Fevzi Karakoç, artista di nazionalità turca – esposto internazionalmente sin dagli anni Settanta – inaugura la mostra Bridge II, al magnifico Çırağan Palace Kempinski Art Gallery di Istanbul, dal 20 al 31 dicembre 2011. Milano Arte Expo è lieta, in collaborazione con ARTPORTLIVE (vedi link), portale di relazioni e scambi d’arte e di mostre Italia / Turchia, di ospitarne la notizia. Çırağan Palace Kempinski Art Gallery (clic: MAP) houses the exhibition entitled ‘Bridge II’, featuring the most recent works of prominent contemporary Turkish artist Fevzi Karakoç. In his works, Karakoç expresses himself not through the figures themselves, but rather by their overall presentation and composition. His figures, trying to transgress the boundaries of the painting, represent the artist’s bond with the viewers. Fevzi Karakoç’s works are on display in the Çırağan Palace Kempinski Art Gallery (web link Çırağan Palace) on the ground floor. For further information, please dial (0212) 327 00 12.
ABOUT Fevzi Karakoç:
ALWAYS IN THE SAME CLIMATE WAKING UP TO PAST
Looking into the dimension of dynamic elements in our culture’s archaic structure which shapes contemporary social relation’s future…
Some artists who create new artistic realities by peeling the shell of hidden images that remain today from yesterday, reflect such an orientation in their works. Artist Fevzi Karakoç is one of them.
An artist who is a passenger of forgotten distances. Turns his face to yesterday’s culture inheritance while he expands the limits of aesthetic consciousness by searching the novitious. The flowing time always passes through same climate, in the infinite searches he did. Everything starts in the same climate in his paintings. The figures that define space in the extent with the human and the horse, rest in the same climate.
The human’s adventure is enveloping the surface in the paintings; the human who makes inaccessible distances closer and carries his own burden to distances with the horse.
He attributes images of old-times to his works with the rigor of a poet who attributes new meanings to forgotten words. First he wipes out the dust of ancient inscriptions and sculptures. By looking too far; he interrogates our social memory and myths. He makes us confront our far away faces and dreams.
Years ago, Murathan Mungan, reading Karakoç’s paintings said; “They have their own history and also a history occurs from reading them as a group. They are like discovered tablets; they need to be concatenated side by side and read together. Reading them together, that’s why they are here. Reading both the story of every single one in its own and reading their story’s process of being together, following each other.
I’ve also experienced the mystery of foundlings which completes each other in Fevzi Karakoç’s paintings I’ve read so far. The sunshine of old tales falls into each of these paintings. The climate of fairy tales in every painting is tangled with another one. Each painting takes on a shape in a climate which surrounds the repressed hidden bondage of man in his relation with life and his own past. There is a stance in the cycle of ancient metaphors on his figures. A cycle embodies these figures in the axis of the singular. The speechless figures which had lost their voice in plurality and never forget their old solitude, bounce from a simple fund to the front with a sculpture-like movement. This simplicity and the singularity of the figures may be makes us read how to purify from life processes which we violated by. The twinge of simple, singular postures, the vortex which occurs in the surface always draws us to the bottom. Horses and persons in Karakoç’s paintings, live a great loneliness in the desolation of steppe. They are always in a coded place in our social subconscious’ confidential history spiraled by a common adventure. But with the singles Karakoç inquires the meaning universe of the process of singularity. The general trajectory in his paintings, weaves its inner meaning with the pentürel[i] poems of the man who seeks and finds himself finally.
Ümitköy – Ankara November 1996
Looking at the World through uncountable Layers of Paint (BU METİN TÜRKÇESİ İLE TAM EŞLEŞMİYOR, İNGİLİZCESİ DAHA UZUN)
A few notes on the current state of Fevzi Karakoç’s artistic journey
This text is my third one that I write about the work of Fevzi Karakoç. Still, although his oeuvre starts in 1968 and covers hundreds of paintings and printings, there is something new to discover, as his work is continuously evolving. While he researches the language of painting, the artist merges logic with emotion, and achieves to bring together series and gesture on one ground. By doing so, he ignores the former strict boarders of modern painting. Karakoç does not understand art as an instrument for transferring messages to an audience. He understands a painting as an existence of its own, a unity, which has its own formal and conceptual parameters, and he dedicated his work to the artistic research of the formal and conceptual syntax of painting.
