irfan Önürmen
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İrfan Önürmen, a leading figure within the contemporary art scene
of Istanbul, has created work over the last 20 years that is con-
ceptually coherent and stringent as well as formally complex
and pluralistic. His oeuvre consists of paintings and drawings
on canvas and (news)paper, tulle works as well as objects and
installations made of newspapers. The artist critically analyzes the
current state of society through the deconstruction of media rep-
resentations of political issues as well as of incidents within the
common lives of ordinary men. Anonymous figures struggle to get
along inside the mess of the heterogeneous urban chaos they are
exposed to day by day.
03POWERFUL BLASTS OF IMAGES
BY MARCUS GRAF
POWERFUL BLASTS OF IMAGES
BY MARCUS GRAF
İrfan Önürmen, a leading figure within the contemporary art scene
of Istanbul, has created work over the last 20 years that is con-
ceptually coherent and stringent as well as formally complex
and pluralistic. His oeuvre consists of paintings and drawings
on canvas and (news)paper, tulle works as well as objects and in-
stallations made of newspapers. The artist critically analyzes the
current state of society through the deconstruction of media rep-
resentations of political issues as well as of incidents within the
common lives of ordinary men. Anonymous figures struggle to get
along inside the mess of the heterogeneous urban chaos they are
exposed to day by day.
05
06
FLAS
HBAC
K
His work begins in the late 1980s; İrfan Önürmen started to
paint fragmented images of faceless figures that invited the spec-
tator to actively complete the piece in order to become involved
and engaged in the depicted scene. His paintings formed a cri-
tique of the mutation of visibility and publicity in the media, in
which the cruellest images serve the people’s hunger for sensa-
tion and spectacle. The works’ socio-political engagement result-
ed from his critical social and political awareness.
Besides canvas pieces, he has produced drawings and paint-
ings on newspaper as well as collages created out of newspaper
images dating back to his years as a student. There, often a single
figure stared directly at the spectator in order to build a relation-
ship with him, though the work’s protagonist was never able to
express anything but an empty gaze. Loneliness surrounded the
figure, underlining the superficial relationship between real every-
day incidents and their representation in the newspaper.
A different form of critique took place more explicitly within
his installations and objects built out of newspapers. There, as
now, the artist used newspapers to create six archives of human
(hi)stories, where he, e.g., constructed a Terror Factory or a New
Baghdad Museum. Here, Önürmen used newspapers as material
to create environmental interventions that contained a direct po-
litical and social critique.
The last work group in his oeuvre was based on tulle pieces
and installations with tulle. There, besides dealing with questions
of society and the impact of media on the construction of reality,
he was very much concerned with the creation of a painting itself,
as he questioned interior painterly and artistic issues like space,
layering or figure.
FLASHBACK
07
THE CURRENT SHOW AT C24 GALLERY
For İrfan Önürmen’s first solo show in a gallery in the U.S., C24
presents a variety of pieces from different groups of work. Next
to examples from various tulle series, the artist exhibits parts of
his sixth archive (Panic Series Relief), one newspaper sculpture as
well as a series of monochrome but figurative paintings entitled
Crime Watching.
Önürmen started this series, which continues today, in 2006.
The single works of Crime Watching consist of different materials
and show various conceptual and formal layers. On the back of
the canvases, the artist painted scenes that appear as unknown
yet familiar. Observing the work closely, the spectator understands
that the motives of the paintings originate from television images.
As these have a great influence on the pool of our visual culture,
and on the way we understand reality, İrfan Önürmen deconstructs
their content and aesthetic matters in order to reveal a danger that
underlines all mass media today; Crime Watching deals with the
issue of passively following crime on TV. At home, we watch the
brutality and cruelty of incidents that we already know exist. We
do not learn about jobbery, political failures, acts of terror or con-
struction disasters in the news. We know them; we live with them.
Nevertheless, still we watch and, agape, consume the unstoppable
stream of images.
