Yusuf Sevinçli

"Good Dog"

Good Dog

Using intense black&white images and apolitically charged gaze, Yusuf Sevincli photographs everyday scenes in the city that fascinates him, Istanbul the city he is tied to flesh and blood. Each photograph he takes is an intimate fragment, often next to nothing, yet it is already everything; an intimate visual journal. At very corner of the blind alleys in Beyoglu, the district Sevincli walks about day and night, nostalgia is to be found but the photographic liveliness of his shots also reminds us that they are very much of today as well. Sevincli talks to us of love, stops at the charm of a body, fixing his gaze at a piece of skin that gives off a sensual fragrance. From the faces of children the light of innocence glows, recalling work by Chaplin or Lumiere brothers. Tiny tots wearing masks play in lanes or undefined open areas, while little girls leap out of the images like wonders or eternal angels, ensembles of childish desire. Their naughty faces stare straight at the onlooker, like those of little girls, whose sweet little faces rub each other so closely one might think imagine they are siamese twins. Yusuf Sevincli captures the night people, the drifters who bring color, complexity and fantasy to the cultural crossroads that is istanbul, drawing from their bodies contrasting flat tints and volumes, such as the man with whitishliquid trickling over his back like a drop painting. Often, too, he captures a single detail, like the pretty legs in punk­style tights or the open eyelid, just a fragment to which he then gives a different visual fate. Forms surge from the shadows, criss­crossing the scratches on the negative with rays ıf light, thereby creating prisms and illumination. Turkish photographer Yusuf Sevincli was born in 1980. He moved to Istanbul to go to university, and has lives there for the past fifteen years, one of a group of artists, mostly photographers, with whom he shares a passion for the image. This emerging ratios was influnced­ or more accurately liberated­ in his practice on encountering the trend in contemporary photography in which the image is not treated as an item in reportage or social documentary. Despite the fact that it has no formal title and cannot be defined as a school, this trend has swept up many artists in France and elsewhere. Even though Sevincli's work has emerged under the auspices, as it were, of Anders Petersen, his writing style is alone. His history and culture feed a very different world, one with a unique gentleness and inexpressive sensuality. Though his images do have a certain blackness to them, they are neither dark nor morbid; quite the opposite, they are open to life. In his stance there's a strong desire not to lose his history or watch iodide. As a result, he offers us vestiges of a culture that is still alive in a country undergoing a total mutation. The striking singularity of Yusuf Sevincli's images liesin the sense that they are objects that he has rescued, gleaning them by chance along the highway of life, profiting from the most unexpected offerings. With their starkly contrasting black and white, their thick grain and often scratchy surface, these fleeting images of everyday life have an air of timelessness about them. Incidentally, they no longer seem to be recording the present moment but rather a world of dreams from an indefinite period, one lost in the scale of time. Clearly, what he wants is not to show unreality as it is but rather to present us with a subjective, deeply felt vision of the world. In his most recent work, Sevincli's visual odyssey has extended to Europe, where he has travelled. From Naples to Paris, through Marseille on the way, he pursues his quest for a silent world in which only the fleeting murmur of life keeps him on the alert.

Place of Exhibition

Galeria da Boavista - CML

More information soon.

Institutional Partners

Braga UM DGArtes GovernoPortugal