I wrote in the catalogue for his retrospective show the Caddebostan Cultural Centre (CKM) between the 15.03. and 13.04 that the objects on the canvas resemble signs at a cross road, which the spectator is able to read, but unable to understand, as they refer to nothing but their own presence. Following them will take him on a journey to nowhere but himself. In the end, he will find nothingness out of which he creates his own pictures of a world of logic and emotion, filled with elements that have been there already, waiting to be seen in a different light. During my opening speech, I have told him that he is restlessly looking for answers on his canvases, but that he has not found them yet. People were uneasily laughing; some were irritated by my words. I know that Fevzi Karakoç understood. I underlined in my speech that this means something good for an artist, because it protects his work from formalism and repetition. I exposed that this unfinishness is a strength of Fevzi Karakoç’s work, which is obviously mature in form and concept and inhabits a unique signature and style that makes it easily recognizable. I wished him that he finds the confidence to progress and the lust to experiment, because this would make his work unpredictable, and so it would constantly renew itself. When Fevzi Karakoç showed me his recent paintings that he shows at Arete Art Gallery, I smiled and reminded him of my words of this opening three years ago. He smiled and I realized that we understood each other…
Before I will write about the formal and conceptual character of his recent paintings and contrast them with his
previous works, I would like to do a short introduction in his oeuvre since 1968. In general, it is characterized by a transition from focusing on the stories of human beings in his figurative early works to becoming a research of the possibilities of painting today through the combination of two of its fundamental elements: The expressive gesture and the rational series.
The period between 1968 and 1990 is characterized by Fevzi Karakoç’s interest for human interpersonal and inter-social relationships. In the subversively socially engaged works, an expressive gesture dominates. Often, like in Altı Sultan from 1988, it erases parts of the scenery by drawing and painting over parts of the figures. The works of that time show a rough and fragmented reflection of the world we live in. Also the horse and the rider, which become dominant elements in the 1990’s, can be seen in early works like Av Öncesi form 1981. Though, at this time, the motive is merely used as a narrative element
From 1990 on, the serial repetition of figures becomes the dominant artistic strategy. Through the repetition of the figure, the objects on the canvas become anonym parts within a series. Often, like in Sarı Alanda Dizidiler from 1991, Karakoç prefers a monochrome background, which supports the anonymity of the figure within a series.
Since Beş Limon in 2001, fruits like pomegranate, apple, paprika or lemon are the dominant serial elements in his paintings. Although the figurative, sometimes expressive painted ordinary objects look familiar, they do not transfer stories. Within the work, they lose their former meaning, and therefore, cannot be used as signs. The fruits, riders, horses or shadows of man point to nothing else but the painting and its concrete parameters composition, contrast, colour, texture etc. Through the repetition of objects, his works show a serial expression in which he examines painting’s ability to research and present human emotion.
His recent paintings at Arete Art Gallery have still a mainly figurative character, as we recognize the protagonists from previous works like fruits, horses and their riders. Still they are placed in a serial manner, whereas it is not as strict as before. Now, like in “Av Düşüncesi” or “Daralanda Kaçış”, the elements are displayed in a chaotic way, which gives the painting a dynamic and tensed composition. There are other remarkable differences between his current paintings and the previous ones. The works in this exhibition are larger in format and in general more expressive regarding their formal constitution. According to a conversation that I had with Fevzi Karakoç, he enlarged the works, because he felt the need for a combination of abstraction and figuration. On a large format, the work becomes more spontaneous and improvised. Besides this, due to the use of big brushes, the pieces are less detailed and abstracter than before. The whole act of painting changes as the large ground requires now a very physical approach. Whereas on a small canvas mainly his hand and wrist were working, now, Karakoç uses hand, arm, shoulder and the rest of his torso to transfer the energy of the inner lust for colour to the canvases. The paint is still oil paint, but now he uses it in a more aquarelle-like consistency, so that the painting act can be speeded up and the traces of the brush stay visible. In the past, he was putting layer onto layer of oil paint on the canvas until he achieved the colour effect that he was aiming at. This process of painting is based on aesthetical observation and rational evaluation. Now, nearly like in an aquarelle, the emotional expression of the moment gains a fragile form during the spontaneous act of painting. In the end, the works show fewer details and are more minimal than before. At the same time, due to the revelation of the spontaneous act of the paintings, they burst of emotional power and aesthetical energy.
