About Us

1* 2018, CSD; Association for the Promotion of Contemporary Life; Children’s Art Workshop and Exhibition,

2* 2016, During my Education Coordinatorship, which started in May 2015 at the Children’s and Youth Biennial, we have worked on a 360 degree advertising campaign with advertising department students supported by 100 ‘Training Seminars and Bilgi University’ it has cost someone else. As a result of this approach of the Director of the Biennial, we resigned on April 10, 2016, one week before the opening of the Biennial as a team including Curator. Registrations are available.
The Volunteering Project for 11 months.

3* November 20, 2015, Sultanbeyli Red Crescent Community Center
Syrian Children ‘Children’s Rights Week’ ‘Right to Play’ theme was processed and painting was done on the wall.

4* 2014, Gokturk, Turgut Özal Elementary School
School Wall project, Open Workshop team and I did wall pre-work with children in classrooms for 1 month. Then all the work was painted on the wall. Ceramics and mosaics were installed.

5* 2012, Açev Teacher Education / Koç University and Ozyegin University gave applied creative art education to teacher candidates for 3 weeks before school.
He has prepared a 360-event project file for preschool children’s art.

6* 2011, Gokturk Neighborhood Square Exhibition, ‘Art on the Street’

Outdoor art work was carried out on weekends for 2 weeks with disadvantaged groups of neighborhood children. Then turgut Özal imam Hatip elementary school, 1 class were included in the study.
At the end of 2 weeks, we created a 2-day open exhibition space. The whole neighborhood enjoyed the art work during the exhibition.

The biggest win was that the next year this school continued this event with its students every year.

7* The Open Workshop, based in Sariyer-Zekeriyaköy, started its activities in the Gokturk region.

2013 – 2014 – 2015 – 2016, we organized the events with the aim of bringing the neighborhood we live in with art with open workshops held once a year.

Art is of course not information; posting the events on the street is far from his interest. Newspapers, televisions, internet channels, telephones, signs, they’re always spreading news from place to place. But there’s one thing that’s missing from all of them. That’s the lack of people who go through those events and transport them.

Although the person who transported the events was present at that moment and in that place, the information he or she provides never reflects one’s self. This information is either a naked image or an anemic language. Just as an image cannot be identical to its reality, the language is trapped between a number of codes. We’d like to say something about each image; Since the image is not just itself… We are in the event that we see, what we experience because…

John Berger (inspired by Merleau-Ponty) says that “if we can see the opposite hill, we should know that we can be seen from there,” so depicting the hill in front of us does not reflect our own judgments about that hill. Those judgments must be explained separately. However, language will not be sufficient for our judgments as long as it circulates between the limited meanings that only words can convey to us. Then, as Adorno said, “we have no choice but to rely on aesthetics.”

The artist sees; a witness to the events and its appearance. However, we cannot define the artist’s situation like this. That artist is the events and his image himself… Thus, the artist does more than reflect: he sees the events and tells everything through himself. In other words, as he sees events, events include him (Ponty says that “the artist throws himself into the world”). So an artist’s reflection of events is separate from the way the media or signs reflect them. What he does is not to create some representations on events, but to create original images. And images, rather than nude images of events, are images of what the artist wants to tell about those events: in a way, it is the artist’s content.

Now, when we look at the works of Sureyya Acar, in the context of what we have written here, we see that he has made great efforts to achieve aesthetic possibilities in the first stage.

From the student period to the present day, we also see that he is interested in almost all of the art disciplines and navigates on a wide range of materials. This cannot be explained by the desire to have an adventure in the field of art. What we need to understand is the desire of Sureyya Acar to “throw herself into the world”.

The artist, who avoids creating information of events and instead aims to establish a direct connection with those events itself, tries to transform the “language” and of course the material of each artistic discipline into its own “existence”. In fact, it is an effort similar to the efforts of many artists who intend to create an aesthetic image; Therefore, there is not much interesting for Sureyya Acar to say these things. But what should be said is that his political personality and emotional aspect are combined in an aesthetic context.

Cultural influences infiltrated into the daily flow, social traumas caused by violent political events or feelings about private life are perceived together in the works of Sureyya Acar. The artistic foundation that the artist presses on conveys all these situations to the character of the image and its material. This is a definite indication of the intention to break the limiting and imposer attitude of information… Finally, if we say that cultural, political and private/ emotional life approaches each other on an aesthetic basis and unites, the result we can draw from this is that these issues are not separated from each other and are identified with the “human” factor. is what it provides.

The “core” of the act of making art is a concentrate on it. Such a determination (for example) does not mean simplifying certain political events and social traumas or, more specifically, “reducing” sentimentality. On the contrary, it is to return the effects of those events and primarily their aspects of “one person” to that “one person”.

No event is merely information, as described to us in some cultural and political texts, and is not identified with “dehumanization”; It is also the work of aesthetics to place “one person” in those texts.
Sureyya Acar’s efforts in art must be linked entirely to this ancient responsibility.