Humour as a method of struggle: Kurdish artists in Turkey
We take a look at the role humour plays in the works of Kurdish artists Halil Altındere, Şener Özmen and Erkan Özgen...
By
Ece Başar
April 20, 2023
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
Humour plays a significant role in the works of Kurdish artists in Turkey, frequently serving as a form of resistance and criticism against the problems and injustices arising on the political and cultural plane, allowing them to implicitly show the flaws in various systems through humour in an anti-violent fashion.
Perhaps the most well-known Kurdish artist in Turkey, Halil Altındere weaves humour into all of his works. The artist, who was born in Mardin in 1971 and is also known for his work in the fields of curation and publishing, has participated in important exhibitions in both Turkey and abroad, and his works have been exhibited at such major art events as the Istanbul Biennial, Venice Biennale, Sao Paolo Biennial and Documenta. Making aesthetic and politically critical works, Altındere also uses art as a means of resistance. Using various mediums such as photography, video, digital printing and ready-made objects, the artist comments on such issues as the nation-state dilemma, symbols of national representation, the phenomenon of immigration and art market criticism. With a focus on identity and representation, Altındere criticises the power of government over nationalist ideologies and focuses on its effects on subcultures. The artist, who approaches the identity issue as a phenomenon imposed by the government, often includes values considered sacred for the Turkish nation, such as the flag, identity card and Atatürk in his works, all the while maintaining an element of humour in his works.
In his short film Space Refugee (2016), Altındere is inspired by the life story of Muhammed Ahmed Faris, the first Syrian cosmonaut, who lives as a refugee in Istanbul due to the civil war in Syria. Former cosmonaut Faris, who made a seven-day trip to the Mir space station with the Soviet spacecraft Soyuz TM-3 in 1987, was the head of the Syrian Air Force Academy in the 2000s, and was appointed as a military adviser. Faris, who was once considered a hero by the public for being the first Syrian to go into space and the duties he assumed, is now recognised as an opposition figure for his stance against the Syrian government. Space Refugee was shown in the artist's solo exhibitions in Berlin, New York, London and Sharjah, and in the main exhibition at the Giardini at the 58th Venice Biennale in 2019.
Demonstrating the harsh political and social climate of the world, Space Refugee portrays Mars as a place where living opportunities are better for Syrian refugees than the Earth. Far from painting a utopian narrative however, the work satirically draws attention that, in many cases, there are no safe places for refugees to settle in the world. In the film, Faris discusses the legal and technical difficulties of the possibility of millions of Syrians fleeing their country to live on Mars with NASA employees and scientists in Turkey. Shot in the form of an absurd science fiction movie, the film contains conversations with scientists about how to meet needs such as food, subsistence, shelter and water on Mars.
Altındere also produces other works with the same theme accompanying the video; Muhammed Ahmed Faris with Friends #1 (2016), an oil painting with an LED frame in Soviet Realist style, depicts the titular Faris side by side with two other cosmonaut friends. Similarly, the 5-minute VR video installation Journey to Mars (2016), depicts Faris floating in space with two other cosmonauts. These immersive works take the audience on a journey through the obscurity of space, depicting the uncanny atmosphere created by unexplored space. In depicting such figures as unmoored in an unknown and inscrutable space, Altındere evokes the fears and anxieties caused by many refugees' situations, calling for a greater understanding of the situation and empathy for victims of displacement.
Altındere's works, while frequently dealing with the suffering, are always known for keeping an optimistic point of view, investigating the frequent absurdity of political and social systems with humour. While the cultural and political turmoil of the 1990s led the artist to focus on themes of representation, later developments led him to concentrate more on subcultures over time. Analyzing the political situations in Turkey and the world with a critical approach, Altındere adds a sense of hope to his works, inviting people to a state of mind free from pessimism.
Another Kurdish artist from Turkey who makes humour a focal element of his works is Şener Özmen, also known as a writer, poet, art critic, translator and teacher. Şener's works have been displayed in institutions such as Center Pompidou, Documenta and Stedelijk Museum, all of which feature his trademark irony alongside strongly political content. Özmen, who usually produces filmed and photographic works, frequently deals with identity, power-opposition, artists’ place and influence in society, centre-periphery issues, and geographical and cultural policies.
The artist’s most well-known video work The Road to Tate Modern (2003) was created alongside fellow Kurdish artist Erkan Özgen; in the video, Özmen plays an artist who embarks on an adventure on a horse, wearing a suit and tie and holding a spear in a Don Quixote style. Being in this case Sancho Panza, Özgen is dressed similarly to Özmen and accompanies him on a donkey. The artists search the Tate Modern Museum along the rocky mountains of Diyarbakir, the capital of Kurdish culture in Turkey, which has the highest number of citizens of Kurdish origin in eastern Turkey.
Although it seems impossible and naive to reach the Tate Modern from Diyarbakır on a horse or donkey, Özmen and Özgen are determined that they can succeed. While the absurdity of the situation brings the sense of humour to the fore, the work also works from an optimistic point of view, maintaining that Kurdish artists, as well as the Kurdish people, will not give up their struggle despite all the difficulties and impossibilities they face. Humour, as a form of resistance, criticism and healing, is a call for hope and change, as well as a way of expressing injustices in the political and social spheres of Kurdish artists in Turkey. Despite the difficulties they face, Kurdish artists in Turkey continue their struggle as the voice of their own society and every society that is exposed to discrimination.
