“Kemalism is a way of worship”
poster, 70×100 cm, 2008
Hakan Akçura attended with his poster named “Kemalism is a way of worship” to Hafriyat Art Community’s poster exhibition, named “Fear of God” at Istanbul, just before the Stockholm Supermarket ’08 Art Fair.
Hafriyat’s “Open Call” included that explanation about concept with this lines:
“Fear of God” from four different perspectives:
1. On the individual level, as their own conscience vote, in the very first importance, the actual God’s fear: fear of human creator.
2. On the social front, “God’s fear” in Turkish society, which is changing at an accelerating pace, towards a more conservative, Islamic and nationalist increasingly tight corner. The popular “peer pressure” that proves increasingly as “the very tip of the iceberg”.
3. “Ataturkless fear”, a fear which lies on top of God’s fear. CAABA in Mecca / Anitkabir (Ataturks mousoleum), a Muslim / sekularitet, the prophet Muhammad / Ataturk. (These false motsatspar can demonstrate a clearer picture of polarization in Turkish society. Given that the exhibition opened on 10th November which is the death date of Ataturk, there was a further strengthening of the tragic fear in the possession of a part of the population. Namely “Ataturkless fear” on top of God’s fear.)
4. On the universiella and global economic level. It is a very strong correlation between wisdom and wealth, poverty and fear. Those who create the future with the intellect, those who create it with fear. What is the advantage of the rich countries on such a polarizing approach to the world?
A Turkish radical Islamist newspaper, Vakit, identified the exhibition of their followers even before it opened, as “the shameless exhibition” which was created by and for “those” who do not have God’s fear and those who want to attack God.
On opening day the police came to the exhibition and began investigations of three works including Hakan Akçuras poster. They announced the artists from Hafriyat to the collectivity and the three artists whose works were included in the preliminary investigation would be called for prosecutors to give testimony.
The day after the newspaper Radikal news on its front page with the heading “instead of an legal action against the exhibition was thought that it would be attacked by radical Islamists.”
One of the artists who were involved in the preparatory stage, withdrew his work from the exhibition. Hakan Akçura wrote his testimony before a hearing on the prosecution and chose to do it publicly. The day after it was therefore released in the same newspaper.
My works are created based on the third point “Ataturkless fear” contained in the invitation to the exhibition “Fear of God” from Hafriyat Karaköy, which also has been published in newspapers.
I have given poster form with inspiration from these lines from the interview as Berat Günçıkan (journalist) made by Prof. Murat Belge, which according to me is a very prominent and important thinkers, writers and personalities in Turkey:
“The ideology that was born and formed with the Republic is not an entirely secular alternatives. Kemalism is a way of accessories. Although it is a short time in world history, this means having to enter a secular process that simultaneously lose God … ” (Ref: Murat Belge / Historical roots of lynch culture: Nationalism, Call: Berat Günçıkan, Publisher Agora, March 2006 , Page 15)
I agree with what is in these lines altogether. My poster concept is an abstraction and takes its name from that interview: “Kemalism is a way of worship.”
We live in days where the guise of Murat Belge’s socio-political statements is clear and sunny in the political arena. The formal ideology of the Turkish Republic is Kemalism, and paradoxically, known as Ataturk as a prophet in the military, government and social circles of those who are supporters of this formal ideology in its opposition to radical Islamism.
My poster expresses this conflict. For me, under the Islamist taboo evidence and the prohibition of representation of the Prophet Muhammad an expression of worship, as a sensitive irony just as easily could apply to worship and the cult of Ataturk. (Although the reverse.) Those who apparently are opposed to radical Islamism thus anti-democratic Kemal lard behave the same in their worship.
This kemalistkult of worship have Mustafa Kemal transformed from a leader of the liberation war and a founder of the Turkish Republic, to a tool for an undemocratic development of the increasingly aggressive and war-friendly steps, so that even a new military junta in “Ataturks” spirit become defensible.
As an artist, I am very interested in the platforms where my country, its people, its social structures and institutions relations with religions, ideologies, ethnic, national and cultural prejudices and belief system can be highlighted and discussed.
By using my right to express myself freely, as creative artists, but especially the UN statutory basic human right of freedom of opinion and expression.
The exhibition lasted until 2nd December 2007 with great media coverage and interest from the public but with no legal penalties. Poster exhibited at Supermarket Art Fair Tegen 2 Pavillion out for the second time from 10/11.07 to 02/12.07 in Stockholm, Sweden.
HGR Z DM LOS FMP 131 ve 132
(Last days of the turkish gladio)
Poster, 100×70 cm, 2008
The !F Istanbul International Independent Film Festival include an interesting poster exhibition at 2008: I Dream of Films That Haven’t Been Made Yet.
An inspired film often grows out of a chance, indelible image that insists on being seen. In collaboration with Gallery X-ist, !f istanbul has asked artists and graphic designers to put those images to paper and create posters for imaginary films.
The exhibition run for 10 days at the Festival Center. Between 14 and 24 February 2008.
I attended this exhibition with this poster…
The serialnumbers of the two hand grenades which has been found in the car baggage of the bombers that operated in Semdinli, Umut (Hope) bookshop in november 9th, 2005 12.15 PM were HGR Z DM LOS FMP 133 ve 134 and had the same german made qualities as the two hand grenades that has exploded in the bookstore.
Movies name includes the imaginative hypotesis that the exploded bombs serial numbers were HGR Z DM LOS FMP 131 and 132 (Last days of the turkish gladio).
This poster is the world premier poster of this movie for six different centers, 10 years after but same time: November 9th, 2015 12.15 PM.
Production companies, directors and two turkish actors names are real. Three kurdish actors names are fictional.
Poster include hand grenades technical specialities and this long text:
(This has happened before: Ten years ago,) on 9 November 2005 at 12.15 pm in the town of Semdinli, in Hakkari province, southeast Turkey, a bookshop (Umut Kitabevi) was bombed, killing one man and injuring others.
The owner of the bookshop and others managed to apprehend the suspected bomber and two other men after the former had got into a car nearby where the two other men were allegedly waiting for him.
In the car were discovered weapons, lists of names of political oppositionists, information about individuals in Semdinli, maps and other documents. The bookshop owner’s name allegedly appeared in one list and a plan of his home and workplace were found among other such plans.
After the apprehension of the three by the crowd, it was revealed that two men were members of the security services, with identity cards indicating that they were plainclothed gendarmerie intelligence officers (JITEM).
The alleged bomber was subsequently revealed in the press to be a PKK informant (there has been no official denial of this). The three men were escorted away from the scene by police and the alleged bomber detained in relation to the bombing and murder.
Subsequently, as the prosecutor carried out a scene-of-crime investigation, the assembled crowd was fired upon from a car, resulting in the death of one civilian and injury of others. The prosecutor’s crime-scene investigation was postponed. A gendarmerie special sergeant has been detained on charges of disproportionate use of force resulting in death.
(Situation in Southeast Still Tense, Tolga Korkut, Bianet News, November 30, 2005)
-or a autoportrait of the artist as a newspaper runner-
(photographic artworks, 2007, two pieces)