In many recent works like “Elma Tabağı” or “Kırmızı Atlar”, Fevzi Karakoç combines the previously separated elements of his artistic language. There, forms and objects without any rational or narrative connection are now put onto one ground. The ground itself is altered as well. Whereas it was mainly monochrome and had a graphic look in the past, now, it is following the expressive character of the all-over-aesthetic of the painting. There is no way of “linearly reading” in his paintings. Karakoç is using a fragmental language, in which the topic is eastern, but the language is western. The works are like bridges between different cultures and histories. The horse, a relic of the Ottoman Empire, and its two-dimensional presentation refer to the (painting) history and the miniature paintings of the Ottoman Empire. The expressive gestures of his works and their conceptual approach refer to the culture of the west and its painting history. Therefore, his paintings can be seen as bridges between east and west, on which eastern topics are communicated in a language, which is highly influenced by the west.
The merging of the objects and the often “unfinished” look (unfinished according to a classic academic notion of composition and visual balance) underlines, stronger than in his previous works, the entity and autonomy of the painting itself. The works require an active spectator, who is willing to review rather than only to look at. He has to be an active participator, who finds the formal and conceptual connections between the pluralistic and heterogeneous elements of Karakoç’s work on his own. In this way, looking at his paintings resembles the way, how we should behave during our daily routines. Observing a painting is more than only looking at the surface of the piece; it means to look through the layers of paint into the core of the work in order to reveal the part of the artist’s soul, which is buried there. Only then, an artwork will enrich the life of a spectator and go beyond being an object of aesthetical pleasure.
His recent paintings prove that I was right by saying that he did not find an end result of his artistic quest yet. Also these works show that his artistic journey will continue. We, the art audience can therefore look forward to see other developments in the work of Fevzi Karakoç. His oeuvre is not concluded, and we can expect more to come. His paintings give us the chance to take part in his journey. It gives us also a taste of the power of artistic production, which resembles the power of evolutional creation. If we manage to learn from it and integrate it in our daily life, we will see how it enriches our lives on at least as many layers as he is using in his paintings.
Dr Marcus Graf
Hüsamettin Koçan Exhibition Text
Karakoç, indeed, started working with expressing daily life in a poetic way in his paintings. The thematic alternation in his art, had carried him to his Ballerina and Equestrian figures first and then to his past time observations he gained by looking to people’s life he lived together. The changed thing in Karakoç’s paintings is the figure’s denial of its before role of inviting the viewer to the story in his previous works. It’s now the case of bringing the viewer face to face with the inner meaning of painting. Figures in these paintings are not commissioned to present personalities. This motif figure which is committed to be a symbol of the human being, leaving being local out of its outlines, is striking roots to time. For this reason, you may find something belongs to you in each of various figures in these paintings.
This is a visual reckoning which presents to you yourself and opens the ways of your own questioning steps… A geometry that parceled in the horizontals and verticals starts have domination over the creation logic of the painting, the figures that placed one by one in these parcels, represents us a state of becoming isolated and alone. Actually, the figure that stands inside every parcel has a protector role for its own singularity, but we need to accept that the eye is surrounded by the vibrations of this state of isolation instead of protection of this singularity. In this respect, viewer tends to a search of relations between these figures.
He looks for analogies and the only analogy he could find is the one which suppresses him brutally, it’s again the similarity in destiny.
The thing which presents us this is the continuity of the color on the surface of canvas and the figure’s framing itself with its own unchangeable solitude. Indeed, the common destiny that occurs from limitation causes a dramatic tension while it also forces the eye not to focus only one figure and evolve all over the canvas surface.
Karakoç’s motif figures are not only grasping the eye who dares to view it, they also open doors to person who is facing an inward rotation, for questioning himself. The change in his paintings is absolutely depends on artist’s experiences that he gained in time. But artist didn’t find his previous original technique of printmaking satisfactory and started to use oil-paint; and this expanded the using field of these concentrations. Because the production based on drawing habits thus left its place to painting. In addition, the alternating measures of canvases have provided an opportunity to the artist for acting more freely and seeing his painting from a more distant view. A relation can be set between looking from a distant point and looking to past but the actual relation that should be set is the reaching of the artist to a smooth expression among the curves of the road which leads to himself.
A PLACE TO SEE THE WORLD
The place where the figures come together and fall apart.
A moment and also a crossroad. Everyone will go his own way soon.
They serve themselves to other’s eyes at a moment they stop and settled; at a moment different rhythms are becoming softer and looking like each other to create a common tempo, at a moment that everyone and everything concentrating and deepening.
Our eyes which stands here and stares them.
Soon they will vanish from our eyes, like horses joining to wind.
They are what we see, we can see,in an instant which all ages gathered in a present moment.
Everyone will go his own way soon. The ways which are often thought to be the same.
Like they often thought to come from the same place/places.
However this is only a moment.
A moment of gathering.
The sameness of them makes us forget their diversities. Like their diversity hides their sameness. They have divided all shares of misunderstanding.
