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EMIRHAKIN

@emirhakin

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You are invited for the opening night of Remarkable Meetings with Disgusting Men, Friday September 6th at W139.

During the night, Andreas Tegnander & Ossip Blits will activate their artwork Copper Coils and engage with the vast and unseen network of electromagnetic fields around us, generating an ephemeral soundscape. Ottoman Hibiscus-Sherbets cocktails will be served.

Bring your own flashlight (or a charged phone) and reserve a time slot due to limited capacity.

Remarkable Meetings with Disgusting Men is a group exhibition initiated by EMIRHAKIN that reflects on (self-)censorship as a highly tangible experience, proposing ways of maneuvering through fear.

With works by Andreas Tegnander & Ossip Blits, Batuhan Keskiner, Can Demren, EMIRHAKIN, ghenwa noiré, Jonas Lerch, Ksenia Yurkova, Mohammed Tatour and Zalán Szakács.

This exhibition is generously supported by Gieskes-Strijbis Fund, Mondriaan Fund, Creative Industries Fund NL, Stadt Wien, Amarte Fund, Goethe Instituut and Oedipus Brewing.

Opening night Remarkable Meetings with Disgusting Men
6 September 2024
19:00–22:00
W139

Reserve a timeslot via link in bio. taken in W139 by @emirhakin

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2 years ago

“The Place Where The Light Enters You”
Sculpture, 2025

by (in and out) Emirhakin

Created for Warmoes Biennale 2026

LED tube light, custom-made @rob.leather.official leather bodybag with full front zip and four runners allowing separate openings, back zip with two runners, top-to-bottom lace ringlets threaded with leather lace, five belts (shoulder, elbow, waist, upper leg, and ankle) with collar, D-rings attached to each belt, four heavy-duty attachments at the shoulders and ankles, detachable nipple covers with snap buttons, made to measure; steel chains and hardware.

Project Lead: Justus Cohen Tervaert ( @justuscohter )
Creative Lead: Bonne Reijn ( @bombertje ) Curator: Jelmer Ian Wijnstroom ( @jelmerwijnstroom ) Production: Roísín Douglas ( @roisindouglas ) 
Slides 1, 4, 5, 13, and 18 document the installation of the sculpture in Memory Vacuum, curated by Milánik Balázs (@balazs.milanik ) at Grey Space in the Middle, The Hague ( @thegreyspaceinthemiddle )

Slide 2: Posing for Simon Pillaud ( @simon_wawawa_yipiyo ) at @rob.leather.official , experimenting for the measurement

Slide 14: Exhibition flyer designed by Milánik Balasz.

Slide 7: @izaakjoziasse fixing in two seconds a problem that would have taken me at least twenty minutes.

Slide 9: Thank you Queen Sevdaliza, again. “Mama, just k1&$#d a man… Don’t worry, you’re my alibi.”

Slide 17: The opening lines of Sezen Aksu’s note to her listeners in the Deliveren cassette booklet. (June, 2000)

Slide 6,7,8,10,11,12,15,17: Documentation of mental pieces here and there, unzipping the leather layer above the skin. (from May 2025 - May 2026)

Slide 16: Should I print this as a postcard? by @emirhakin

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4 months ago

EX ORIENTE LUX* is an invitation for a rave on the second floor of Rijksmuseum which is dedicated to the Dutch Golden Age. It’s the opposite of a calm Sunday visit to the museum. It’s on Friday.

“Aşk ile Allah Allah! Vur tefe vur zile yallah! Cihan da böyle yanıyor yansın! Yosmam salla!”
 *Ex oriente lux is a Latin locution, meaning ‘from the East (comes) the light’.
 MAY 19, 2023 RIJKS MUSEUM AMSTERDAM 19:30 — 22:00  Performers:  Emirhan Akin Gizem Ustuner Giovanni Salice  Trespassing is curated by Charles Pas and Puck van der Werf for Vermeer Fest at @rijksmuseum by @emirhakin

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3 years ago

“Maşallah”
Hoodie, 2025

by Emirhakin

Created for Warmoes Biennale 2026  Black hoodie, Maşallah circumcision sash  In Turkey, circumcision is not only a religious and cultural practice but also a public celebration of masculinity, marking a boy’s symbolic transition toward ‘manhood’. During these celebrations, boys traditionally wear ceremonial sashes embroidered with Maşallah, an Arabic expression meaning “what God has willed,” commonly used to express admiration, blessing and protection against the evil eye.

Maşallah Hoodies relocates these ceremonial sashes onto black hoodies and into the basement of @rob.leather.official on Warmoesstraat. Removed from their ceremonial context, the sashes enter another visual language of masculinity, bodily presentation and anonymity.

The ceremonial sash is made to be seen: decorative, celebratory and worn across the body. Between visibility and concealment, Maşallah Hoodies considers how the body is displayed, disciplined, protected and celebrated, and how these meanings shift between different spaces and cultural codes.

