Nazif Topçuoglu
#Photographe
- Exposition
Simulacres et parodies. Mises en scène et petits arrangements photographiques - Au Château d'Eau
La vocation documentaire accordée à la photographie estompe la place que la mise en scène et le « tableau vivant » occupent pourtant depuis leXIXe siècle dans son histoire. Les photographes s’emparent de la photographie, détournent ses modalités et la plient à leurs besoins; au début, pour satisfaire le goût d’une époque et palier les limites techniques comme la faible sensibilité des émulsions, plus tard pour s’approcher d’une vérité que la seule empreinte n’atteint pas, pour donner corps à des imagesmentales ou pour questionner lemédium.
Mises en scène de studio ou arrangements à l’aide des outils numériques constituent cette exposition. E... - Exposition
Nazif Topçuoğlu - Consolation
Green Art Gallery Dubai presents Nazif Topcuoglu
Green Art Gallery is pleased to announce the opening of "Consolation", a solo show for Turkish photographer Nazif Topçuoğlu, marking the Istanbul-based artist's first appearance in the Middle East.
The exhibition will encompass new works in addition to those developed in his earlier series including "Readers", "Curiosity & Experience" and "New World".
Topçuoğlu creates highly staged, theatrical works typically featuring young girls living in lavish period backdrops. They play symbolic roles and become almost akin to Old Master paintings with their glowing skin and richly coloured garments. In many aspects, photography is in dialogue with the history of painting, whilst also recalling the wor... - Exposition
Nazif Topçuoglu Lamentations
The world of Turkish photographer Nazif Topçuoglu is a prohibited place where well-groomed high school girls in miniskirts perform adult fantasies with unusual props such as books, compass and microscopes.
Sheltered in the cushioned backrooms, boudoirs and libraries of nineteenth century-like mansions, they inspect one another, punish each other or just enjoy a moment of intimacy. Cast as domineering or submissive, sadist or masochistic, they however cannot pain each other -for, we get the intuition that they soon will swap roles.
In Topçuoglu's world, Foucault's power-knowledge nexus has turned into harmless games. Whether his women of doubtful youth conquer or surrender, enact rituals of initiations into forbidden pleasures, they do so for our eyes, only.
Sometimes referencing famous compositi...
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La vocation documentaire accordée à la photographie estompe la place que la mise en scène et le « tableau vivant » occupent pourtant depuis leXIXe siècle dans son histoire. Les photographes s’emparent de la photographie, détournent ses modalités et la plient à leurs besoins; au début, pour satisfaire le goût d’une époque et palier les limites techniques comme la faible sensibilité des émulsions, plus tard pour s’approcher d’une vérité que la seule empreinte n’atteint pas, pour donner corps à des imagesmentales ou pour questionner lemédium.
Mises en scène de studio ou arrangements à l’aide des outils numériques constituent cette exposition. E...
Green Art Gallery Dubai presents Nazif Topcuoglu
Green Art Gallery is pleased to announce the opening of "Consolation", a solo show for Turkish photographer Nazif Topçuoğlu, marking the Istanbul-based artist's first appearance in the Middle East.
The exhibition will encompass new works in addition to those developed in his earlier series including "Readers", "Curiosity & Experience" and "New World".
Topçuoğlu creates highly staged, theatrical works typically featuring young girls living in lavish period backdrops. They play symbolic roles and become almost akin to Old Master paintings with their glowing skin and richly coloured garments. In many aspects, photography is in dialogue with the history of painting, whilst also recalling the wor...
The world of Turkish photographer Nazif Topçuoglu is a prohibited place where well-groomed high school girls in miniskirts perform adult fantasies with unusual props such as books, compass and microscopes.
Sheltered in the cushioned backrooms, boudoirs and libraries of nineteenth century-like mansions, they inspect one another, punish each other or just enjoy a moment of intimacy. Cast as domineering or submissive, sadist or masochistic, they however cannot pain each other -for, we get the intuition that they soon will swap roles.
In Topçuoglu's world, Foucault's power-knowledge nexus has turned into harmless games. Whether his women of doubtful youth conquer or surrender, enact rituals of initiations into forbidden pleasures, they do so for our eyes, only.
Sometimes referencing famous compositi...