İrfan Önürmen reverses the act of passively watching by cre-
ating his own visual versions of reality. After shooting hundreds
of pictures from the TV screen, he chooses the ones that suit his
artistic, aesthetic and conceptual interest. For the artist, these im-
ages illustrate the current state of Turkey, as they form a con-
glomerate of urgent social and political matters. His paintings are
like counter-strikes against the subjective camera, editing and
presentation of information, with which media experts try to cre-
ate a visual-psychophysical impact on the audience at home.
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08
İrfan Önürmen takes these images as the theoretical and for-
mal base of his series. On the ground of the canvases, he paints
parts of the scenes of the TV screen in a fragmental and expres-
sive way. Still, unlike the tele-reality, the artist does not claim to
reveal truth, as he is not interested in producing knowledge and
his deconstruction of reality is not based on scientific terms and
methods. He uses the chaos of our existence as the ground for
forming artistic discussions, which question the world we live
in. Önürmen is not interested in personal or individual stories,
but rather in the way society functions. His focus therefore is
not micro but macro. That is why the artist is mostly hiding the
face of the protagonists of his scenes. If the identity is unknown,
the figure turns into a symbol without personal story or history,
so that the spectators can put themselves into the image and
become part of it.
In an early stage of his career, the artist decided to erase the
face, because he was more interested in the general effect of
the painting than in any individual story. During the creation of
his works, the artist follows the idea of an all-over composition
without a center; he feels no difference between the creation
of a figurative or abstract painting regarding their plasticity.
Nevertheless, the concern of the works is never intrinsic or self-
contained, but social and political; the scenes on the canvases
are always related to human existence and social and cultural
behavior, in which often brutal and destructive actions are lead-
ing to the consumption of human life itself.
Onto the background of the paintings of Crime Watching, on
layers of tulle that overlap the previously painted incidents, Önür-
men introduces parts of figures and objects, which clash with the
ones on the ground. The mix of different materials and elements
creates a chaos, in which the spectators have to find their own
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sense of meaning. This activation of the audience, which calls for
the participation of the spectator in the decoding of the image,
is a basic characteristic that can be found in all the other series
by Önürmen. The heterogeneous formal and materialistic charac-
ters, as well as the different artistic matters of the works, refer to
the various layers of and within society. This interest in layers is
a basic issue in his work. In Crime Watching, Önürmen combines
painting on canvas with parts created with tulles, because he be-
lieves that the different materials formulate a dynamic within the
work. For him, brush and paint give the piece a hard and expres-
sive character, whereas tulle creates the feeling of lightness, po-
etry and transparency.
Crime Watching gives the audience a good introduction to his
oeuvre, as it shows his treatment of layers, color, paint and tulle. It
also reveals important conceptual issues like the presentation of
reality in the media and the issue of passively watching instead of
actively acting.
This brings us to the discussion of another group of works that
İrfan Önürmen exhibits at C24 Gallery under the title of Gaze Se-
ries. Here, without using any paint, he created large, mainly mono-
chrome, sometimes softly colored portraits of young people. The
men and woman seem familiar, but remain anonymous, as — in
spite of their familiar look — their identities remain unknown. The
portraits do not reflect any real person, as they are virtual and
fictional inventions of the artist. Önürmen calls them “internet
types,” referring to photos of people that circle in millions of web
sites all around the globe. After an intensive study of these “pro-
file pictures,” the artist combines various portraits in his work in
order to develop his own model of a face. Although it looks like a
portrait, the face we see is a fictional character that is developed
in the artist’s mind. Nevertheless, it seems familiar, because we
THE CURRENT SHOW AT C24 GALLERY
10
live with these photographic representations that surround us in
real and virtual realities.
Önürmen’s depicted people show no facile expression or emo-
tion, though they are not afraid to look, as they stare directly into
the camera without any rejection or hesitation. Due to the detail
of the photo, nothing but the face is visible. No space or object
gives a clue about the story or history of the figure. Silent and
cold, the figure gazes, as it waits for an action of the spectator to
which it could react.
For Önürmen, these images can function as metaphors for the
current state of the digitized way we share private information
and build up personal communication. His works refer to the re-
sults of our current form of virtual communication; a digital soli-
tude surrounds the inhabitants of the digital age. While anything
and everything is possible, as well as visible and reachable for us,
a strange emptiness leads to passivity in the land of plenty.
