Andrew Topolski

Andrew Topolski

1952-2008

WALL BELL, 1989

EN5

ANDREW TOPOLSKI

PETER SHINODA

JEFF BACON

SELIM OZALP

XXVII

 The particular thing, whether it be four pinches of four

divers white powders cleverly compounded to cure surely,

safely, pleasantly a painful twitching of the eyelids or say a pencil

sharpened at one end , dwarfs the imagination, makes logic a butterfly,

offers a finality that sends us spinning through space, a fixity the mind could climb forever

a revolving mountain, a complexity with a surface of glass; the gist of poetry. D.C. al fin.

Imaginations

 William Carlos Williams

John Hejduk

Cathedral, Model 1996 Collection CCA

House of the Painter 1984, Painted Wood Model Collection CCA

Hole in The Wall

 SMO ©

"...A virginity which, in its solitude, faced with the transparency of a commensurate gaze, has itself
been as it were fragmented into its component whiteness, one upon the next, the wedding proofs of the Idea. "

Language, Literature & Aesthetics "
Mallarme in Prose
edited by
Mary Ann Caws

Photo: Selim M. Ozalp ©

To Earth
Be earnest, Earth,- and kind.
This flower that opened  in the storm
Has fallen with the after -hush.
Be earnest, Earth, - and kind.

Hart Crane

Nazim Hikmet

GIDERAYAK

Giderayak  islerim var bitirilecek,

                                                 giderayak.

Ceylani kurtardim avcinin elinden

ama daha baygin yatar ayilamadi.

Kopardim portakali dalindan

ama kabugu soyulmadi.

Oldum yildizlarla hasir nesir

ama sayisi bir tamam sayilmadi.

kuyudan cektim suyu

ama bardaklara konulamadi

Guller dizildi tepsiye

ama tasdan fincan oyulmadi

Sevdalara doyulmadi

Giderayak islerim var bitirilecek,

                                                 giderayak.

***

Departing

Before departing,  I have things to complete,

                                                   before departing.

I saved the deer  from a hunter,

still lay on the ground unconscience. 

I pick the orange from  the branch

still not pill off the skin.

I have acquainted with the stars

still not accounted their numbers.

I draw water from the well

still not poured the glasses.

Roses lined up on the plate

still not carved cup from the stone.

I am not fulfil with the love

before departing,  I have things to complete,

                                                 before departing.

Translation: Selim M. Ozalp

Pillars

Selim Ozalp, 2011 ©

Gao Xing Jian

Maybe there isn't a God after all, maybe there's only a universe rotating by itself like a millstone.

GAO XINGJIAN, The Other Shore

Street Art, NYC

"....inside  the melon, a heart was beating "  Henri Michaux

REFLECTIONS

Tribeca, NYC 2011

'Good night, Nana...now, Nana, be a good girl...'

Zola, L'asommoir

Junction / Cycle

 Photo: Selim  M. Ozalp
Art Work: Richard Serra, Junction / Cycle , Gagosian Galery, NY 2011

Street Art, NYC

F.O.G.

SMO©

SHODOW PLAY & KARAGOZ / HACIVAT

Those images brought back an ancient childhood memory,

the days predated the  TV's , and  certainly cyberspace..

an ancient shadow play broadcast on the radio, the years must be late 50's

the place is Istanbul,Turkey. After the dinners 

 family gathered in the form of  a half a circle in front of the Radio,

we all focused on the voice of announcer

 now dialogs of wise and witty exchanges between the two

rather peculiar chartecters named

KARAGOZ & HACIVAT  was on the air....

.

Karagöz (meaning blackeye in Turkish) and Hacivat ( shortened in time from "Hacı İvaz" meaning "İvaz the Pilgrim", and also sometimes written as Hacivad) are the lead characters of the traditional Turkish shadow play, popularized during the Ottoman period. The central theme of the plays are the contrasting interaction between the two main characters. They are perfect foils of each other: Karagöz represents the illiterate but straightforward public, whereas Hacivat belongs to the educated class, speaking Ottoman Turkish and using a poetical and literary language. Although Karagöz has definitely been intended to be the more popular character with the Turkish peasantry, Hacivat is always the one with a level head. Though Karagöz always outdoes Hacivat’s superior education with his “native wit,” he is also very impulsive and his never-ending deluge of get-rich-quick schemes always results in failure. Hacivat continually attempts to “domesticate” Karagöz, but never makes progress. According to Turkish dramaturge Kırlı, Hacivat emphasizes the upper body with his refined manners and aloof disposition, while Karagöz is more representational of “the lower body with eating, cursing, defecation and the phallus."^[1] Karagöz-Hacivat plays are especially associated with Ramadan. Until the rise of radio and film, it was one of the most popular forms of entertainment in Turkey. It survives today mainly in a toned-down form intended for audiences of children.^[1] *

*SOURCE: WIKIPEDIA

SMO2010©

PERDE 2

SMO2011 ©

Pencere

Selim Ozalp, 2011 ©

ZZ

SMO2012©

WSSQNY

Selim Ozalp, 2011 ©

Manhattan

" Years have passed, everything has forgotten."
Selim Ozalp, 2011 ©

John Hejduk

Studio for a Painter by John Hejduk. Photograph by Siegfried Buker.
via Architectures Winter 1985

Steps

Pencere

Selim Ozalp, 2011 ©

Buste de Femme

Georges Braque,
Buste de Femme 1937

Chris Marker

Les Status  mourent aussi (Statues also Die) 1953

Directed by Chris Marker and Alain Resnais, about

African Art and effects of colonialism.