Hüseyin Bahri Alptekin

Arkadya’da Melankoli / Melancholia in Arcadia, 2000
Musée d’art contemporain de Montréal
19.10.2016 – 15.01.2017

Underlying the wide-ranging artistic practice of Hüseyin Bahri Alptekin is the idea of mobility, both from the standpoint of journey, exile and circulation, and with regard to the multiplicity of production strategies (photography, found objects, drawings, signs, archives, collage, video, digital print, installation). The resulting hybridity ties in with the artist’s interest in parallel, popular or alternative methods of production, drawing on mass or low-end culture, often on the margins of Western networks and at the intersection with his private life. The series of photographs titled Melancholia in Arcadia fits in with this perspective, in which the aesthetics of the everyday negotiates with the dull, strangely out-of-sync cartography of a sanatorium in Odessa, Ukraine. The fluttering of the curtains, the line-up of beds with their neatly folded sheets, the lit screen of a television and the display of wedding gowns speak to one another coherently but without any particular narrative.
–AS

Kan Çekme İylesŞtirme / Blood Sucking Healing, 2000
Musée d’art contemporain de Montréal
19.10.2016 – 15.01.2017

In a completely different medical context, Blood Sucking Healing documents a treatment session of traditional cupping therapy, performed on the artist with small glass suction cups applied to the skin in order to provide therapeutic relief of congestion in the blood. The photographic record of this practice that is not part of the mainstream in the West has a broader consonance with a peripheral economy within the global market. This resistance to conventional vehicles runs throughout Alptekin’s work. For him, the relationship of the beautiful to the vulgar was an ongoing interest over the course of the travels, object-gathering and encounters that form a large part of his output.
–AS

Biography