Gönül Nuhoğlu

15.10 - 23.11.2022

Capitalism is incompatible with the survival of life on the planet.

– Jean -Jacques Regibier

Beetopia 2 emphasises nature’s changing visions and realities while reflecting and shaping social attitudes toward the natural world. In the context of ecocriticism, it is aware that nature is not a concept but a dynamic reality. 

Gönül Nuhoğlu underlines the need to find new antidotes to oppressive power structures and to grasp nature together with its symbiosis, with the installation, sculpture, photography and video works in the exhibition. The artworks dream but is not separated from the world, reminding each other that they are connected in a constellation of living networks. It draws attention to the friction between savagery, physical strength and aesthetics, with the growing collective awareness and ecological concern over the last century of ecological crises and the impact of human activities on the planet. 

Beetopia is a dream of an egoless world ruled by females and it has a culture where age-old inadequacies such as the unnecessary suffering of humanity are not only preventable but completely unacceptable, It accepts all the resources of the world as the common heritage of all the world’s people and living things. Beetopia allows all goods and services to be used by all people without the need for money, credit, barter or any other medium of exchange and individuals become one perfectly functioning organism, working for a peaceful and sustainable global civilization, where human rights are no longer paper statements but it is a way of life.

Gönül Nuhoğlu

Gönül Nuhoğlu lives and works in Istanbul. As an artist living in Istanbul and collaborating with the fields of historiography, politics and sociology, the works she has produced in the last twenty years are dialogues fed by the contradictions of the space. Her journey explores the limitless dimensions of our spatiality and traces transdisciplinary, historical, social and spatial connections. There are no certainties in her art, there are intentions, but there are no methodologies. Each solo exhibition consists of works that draw on a wide range of media, grouped around specific themes and concepts. These themes are often combined in installations. Many different materials and languages can be used in different exhibitions, but personal exhibitions create meaningful ties with each other in terms of their subjects. The subject of each work determines the material and form used.

She works on site-specific installations that examine and deconstruct the relationships, places, ideas and identities that represent them. She defines the relationship between spatial dynamics and her works as follows: “The consideration of the space itself and its inclusion in the work is a vital element of my production process. It directs my production of the field with its physical, historical and socio-political dimensions.”New issues arise during research and production, and the next work opens the way for my whole work.