FLASHBACK
13.April.2018
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Photos I received from Pilevneli Gallery immediately caught my attention. Black & white old photography; a woman with a fur hanging from her neck, two young girls with white big bowties on their hair, boys boxing with their underwear and children kissing each other. read more
Photos I received from Pilevneli Gallery immediately caught my attention. Black & white old photography; a woman with a fur hanging from her neck, two young girls with white big bowties on their hair, boys boxing with their underwear and children kissing each other. 
Is it longing for the naivetés of the past, a different approach to art or the black & white effect that got me? I am not sure. Maybe all of them together. 
Born in 1982, artist, writer and researcher Tayfun Serttaş is preparing to open Maryam Şahinyan achieves as conceived in a spatial context. The exhibition that will take place between April 27 and May 26 at Pilevneli Gallery, will show an “enlightened past” filtered through darkroom. 

Who is Maryam Şahinyan?
For 60 years, Maryam Şahinyan sustained an uninterrupted career in studio photography, a profession under the monopoly of men – and she did not only take photographs. She also included in her frame, a specific social section of the history of the Republic that was highly difficult to visually access. The 20th century tradition based on the distinction of spatial and instrumental criteria unique to women and men also determined the customer group of Foto Galatasaray that could be analysed as an equation involving the categories of ‘women’, ‘middle-class’ and/or ‘urban’. Maryam Şahinyan was a woman; as a master, for over half a century, of a profession that was not granted to her, and as the eye behind the lens. She enabled the production of a visual history that stood distinct from the male gaze... This unintentional/deliberate stance also renders the Şahinyan archive one most unique visual oeuvres of the history of Turkey. 
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