The works of the Gaze Series consist of seven layers of tulle
in various white and grey tones. Softly colored portraits form an
exception within this series. Aesthetically, the portraits refer to
the computer, as the tulle’s texture resembles pixel structures.
The whole look of the portrait, which is based on geometrical
forms, draws connections to early vector graphics. On the other
hand, these pieces show a relationship to the cubistic and expres-
sionistic portraits of the classic modern avant-garde. Paintings of
Braque and Picasso as well as woodcut prints of Nolde may come
to one’s mind while looking at the Gaze Series. Instead of working
with paint and brush though, Önürmen here prefers tulle and scis-
sors. The use of this light fabric results from his general interest in
layers as well as in figurative abstraction.
In his early paintings and collages, he was already interested in
combining heterogeneous elements in order to develop a pluralis-
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tic aesthetic, in which the work should possess various formal and
conceptual layers. Besides this, the creation of space and depth
in the art of painting was always of special interest to him. In the
tulle works, Önürmen has found a way to propel this artistic inter-
est, as there is a tactile quality regarding their space, dimension
and material.
In a traditional painting, space only exists as a reproduction, il-
lusion or reference to the “real” space. It is an illusion, which forms
a stage for the protagonist of the painting. In İrfan Önürmen’s
tulle works, the spectator can virtually and physically enter the
work due to the material of the pieces. He gives tulle the role that
paint occupies in classic painting. As the painter uses layers of
paint to create a certain tone, Önürmen creates a physical and
conceptual depth for his scene on and between the tulle layers.
İrfan Önürmen presents the tulle works in Plexiglas boxes in or-
der to protect them. At the same time, he uses this exhibition meth-
od because it supports the feeling of depth and space, as it is a
space itself. Also, it assembles the layers of the piece and therefore
supports its visual-psychophysical impact on our senses. Besides
this, the box underlines the fragile, yet cold and artificial character
of the tulle layers. As tulle and scissors are “colder” than paint and
brush, here the presentation method supports the aesthetic of the
tulle works; they reference the emotionless reality that we are all
exposed to, and in which we constantly struggle to find meaning in
the disastrous state in which we live. In İrfan Önürmen’s works, as
in life, meaning is always hidden behind the obvious. In the artist’s
tulle pieces, the spectator is asked to see between the various lay-
ers in order to understand the work. Thus, they need a spectator
who actively observes instead of passively accepts.
This notion of art is even more obvious in the tulle composi-
tions showing street scenes within the Gaze Series. The figures of
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MARCUS GRAF12
13
14
the works are not alone as they are in the portraits, but here are
in the company of other people. Besides this, their environment
is clearly marked and visually distinguished. Walking or stand-
ing on the streets of a big city, the protagonists are captured by
the camera while they are involved in an action. Again, different
from the portraits, the scenes are depicted in a hasty snap-shot-
aesthetic, where the identity of the people is hidden, their faces
blurred. Nevertheless, cloth and space give us hints about the life
of the people, who we understand as city dwellers in their daily
rush in the streets of a metropolis like Istanbul. Again, the im-
ages seem familiar, as they resemble images from newspapers
and magazines, though everything is constructed fiction. Here,
artifice and illusion mislead the audience and reveal the ease of
betraying them in the traps of their expectations and clichés.
In the Gaze Series, as in a collage, İrfan Önürmen combines var-
ious elements from different visual sources to create works that
claim to be trustful and reliable images of reality, though actu-
ally nothing fits and nothing belongs together. Nevertheless, the
pictures make perfect sense! This notion of “sense” and “mean-
ing” finds its counterpart in urban life, where clashes of traditions,
cultures and shifts are forming a polyphonic symphony of chaos
and disorder. There, no religious, political or scientific expert can
promise absolute truth, meaning or sense, as the world is broken
in uncountable pieces, out of which reflections of reality can only
be subjectively reassembled by the spectator. This understand-
ing of our contemporary world underlies the artistic notion and
approach of İrfan Önürmen, as he gives the spectator the respon-
sibility of forming his own world view. Out of the layers of tulles,
and their various figures, objects, tones and elements, he has to
create his own image, which to a certain degree becomes an indi-
vidual reflection of his reality.