They seem to share the same historical section and also the same geography.
But it can be accrued: In the same geography, in different historical periods albeit together with the similarities,
In the same historical period, in vicinal or relative geographies…
Can be accrued.
Most of them like every moment that lived in its own instant, only shares its own instant to other moments.
Still painting gains its mystery and power from intensity of being able to accrue.
Most of them cover distance alone, lonesome; some of them on their seats, the seat which makes them cover distance, the axilla he accumulated or the savings in his axilla. And there are others who have their animals with them. The animal that defends and frightens.
They have their own history and also a history occurs from reading them as a group. They are like discovered tablets; they need to be concatenated side by side and read together. Reading them together, that’s why they are here. Reading both the story of every single one in its own and reading their story’s process of being together, following each other.
Sometimes they are lined up in shared relation pairs. Being two of them doesn’t accrue them. Because their solitude is also a crowded one. They can’t even be alone or crowded until they get rid of their burden of history and geography. Understanding what side their faces are turned doesn’t move to much things in the painting. Like carrying some colors more than the others over their bodies, doesn’t create a body history different from their disunity. Same time flows all over them. Like an added animal figure causes more loneliness, like every stain comes with its own solitude, like stains melting away before turning into a figure or even an impression. Like color balls which are sometimes exploding inside themselves, added to the surface only. No matter what color the background is; it can be coal gray, rose color or cloud blue, the figures always choose the same stance. There is a time in all of them, unique to Middle East. A time which hovers in air and stays still. But it is also the same time that flows through the figures and bounds them together.
This is the time I love.
Like the horses got lost in steppe.
They leave only their speed on the climate of the painting that they stopover.
They leave their speed by interfusing each other.
The horses that got lost in the steppe’s sand and plain’s mist and barely can be seen, passes through the painting; if we look at the same painting again, we will see that they are not at the their same place. Sand, mist and stain remains in their place.
The thing that they are seeking, the thing makes them forget their own state of being missing in others’ eyes. They are locked in the wind, in their own wind.
Sometimes they exist with four directions which they will disperse from same valley. They are about to fare forth from the place they gathered together and fall apart.
Fevzi Karakoç was giving place to themes of horse and equestrian in his engraving works which are predominant in the 1980s, and he was performing this topic with a quick and harmonious drawing technique as if he was trying to make a reference to our tradition of hunters and warriors. Afterwards he improved these horse and equestrian figures in an stylistic way by carrying on his technique to pentürs[ii]. While component of movement in figures of archer and equestrian was turning into a clear and fluent exposition type, it also has gained a character of peculiar expression by transforming repeated motifs on the canvas surface in time. With the beginning of 1990s, while horse and rider figures were getting abstract in a balance with adaptive structure of color organism they also composed series of repeated motifs cutting the painting surface vertically and laterally on the other hand. That was a development that indicates the constitution stage of conceptual painting. Figures of running horses was stressing the concept of speed, these figures that are decorating image’s surface in the rows of threes and fives, were gaining a motif identity that’s going to create a contrast on a surface which usually was a plain color. In the end of 1990s, abstraction of figures came to a stage far more effective. The concepts of running and speed that determining the figures had highlighted the pictorial function while keeping being a natural sign of theme discussed. In some places, there is an emphasis over excellence of composition that reminds a level of sorting which is special to old miniature regulations, motion and speed is pulled to lower levels.
The sequence of images engage in here, the images that implement an argument of repeating motifs in equestrian paintings, that was also an argument that discussed as a different theme at the end of the year 2000. Basically, there is nothing changed: the motif arrangement which was designed with horse and equestrian figures continues with natural elements like pepper, pomegranate, eggplant in his new term studies. Because the composition character in essence kept hidden, the variability in visual motifs, naturally doesn’t affect the structure deeply.
Horses are calmer now.
In his new exhibition in Galeri Lineart under the name of “Bridge”, while he is reviving his horse and equestrian figures in a slightly different taste of presentation, he is also strengthens the belief that he had never lost the main theme that he engaged in, on the contrary he worked on it and carries it to a new stage. Actually we are in a stance that we witness in every stage of artistic activity: Activity of paint and brush, the trajectory that is being conformed by leading action of these two materials, is reached to another level by walking on the same pictorial paradigm in new works. Horses have no riders now and are more peaceful. In parallel, the paint is purified from the intensity that characterizes previous period’s paintings, dissolved and reached to a fluent leniency. And time to time a harmony has stepped in that is provided by the technique of color splashing. Horses, tired of running, in the evening hours that the sky turns to dark or violet, by abstraction technique becoming more propulsive they give preference to activity of sharing plastic impact.
