Art Talks: Kevser Güler

Bilsart hosts the group exhibition “flesh and bone”, curated by Kevser Güler, between July 3 – 27.

The program, curated by Kevser Güler, takes place as part of the “flesh and bone” exhibition series, the first exhibition of which was opened on May 18 at the American Hospital Operation Room exhibition hall. In Bilsart, a video of Çınar Eslek will be screened between July 03-13 and another work by Linda Dement & Nancy Mauro-Flude will be on display between July 17-27. The idea of showing Çınar’s work entitled “Ground (Prolog)” 2019 together with Linda and Nancy’s performance documentation “Cyberfeminist Sheet Transformed into a Flag” was inspired the  ways artists deal with the body and the empowering potentials of feminist solidarity practices in their production. The artists are inviting us to assume the forces of the body as becoming, acting and have been acted upon, affecting and being affected on, while turning towards the possibilities of healing, walking and strengthening together.

The first exhibition of the series “flesh and bone” which was opened in the Operation Room includes the works of Alican Şahinler, Deniz Gül, Deniz Pasha, İris Ergül, Joachim Franz Beich, Kerem Ozan Bayraktar, Laurie Charles, Linda Dement & Nancy Mauro-Flude, Marina Papazyan, Nilbar Güreş, Pedro Barateiro and Şafak Çatalbaş. The Operation Room exhibition can also be seen until July 27th.



Linda Dement mapped a non-linear terrain of punk, cyberfeminism, rebellious abberation and corporeal digital transgression as a rumpled unclean bedsheet. A genealogical record, it bears smears and stains from productive encounters, convergences and brush pasts. The sheet has been endlessly folded, scrunched, wrung out or smoothed flat in spawning, connecting and adulterating across feminist time and creative persuasions. Mauro-Flude and Dement devised a performance, transfiguring the sheet to a flag and unfurling ribbons of quotes from the stains of their authors.


Linda Dement is a Sydney based artist who has worked in arts computing since the late 1980s. Originally a photographer, her digital practice spans the programmed, performative, textual and virtual. Her work deals with issues of disturbance, commingling psycho-sexual corporeality and the digital and electronic, giving form to the difficult territory of the unbearable and conflicted. Dement’s programmed and still image work has been widely exhibited internationally and locally, including at the Institute of Contemporary Art London, Ars Electronica Austria, multiple International Symposia of Electronic Art and Impakt Media Arts Festivals in Europe. She is twice winner of the Australian National Digital Art Award and has been awarded a New Media Arts Fellowship by the Australia Council for the Arts. Her work is held in collections such as the Bibliotèque Nationale de France, Australian Video Art Archive, New York Filmmakers Co-op and the Daniel Langlois Foundation.


Nancy Mauro-Flude is a Tasmanian artist and theorist. Driven by the demystification of technology, and the ‘mystification’ that lie in and through the performance of the machinic assemblage. Contributing to developments in performing arts, technology and the public domain, Nancy has collaborated with leading institutions and festivals worldwide and has led numerous cross-disciplinary programmes that examine contemporary society in a digital age. Media experimentation and pedagogy form the basis of her work where the computer is approached as a theatre machine. In her experimental artworks, performances and durational events she presents a paradoxical combination of satire and transcendentalism (she prefers to perform the political, than merely represent it). Mauro-Flude’s performance work most often involves computational machines where by touching and divining their inner parts. She engages bespoke technologies to open up systems in order to execute in unusual ways.