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This approach is also visible in the series of 22 small tulle por-
traits shown at C24 Gallery. Here, the spectator is confronted with
blurred black and white images of 22 men and women. Different
from the large portraits, these images are more mysterious and
hidden; the depicted people appear like ghosts. İrfan Önürmen
makes the decoding of these works even more difficult, as he cov-
ers their faces with commonly known symbols. Signs for money,
a Playboy Bunny, atomic energy, weapons and other socially or
politically important matters hide the character and identity of
the people. At the same time, seen as a whole, the series reflects
on the current state of Turkey. Nevertheless, the relation between
the sign and the portrait is unclear and subjective, so that the
intuition of the spectator is asked to draw conclusions out of the
conglomerate of people and signs. In Eight Women, another tulle
series in which the artist combines portraits with objects, he deals
with the representation of female victims of domestic violence
and killing in Turkish newspapers. There, the relationship between
the presented people and the killing instruments is more obvious
and understandable, as Önürmen aimed at taking a clear stance
against violence.
The small Gaze Series, though, is more subversive, complex
and mysterious. The task of understanding the works gets even
more difficult, when the spectator steps back from a single por-
trait and starts to observe the series, which is seen by Önürmen
as one coherent work, as a whole. There, the relationship between
the single portraits and their signs, but also the connection be-
tween the various works of the series, forms a wider discussion. In
a single work, one observes a part of a socio-political micro-dis-
cussion. As a whole, the series reveals the complexity and hetero-
geneity of society by opening up a pluralistic macro-perspective
on the world the artist lives in.
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16
C24 Gallery also shows a large tulle work entitled Camouflage.
Here, İrfan Önürmen is formally driven by the question of how, in the
most minimal way, he can create a tulle work. The artist decided to
use a cut-out method, where he takes out various parts within the
seven layers of white tulle to create the illusion of form and figure.
In this way, the sense of depth and space is created through the
erasing of material, where empty spots within the layers of tulles
form the details of the protagonists of the work’s scene.
The spectator sees in the work a group of American soldiers
walking through a desert. From a distance, the group approaches
the observer, walks in his direction. Although the piece evokes as-
sociations like Operation Desert Storm or other military activities
that we have witnessed live on TV, the actual scene remains un-
known, unclear and arbitrary. The figures seem not only to walk in
the desert but also in the space between the layers of tulles. Once
again, Önürmen’s play with illusion and physical space is impor-
tant for the understanding of this work. The work’s title refers to
the clothes of the soldiers, the process of hiding in between the
tulle layers, as well as being hidden behind the screens of the me-
dia industry. Once again, the interconnection between formal and
conceptual complexity in İrfan Önürmen’s work becomes obvious.
In the end of this text, I would like to discuss a last series, which
is presented at C24 Gallery. The Panic Series Relief, including a figu-
rative sculpture standing in front of the relief, shows fragments of
incidents of politics and terror taking place in Turkey and abroad.
In earlier archives and installations, İrfan Önürmen stacked pa-
per, glued the stacks together and cut them into models of real
objects, which carry references to concrete social or political in-
cidents. In general, the used newspapers in these works do not
have any additional drawing or painting. The pieces cause a great
alienation effect by turning the newspapers into realistic looking
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three-dimensional objects like guns, bombs or historical sculp-
tures and artifacts.
