video An Echo Too Late, Merve Ertufan invites the viewer to a journey through sound and language,by narrating and telling the memories of a woman who lost the ability to recognise her own face, to reveal the randomechoes and riddled deep waters of subconsciousness that linger in the back of mind. Opening a new discourse towardsauthenticity and copy that lies within the nature of repetition. Copycat’s Strife with the Original presents a text in whichthe copycat/imitator compares him/herself with the original/authentic. Zeynep Kayan focuses on exploring the repetitivestructural setup of the variations she creates in her artistic practice, while underlining the impossibility of repeating amovement exactly due to both temporal and bodily differences. This attitude of hers becomes apparent in her series _one_one two one two three: fabric and the series Temporary Sameness: fabric in this exhibition. MissPrint, produced by ErinçSeymen specifically for this exhibition, looks into the issue of repetition from three different manners: the first one refersto the method of screen printing that inherits a repetition in itself; the second one is Seymen’s use of letter stamps as collection objects, especially taking a closer look on the misprints and their values being created in the exactly same momentwhere repetition is interrupted; and lastly, references to his own artistic history by bringing an old work back with a differ-ent interpretation. Yasemin Özcan takes the viewer on a biographical journey throughout her artistic practice in Re-Struct,while defining the conceptually and visually recurring elements in her practice through her intense relationship she hasdeveloped with green colour, soil, terracotta, labor and literature.

The exhibition From the Top, On Repeat will be on show at Zilberman Selected between December 29th, 2022-February 18th,2023. Instead of talking about repetition, the exhibition reasserts the form that difference takes in a repetitive process, theunexpectedness in change, certain structural and temporal intervals through the artists’ interpretation.