The meaning of life also gives meaning to the world it is only by giving meaning to the world that life can have meaning because the world and life are identical in their meaning: your world is your life; your meaningful life, your world. Over more than half a century of artistic practice, Füsun Onur has become a leading name in Turkish contemporary and conceptual art, commanding a language beyond time. Since the s, she has pushed the limits of sculpture and even painting by transforming how they are understood; at every opportunity she invites renewed reflection on and discussion of their fundamental elements. Onur reconstructs and transforms her own world in every work. Rather than choosing the permanent materials of traditional sculptural works, she prefers to use provisional readymade objects that come from everyday life and are easy to procure. In some of her pieces she leaves these objects as they are, building relationships among them; in others she will intervene by altering them. For Onur, their forms are as important as their meanings. Similarly, the geometry of the spaces and objects is as important as their spirit. By staging relationships between different objects, and by creating contrasts and repetitions among them, she calls attention to their mathematical, poetic and musical rhythms. An indispensable feature in her works is the way in which they conjure silent rhythms and melodies, equating to musical notes. Though this era might not have provided an environment for radical art, each of these artists nonetheless produced works that interrogated what was present and that generated alternative languages, forms and discourses. She experimented with baking these objects, and remembers crying when some of them burst in the oven. She painted the intact ones to add to her collection. These pieces, which became a universe of miniatures, exhibit parallels with the fundamental elements of the installation she has produced for the Venice Biennale. Similar in size to trinkets made of porcelain, glass and other materials that ornament the home, all of these objects are imbued with life by Onur. Some of them are still hidden in a cabinet in the home in Kuzguncuk where she lived as a child and which she uses as her studio and home. Along with her father, whom she lost at a young age, her mother was supportive of her desire to make art. But when she examined the copies, she saw a significant difference from her first figurines: the copies were lacking Old Woman Escort In Nurnberg spirit and emotion, she found, and she understood then that she would never make art to order or for money. She has searched for materials with Füsun, shared her ideas with her during production, helped to create some pieces, offered guidance in spaces during exhibitions, photographed works, produced an archive, and saved works from being tossed into the sea or thrown in the trash. Zorba, who forced himself on them by lurking for days outside their window before ensconcing himself in the house, has become one of the main characters in the work she produced for Venice. At the 59th Venice Biennale, Onur exhibits a new installation titled Once upon a time…in which she has created different characters and scenes by bending and shaping metal wire. Once upon a time… is the story of an artist who gives meaning to the world. It is as much a portrait of a time filled with anxiety, fear, and ambivalence as it is of the feelings of solidarity, love and the joy of life that Onur has harboured over the course of her career. The tale unravels over clouds spread throughout the space. Each scene can be interpreted on its own, but when they come together, they form a narrative on which Onur has worked for the past two years, never leaving the house due to the pandemic. The main characters of this fable, which looks back Old Woman Escort In Nurnberg the present from several centuries in the future, are mice Old Woman Escort In Nurnberg cats. When the mice learn about Old Woman Escort In Nurnberg pandemic from newspapers delivered by children outside of a school, they discuss what they can do to overcome the plague, which threatens the future of the world. They decide to join forces with cats in a common struggle against the manmade disaster. This solidarity between animals will protect the world from the disastrous human-driven approach that the pandemic makes visible. When the cats and mice begin working together, one mouse embarks on a journey to Venice, his curiosity piqued by the praise his artist friends in Istanbul have given to the city. The home of the friend receiving him there is in the exhibition space, and the following morning, they go exploring the city together. Encountering a festival in Venice, the mouse gets carried away by the magic of silent music and falls in love there. As the musicians perform their lively concert, the audience joins in by dancing around them. For each scene, Onur gives straightforward notes that concisely narrate the story with poetic language. Narrative does not supersede the world experienced in the exhibition space; it merely accompanies the viewer, offering keys to enter into the fable. The ending is left to the viewer; it invites many possibilities and encourages us to imagine different narratives, adding new meanings to the exhibition by viewing it through our own relationship to the world, to art, and to Venice. The love she has for the world and for the city in which she lives reveals its presence in the character who finds love in Venice after the most difficult of times.
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