Sıraselviler caddesi. No:83/2
0212 245 55 05




Bounding Box



Pilot Gallery presents Hacer Kıroğlu and Egemen Tuncer’s duo exhibition Bounding Box between March 16 – April 30, 2022. From video works to sculptures, objects to drawings, various mediums that are represented are on view for the first time in this exhibition. 


The works exhibited in Hacer Kıroğlu and Egemen Tuncer’s first duo exhibition in Pilot Gallery, construct its context through the state of being an artist; studies the relation between the artist, the art spaces and institutions through various dynamics of contemporary art exhibitions. Dual relations incorporated within art production practices meditated through the artworks. 


The bounding box is a term that is used to determine the object's exterior points. In the "planned drawing," which is also the basis of the academic drawing, the "bounding box," which is utilized in 3D modeling and is required for the precise placement of the object in its spatial reach, appears. The artists continue to discuss a gallery space through this title, which is evocative of Brian O'Doherty's cult book "Inside the White Cube." For the first time, artists working on this exhibition side by side uncover similarities and differences in their working habits and create works that highlight these disparities.


Egemen Tuncer’s Memory etudes: Pilot is a computer-based animation that focuses on the gallery’s memory and encapsulates the recollection of the exhibitions, which took place in the gallery’s Sıraselviler venue, born from the artist's need and desire to know what was exhibited before him. While all the previous exhibitions before his establish the history of the space, they also form the gallery’s characteristics. The aforementioned characteristics play a role in shaping the audience’s expectations. Hence, the artist who is expected to hold an exhibition in such a venue is put under the pressure of the venue’s “aura”. The work fuelled by this invisible interaction confronts the audience with the prior exhibitions that are held in the gallery’s Sıraselviler no:85 venue. The video attempts to facilitate a confrontation, both for the artist and the audience, and a “Gesamtkunstwerk” that tries to present the gallery’s memory. The images and credit lines in the gallery's archive are modeled individually and appear together, side by side, even on top of one other, as if to remind us of working ways of memory's cumulative mode. This digital model presents a survey of memory in the 8 years between 2014-2021 with Pilot Gallery’s many exhibitions. Memory which is in the name of work references both the technique which was used digitally and the memory of the audience.



Hacer Kıroğlu’s video work Art Trends (2022), projects the effort of following the actors and the environment within the artistic space. The artist first googles “2022 art trends” in English and translates the research outcomes through Google Translate, vocalizing it through the application. With a broken Turkish and a nonsensical translation, the artist discusses the distance between the geography, language, and the culture she occupies and the world stage through the monitor displaying the interface of the translation application. 



One aspect of Hacer Kıroğlu’s art practice which relies on repetition and intensive effort unpacks humanity’s process of learning, making, and transferring the information. Manual labor, women labor, and being in the flow are Kıroğlu’s focus points. In the meantime, Egemen Tuncer’s extraordinarily smooth, faultless artworks almost betray the visibility of manual labor in their workings. Tuncer’s works employ, born from and come through the machines. In this sense, the exhibition does more than carry the two different workings and thought processes: it brings forward the dual relationship between human and machine and opens up the conversational area where manners in art-making and its tools are being discussed. 

Egemen Tuncer