The festive atmosphere that expressed in Yahya Kemal’s poem called “Akıncılar”, gives place to a more serene atmosphere. But this a process which is also valid for Fevzi Karakoç like every painter who is in need of pre-establishing himself according to requirements of an aesthetic of purification: This means diffusion and concentration, detection of a new destination in outlines of a stage that is basically common but also different in detail. The timeless rule of art functions here too. As one of leading members of his period’s Fevzi Karakoç, is willing to demarcate his artistic activity’s limits in an harmony with his own identity. Because of this reason, values that determine his paintings both technically and aesthetically, are not in the error of deviation from past to present or trying contradictory roads. Besides we need to interpret the “Bridge”, the name he chose for the exhibition, as a title that connects periodic works and predicts perception of conductions. From engraves to paintings, at any stage of artistic improvements , this activity is processed ex post facto and transforms previous periods by enclosing them and thus a natural “flow” is provided without any affectations.
[i] A technique in art, using paints only in images without drawing them.
[ii] Image made by pentürel technique.
FEVZİ KARAKOÇ, Bridge II: Çırağan Palace Kempinski Art Gallery, Istanbul, dal 20 al 31 dicembre 2011
Biografia / expo di FEVZİ KARAKOÇ (turco e inglese):
1968-72 Tatbiki Güzel Sanatlar Yüksek Okulu
1979 Uluslararası Salzburg Yaz Akademisi
1983 Özgün Baskı Resim Dalında Sanatta Yeterlilik
1986 Doçent oldu.
1993 Profesör oldu.
2002 Ocak ayına kadar Marmara Üniversitesi Güzel Sanatlar
2002 Şubat ayından itibaren Yeditepe Üniversitesi Güzel
Sanatlar Fakültesinde çalışmaktadır.
1979 Salzburg Şehri Onur Ödülü
1981 Devlet Resim Heykel Sergisi Ödülü
1983 Devlet Resim Heykel Sergisi Ödülü
1983 Viking Kağıt, Baskıresim Ödülü
1968-72 Applied School of Fine Arts
1979 International Summer Academy in Salzburg
1983 Competency at Printmaking
1986 Became an Associate Proffessor
1993 Became Proffessor
2002 Worked at Marmara University of Fine Arts Faculty
2002 Working Yeditepe University Fine Art Faculty since
1979 Honour Prize by the City of Salzburg
1981 Award of State Painting and Sculpture Exhibition
1983 Award of State Painting and Sculpture Exhibition
1983 Viking Paper, Printmaking Award
Kİşİsel Sergilerden Seçmeler
1972 Türk Alman Kültür Merkezi, İstanbul
1980 Kültür Bakanlığı Devlet Güzel Sanatlar Galerisi, İstanbul
1981 İm Sanat Galerisi, İstanbul
1982 Galeri Lebriz, İstanbul
1983 İstanbul Belediyesi Taksim Sanat Galerisi, İstanbul
1984 Doku Sanat Galerisi, Ankara
1985 Akbank Sanat Galerisi, Bursa
1987 Antik Sanat Galerisi, Ankara
1989 Palet Sanat Galerisi, Eskişehir
1989 Tem Sanat Galerisi, İstanbul
1991 Tem Sanat Galerisi, İstanbul
1993 Yaşar Eğitim ve Kültür Vakfı Sanat Galerisi, İzmir
1993 Tem Sanat Galerisi, İstanbul
1993 Falez Sanat Galerisi, Antalya
1995 Emlak Sanat Galerisi, Ankara
1995 Tem Sanat Galerisi, İstanbul
1996 Arda Sanat Galerisi, Ankara
1996 Tem Sanat Galerisi, İstanbul
1997 Yaşar Eğitim ve Kültür Vakfı Sanat Galerisi, İzmir
1998 Arda Sanat Galerisi, Ankara
1999 Tem Sanat Galerisi, İstanbul
2001 Tem Sanat Galerisi, İstanbul
2001 Yaşar Eğitim ve Kültür Vakfı Sanat Galerisi, İzmir
2002 Tem Sanat Galerisi, İstanbul
2005 Tem Sanat Galerisi, İstanbul
2006 Yaşar Eğitim ve Kültür Vakfı Sanat Galerisi, İzmir
2007 Tem Sanat Galerisi, İstanbul
2007 CKM Sanat Galerisi, İstanbul
2009 Armoni Sanat Galerisi, Ankara
2009 Tem Sanat Galerisi, İstanbul
2011 Maçkamodern Sanat Galerisi, İstanbul
2011 Arete Sanat Galerisi ‘’Penceremden…’’, Ankara
Karma Sergİlerden Seçmeler
1972 2. Uluslararası tahtabaskı resim trienali, Capri, İtalya
1972 Türk Çağdaş Baskı Resim Sanatçıları R.S., Romanya
1977 Baskıresim Bienali, İsviçre
1983 Uluslararası Xylon 9. Winterthur Tahta Baskı Trienali, İsviçre
1984 Devlet Resim ve Heykel Sergisi
1985 Xylon 10 Gelsenkirchen Sergisi, Almanya
1986 1. Uluslararası Asya-Avrupa Sanat Bienali, Ankara
1986-2006 “Bizden ve Onlardan 1-17”, Tem Sanat Galerisi, İstanbul
1987 “İstanbul`dan Çağdaş Türk Resmi”, Kopenhag, Danimarka
1987 “Türkiye`de ve Almanya`da Ağaç Baskı Sanat Srg.”, Ankara
1987 Özgün Baskı Resim Sergisi, Kayaalp Sanat Galerisi, İstanbul
1990 Uluslararası Xylon 11. Winterthur Tahtabaskı Resim Trienali,
1991 “Çelebi`den Gürbüz`e Sanatın Hizmetinde Beş Yıl”, Akm., İst.
