Coskun Demirok’s works appear as an action going ahead with his personal views on “What is art and aesthetic?" The artist is an architect living in Germany. He carries sympathy on minimalist style of architecture. He carried this doctrine to his art works but it is wrong and insufficient to think that he only adopted minimalist aesthetic and that's all. This movement kept artist away from showing indiviual feelings, symbolic explanations, expressionist approach that aims to mean a thing and ornamental works. Demirok's works overflow areas. What emerges is not a painting, whatever it is, what it will be. Neither context, nor styles are decisive for them. Accidentality and spontainty are the determiner of these processes. Another important factor is limitation.Artist moves in a specific place on a form then he stops himself. He sets the limit to the line. This is a kind of action in the formation of aesthetic rules. The artist sees it as an action on his own struggle with artistic painting.

It could be appropriate to explain Coskun Demirok's understaning of aesthetic and taste of observer with philosopher Kant's aesthetics.

According to Kant, judgement of taste is a sentiment and it occurs with free play of imagination and understanding. This subjective feeling is pure because it does not spoil with indiviual judgements. Kant asserted that saying beautiful to an object doesn't relate to existence of the object and also it is not something epistemolojical. İf you get integration with the existence of object, this judgement will turns into a biased judgement and loses its purity.

Kant's concept of disinterestedness emerges at this point. So, my judgement of taste on object is a pure judgement within its two aspects. First, according to the principle of disinterestedness it does not say anything about the presence of the object. Seconly, it is pure judgement because of the free play between imagination and understanding. Aesthetic pleasure should not be related to the representation of a real object. When we say beautiful to an object, we don't want to know anything about its actual existence, or at least it is not dealing with it. What is interested us is pure form of the object.

Coşkun Demirok does not identify to his own works as paintings. He asserted that all they are is a "happening" on its own. Works are designed as "it is what it is" and performance's “itself” is a work of art in his exhibitions. So, the relationship established between the observer and the object should conform to Kant's principles on aesthetic judgement such as “disinterestedness”, “purposiveness without any purpose” etc.

This exhibition of our gallery named "Breath to Breath" mostly consists of photographs belongs to artist's own origin and past. Artist's incentive to find an answer to questions-living abroad, perhaps even strengthens that feeling- such as "What makes me me?", "What is the reason for being as such at present time?", "What is the connection between personal formation and our origin?"Demirok sets out an existential journey through the origin and past.

Works accompanied by this feeling and with integration of photograph for the first time combined with his artistic style and aesthetic sense as well and greets us with an unusual manner. The works on photographs, the photos are used as a surface to paint and make the fetching of the present day. The viewers are not given any clue about people in these photographs which became timeless and brought into the present time properties. We do not know whether or not there is a relation between people and artist and even if there is a relation, what it is? Qualities filling the inside of the concept of "photograph" such as being an evidence and document to a moment; being expressionist and romantic, being memory between photographer and photographed person are deleted by the artist

He thinks it, in a sense, as a resolution of a project. "Breath to Breath”, as a resolution of a project, is isolated from content, historicity and past. But still his exhibition project bears the stamp of his personal, professional life and world view "Architectural" depth, discipline and the style, regular brandishing of seed on video work.

In fact, Coskun Demirok,by giving the name of "Breath to Breath" to his personal exhibition, transforming his personal photos for making it property of present, beside this giving an effort not to open their story to us,ie,adopting the minimalist approach, arent they a kind of personal choice and reflect the world opinion of him?


Melike Tomris Önder