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Ecem Meric

@ecem.mrc

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Held close all the time knowing I’m half of you

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60 pages of anais nin 4 museums 7 galleries 3 pastel de natas 2 big mistakes and 1 brief moment of emotional breakdown at the basilica 🤍 #Lisbon by @ecem.mrc

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a day ago

A first for us— last month, we conducted our first gallery feature with Alo Galerie in Paris (@alogalerie). We spent an afternoon with the founders @aysenazbayam and @derin.ddd , talking about what it takes to found and build a gallery as young professionals today: from shaping an identity and developing a programme to building long-term relationships with artists and growing alongside their practices. It was such a pleasure to be welcomed into the space and to share this conversation. Thank you girls for hosting us ❤️☎️You can read the full interview now on our web. Link in bio. by @ecem.mrc

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16 days ago

You roll like thunder by @ecem.mrc

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a month ago

Besos by @ecem.mrc

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2 months ago

galanin davetlisi gibi gorunuyor olabilirim ama aslinda calisiyorum 😎 by @ecem.mrc

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3 months ago

by @ecem.mrc

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3 months ago

Diving into the uncanny with Turkish artist @irmakdonmezz 🦪🐍 Our conversation about her ceramics practice is now live on plasmacontemporary.com ⛓️‍💥 Link in bio. 🩷- written by @ecem.mrc••• #womenartists #womensculptors #plasmaprofiles #ceramics #contemporarywomenartists by @ecem.mrc

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4 months ago

by @ecem.mrc

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5 months ago

Rebecca Horn, Der Eintänzer (The Dancer), 1978, stills from her first avant-garde feature film. “At the age of 21, after damaging her lungs through prolonged exposure to toxic materials at art school, Rebecca Horn spent a year convalescing. Confined to her sick bed, she began experimenting with prosthetics and restrictive choreographies[…]Shaped through the prism of youthful illness, Horn’s understanding of bodily movement instigated a career-long reckoning with corporeal limitations.The artist studied ballet growing up in postwar Germany. Her father would take her to see live performances in Munich and Vienna, sparking a lifelong fascination for the discipline, and ballet dancers often featured in her experimental documentaries of the 1970s and ’80s. In Der Eintänzer (The Dancer, 1978), for instance, filmed in the artist’s New York studio, one dancer performs in Horn’s The Feathered Prison Fan (1978) – a wing-like sculpture, made from white ostrich feathers, which metamorphoses its wearer into a human-animal hybrid, at once alluring and fantastical. Reminiscent of a large, somewhat surreal tutu, the feathered contraption envelops the dancer, seemingly swallowing her whole.The confinement and isolation Horn experienced in ill health appear to have informed the ways in which her body sculptures act out unsettling forms of suffocation or ingestion. In another scene from Der Eintänzer, two dancers face each other, bound together by Horn’s sculpture Body Harp (1978). One dancer’s arms are connected to the other’s legs: in an almost perversely symbiotic relationship, they need each other to be able to move. Der Eintänzer’s motifs – which recur throughout Horn’s practice, as in her film La Ferdinanda: Sonata for a Medici Villa (1981) – read like a form of unconscious symbolism synonymous with Sigmund Freud’s psychoanalytical approach: an uncanny engagement or a series of recollections of memory, desire and fear.”[Excerpt from Frieze 246, ‘Dance’]#RebeccaHorn by @ecem.mrc

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5 months ago

está en el fondo de mi copa de sauvignonnn blannncccc #LUXmaxxing by @ecem.mrc

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5 months ago

Just checking in #IdontlikeBigTech #peace by @ecem.mrc

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6 months ago

🍃 by @ecem.mrc

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10 months ago