As an immigrant belonging neither here nor there, I use these motifs to mark the twists and turns of my own journey towards belonging.
My interdisciplinary practice is divided into two parts. The irst is my solo studio practice. The second part is my collaborative work rooted in research, writing, and curatorial projects on what we call, postcollapse art. While I am submitting my paintings here for consideration, I’ve opted to include both parts in my statement as the two parts are integral to one another.
In my studio practice, I explore the motifs of Turkish kilims (rugs) through the practice of painting. Historically, each motif represents a singular idea and when woven in combination with other motifs and colors, they evoke nonverbal narratives of lives lived. For example, the burr motif, depending on its positioning, represents either a nomadic lifestyle, or survivorship after displacement. The hairband motif can mean a celebration of a joyous occasion, or more strikingly, a desire for immortality, perhaps in grief of a devastating loss. This symbolic language has endured centuries of wars, migrations, and even the rise and fall of empires to communicate the joys and the sorrows of humans in a way that transcends the boundaries of time and space. As an immigrant belonging neither here nor there, I use these motifs to mark the twists and turns of my own journey towards belonging. In many ways, my approach is similar, – both in terms of practice and thinking,– to the Dansaekwha school that emerged in postwar Korea. The three sample works submitted for consideration here, are from this body of work.
The research, writing, and curatorial component of my collaborative practice focuses on deining our contemporary moment since the fall of the Berlin Wall. Whereas, the terms postwar, postcolonial, and even postmodern mark the contours of new social realities shaped in the aftermath of certain historical ruptures, it now once again necessary to rethink the theoretical framework from which we understand who we are, what we make, and how we think as artists and scholars since this pivotal time in history. We call this new framework, postcollapse, and the emergent art practices, postcollapse art. Our writing on this postcollapse art has been published in ASAP/J , and pending publication in the forthcoming issue of UK-based Antennae.
2006 MFA, California Institute of the Arts. Valencia, CA
2004 BA, University of California, Riverside. Riverside, CA
AWARDS, GRANTS, & RESIDENCIES
2021 Grant. Regional Arts and Culture Council. Portland, Oregon. USA
2020 Residency. GlogauAIR Artists Residency. Berlin, Germany
2019 Residency. ChaNorth Artists Residency. Pine Plains, New York, USA
2019 Residency. Visiting Artist. The Evergreen State College. Olympia, Washingron. USA
2018 Featured Artist. Guest Curator Program: Curator, Becca Hoffman. Foundwork.art
2010 Residency. K2 Contemporary Art Center. Izmir, Turkey.
2003-2004 Fellowship. Andrew W. Mellon Foundation. University of California, Riverside, CA. USA
2003-2004 Fellowship. Gluck Fellows Program of the Arts. University of California, Riverside, CA. USA
PROJECTS, PERFORMANCES & SHOWS
2022 Artists and Poems: Istanbul 2021 | Suturo.com [forthcoming]
2021 (Un)Natural Boundaries and Borders. Silverwood Park Gallery, St Anthony, MN (curated by Katyaun Amjaji)
2021 Enduring Time | Material Emergence. MinEastry of Postcollapse Art and Culture. Portland, OR. USA. (curated by Vuslat D. Katsanis & Ilknur Demirkoparan)
2020 Open Studios Exhibition. GlogauAIR. Berlin, Germany.
2020 Showcase. GlogauAIR. Berlin, Germany.
2019 PARTITA II, Durden and Ray Fundraiser. Durden and Ray, Los Angeles, California, USA
2019 Postcollapse Manifesto distribution (September 2019). Yogurtçu Parkı. Istanbul, Turkey 2019 Open Studios Exhibition. ChaNorth Artist Residency. Pine Plains, New York, USA
2019 [three-person] The Other Is Not. Evergreen State College. Olympia, Washington. USA
2017 klingt kut! International Symposium on Sound. Hamburg, Germany
2017 FAR Bazaar 2017. Cerritos College, Cerritos, California. USA (curated by James MacDevitt)
2016 [three-person] Sympathetic Resonance: An Evening of Improvised Alchemy. Highways Performance Space and Gallery. Los Angeles, California. USA
2016 Are We There Yet? Sonorities Festival of Music, Belfast, Ireland. UK
2016 [two-person] Are We There Yet? Demo launch. University of Gothenburg, Sweden.
2013 [three-person]Chapul San Diego! Mesa College. San Diego, California. USA
2013 Chapul’LA: An Evening of Art, Music, Food, and Chapulling.
Highways Performance Space and Gallery. Los Angeles, California.USA
2012 Letter To Los Angeles . Collaborative work with Vuslat Demirkoparan. Mulholland Dérive. Los Angeles Road Concerts. Los Angeles, California. USA (curated by Stephan van Dyck)
2012 [solo] This Never Happened # 2 . Kwartnik. Irvine, California. USA (curated by Isabel Theselius & Yaron M Hakim)
2012 7th Berlin Biennale. ArtWiki Project (curated by Artur Żmijewski & Pit Schultz)
2010 The Moment of Privacy Has Passed: Sketchbooks by Artists, Architects, and Designers. The Usher Gallery. Lincoln, United Kingdom.
2010 [solo] This Never Happened. K2 Contemporary Art Center. Izmir, Turkiye. 2009 [solo] Untitled Installation. Ozdere Belediyesi Art Gallery. Ozdere, Turkiye.
