• İrem Günaydın
    (b. 1989, Istanbul)
    BA Fine Art in Central Saint Martins, London in 2014.


  • From A Tummy To The Sky via A Mouth



    written work




  • {iniş çıkış yukarı aşağı}
    {ups and downs}
    Red Bull Art Around, İstanbul / TR 2016


    In excessive theatres (such as Greek theatre), actors were wearing masks in order to prevent mimesis, to distance an extremely wicked and cruel actions. One of reasons for it creates distance is arithmetical components in the play such as counting victims or giving precise numerical information about how many limps being chopped off.

    In {up down this that} I took the same approach and used the mask of mathematical language in order to create a labyrinthine, anti-sentimental, anti-humanist compositions. Each piece of composition was based on the palm of different individuals. Each line on the inner surface of hand was converted to written form by describing it in an utmost detailed manner.

    On a flat rectangular surface, vectors become lines, lines form letters, letters generate words and there goes the composition.




























  • İşleyiş – Mechanism
    As part of PRODUCE #3 ('The Game Settled Into a Cagey Midfield Match') project, 2016


    İşleyiş – mechanism is an installation of 1) a set of words, 2) a book of words and 3) a diagram of words.

    Works by artists Charlie Coffey, Irem Günaydin and Merve Kaptan use video, print and the online screen to explore connections between narrative, language and translation.


















  • ÆND
    torna project space, Istanbul / TR



    Ænd concerns with narration and space. The word ‘ænd’ can be read as ‘and’ and ‘end’. Together they help to form a fictional narrative, which neither has beginning nor end. A square.

    The exhibition accompanied by my new book published by torna.



    The fabricated phrase Ænd she veiled herself with the palm of her right hand Ænd she unveiled herself with the palm of left hand’ is based on the drawing sessions that I had at Istanbul Archaeological Museum.Headless and handless statues in toga caught my attention during the sessions. Toga veils the body, takes the shape of body parts and forms drapes out of it. These drapes form indistinguishable, elaborate lines as the labyrinth exhibits branching patterns.Since hands-palm are the missing parts of the statue, there is an inaudible yet perceptible rhythm between the lines on the non-existent palm and the drapes of the statue. I feel like Labyrinths and Archaeological Museums-Sites have a common enigmatic aura which makes people want to know more. To me, the Æ as a form resembles a labyrinth and it was the departure idea to shift my way of thinking about letters as vectors. To put it another way, vectors compose the phrase. The phrase became a labyrinth as if she constantly veils and unveils herself with the palm of her right and left hand. A repetitive and a regressing action.



  • Hatırlatıcı
    Irem Günaydin & Merve Kaptan


    A presentation of two work by two people at two different location.

    And here is the conversation.



    I have my notebook in front of me, the notebook I’ve been keeping since July, to which I solely dedicated this piece of work. I turned the cover over to figure out how I should start, and the first thing that came up was:

    “Cardiac- Related to Heart/ Kalp








    between 27th and 29th;





    Something happened today. A man died. A man jumped out of a window. Fell onto the ground. They put a white coat on top of the man. Men in white coats walked towards the cars.



    *Hatırlatıcı (meaning ‘reminder’ in English).It covers the notions of written text, sound, language and translation.Even though it is a Turkish word, it sounds foreign even in its native language.



  • to the Things themselves
    Central Saint Martins College of Art and Design, Degree Show, London / UK