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No.4 Platform, Antalya (2026)

25/02/2026

TALIMATLARIN DOĞRU UYGULANIŞI
THE PROPER EX*****ON OF INSTRUCTIONS
91 × 61,5 cm / 40 × 60 cm, Mixed technique
The Proper Ex*****on of Instructions examines the social and cultural codes of femininity through knitting patterns from the 1960s to the present. Grounded in personal memory, particularly moments shared with the artist’s grandmother, the work reveals the schematic structures of roles and norms imposed on women.
Critiquing the restriction and standardization of women’s labor and everyday practices, it likens precisely followed knitting patterns to mechanisms of power that limit individual agency. Rather than accepting these rules uncritically, the work reinterprets them, transforming rigid schematics into a surreal field of play. It positions women not as passive executors of instructions, but as subjects who reproduce and transform the system. Through aesthetic forms rooted in traditional femininity, invisible power relations and social norms are made visible and open to critique.
BÜFE IÇIN ÖRTÜ, ÇAY SOFRANIZ IÇIN
CLOTH FOR YOUR BUFFET, TEA FOR YOUR TABLE
30 × 45 cm / 30 × 45, Mixed technique
Following traces and imagining what is absent form the core of this layered drawing book. In dialogue with The Proper Ex*****on of Instructions, it draws from my grandmother Perihan’s embroidery magazines. Selected pages are deconstructed and reconstructed.
Rooted in domestic contexts, the work references the tea table and the decorated buffet, gestures shaped by unspoken rules. Patterns spread across surfaces; distances between objects reveal hidden parameters organizing the composition. Within each element lie implicit boundaries and spatial structures that shape interaction, often unnoticed.

Hande Sevval Emirmahmutoglu (b. 1998, Kahramanmaraş) lives and works in Berlin. She completed her Bachelor’s degree in Interior Architecture at Mimar Sinan Fine Arts University in Istanbul (2018–2023). During her studies, she participated in the Erasmus exchange program at Nuova Accademia di Belle Arti (NABA) in Milan (2021–2022). Since October 2024, she has been continuing her education in the Fine Arts Bachelor/Master’s program at the Universität der Künste Berlin.

24/02/2026

UNTITLED
158 × 42 × 54 cm, Concrete, Ceramic, Metal
Untitled (2025) addresses themes of belonging and otherness through the cracks produced by cultural and political tensions. These cracks are understood as dynamic spaces in which new forms of resistance against homogenizing systems can emerge. Wild plants that spontaneously appear in public spaces and are labeled as “unwanted” function as metaphorical figures, embodying acts of questioning adaptation, otherness, and existing structures, while simultaneously pointing to the possibility of new forms of resistance.

Nuray Koschowsky (b. 1982) studied Sculpture at Mimar Sinan Fine Arts University in Istanbul, and later pursued studies in Free Art and Spatial Strategies in Weimar and Berlin. Her artistic practice focuses on making visible the invisible effects of power on bodies and spaces by examining migration (belonging and otherness), the use of public space, and the rhythms of everyday life. She has been living and working in Berlin since 2012.
In her work, she examines how the body and space are shaped by migration, everyday life rhythms, and the use of public space, and how power relations and social norms continuously act upon both. She approaches space as a site that is constantly produced through social relations, and questions how the traces of this production become performatively inscribed onto the body. Her aim is to make visible the political effects of these processes, which often remain unseen.
In her artistic practice, conceptual research and material experimentation exist in an equal and interdependent relationship. Material qualities such as fragility, flexibility, and resistance become structural elements that shape both the conceptual framework and the formal language of the work.

19/02/2026

The line ‘Every Human Is a Room and a Mirror’, which gives the exhibition its title, invites the viewer to question whether the human is an autonomous and self-sufficient subject, or a being positioned within historical, social, and political conditions.
Does the human truly construct their identity freely, or do they exist within a position whose boundaries have already been drawn?

The exhibition can be visited until March 1, from Wednesday to Sunday, between 15:00 and 19:00

18/02/2026

AS IT IS
16 x 16 cm, Spray paint, up-cycled aluminum, wire

As It Is is made from upcycled aluminum found on the streets of Berlin, incorporating a sense of time and place to mark where it was made, and combined with new aluminum surfaces treated with spray paint. The work explores fictional geographies, imperfect continents and countries—while the aluminum reflects its surroundings, much like each continent drifting within the abyss of the cold metal, mirroring only what surrounds it.

