Nevin Aladag
Trained as a sculptor, Nevin Aladag is known for considering cultural and physical boundaries and their relation to space through performance, video, and mixed media sculptures. Music and auditory communication factor heavily into her work and she seeks ways to contradict the assumed role or identity of these entities. In her video work Session, traditional Arabic, African, and Indian percussion instruments are “played” by the elements, battered by the wind, sea and sand in Sharjah, United Arab Emirates. This fluidity of identity seen in her work blurs lines between passive and aggressive, male and female, temporary and eternal. The stomps and steps of anonymous volunteers memorialized in Top View run parallel to the portrait of a city captured entirely through a rear-view mirror in City Language II—they dismantle the viewer’s assumptions of cities, people, and the concrete self.
Aladag has shown at Kunstmuseum Stuttgart, Germany, Art Basel, Switzerland, Zeppelin Museum, Friedrichshafen, Germany, ICA, London, Center for Contemporary Art, Malmö, Sweden, Istanbul Modern (2014), Musee d’Art c]Contemporain, Marseille, National Museum of Women in the Arts, Washington D.C., Museo de Arte Contemporaneo, Barcelona, and the Al-Mamal Foundation for Contemporary Art in Jerusalem. She has participated in the 11th Sharjah Biennial (2013), …
Trained as a sculptor, Nevin Aladag is known for considering cultural and physical boundaries and their relation to space through performance, video, and mixed media sculptures. Music and auditory communication factor heavily into her work and she seeks ways to contradict the assumed role or identity of these entities. In her video work Session, traditional Arabic, African, and Indian percussion instruments are “played” by the elements, battered by the wind, sea and sand in Sharjah, United Arab Emirates. This fluidity of identity seen in her work blurs lines between passive and aggressive, male and female, temporary and eternal. The stomps and steps of anonymous volunteers memorialized in Top View run parallel to the portrait of a city captured entirely through a rear-view mirror in City Language II—they dismantle the viewer’s assumptions of cities, people, and the concrete self.
Aladag has shown at Kunstmuseum Stuttgart, Germany, Art Basel, Switzerland, Zeppelin Museum, Friedrichshafen, Germany, ICA, London, Center for Contemporary Art, Malmö, Sweden, Istanbul Modern (2014), Musee d’Art c]Contemporain, Marseille, National Museum of Women in the Arts, Washington D.C., Museo de Arte Contemporaneo, Barcelona, and the Al-Mamal Foundation for Contemporary Art in Jerusalem. She has participated in the 11th Sharjah Biennial (2013), the 11th International Istanbul Biennial (2009), the 8th Taipei Biennial (2008), and the Quadrennial for Contemporary Art in Copenhagen (2008).
Centre Pompidou, Paris
Sammlung der Neuen Nationalgalerie, Berlin
Collection Thyssen-Bornemisza Art Contemporary, Vienna
Pinakothek der Moderne, Munich
Contemporary Art Collection of the Federal Republic of Germany
Wentrup Gallery, Berlin
Gitte Weise Gallery, Berlin and Sydney
