{"id":825,"date":"2022-04-02T11:56:03","date_gmt":"2022-04-02T08:56:03","guid":{"rendered":"http:\/\/www.basakbugay.com\/?page_id=825"},"modified":"2022-04-02T13:45:42","modified_gmt":"2022-04-02T10:45:42","slug":"fugue-2","status":"publish","type":"page","link":"https:\/\/www.basakbugay.com\/index.php\/fugue-2\/","title":{"rendered":"fugue"},"content":{"rendered":"

Fugue <\/strong><\/p>\n

 <\/p>\n

Ahmet Sami \u00d6zbudak<\/p>\n

 <\/p>\n

What if we ask whether darkness can dance? I would answer, \u201cDepends on the light\u201d. And I would start searching within myself if it were true. We cannot see the darkness dancing, because we are in the dark at that moment, but what if we feel the dance… Sometimes feeling is the only reality. All that appears may disappear, but the feeling remains with us. Feelings are the eternal inhabitant of our heart. Bas\u0327ak Bugay\u2019s exhibition Fugue is a parade of emotions. The feelings I had during the first visit are like a waterfall that overflows my mouth. I can depict it like this. You start talking and you feel clouds coming out of your mouth. At least that\u2019s the feeling it creates for someone suffering from city-fatigue like me. Everyone who sees Fugue will have similar feelings. For some, the cloud will be replaced by cigarette smoke, or a mist, perhaps a sea foam…<\/p>\n

It is as if everything you see in Fugue takes a new form as to your perspective. Your perspective and feelings recreate the artist\u2019s sculptures. I suppose that\u2019s the power of an artwork. The eye of the creator and the beholder meet at a common place producing a common work in collaboration. Everyone who sees the sculptures in Fugue will complete the work they see with a story from their own world. This promise is not in vain, you will also realize that minds and memories come together to meet around a common language before these works.<\/p>\n

You will understand the poetic sentences I formed above when you visit the section with the head sculptures located in the well-lit part of the exhibition. That part is called \u201cOld Town\u201d. You must have a story for each head you see there, but looking at that installation from afar, some common feeling will come to us, despite all different perspectives and stories. Also, the \u201cOld City\u201d promises a low-altitude flight to southeastern cities such as Urfa, Mardin, and Ad\u0131yaman. You look at the bloody and war-torn atmosphere of the Southeast from a doll\u2019s house. My point is, Barbie dolls have candy-like houses, you know, how naive and sweet life is perceived in those houses… What you feel is the opposite. Naivety remains, but \u201cOld Town\u201d is like a dollhouse served with hot sauce. It is like a forbidden toy for us as the people of this geography whose inner child has been forced not to grow up. The projection of a childlike anger that levels to the ground.<\/p>\n

I started with a definition of darkness, but what makes the people of Fugue so alive and effective is the interplay between the light and the dark. Thanks to the setup, we feel that they revolve around us and gradually become us who visit the exhibition.<\/p>\n

For example, the work called \u201cSlope\u201d shouts \u201cGet rid of gravity if you want to escape the weight our age imposes on you.\u201d At least that\u2019s how I feel. \u201cGravity dooms us,\u201d I say. At this point, I look at what Bas\u0327ak Bugay has to say about the work. I am not surprised by this sentence, \u201cThe individual who falters in the hilly structure of the ground gets disconnected from reality because of her burdens and is left hanging in the air\u201d. This is how we underline the spiritual kinship I mentioned above, as watchers and performers.<\/p>\n

The other stop of our journey is \u201cTwenty O\u2019clock\u201d. For me, this work represents loneliness and despair. The main source of hopelessness is the things we hear every day. Bas\u0327ak Bugay, on the other hand, refers to \u201cTV announcements in the evening news\u201d with this piece. The common feeling between the artist and the viewer is evident here as well.<\/p>\n

One of the most shocking pieces for me is \u201cFlying Balloon\u201d. It was actually a contiguity for me. A head and a betrothed body depicted by ropes on the chair. When I looked at the head standing beside it, I felt like I was looking in the mirror. And that\u2019s when I realized the disintegration in my body, my arms and legs unraveling thread by thread and helplessly defying gravity in a chair. It was a striking relationship between death and life, the scattered body and the surviving thoughts and memories. Bugay allows the mind to oat away with this piece, but it made me lose the sense of my body even before my mind had a chance to fly out.<\/p>\n

A window from my childhood is the work entitled \u201cWhy the laugh?\u201d. A cemetery where dolls are buried, but not a dreary place. It is as if you can stare the right way, they will come to life, smile at you and say the sentence you need to hear that day, that is, the day you visit this exhibition.<\/p>\n

Fugue made me feel the dance of darkness. Despite the darkness, it gave me hope. I told myself \u201cHappy to be born in this geography\u201d; I whispered to myself \u201cHappy that I grew up with such feelings\u201d. Fugue is derived from the word to fly, and as I write this article and play with words, I feel my feet are o the ground. I am floating in the dark sky while my body is getting thrown thread by thread towards the earth. And I love this feeling. Unraveling feels like the world\u2019s greatest freedom.<\/p>\n

<\/h6>\n
>>Ahmet Sami \u00d6zbudak <\/strong>is a theatre director, playwright and novelist based in Istanbul. He completed his undergraduate education at Istanbul University, Faculty of Literature, Archiving Department. In 2013, he received the prestigious Heidelberger St\u00fcckemarkt European Young Writer Award with his play \u201cI\u0307z\u201d staged by GalataPerform production. His novel titled \u201cMasturi Cabaret\u201d was published by Artemis Publication in 2014. The play \u201cHayal-i Temsil\u201d, which is part of the project of Afife Jale and Bedia Muvahhit, written by \u00d6zbudak, met with the audience in the repertoire of the Istanbul Metropolitan Municipality City Theaters in 2015. Among the plays he has written and adapted for the stage are \u201cKar K\u00fcresinde Bir Tavs\u0327an\u201d (ikincikat, 2015- 2016 season); \u201cRomeo and Juliet\u201d (Nil\u00fcfer Municipality, Bursa, Turkey, 2016-2017 season); \u201cSherlock Ha- mid\u201d (Bak\u0131rk\u00f6y Municipal Theaters, Istanbul, Turkey, 2017-2018 season); \u201cMutluyduk Belki Bug\u00fcne Kadar\u201d (TwoTwo Production, 2017-2018 season); \u201cRed Speedo\u201d (TwoTwo Productions, Pera Palas Hotel, Istanbul, Turkey, 2018); \u201cMe\u00e7hul Pas\u0327a\u201d (Tiyatro Adam, Istanbul, Turkey, 2018); \u201cSuleymankurt\u201d (Berlin Maxim Gor- ki Theater Studio R, Germany, 2018); \u201cKlan\u201d (Tebdil-i Mekan production, 2019-2020 season); \u201cGomidas\u201d (Yolcu Theater production, Istanbul Theater Festival, Turkey, 2020); \u201cYel\u201d (Fringe Ensemble theater group Bonn, Germany, 2021).<\/em><\/h6>\n
Translated by Zeynep Nur Ayano\u011flu<\/em><\/h6>\n","protected":false},"excerpt":{"rendered":"

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