Deniz Cinbil (b. 1994, Istanbul) is a multidisciplinary artist and designer based in Berlin. Raised in Washington D.C., she completed her primary and secondary education in the U.S. before earning a Bachelor's degree in Fashion and Apparel Design at Mimar Sinan Fine Arts University in Istanbul. As part of her studies, she spent six months abroad at the Willem de Kooning Academy in Rotterdam, the Netherlands.Her practice moves between art and design, shaped by curiosity, play, and material experimentation. Working with upcycled glass, spray paint, raw surfaces, and kinetic structures, she creates works that respond to light, movement, and space-often blending painting and sculpture. Her background in textiles informs a tactile and intuitive approach, frequently incorporating repurposed and found materials to evoke the sense of time, and place allowing presence in unexpected sculptural forms.

14/02/2026

SURFACING
45 x 30 cm, Acyrlic, spray paint, pastels

Surfacing, a painting, explores questions of home—what it means to begin again, to recreate, and to exist in a state of in-betweenness. It reflects on space as something fluid and ever-changing, where ownership and boundaries are temporary. The house, with its chimney on fire, stands on the edge of collapse—suggesting an imminent explosion of the norms that define what home means. It holds a quiet tension, softened by color, as if everything might come down at any moment. While the house may be fictional, our inhabitation is real. We create space; we are space.

Deniz Cinbil (b. 1994, Istanbul) is a multidisciplinary artist and designer based in Berlin. Raised in Washington D.C., she completed her primary and secondary education in the U.S. before earning a Bachelor's degree in Fashion and Apparel Design at Mimar Sinan Fine Arts University in Istanbul. As part of her studies, she spent six months abroad at the Willem de Kooning Academy in Rotterdam, the Netherlands.Her practice moves between art and design, shaped by curiosity, play, and material experimentation. Working with upcycled glass, spray paint, raw surfaces, and kinetic structures, she creates works that respond to light, movement, and space-often blending painting and sculpture. Her background in textiles informs a tactile and intuitive approach, frequently incorporating repurposed and found materials to evoke the sense of time, and place allowing presence in unexpected sculptural forms.

13/02/2026

UNSEEN
35 x 50 cm, Acrylic, embroidery on fabric
“The personal is political” points to how everyday domestic spaces are shaped by invisible political structures. Although the home is presented as a private sphere, gender roles, divisions of labor, care work, and normative patterns of behavior are produced within it. This work aims to make this invisibility visible. As the viewer turns the canvas and moves between rooms, they are no longer a passive observer but step by step pass through the space, experiencing the routines of everyday life. The interior of the home is kept as classical and ordinary as possible, since pointing to the political through ordinariness seeks to establish a connection with the invisible politics of the everyday emphasized in the exhibition text.

Selin Tahtakılıç (b. İzmir, Turkey, 1995) completed her high school education in the Painting Department at Işılay Saygın Fine Arts High School in İzmir. She studied Textile and Fashion Design at Mimar Sinan Fine Arts University for one year before transferring to the Graphic Design Department at the same institution, where she completed her undergraduate degree. During her studies, she gained experience through internships at advertising agencies and later focused on personal projects. She has worked on various national and international projects, illustrated children’s books, and participated in exhibitions. Children’s book projects played an important role during her education and shaped her approach to design, which continues to influence her work today. Her visual language is based on graphic elements, vivid colors, and child-centered themes. Inspired by the direct way children experience emotions, she aims to translate feelings such as joy, sadness, and love into visual forms, often using geometric shapes as emotional reflections. In recent years, she has incorporated traditional embroidery techniques she learned from her grandmother into her practice, combining them with contemporary illustration. Through this process, she creates vibrant, playful works that seek to evoke joy and moments of euphoria in the viewer.

11/02/2026

SPATIAL NOTES
Oil on canvas
Works shaped by the artist’s everyday life in Büyükada come together in this body of work. Inspired by Georges Perec’s Species of Spaces, familiar objects and ordinary interiors are reconsidered through attentive looking. Created on paper using traditional materials such as oil paint, in two different formats, the works move between the overall view of a space and its subtle details. A playful way of seeing emerges, inviting the viewer to experience the familiar anew.

