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  Untitled 1,  2013, Inkjet print mounted on MDF, 100 x 150 cm  Sukan’s new photographic work explores the   conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.  Arslan Sukan appropriates images from the internet of ‘installation shots’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube and 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.  By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s perception and interpretation of the exhibition's/ their own immediate setting.

Untitled 1, 2013, Inkjet print mounted on MDF, 100 x 150 cm

Sukan’s new photographic work explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.

Arslan Sukan appropriates images from the internet of ‘installation shots’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube and 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.

By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s perception and interpretation of the exhibition's/ their own immediate setting.

  Untitled 5 , 2013, Inkjet print mounted on MDF, 100 x 150 cm

Untitled 5, 2013, Inkjet print mounted on MDF, 100 x 150 cm

  Untitled 4 , 2013, Inkjet print mounted on MDF, 170 x 250 cm

Untitled 4, 2013, Inkjet print mounted on MDF, 170 x 250 cm

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

  Untitled 7 , 2013, Inkjet print mounted on MDF, 100 x 150 cm

Untitled 7, 2013, Inkjet print mounted on MDF, 100 x 150 cm

  Untitled 9  2013, Inkjet print mounted on MDF, 120 x 180 cm

Untitled 9 2013, Inkjet print mounted on MDF, 120 x 180 cm

 Installation view, 2013 Haus Konstruktiv Museum, Zurich

Installation view, 2013 Haus Konstruktiv Museum, Zurich

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

 Venezia, Biennale 2013, padiglione austriaco

Venezia, Biennale 2013, padiglione austriaco

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

 Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

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Untitled 1, 2013, Inkjet print mounted on MDF, 100 x 150 cm

Sukan’s new photographic work explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.

Arslan Sukan appropriates images from the internet of ‘installation shots’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube and 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.

By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s perception and interpretation of the exhibition's/ their own immediate setting.

Untitled 5, 2013, Inkjet print mounted on MDF, 100 x 150 cm

Untitled 4, 2013, Inkjet print mounted on MDF, 170 x 250 cm

Installation view, 2013 Galerist, istanbul

Untitled 7, 2013, Inkjet print mounted on MDF, 100 x 150 cm

Untitled 9 2013, Inkjet print mounted on MDF, 120 x 180 cm

Installation view, 2013 Haus Konstruktiv Museum, Zurich

Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

Venezia, Biennale 2013, padiglione austriaco

Installation view, 2013 Galerist, istanbul

Installation view, 2013 Galerist, istanbul

  Untitled 1,  2013, Inkjet print mounted on MDF, 100 x 150 cm  Sukan’s new photographic work explores the   conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms.  Arslan Sukan appropriates images from the internet of ‘installation shots’, white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, 'the original condition of the gallery', by digitally painting some of the parts, like walls, ceilings or floors. Sukan's layered approach embraces the disputed characteristics of the white cube and 'as a sacred space undisturbed by time'; at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.  By means of deconstruction, intervention and reconstruction of the white cube, Sukan brings complicity between opposites and creates dualism between recognition and non-recognition, visibility and invisibility, abstraction and concrete concepts. The result is an entirely new space, an architecture of past and future, with a continuously shifting viewpoint. Sukan proposes a phenomenal situation, challenging the viewer on the realism of the photograph and the memory of a space, while also opening up the horizons of the viewer’s perception and interpretation of the exhibition's/ their own immediate setting.
  Untitled 5 , 2013, Inkjet print mounted on MDF, 100 x 150 cm
  Untitled 4 , 2013, Inkjet print mounted on MDF, 170 x 250 cm
 Installation view, 2013 Galerist, istanbul
  Untitled 7 , 2013, Inkjet print mounted on MDF, 100 x 150 cm
  Untitled 9  2013, Inkjet print mounted on MDF, 120 x 180 cm
 Installation view, 2013 Haus Konstruktiv Museum, Zurich
 Installation view, 2013 Galerist, istanbul
 Installation view, 2013 Galerist, istanbul
 Installation view, 2013 Galerist, istanbul
 Installation view, 2013 Galerist, istanbul
 Venezia, Biennale 2013, padiglione austriaco
 Installation view, 2013 Galerist, istanbul
 Installation view, 2013 Galerist, istanbul
650.jpg