İNSARGİ

:Emphasizing the relationship between galleries and artists with the word "İnsargi" she coined, painter Adyali says, "There is no art without an artist, and we cannot talk about exhibiting in a place where there is no art and a gallery."

Seyhan Akinci
 

It is no longer a secret that nothing is as it seems. Behind the scenes is depressing for most of us. That's why the once dusty pink has evolved into today's Instagram pink and we're happy to live there. Our search for a colorful painting in front of which we look beautiful, rather than what the artist wants to convey here, is an important motivation while visiting the exhibition. Perhaps the paintings facing us on those walls have more to tell us. The young painter Adyali, protested the functioning of galleries and art centers with the word "Insargi", which she derived from the words human and exhibition, and she recently performed the first "Insargi" performance, in which people carry her paintings, says exactly this.

Seyhan Akinci: "Insargi" is a derived word. What does this derivative contain?

 

Adyali: Insargi is an unreal word formed by the combination of the words human and exhibition. My purpose in creating this phenomenon is to remind them that artists are the only part that keeps the wheels in the art industry turning and to make them realize that they are treated unfairly by art galleries and take action on this issue. In short, it is a phenomenon that reminds and encourages artists can exhibit their works alone, no matter what kind of art they create. After all, there is no art without an artist,
and we cannot talk about exhibiting and a gallery in a place where there is no art.
 

Seyhan Akinci: "Insargi" is a protest attitude and is compatible with the nature of art. So, what experiences have you had that took you beyond the walls of the galleries?

 

Adyali: First of all, I can say that galleries, in most senses, operate as lone businesses rather than cultural centers. Don't get me wrong, of course, I think they should make a profit in return for the service they provide. But they do not show the artist and their works the attention that a curator should. For example, I have come across many art gallery "employees" who misspell the name of my work, put the name "Untitled" as if the artwork had no name, set low prices for the work instead of the price I set, and were not present in the exhibition area except for the opening day.
 

Seyhan Akinci: What kind of relationship is there between galleries and artists?

 

Adyali: As far as I have come across, I can say that there is a very commercial relationship between galleries and artists. All relevance ends when you pay the wall rental fee in the exhibition area. Galleries are just like people who have a centrally located flat and try to make more profit by renting this flat for a day, for two days, for a week, through some applications, rather than looking for annual tenants. The more customers in a short time, the more profit for them. Artists, on the other hand, see the price of "rent" as a fee that they will confiscate to these businesses in order to gain visibility, meet, and be discovered by potential buyers and collectors, especially at the beginning. In short, it resembles the old Hollywood story, ‘‘Pay me, and I’ll make you famous!’’ only this time the industry is different.
 

Seyhan Akinci: Do you think you are restricted in the creation process in this network of relationships?

 

Adyali: Never. I don't even allow myself to limit my art. I don't even sketch before painting. If I were to open your question, galleries are giving fake names to their exhibitions, as if there is a theme/concept and the curators have selected the works in this direction. The names of these exhibitions actually have no meaning, you can easily realize this when you visit those galleries and see the homework on the walls that are assigned to the students in the Faculties of Fine Arts to have them learn about the works of famous artists. That is if you wanna play you gotta pay. 
 

Seyhan Akinci: Undoubtedly, it is as important as talent to display that talent and find a space for itself. What needs to be improved in the artist-gallery relationship?

 

Adyali: The main purpose of "İnsargi" is to remind us that galleries working with a pay-and-win system are not the only exhibition spaces for artists. I doubt the necessity of the artist's relationship with galleries that have this system. Artists are always capable of creating an exhibition space, stage, and audience for themselves.

 

“İnsargi aims to liberate artists”

 

Seyhan Akinci: Art has experienced a shift in meaning since the day it became an investment tool. Is it possible to define “Insargi” as a step towards the birth of art?

 

Adyali: Art did not dictate to people that they exist as long as they own things in this world. With this system, works of art have also become products that can be sold and owned. Isn't that how the chronology goes, after all? While there are works that are partially unknown how they can be valued, of course, someone will put maximum prices on these works in order to make more money. While there are many heavy clothes that artists are already wearing, and there are many systems in the world that work in a vicious circle against the artist, insargi aims to liberate artists from at least a few of them.

 

Seyhan Akinci: Do you think it is sustainable?

 

Adyali: The aim is to make such a phenomenon sustainable. People, and artists, are free to show, stage and present their art. All the effort of “İnsargi” is to show that it is possible. “Insargi” is a phenomenon that considers the artist and freedom. As long as artists wish for freedom, it will continue to be a sustainable movement.:
                                                                                                                                     *Translated by Adyali