1991 1. İstanbul Sanat Fuarı, Tem Sanat Galerisi, Tüyap Sergi Sarayı
1992 Tuval Sanat Galerisi, İzmir
1993 Uluslararası Xylon 12. Winterthur Tahtabaskı Resim Trienali,
1993 On Özgün Baskı Resim Sanatçısı, Eylül Sanat Galerisi, İstanbul
1994 Özgün Baskı Resim Sergisi, Eylül Sanat Galerisi, İstanbul
1995 5. İstanbul Sanat Fuarı, Tem S. G., Tüyap Sergi Sarayı, İstanbul
1995 Replica Sanat Galerisi, İstanbul
1995 Özgün Baskı Resim Sergisi, Eylül Sanat Galerisi, İstanbul
1996 Replica Sanat Galerisi, İstanbul
1996 “Öteki”, Habitat II. Resim Sergisi, Antrepo, İstanbul
1997 Türkiye İş Bankası, “Sanat Büyük Ödülü”, Sergisi, İstanbul
1998 Cumhuriyetin 75. Yılı Sergisi, Bilim Sanat, İstanbul
1998 Çamlıca Sanat Evi, 25. Yıl Sergisi, Galeri Çamlıca, İstanbul
1998 Gurup Sergisi, Eylül Sanat Galerisi, İstanbul
1998 50. Yılında Akbank Resim Koleksiyonu Sergisi, İstanbul
1998 İam Resim Sergisi, Toprakbank Sanat Galerisi, İstanbul
1999 Taç Spor Galerisi Karma Sergi, İstanbul
1999 “Müzesini Düşleyen Sergi”, M.Ü.G.S.F., İstanbul
2001 11. İstanbul Sanat Fuarı, Tem S. G., Tüyap Sergi Sarayı
2001 Taç Spor Sanat Galerisi, İstanbul
2001 Karşı Sanat Galerisi Gravür Sergisi, İstanbul
2002 Teksin Sanat Galerisi 9 Sanatçı, İstanbul
2002 İstanbul Asyakapısı M.Ü.G.S.F. sergi salonları, İstanbul
2002 Upsd Suluboya Sergisi, İstanbul
2002 Teksin Sanat Galerisi İam Sergisi, İstanbul
2004 Odtü 6. Sanat Festivali (Resim Sergisi), Ankara
2004 Çağdaş Bir Bakış, Tem Sanat Galerisi, Yeditepe Ünv., İstanbul
2004 Art İstanbul Lütfü Kırdar Sergi Salonu
2004 I. Prag Uluslararası Sanat Fuarı, Tem Sanat Galerisi
2005 Ankara Çağdaş Sanat Fuarı, Ankara
2005 “Fevzi Karakoç, Sema Ilgaz Temel, Yusuf Ziya Aygen” Üçlü Sergi,
Ortaköy S. G., İstanbul
2005 Arttart Sanat Galerisi Karma Sergi, İstanbul
2006 Gra-plas Resim Sergisi, Ckm Sanat Galerisi, İstanbul
2006 Odtü 7. Sanat Festivali (Resim Sergisi), Ankara
2006 Remart Sanat Galerisi, İstanbul
2006 CKM Sanat Galerisi Siyah Beyaz Sergisi, İstanbul
2007 “Bizden ve Onlardan”, Tem Sanat Galerisi, İstanbul
2007 “Buluşmalar”, CKM Sanat Galerisi, İstanbul
2007 “Özgün Baskı Resim Sergisi”, Teksin Sanat Galerisi, İstanbul
2007 Marmara Üniversitesi GSF 50. Yıl Sergisi, İstanbul
2007 Marmara Üniversitesi GSF Kore Sergisi, İstanbul
2007 ODTÜ 8. Sanat Festivali (Resim Sergisi), Ankara
2007 “Uyanış”, Tem Sanat Galerisi, İstanbul
2007 Art & Life Sanat Galerisi, İstanbul
2008 CKM Sanat Galerisi Desen Sergisi, İstanbul
2008 ANTREPO Sanat Fuarı, Teksin Sanat Galerisi, İstanbul
2008 CKM Sanat Galerisi Kırmızı Sergisi, İstanbul
2008 Kadir Has Üniversitesi Haliç Sergisi
2009 Sintesi Sergisi, Roma
2009 “Natürmort Sergisi”, CKM Sanat Galerisi, İstanbul
2009 ASBAT Sanat Sempozyumu, Bodrum
2009 Ankara Üniversitesi Sanat Sempozyumu, Ankara
2010 Tunca Sanat Galerisi, İstanbul
2010 Maçka Modern Sanat Galerisi, İstanbul