Dilara Mataracı (b. 1992, Trabzon) graduated from the Painting Department of Mimar Sinan Fine Arts University in 2015 and completed her MA and PhD in Basic Art and Design at the same institution. Her practice focuses on ordinary spaces, familiar objects, and fleeting moments of everyday life. Encounters during walks, recurring details from her surroundings, or unexpected spatial fragments are translated into images through an intuitive, time- and place-sensitive process. Working with small, portable materials, Mataracı transforms these moments into visual notes that connect personal memory with lived experience. She works from her studio at Istanbul Manifaturacılar Çarşısı (İMÇ) and is a faculty member in the Graphic Design (English) Department at Istanbul Beykent University.

10/02/2026

In the line ‘Every Human Is a Room and a Mirror’ by Nilgün Marmara, which gives the exhibition its title, the concept of the room/odalik opens up an ambiguous space between two different meanings. The room, in its everyday sense, represents a personal space in which we live and which is assumed to belong to us, defined by walls and boundaries. The odalik, however, refers within the Ottoman social structure to a figure whose existence is defined through the space assigned to her, and whose mobility and boundaries are determined by others.
In this context, the odalisque points not to a position one possesses, but to a historical arrangement through which the subject is positioned; the room, in turn, can be read as the spatial framework in which this positioning takes place and through which its limits are defined.

09/02/2026

Kübra Kaçtıoğlu is a Berlin-based interdisciplinary artist with a background in architecture. Her work moves between material experimentation, image-making, and object-based practices.

Driven by intuition and process, she explores memory and identity as fluid, fragmented, and continuously reshaped by social and personal narratives. Through quiet, layered encounters, her work invites viewers to find themselves within the traces of others.

SOULRIPLET
50 x 70 cm, Handmade collage, physical distortion, scanning, digital editing
Explores layered childhood influences on identity through fragmentation, distortion, and repetition, revealing how multiple selves coexist within one body.

HEART ON SKIN
50 x 70 cm, Handmade collage, physical distortion, scanning, digital editing
Uses the artist’s body to explore femininity, inner conflict, and identity through layered collage, distortion, and transformation.

TOTEM FOR UNSEEN
50 x 70 cm, Direct body scanning, physical distortion, material negotiation, reclaimed glass, aerated concrete
Functions as a quiet totem for non-visual perception, exploring what is heard, spoken, and felt through fragmented bodily forms shaped by material negotiation. Working with reclaimed materials, fracture, pressure, and process are allowed to determine form.

D'EUPHORIA'S BLOOM
DIN A2, Body and organic materials scanned on a flatbed scanner, digital editing
Uses the artist’s body and organic matter to explore femininity, inner conflict, and transformation through scanning and physical distortion.

07/02/2026

The line ‘Every Human Is a Room and a Mirror’, which gives the exhibition its title, calls on the viewer to consider whether the mirror is merely a site of personal reflection, or a mechanism that determines how the subject is rendered visible and evaluated.
Are we truly seeing ourselves, or are we confronted with a representation presented to us?

07/02/2026

The line ‘Every Human Is an Odalisque and a Mirror’, which gives the exhibition its title, calls on the viewer to consider whether the mirror is merely a site of personal reflection, or a mechanism that determines how the subject is rendered visible and evaluated.
Are we truly seeing ourselves, or are we confronted with a representation presented to us?

06/02/2026

GÜNLÜK
90 × 150 cm, Marker on 100 g paper,
A record of the illustrator’s desk between December 1 and December 9
In this work, the illustrator documents their desk on a day-by-day basis. Alongside the drawings, they record the accumulated traces on the desk, its order and disorder, and the routines of the production process. Although the desk may appear to be an ordinary part of everyday life, it is in fact a reflection of modes of production, working practices, and perceptions of time.

Çakıl Ece Çakmakcı was born in Bodrum in 1996. They graduated from the Department of Visual Communication Design at Yaşar University in 2020. In 2024, they completed their master’s degree at the same university in the Art and Design program with their thesis titled *“Production Methods of the Traditional Tulip Image and Contemporary Design Examples.” During this period, they worked as an art director at various agencies in İzmir and İstanbul and received several awards in their field. In 2023, they moved to Berlin. They currently continue their life as a part-time animal caretaker and part-time illustrator.

Drawing inspiration from small moments in everyday life, the illustrator works with basic techniques such as felt-tip pens, block printing, risograph printing, and digital printing. Wanting to make their habit of keeping a sketchbook more consistent, they consider this exhibition an important step in that process and began drawing on the first day of the last month of the year.

No.4 Platform

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