In dialogue with the spaces of the Turkey Pavilion at the Sale d’Armi in the Arsenale, the exhibition Hollow and Broken. A State of the World echoes the current state of the world, emptied and reduced to a battlefield.
Among the most inspirational artists for younger generations, Gülsün Karamustafa, chosen to represent Turkey at the 60th Venice Biennale, is known for her paintings and installations that address various contemporary themes, including local belonging, the modernization of the country, displacement and memory, migration, cultural difference, and sexual identity. In dialogue with the spaces of the Sale d’Armi, the exhibition Hollow and Broken. A State of the World echoes the current state of the world, emptied and reduced to a battlefield, ravaged by wars, forced migrations, environmental crises, and nuclear threats.
Upon entering the Pavilion, visitors encounter three extraordinary chandeliers made of Venetian glass, suspended from above, each representing one of the monotheistic faiths: Christianity, Judaism, and Islam. A barbed wire network wraps around these luminous symbolic objects, reflecting the tensions and historical wars between religions, which remain unresolved. Hollow plastic molds resembling capitals and concrete columns are scattered throughout the Pavilion, in stark contrast to traditional associations of glory and power. Broken Venetian glass also emerges as a recurring motif in the installation, resonating with the artist’s emotions.
The exhibition is completed by a new artist film, composed of black-and-white footage taken from propaganda films depicting migrations, wars, and protests from around the world. Originally projected in cinemas, the images have been reinvented by Karamustafa, stripped of the cameraman’s intervention and the original viewpoint, to highlight the human condition.