2010 Meke Sanat Galerisi, İstanbul
2010 ODTÜ Sanat Festivali, Ankara
2010 Ege Üniversitesi Sanat Festivali, İzmir
2011 Meke Sanat Galerisi, İstanbul
2011 Füsun İnan Sanat Galerisi, İstanbul
2011 Linart Sanat Galerisi, İstanbul
2011 Cern Modern Sanat Galerisi Türk Kore Sanat Sergisi Ankara
2011 Arte Sanat Galerisi Heykelden Resme, İstanbul
Selected Solo Exhibitions
1972 Turkish German Cultural Center, İstanbul
1980 Ministry of Culture, State Fine Arts Gallery, İstanbul
1981 İm Art Gallery, Istanbul
1982 Gallery Lebriz, Istanbul
1983 Municipality of İstanbul,Taksim Art Gallery, İstanbul
1984 Doku Art Gallery, Ankara
1985 Akbank Art Gallery, Bursa
1987 Antik Art Gallery, Ankara
1989 Palet Art Gallery, Eskişehir
1989 Tem Art Gallery, İstanbul
1991 Tem Art Gallery, İstanbul
1993 Yaşar Education and Culture Foundation Art Gallery,İzmir
1993 Tem Art Gallery, İstanbul
1993 Falez Art Gallery, Antalya
1995 Emlak Art Gallery, Ankara
1995 Tem Art Gallery, İstanbul
1996 Arda Art Gallery, Ankara
1996 Tem Art Gallery, İstanbul
1997 Yaşar Education and Culture Foundation Art Gallery,İzmir
1998 Arda Art Gallery, Ankara
1999 Tem Art Gallery, İstanbul
2001 Tem Art Gallery, İstanbul
2001 Yaşar Education and Culture Foundation Art Gallery,İzmir
2002 Tem Art Gallery, İstanbul
2005 Tem Art Gallery, İstanbul
2006 Yaşar Education and Culture Foundation Art Gallery,İzmir
2007 Tem Art Gallery, İstanbul
2007 CKM Art Gallery, İstanbul
2009 Armoni Art Gallery, Ankara
2009 Tem Art Gallery, İstanbul
2011 Maçkamodern Art Gallery, İstanbul
2011 Arete Art Gallery “For My Window…”, Ankara
Selected Group Exhibitions
1972 2nd International Triennial of Wood-cut, Capri, Italy
1972 Contemporary Turkish Artists Print Exhibition,Romania
1977 Printmaking Biennial, Switzerland
1983 International Xylon 9. Winterthur Woodprintmaking Triennial,
1984 State Painting and Sculpture Exhibition
1985 Xylon 10. Gelsenkirchen Exhibition, Germany
1986 1. International Asia- Europe Art Biennial, Ankara
1986-2006 ‘Bizden ve Onlardan 1 -1 7” Tem Art Gallery, İstanbul
1987 ‘’Contemporary Turkish Painting Fromİstanbul’’ Copenhagen,
1987 Wood-cut Art Exhibition in Turkey and Germany , Ankara
1987 Printmaking, Kayaalp Art Gallery, İstanbul
1990 İnternational Xylon 11. Winterthur Wood-cut Painting Triennial,
1991 5 Years of Service in Art from Çelebi to Gündüz, ACC,İstanbul
1991 1st İstanbul Art Fair, Tem Art Gallery, Tüyap Exhibition Center
1992 Tuval Art Gallery, İzmir
1993 International Xylon 12th Winterthur Wood- cut Painting Triennial,
1993 10 Printmaking Artists Exhibiton, Eylül Art Gallery, İstanbul
1994 Printmaking Exhibition, Eylül Art Gallery, İstanbul
1995 5th istanbul Art Fair, Tem Art Gallery, Tüyap Exhibition Center
1995 Replica Art Gallery, İstanbul
1995 Printmaking Exhibition, Eylül Art Gallery, İstanbul