In the Panic Series Relief, the artist proposes a contemporary
version of the relief, where he combines forms and concepts of
contemporary art with current issues of local and global historical
incidents. The relief, through its possibility of presenting images
following one after another, has the capacity to reveal incidents
in changing times and changing situations. Therefore, it is a great
medium for telling stories. İrfan Önürmen’s relief questions the
notion of panic in today’s society. The fear of war, earthquakes,
economical crisis and other threats creates a social environment
of permanent subversive or obvious panic. This fear, which has be-
came a dominant emotional state in modern societies, can easily
be misused for political interests, as seen in politics all around the
world. In this context, Önürmen’s Panic Series Relief focuses par-
ticularly on representations of feared incidents in the media; the
artist reveals how the media reflects and prepares the ground for
society’s panic at the same time. Cutting into the layers and stacks
of newspapers, he highlights certain people, objects and incidents
by erasing all textual and visual details around them. In this way,
the audience can concentrate on aspects of everyday life from a
new perspective, where the relations between the emphasized are
intuitive and open. That is why the works are not didactic. They do
not imply a one-dimensional critique of the audience, but open up
new possibilities of connections and relations in order to go be-
yond classic or cliché-like notions of truth and reality.
For Önürmen, social relations are never simple. That is why,
as the world is fragmented and broken in pieces, the artist can
only present his view of the world and ask the spectator to have a
look on his own. The reliefs are therefore like puzzles with missing
parts, which have to be formed by the spectator. He is asked to
THE CURRENT SHOW AT C24 GALLERY
give up his passive spectator role for becoming an active creator.
The sculptural figure in the exhibition space, which is observ-
ing the relief, resembles a manager, boss, or leader. Made out of
the same material as the world he observes, he evaluates his work,
a world of panic and disasters that he has helped to create.
So we see that İrfan Önürmen fights in his Panic Series Relief
against today’s visual overload and news pollution by individual-
izing the images and creating his own ‘page layout,’ where he uses
the newspaper as material and content, in order to criticize the
media system from within the system itself.
18
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CONCLUSION
The exhibition at C24 Galley shows that İrfan Önürmen is a
transdisciplinary artist, who over the last 20 years has developed
a work that follows an aesthetic of the sublime while revealing
the destructive methods of the media. His oeuvre is about the
process of creating and receiving visual information, observing
the world and decoding images as well as creating a painting.
Also it deals with the interconnection between first (natural) and
second (media) reality, as the artist produces his own critically
rendered versions.
Önürmen is guided by mistrust against any notion of gener-
alized reality or promise of absolute truth. The spectator of his
works therefore is invited to participate in the pieces by fulfilling
their fragmental syntax. He might find bits of reality between the
heavy strokes of brush, the sentences of the newspaper objects
or the layers of the tulle works. It is social concern and engage-
ment that connects İrfan Önürmen with the spectator, an attempt
to reveal the inhuman methods of the money-hungry image in-
dustry, and a struggle for the possibility of getting a glimpse of
meaning inside the heterogeneous chaos of today. That is why his
work has a great significance; he reaches far beyond the classic
notions and roles of art in order to take an artistic stand, which is
aesthetically refreshing and critically deep at the same time.
19
CONCLUSION
Assist. Prof. Dr., Yeditepe University, Fine Arts Faculty, Arts Management Dep., Is-
tanbul (Resident Curator, Plato Sanat, Istanbul).
Parts of this text are based on “İrfan Önürmen - Calm like a Bomb,” PI-Artworks,
Istanbul, 2010.
22
Col
lect
or, 2
009,
new
spap
er, H
65.
35 in
. (16
6 cm
)
23
Panic Series Relief (detail), 2009, newspaper, 22.05 x 984.25 in. (56 x 2500 cm) 25
27
Cam
ouflage, 2004, tulle, 7 layers, 78.74 x 118.11 x 27.56 in. (200 x 300 x 70 cm)
29
Crim
e Watching, 2006-2012, oil and tulle on canvas, 94.49 x 157.48 in. (240 x 400 cm
)
Foot
ball,
200
2, tu
lle a
nd te
xtile
mat
eria
l, 59
.06
x 76
.77 x
3.94
in. (
150
x 19
5 x
10 c
m)
30
33
Night Series III, 2008, tulle and textile m
aterial, 68.9 x 76.77 x 3.94 in. (175 x 195 x 10 cm)
34
35
Self Portrait, 2012, tulle, 4 layers, 78.74 x 110.24 in. (200 x 280 cm)
GAZE SERIES
GAZE SERIES
38
Gaze Series #12, 2012, tulle, 77.95 x 53.54 in. (198 x 136 cm
)
39
40
Gaz
e Se
ries
#13,
201
2, tu
lle, 7
7.95
x 51
.18 in
. (19
8 x
130
cm)
41
Gaze Series #16, 2012, tulle, 77.95 x 51.18 in. (198 x 130 cm
)
42
Gaz
e Se
ries
#19,
201
2, tu
lle, 7
7.95
x 51
.18 in
. (19
8 x
130
cm)
43
Gaze Series #20, 2012, tulle, 77.95 x 55.91 in. (198 x 142 cm
)
44
Gaz
e Se
ries
#15,
201
2, tu
lle, 7
7.95
x 51
.18 in
. (19
8 x
130
cm)
45
46
Gaz
e Se
ries
#17,
2012
, tul
le, 5
1.18
x 77
.95
in. (
130
x 19
8 cm
)
TODAYSERIES
TODAYSERIES
50
Top
Left:
Tod
ay S
erie
s #2
1, 20
12, p
aint
on
tulle
, 4 la
yers
, 15.
