climbing journal / acrylic on canvas / 150 × 210 cm, 2014

“What interests me is not to suspect the intentions of the artist or the curator. What matters to me is this horizon of suspicion on the background of which the works of the former and the strategies of the latter are set up. It is the way in which the universality of the protest for human rights or people’s autonomy appears to be absorbed by another universality: the universality of the commodity, or rather a certain idea of the universality of the commodity.”*

*Chantal Mouffe: Agonistic public spaces: Democratic politics and the Dynamics of Passions

This idea proposed by Chantal Mouffe is of definitive importance in the general sense, but even more significantly, it points to a process that marks the meaning of Mustafa Pancar’s paintings and the total contemporary political-cultural-economic environment in Turkey. A viewer who is not informed about developments in contemporary art and this process that has taken shape from the 80s to the present day, might have difficulty in understanding the context of this continuous work that has taken shape over 20 years. Pancar’s paintings both mark this general process, and in particular are related to the social-cultural developments of Istanbul, and to a large extent, the Postmodern art represented here.. more…
Beral Madra




evening meeting / oil on canvas / 210 × 300 cm, 2014