1996 Replica Art Gallery, İstanbul
1996 “Other” Habitat 2nd Painting Exhibition,Antrepo, İstanbul
1997 İş Bank, ‘’The Grand Prize of Art’’ Exhibition, İstanbul
1998 75th Year of the Republic Exhibition,Bilim Sanat, İstanbul
1998 Çamlıca Art House 25th year Exhibition, Gallery Çamlıca, İstanbul
1998 Group Exhibition, Eylül Art Gallery, İstanbul
1998 Akbank Painting Collection in its 50th year Exhibition, İstanbul
1998 ‘’I am’’ Painting Exhibition- Toprakbank Art Gallery, İstanbul
1999 Taç Sports Art Gallery Group Exhibition, İstanbul
1999 ‘’The Exhibition that imagines its museum’’ MÜGSF, İstanbul
2001 11th İstanbul Art Fair, Tem Art Gallery, Tüyap Exhibition Center
2001 Taç Sports Art Gallery, İstanbul
2001 Karşı Art Gallery Gravure Exhibition, İstanbul
2002 Teksin Art Gallery 9 Artists, İstanbul
2002 İstanbul Asian Side MÜGSF Exhibition Center, İstanbul
2002 Upsd Watercolor Exhibition, İstanbul
2002 Teksin Art Gallery ‘’İ am Sergisi’’, İstanbul
2004 METU 6th Art Festival(Painting Exhibition), Ankara
2004 A Contemporary View, Tem Art Gallery-Yeditepe University,
2004 Art Lütfi Kırdar Exhibition Center, İstanbul
2004 1st Prague İnternational Art Fair, Tem Art Gallery
2005 Ankara Contemporary Art Fair, Ankara
2005 “Fevzi Karakoç, Sema Ilgaz Temel, Yusuf Ziya Aygen,” Triple
Exhibition’’, Ortaköy Art Gallery, İstanbul
2005 Arttart Art Gallery Group Exhibition,İstanbul
2006 Gra-plas Painting Exhibition Ckm Art Gallery, İstanbul
2006 Metu 7th Art Festival(Painting Exhibition), Ankara
2006 Remart Art Gallery Group Exhibition, İstanbul
2006 CKM Art Gallery Black and White Exhibition, İstanbul
2007 Tem Art Gallery, From us and from Them , İstanbul
2007 Meetings, CKM Art Gallery, Meetings, İstanbul
2007 Printmaking Exhibition, Teksin Art Gallery, İstanbul
2007 Marmara University Faculty of Fine Arts 50th Year Exhibition,
2007 Marmara University Faculty of Fine Arts Korea Exhibition,
2007 METU 8th Art Festival (Painting exhibition ), Ankara
2007 Awakening, Tem Art Gallery, İstanbul
2007 Art& Life Art Gallery, İstanbul
2008 CKM Art Gallery Sketch Exhibition, İstanbul
2008 ANTREPO Art Fair, Teksin Art Gallery,İstanbul
2008 CKM Art Gallery, Red Exhibition, İstanbul
2008 Kadir Has University, HALİÇ Exhibition, İstanbul
2009 Sintesi Exhibition, Rome
2009 Still Life Exhibition, CKM Art Gallery, İstanbul
2009 ASBAT Art Symposium, Bodrum
2009 Ankara University Art Symposium, Ankara
2010 Tunca Art Gallery İstanbul
2010 Maçkamodern Art Gallery, İstanbul
2010 Meke Art Gallery, İstanbul
2010 METU Art Festival, Ankara
2010 Ege University Art Fair, İzmir
2011 Meke Art Gallery, İstanbul
2011 Füsun İnan Art Gallery, İstanbul
2011 Linart Art Gallery, İstanbul
2011 Cermodern Art Gallery Turkish- Korea Art Exhibition, Ankara
2011 Arte Art Gallery, Sculpture from the Picture İstanbul, İstanbul