installation, projection with 12 figures composed of paint and upholstered cloth on plywood, app. height of each figure with oil cans: 250cm
is being exhibited between April 9 - July 26, 2015 in Reunion, Sakip Sabanci Museum, Istanbul.

In her works, Elif Süsler uses found objects, photographs and videos, thus breaking apart static images and bringing back them together. From these images she creates others, transformed, familiar but always a little more than we knew, physically larger, conceptually broader, their rates of expansion ever streching the bounds of our mind. In doing so, she keeps in the back of her mind the seemingly old-fashioned question ‘Is it possible to produce a new image?’ as a guiding utopia. It is not a new image she is after, however, but new possibilities and new narratives that use those images already in existence. Nicolas Bourriaud summarizes the process that characterizes Elif Süsler’s works, as well as contemporary art production, as follows:

The artistic question is no longer ‘What can we make that is new?’ but ‘How can we make do with what we have?’ In other words, how can we produce singularity and meaning from this chaotic mass of objects, names, and references that constitutes our daily life? Artists today program forms more than they compose them - rather than transfigure a raw element (blank canvas, clay, etc.), they remix available forms and make use of data. In a universe of products for sale, preexisting forms, signals already emitted, buildings already constructed, paths marked out by their predecessors, artists no longer consider the artistic field (and here one could add television, cinema, or literature) a museum containing works that must be cited or ‘surpassed,’ as the modernist ideology of originality would have it, but so many storehouses filled with tools that should be used, stockpiles of data to manipulate and present.(1)

From these ‘stockpiles,’ Elif Süsler carefully selects and exposes what we have swept into the collective subconscious. And after a series of visual experiences, and a material-centered, labor-intensive process, she transformes these into characters or extras of a scenario that takes shape in her mind, but that she never directly shares with the audience. These transformed images appear to us each time with a different mise en scene and an absurd theatricality. In this dream-like, surreal atmosphere created by the artist, we take a second and more careful look at the familiar and, with this look, bear witness to the times.

Elif Gül Tirben, from the catalogue of Reunion, 2015

(1) Nicolas Bourriaud, Postproduction Culture as Screenplay. How Art Reprograms the World, New York: Has & Sternberg, 200;