35 x
11.4
2 in
. (39
x 2
9 cm
)Top Right: Today Series #22, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Left: Today Series #24, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Right: Today Series #25, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm
)
51
Today Series #27, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
52
Toda
y Se
ries
#23,
201
2, p
aint
on
tulle
, 4 la
yers
, 15.
35 x
11.4
2 in
. (39
x 2
9 cm
)
53
Top
Left:
Tod
ay S
erie
s #3
0, 2
012,
pai
nt o
n tu
lle, 4
laye
rs, 1
5.35
x 11
.42
in. (
39 x
29
cm)
Top Right: Today Series #31, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Left: Today Series #33, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Right: Today Series #34, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm
)
54
Toda
y Se
ries
#35,
201
2, p
aint
on
tulle
, 4 la
yers
, 15.
35 x
11.4
2 in
. (39
x 2
9 cm
)
55
Top
Left:
Tod
ay S
erie
s #3
2, 2
012,
pai
nt o
n tu
lle, 4
laye
rs, 1
5.35
x 11
.42
in. (
39 x
29
cm)
Top Right: Today Series #36, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Left: Today Series #37, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Right: Today Series #38, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm
)
56
Toda
y Se
ries
#39,
201
2, p
aint
on
tulle
, 4 la
yers
, 15.
35 x
11.4
2 in
. (39
x 2
9 cm
)
57
Today Series #28, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
58
Top
Left:
Tod
ay S
erie
s #4
0, 2
012,
pai
nt o
n tu
lle, 4
laye
rs, 1
5.35
x 11
.42
in. (
39 x
29
cm)
Top Right: Today Series #41, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Left: Today Series #42, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
Bottom Right: Today Series #29, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm
)
Today Series #26, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)
59
This book is published in conjuction with the exhibition:
İrfan Önürmen C24 GalleryMay 4 — June 16, 2012
© 2012, C24 Gallery
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, mechanical, electronic, or otherwise, without prior permission from the publisher.
ISBN: 978-0-615-62720-5LOC: 2012937180
Founded by Maide & Emre Kurttepeli, Asli & Erkut Soyak and Mel Dogan.
Executive Director: Kristen Lynn Johnston
Design by Kyle LaMarEdited by Ellen Lubell
Printed in New Yorkby Earth Enterprise
c24 gallery
514 West 24th Street
New York, NY 10011
+1 (646) 416 6300
c24gallery.com
This book is published in conjuction with the exhibition:
İrfan Önürmen C24 GalleryMay 4 — June 16, 2012
© 2012, C24 Gallery
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, mechanical, electronic, or otherwise, without prior permission from the publisher.
ISBN: 978-0-615-62720-5LOC: 2012937180
Founded by Maide & Emre Kurttepeli, Asli & Erkut Soyak and Mel Dogan.
Executive Director: Kristen Lynn Johnston
Design by Kyle LaMarEdited by Ellen Lubell
Printed in New Yorkby Earth Enterprise
c24 gallery
514 West 24th Street
New York, NY 10011
+1 (646) 416 6300
c24gallery.com
GA
LLER
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