Mutenalaştırma, 2020

Mutenalaştırma” is only one of the terms proposed in Turkish for the English word gentrification signifying the change in the physical texture of neighbourhoods with the arrival of new inhabitants from a higher socio- economic level, especially rundown centres of the city which have historical value. The word “mutenalamşa,” (mutena: 1- care- fully done, elaborate 2- select, exclusive) first used by Çağlar Keyder, was preferred by Oda Projesi because its first meaning referred to an “elaborate style,” an old style of art, which hasn’t much of a place in today’s art.

Özge Açıkol, 2008, “Gentrification(III)”, Becoming Istanbul, pp. 129-130.
As a multi-disciplinary emerging artist who grew up in a prominent urban setting, the city of Istanbul, I was subjected to gentrification from an early age. Hence, it only felt natural to study the theme of instant urban transformations in my work. The study of urban space is bound to gentrification as cities are continuously changed due to governmental monopolies. When I started to analyse the visual vocabulary of Istanbul, in my earlier works, I soon realised in examining the textures of urban spaces, one could not neglect the notion of constant regeneration of cities that target the marginalised neighbourhood. To disregard the truth of gentrification is to discount the realities of urban metamorphosis.

I exhibit my composition on rusted construction ware to palpably demonstrate the solidity of heterotopia-esque spaces. The Bomonti Beer Factory is the main element of the work as it is a sign of resistant, like an invincible citadel.
I used a transparent material to emanate the layered structured of organic urban development. Without the disruptions of gentrification, cities are fluid in their innate changes, and they become transparent through their layers. The developments implemented by the ruling praxis not only disrupts the fluid and transparent metamorphosis but also suppresses the organic nuances of cities.