Hakan Sorar

Through the Skin

30 Mayıs, 2020

Through the Skin Series, No.11, Digital Photo, Fine Art Print, 70x70 cm, 2019
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Through the Skin Series, No.18, Digital Photo, Fine Art Print, 70x70 cm, 2020
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Through the Skin Series, No.9, Digital Photo, Fine Art Print, 70x70 cm, 2019
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Pg Art Gallery is pleased to announce the opening of Hakan Sorar’s online solo exhibition “Through the Skin” on May 30th, 2020.


The exhibition which was initially planned to take place at Pg Basement, has been organized to take place digitally rather than a physical installation or a postponement due to the pandemic. Created exclusively for this exhibition, Pg Online was designed by artist Ahmet Rüstem Ekici. The space showcasing Hakan Sorar’s mainly black and white photographs exhibition carrying the same name as the series, can also be visited with VR headsets. In the smaller, glazed tiled room opening up to the main venue, Fujifilm instant print from the same series are displayed. By clicking the buttons next to the exhibits, the viewer can acquire necessary information while a virtual library in the gallery space displays source books the artist consulted during the preparation process for the exhibition.


Visual stories about human, body, flesh, identity, skin, hairs, wound, flaw, limbs, gender, intimacy, aesthetic, society, politics, hiding, embarrassment, escape, touch, acquainting, thinking and reconciliation…

Hakan Sorar


Thought, Image, Body


In Rome in the first century A.D., Gaius Plinius Secundus was angry with collectors filling their galleries with statues they didn’t even know who they depicted. These statues were only there because they were art. Gaius Plinius Secundus, a valuable scientist, always restricts a portrait or an image to certain representations because of his conservative thoughts. According to him, a representation must absolutely contain a legitimate person or God. Although this approach from centuries ago still remains, we need to regulate our visual ethics. While the world is full of representations, we are in risk of turning into the things we rebel against. When we look for traces of loss and uncertainty, we risk fixating our finds. If there is nothing else within our action field than our body, then how are we going to deal with all this confusion? Since we cannot be driven by the perspective of Gaius Plinius Secundus from ancient Rome, it is important for us to assess the uniqueness of images. Actually, all of this introduction might be relevant to Hakan Sorar’s work. The artist focuses on different human bodies in his photographs and the digital field he works in. In their productions, the hairs on the skin’s surface, hands and arms appear in eccentric ways. Spinoza comes to mind at the first opportunity. The philosopher’s phrase “nobody has determined yet what the body is capable of” emphasizes our subjectivity. Our motion field bears the specialty of singularity. However, the social field has some prohibitions, obstacles and strict practices. Nevertheless, our unfortunate situation has been constantly filled with politics. And that is how Hakan Sorar’s visual arrangement not only expresses such a line of tension, but also tries to reveal the bodies’ authenticity. Hence, we can examine the artist’s work with three different approaches. First, we can try analyzing them by the images’ layouts. Both, the black and white pictures and the digital body representations or parts of them grow in Sorar’s world with an esthetic reflex. Instead of limiting themselves to fixed visuals, the artist uses a democratic perspective and goes beyond uniform bodies. Coming to our second approach, the theme of time emerges in the visuals. Hakan Sorar creates their own time in their visual contrivances. In other words, they surpass the divided, linear, limited by generations, superficial perception of time to emphasize the cyclical track. In the digitally prepared exhibits, virtual time is fictionalized. In the photographs, while confronted with different body markings with every glance, the emphasis is on the present. Lastly, arriving at the third approach, we see that the visuals are anonymous. This situation, while breaking the representation of the exhibits, enables the bodies that cannot express themselves, remain in limbo, and become indeterminate. With these three approaches, we wouldn’t be mistaken to say we suppose that Sorar’s visuals are thinking. Thus, we see that the processed hybrid bodies do not get stuck in a single, less than identity point. Visual forms that assume the title "thoughtful" set their eyes on bodies that lose their light. In other words, Hakan Sorar's exhibits invite us all to question ourselves by not giving up thinking easily.


İlker Cihan Biner