FRIEDA Exhibition
Looking at the Stars
A moment passes in the world's life! To capture that moment in its reality and transfer it to a painting,
To forget everything while doing it! To live in the moment, to be a sensitive vessel…
To forget everything that came before our time and to reflect only the image of what we see…
(Cezanne, cited by Berger, 31)
Do two strangers walking down the street communicate? When one notices the other, or when they don't.
What happens when you give way, when you acknowledge or reject its physical presence?
"You are here."
I acknowledge its existence.
I deny that it exists."
According to Berger, vision is not merely a process perceived by the eyes; it is also
It is the way we make sense of what we see. "Seeing" is not always about the past.
It is based on experiences, cultural codes, and learned meanings. A stranger
Our awareness of what we see is not based on the sheer reality of that moment, but on our own...
with images from our past and the social context in which we live
It takes shape. Seeing, in this sense, is a choice. What we see and how we see it,
What Lacan calls the "big Other" are the cultural and linguistic systems that have an influence on us.
It is determined by...
As dawn broke, the skies were still shrouded in the darkness of night.
Because of this, the lights in the houses started to come on one by one – usually the kitchen lights.
These are probably people eating on their way to work – who would they be burning for? How?
Are these people? How many of them pass by us during the day? They have their own suffering.
Is it? Their sorrows? Perhaps that day was the happiest day of their lives?
We don't know. We can't know. We will never know. As Berger said, what we see is everything.
time is viewed through the prism of our past experiences and cultural interpretations.
That passes. According to Lacan, however, the other always remains a stranger and an enigma.
We can only understand others to the extent of the communication and understanding we experience at that small point where the self ends and the other begins. Therefore, the relationships we build with others throughout our lives...
Communication is just a frozen moment in time, like a photograph's frame, captured through fleeting glances.
Our responses are limited to what we see in the image.
Our perspective depends on what we see and where we see it. And what we see depends on time and place.
It depended on the situation we were in. As Berger emphasized, “Seeing, every
Time affects our relationship with the world.
"But this relationship, as Lacan pointed out,
dependent not only on our individual senses, but also on the language, culture, and history of the Other.
This is how it happens. Seeing, therefore, is a process of producing meaning, and in this process
The things we see are presented to us within a framework shaped by the Other.
So how much of the world do we see, hear, and talk about?
What do we use when trying to make sense of things? What are our sources of support? The world,
Could it be offering a larger space than we perceive? Or is it the framework of the Other?
Is another way of seeing possible?
Artists
Ahmet Dündar
Beyza Tosunoglu
Dilara Yerlikaya
Dogukan Ciltas
Gunseli Baki
Hasret Sahin
Sait Ozer
Saltık Doğa Özsar
Serenay Anık Gök
Passion Cloudwhite
Yagiz Akdogan
Yucel Tunca
A Story of Solitude
This exhibition revolves around the themes of women, loneliness, desensitization, and visibility. Based on a true story, FRIEDA's life explores the individual's struggle for existence within society, the themes of being seen and not being seen.
It questions the fine line between them.

OPUS.XI - Eskişehir
The Place for Thinking Together
This exhibition was hosted by Opus.XI, which opens up space for alternative thought and production. Through its support for independent art practices, Opus.XI provided a unique platform where these encounters were made possible.

Ahmet Dündar, on his own behalf, created a bioplastic, 3D printed PETG, made with the artist's blood.
acrylic glass, 100x100x40 cm, 2025

Dilara Yerlikaya, Route 1, Route 2, Route 3, Metal Welding, 28x45x22 cm,
35x81x25 cm, 18x50x30 cm, 2025
Titled "Star Turning Point: Remembering Frieda," this exhibition originated from a project idea conceived by Mira Argun and Şebnem Ünsal. Under the guidance of Dilşad Kırselioğlu, the curatorial team—comprising Emel Gülşah Akın, Elif Özuğur, Ece Ebrar Sözkesen, Gülhan Kuşcu, and Derin Yagıcı—addressed the themes of womanhood, loneliness, and visibility through Frieda's life using a multi-layered approach. These individuals from diverse disciplines constructed the exhibition's intellectual framework with a shared sensibility.

Hasret Şahin's artwork, "On the Trace," features 28 cans, each 7 cm in diameter. Each can contains a piece of pastrami covered in transparent epoxy. The pastrami pieces are arranged in a red line running through the center.
A strong coordination and creative production network was established during the exhibition's realization process. The operations team, consisting of Doğukan Çiltaş, Yağız Akdoğan, Büşra Yılmaz, Berra Nur Nişancı, Zülal Erkul, and Dilara Yerlikaya, meticulously worked on all logistical, planning, and implementation steps, ensuring the exhibition progressed on a solid foundation. The creative team, comprised of Deniz Altan, Sena Erol, Beray Eski, Duru Aydın, and Furkan Yılmaz, created the exhibition's visual, auditory, and spatial atmosphere, enhancing the emotional impact of the narrative with a unique language.
He revealed it.









