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Gülsün Karamustafa

Gülsün Karamustafa. Chronographia

Hamburger Bahnhof stages an extensive solo exhibition of Gülsün Karamustafa’s work in a museum setting for the first time outside of Turkey, introducing her work to a wider international audience. Accompanying the exhibition, a comprehensive monographic publication on Gülsün Karamustafa's work will be published by Verlag für Moderne Kunst, featuring text contributions by Meltem Ahiska, Ovul O. Durmusoglu, Gülsün Karamustafa, Marion von Osten, and Melanie Roumiguière. SAHA supported the production of this new publication on Gülsün Karamustafa, published on the occasion of the exhibition held between 10 June 2016–15 January 2017 at Hamburger Bahnhof.

The exhibition at Hamburger Bahnhof – Museum für Gegenwart – Berlin, curated by Melanie Roumiguière, includes about 100 works, and is designed to make these ramifications and cross-connections visible by showing the works not in chronological order, but in a thematic arrangement which brings them into dialogue with one another. Karamustafa’s oeuvre stretches from the middle of the 1970s to the present day and encompasses various media, including painting, installation, performance art and video. In terms of content, the main emphasis of her work lies on questions of migration, politically-induced nomadism, pop culture, feminism and gender, as well as a critical analysis of the Western view on Middle-Eastern countries. Gülsün Karamustafa is regarded as one of the most important artists of the second half of the 20th century in Turkey, where her work has had a decisive influence on younger generations of Turkish artists since the 1990s.

About Gülsün Karamustafa

Gülsün Karamustafa (Ankara, 1946) graduated from the Istanbul State Fine Arts Academy in 1969. Her solo exhibitions include “Gülsün Karamustafa. Chronographia”, Hamburger Bahnhof, Berlin (forthcoming, 2016), “Swaddling the Baby”, Villa Romana, Florence (2015); “An Ordinary Love”, Rampa, Istanbul (2014); “A Promised Exhibition”, SALT Ulus, Ankara (2014), SALT Beyoğlu, SALT Galata, Istanbul (2013); “Mobile Stages”; Salzburger Kunstverein, Salzburg (2008); “Bosphorus 1954”, Kunstmuseum Bonn, Bonn (2008); “Memory of a Square / 2000-2005 Video Works by Gülsün Karamustafa”, Kunsthalle Fridericianum, Kassel (2006); “Black and White Visions”, Prometeo Gallery, Milan (2006); “PUBLIC/ PRIVATE”, Dunkers Kulturhus, Helsingborg (2006); “Memory of a Square”, Museum Villa Stuck, Munich (2006); “Men Crying presented by Museé d’Art Moderne de la Ville de Paris”, Galerie Immanence, Paris (2005); “Galata:Genoa (Scavere Finestrini)”, Alberto Peola Gallery, Torino (2004); “Mystic transport, Trellis of My Mind”, Musée d’Art et Histoire Geneva, (1999), among others.

About Hamburger Bahnhof

Hamburger Bahnhof – Museum for Contemporary Art – Berlin (Hamburger Bahnhof – Museum für Gegenwart – Berlin) presides over a comprehensive collection of contemporary art, which it presents in a variety of exhibitions. The museum’s name refers to the building’s original function as one of the first terminal stations of the rail system in Germany. Today it is preserved as the city’s only train station remaining from that time.

Hamburger Bahnhof reopened on 2 November 1996 as a museum of contemporary art, the "Museum für Gegenwart". The museum expanded significantly to accommodate the Friedrich Christian Flick Collection, presented to the museum in 2004 as a long-term loan. The former dispatch warehouses located behind the main building were renovated by the architectural firm Kuehn Malvezzi and connected to the historical building via a passage. The resulting structures, which became known as Rieckhallen, nearly doubled the available exhibition space. Today the Nationalgalerie’s Hamburger Bahnhof division is one of the largest public collections of contemporary art in the world.