2008 Corrective Lenses: Challenging Representations of Women of Color in Art.
Jock Turcotte Centre, University of Ottawa, Canada. (curated by Meera Karunananthan)
2006 Improvisations. Open Fist Theater. Hollywood, California. USA
2006 Collisions and Pileups: Calarts 2006 MFA Graduate Exhibition. The Armory Center for the Arts. Pasadena, California. USA
2006 [solo] Tijen the Turk Leaves Her Barbarian Mark... Mint Gallery. CalArts, Valencia, California. USA 2005 [solo] MFA Mid Residency Exhibition. CalArts, Valencia, California. USA
2005 [solo] Sims Old Town Gallery v2. Stevenson Blanche Gallery. CalArts, Valencia, California. USA 2005 [solo] Sims Old Town Gallery v1. Her Majesty’s Project Space, H.M.P.S. CalArts.
Valencia, California. USA
2004 Untitled 31, 04 Senior Thesis Exhibition. Sweeney Art Gallery, University of California, Riverside, California. USA.
2004 Improvisations. California Museum of Photography. Riverside, California. USA.
2004 Teknika Radica: Powering Up / Powering Down. University of California, San Diego, California. USA.
2003 Showcase Alive. University of California, Riverside, California. USA.
2003 [solo] Move, Leave the Meaning to Dry. University of California, Riverside, California. USA. 2002 New Media, New Work. Roy O. Disney Hall. CalArts, Valencia, California. USA.
REVIEWS AND PUBLICATIONS
“The Postcollapse Life: A Conversation on Creative Resilience Beyond the Anthropocene,” with Ilknur Demirkoparan, Vuslat D. Katsanis, and Mirela Kulovic. Antennae: The Journal of Nature in Visual Culture. Special Issue, “Beyond Post-Humanism. [Forthcoming 2022].
“How I Arrived Here: An Artist’s Essay, Or A Long-winded Artist's Statement, Or Possibly Both” Journal of the Association for the Study of the Arts of the Present (ASAP/j). Special Issue on Postcollapse Art: Contemporary Art in ‘the East’ since 1989. Johns Hopkins University Press. December 2021. Web.
Gallivan, Joseph. “Ilknur Demirkoparan - 1989.” Art Focus. KBOO. Portland, OR. October 12, 2021
Senn, Evan. “A Breath of Fresh Air in the Season of Art Fairs: The FAR Bazaar,” Art And Cake, January 16, 2017.
Hines, Dave. “Actor Wesley Elder and Ilka Foods!” The Dave Hines Show. iHeartRadio. December 10, 2016.
“Gezi Süreci Sonrası Kral Büsbütün Çıplak Kaldı”. (Deniz Çaba Şan interviews İlknur Demirkoparan and Vuslat Demirkoparan on Chapul’LA. İzmir Life Magazine. 12 December 2013, p 48-51
Jones, Anna. “A One-Day-Only Art Exhibit Along All of Mulholland Drive,” LA Weekly Blogs, December 10, 2012.
“Sweeney Art Gallery Allows Artist to Take the Next Step,” UC Riverside Fiat Lux, Vol. 14, no 2, Spring 2004, pg 35
Lawson, Jeremy, “Jamming Like They Just Don’t Care”, UCR Highlander, April 20, 2004, pg 22.
Lawson, Jeremy & Clare, Jessica, “Improvisation Makes Fresh Art From Scratch”, UCR Highlander, April 6, 2004, pg 18-20.
2021 (Panelist). “New Migrancies: Spatial Continuity as Creative Connection.” Association for the Study of the Arts of the Present (ASAP/12) 12th Annual Conference.
2021 Panel discussant. Presentation: “Collapsing the East/West False Dichotomy: Art as Intervention”. Panel: The MinEastry of Postcollapse Art and Culture: Contemporary Artists and Cultural Workers Networked For Resilience Beyond The Anthropocene. College Art Association, 109th Annual Conference. New York, NY. USA
2019 Artist Talk, Pine Plains Free Library, Pine Plains. New York. USA
2019 Artist Talk with Arzu Arda Kosar and Gul Cagin, The Evergreen State College, Olympia, Washington. USA
2007 Art Director (documenting the 10th Istanbul Biennale). Artistanbul.tv. Istanbul, Turkiye. 2006 Panelist. Presentation: “On Fantastic Turks.” Panel: MEDIAting Failure. Conference:
Failure: Ethics and Aesthetics. University of California, Irvine. California, USA.
2004 Organizing Committee. UCR is Improvising: A Festival of Spontaneous Art Music and Dance. The event brought together 20 artists from around the globe for three days of performances and workshops in and around Riverside, CA. Organized as a part of the Andrew Mellon Fellowship Grant. California, USA.
2022 1989 Part II. Mineastry of Postcollapse Art and Culture. Portland, OR. USA
2021 1989. MinEastry of Postcollapse Art and Culture. Portland, OR. USA.
2021 Sakha Aeshetis, A Solo Exhibition of Yulia Pinkusevic. MinEastry of Postcollapse Art and Culture. Portland, OR. USA.
2021 Enduring Time | Material Emergence.
MinEastry of Postcollapse Art and Culture. Portland, OR. USA.
2019 - Present. Cofounder. Mineastry of Postcollapse Art and Culture. 2003 – Present. Member. IronBreaker Sisters Art Collaborative.
2016 – 2017. Member. Improvised Alchemy Art Collective.
2004 – 2006: Member. UCR Free Improvisation Ensemble.