GROUP SHOW WITH ESRA GÜLMEN
INTERACTIONS 2024

BUNDESKUNSTHALLE, BONN, GERMANY
1 MAY – 27 OCTOBER 2024

With INTERACTIONS 2024, Bundeskunsthalle invites you to spend the summer in their public outdoor and indoor spaces, where new works of art will complement the existing ones. The new works of art also invite you to play, reflect, or linger. All the works have their own story to tell, which can be discovered through interaction, but they also deal with different “visual languages” as a universal form of communication that transcends borders.
Esra Gülmen’s seesaws entitled CONTROVERSY TEETER-TOTTER offer a playful way of finding a balance between two opposing statements, while Finnegan Shannon’s hand-lettered benches Do you want us here or not invite visitors to pause and offer a place for reflection in dialogue with the other works. In their audio pieces MEET ME AT THE BENCH, the LIGNA artist collective also explores the bench as a place of communication or lingering. 
Esra Gülmen,CONTROVERSY TEETER-TOTTER, 2023 © the artist, photos: David Ertl, 2024
© Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH

All works demonstrate that art can be an open offer, serving both individual and shared experiences – a togetherness in which rigid roles and behaviours are questioned and openness, tolerance, and sensitivity are encouraged. All the participating artists are interested in forms of expression and techniques that reduce the possible distance to art, as well as the distance within a complex, diverse society.

FEATURED ARTIST

ESRA GÜLMEN

Esra Gülmen (b. 1986 in Istanbul) lives and works in Berlin. Gülmen has developed a playful, ironic practice by carving out and revealing “embedded notions” of social codes, and with it, torpedoing any vestige of the ideal in contemporary art. Text, image, and form operate democratically in Gülmen’s practice, which moves between painting and sculpture, translating the rawness of her reflections in an attempt to move as close as possible to “the Real.” Challenging oppressive forms, the fetishism of meaning, and the burden of reference, Gülmen calls on us to revisit our pieties regarding art and its functions.

Gülmen had her first inst...
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