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




Woof Woof Woof Woof Woof


12 NOVEMBER 2020 - 31 DECEMBER 2020


PİLOT hosts the first solo exhibition of Can Küçük ‘Woof Woof Woof Woof Woof’ between November 12 and December 31, 2020.

Woof Woof Woof Woof Woof is a biographical exhibition that depicts life from beginning to end, pausing and progressing at some basic concepts. Instead of pieces that belong to a specific person’s past, the narrative is fictionalized with present objects included in everyone’s daily life such as; pizza boxes, play dough, insulants, darts, subway handles. The anonymization of the mentioned person and their inability to fully dissociate themselves from other lives, sometimes causes them to be stated as a dog. What makes this relocation possible is that the superficial, limited and emotionally rich relationship established between the work and the audience is similar to the relationship between dog and human. The language, expressed by few words and sounds, between us and a dog, and the repetitions, tints, gaps that we listen out in order to decrypt this simple language – in short, the musical side of the language – forms the exhibition’s pattern. Just as the "that dog" among all dogs only manifests itself when we pay attention to the same barks, the "that person" in the repetition of industrial elements, that is, the owner of the biography, begins to reveal itself. Thus, our common qualities with a dog emerge. 

The exhibition starts from birth, from the first room in the venue; moves from adolescence to adulthood in the hallway that connects to it, and in the wide room where the corridor opens, works based on notions such as history, psychology, time, love and craftsmanship are placed. The exhibition can be described by lines and signs placed on these lines, as in music. Works move horizontally, locating on imaginary lines, and they pile up vertically within themselves.

In Birthday Party, a paper chain used as a festive garnish hangs on the wall and heralds the release of the subject to the space. In Choir, four panels with randomly traced note sheets on them are lined up one after another, generating a notation of a group of imaginary children’s plural voice which has not yet found itself a verbal or written expression. In Plan A, a football – being a target thrown away and caught – uncoils the spherical form that provides its movement and turns into a horizontal plan, so, the threat of the target disappears.

Monkey’s Fist – a knitting technique used in the field of navigation both as a weapon and as a tool to converge two boats or to carry gems within – consists of dog toys. These toys, with two walnuts and a human tooth hidden inside, morph into tools where human meets the constant urge to dig what they are protecting and test the reciprocal endurance of the organic and the inanimate.

History [Goya’s Dog], pauses at a certain point in art history, on Goya’s painting “Dog”, and a particular section of the painting gains volume in sculptural form; the dog awaits in this historic moment, buried in its own material.


In Psychology, blocks composed of adhered building materials rise incrementally, and at their very surface remain the papers with symmetrical marks on, which ink has been applied using the thread printing method. The haphazardly rowed layers and traces offer an uncertain psychologic analysis basis.

In Archaeology, a pile of pizza boxes forms an archaeologic island. This meal – which presses forward on ground level from cooking to packaging, from ordering to distribution and finally to waste – manifests itself in a way that reminds us of its exit from ephemeral state, of its decay and its accumulation in time. In Vegan, vacuum sealed bone-shaped vegan dog treats are placed on the wall, indicating the cynical aspect on emphasizing with animals over nutrition.

Love comprises of the sentence “seni seviyorum (I love you)” written on the wall (on dog level) in braille letters made of plush fabric pieces. The haptic surface, providing an inference about love, is placed in the exhibition to serve as a subtitle about seeking a place for emotion at a distance opened by language.

Instrument [Artin’s Hand] is a wind instrument sculpture of ironmaster Artin Aharon’s left hand, who produced the metal pieces for the exhibition. The hand, being detached from its owner and left without identity, hides Artin himself in its own mastership with solutions found in detail; such as the severed finger’s tip, joints and commissures. The hand as a sonorous, directive limb, includes Artin as the maestro for his contributions to exhibition’s chime.

Centuries uses subway handles in order to determine time through the change in space, rather than the idea of past and future in one’s mind. And this change becomes an orthopedic device for human trying to stand in balance.

Future consists of fortune telling papers that guide the reader by helping them envision specific moments. Quatrains on the papers contain brief images of some of the moments we have in common with dogs, such as; belonging to a group, following and tagging after someone, backing up each other, smelling out, being a straggler.

In Son, along similar lines with Karl Ove Knausgård’s “The Seasons Quartet” – a series of dictionary-like books in which he describes objects and events in substance in order to teach his soon to be born child about life – knee pads manufactured for an unborn son put an end to the exhibition. Knee pads sit on the ground, waiting to be used; taking life on one side and danger to the other, and ensuring an absorbent surface between the two. 

Translated by Ekin Tümer



Can Küçük, Centuries, 2020, Stainless steel pipe and sheet, subway handle, 58,5 x 34 x 32,5 cm