Presented as part of Warmoes Biënnale ( @warmoesbiennale ) , Amsterdam.  Slide 1,4,10: In Rob’s Basement 1, photographed by Simon Pillaud ( @simon_wawawa_yipiyo )
Slide 2,6,8,9,13,16: Yara ( @noisediva ) wearing the sash at her studio, photographed by me Slide 3: Circumcision ceremony invitation Slide 4: In Rob’s Basement 2 Slide 5: Archival image of a circumcision ceremony in Turkey, with a boy wearing a Maşallah crown surrounded by adult men during the ritual. Slide 6: Yara in front of her painting Slide 7: Masallah Hoodie Slide 11: Poem by Anne Carson on a banknote Slide 12: Sünnetli [Circumcised] by Hüseyin Katırcıoğlu
Babylon, İstanbul, 1999 Slide 14: Motivational Content offered by algorithm
Slide 15: Masallah hoodie from CCTV Slide 17: Namus by Sezen Aksu, 1991, directed by Samim Değer by @emirhakin

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4 hours ago

Back in 2024, I curated ‘Remarkable Meetings with Disgusting Men’ at W139 and designed seven posters for the exhibition. Five of them saw the light of day.

One of them (see the last slide), a childhood photo of me wearing Turkish-flag / vampire teeth developed a life of its own. Over the past two years, friends kept sending me sightings of it: in the background of studio visits, watching over dinner parties, or hanging on the wall of a stranger’s bedroom they had ended up in on a date, only to text me, “Wait… isn’t that you?”

Through these messages, I followed its journey from Amsterdam to Tokyo, Ramallah, Brazil, Istanbul, Seoul, and New York.

At this point, seven-year-old me has probably seen more countries than I ever have.

Recently, I decided to publish the two posters that never made it out into the world. I found myself with a stack of extra copies and realized it might be time to let them travel too.

If you’d like to give one of these posters a new destination, let me know.

* First four slides: documentation of the exhibition shop at @w139amsterdam by Giovanni Salice (@ozonepaper). by @emirhakin

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4 months ago

In the boarding queue of a 2-hour-delayed Zurich–Amsterdam flight scrolling through the last two days with these incredible souls @amandavanhesteren @extrait_sands our show opened last night curated by @melaniebue at @kunstmuseumsg (+ @stedelijkmuseum ) and goes on until January 2027 so go see it you will love it or at least have something to say about it still processing the last 48 hours somewhere between airport lighting, no sleep, too many conversations and feeling very lucky to have done this together. Friendship >>>>>> most of the things. Ağzıma 🫦 acı biber 🌶️ sürün benim 🙂‍↕️ sürmezseniz ✋🏼 daha söylerim 🤙🏽 çatlarım söylemezsem 🤯 vakitsiz ölürüm ☠️ taken in Abbey library of Saint Gall by @emirhakin

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Humbled and honoured to be part of this defining moment delivered to our times by GmBH.
 In the midst of global apathy and defying silence of the fashion industry, GmBH wielded their platform as a political ground to advocate for the people amidst the ongoing catastrophe.
 Humbled to walk for GmBH as it accompanied many crucial moments in my art practice. Favorite since day one, as they keep challenging the prevailing notion within fashion which is sweet on the tongue and sour in the belly— not only in the words, but with integrity.

As childrens of immigrants, they never shy away from translating the never-ending struggle of arriving— into clothes, under the spotlights yet irregular around the margins.
 As designers stated, “We understand that fear, but we have no option but to resist” reverbarated off the useless monuments of Paris, and pierced through the loud politics of denial.
 UNTITLED NATIONS showed us how fashion can function as a moral hardware and software. And if we listen carefully, we can hear hope breathing — through resistance.

Sevgili kardeşim @serhatisik__ and @benjaminhuseby , I am proud of you. Thank you @affaosman for your remarkable openness and sensitivity.   Eyvallah Paris, Eyvallah @gmbh_official  
Ph 2/3 by @clara.stote  Ph 9 by @bleumanet by @emirhakin

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3 years ago

EX ORIENTE LUX* is a choreography for the movements that aren’t supposed to be there. It’s an attempt to trace back the scratches of power structures on human integrity through repetition, disjunction and weird slippages on the dance floor. But then again, who is allowed to move freely in a museum?  *Ex oriente lux is a Latin locution, meaning ‘from the East (comes) the light’.  MAY 19, 2023 RIJKS MUSEUM AMSTERDAM 19:30 — 22:00  Performers:  Emirhan Akin Gizem Ustuner Giovanni Salice  Trespassing is curated by Charles Pas and Puck van der Werf for Vermeer Fest. taken in Rijksmuseum by @emirhakin

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3 years ago

Last week to see Beyond the Manosphere: Masculinities Today at Stedelijk Museum Amsterdam (@stedelijkmuseum ), curated by Melanie Buehler ( @melaniebue ).

And to smell the secret scent of Sillage. Get closer and sniff them until 2 August (the security guards are really kind).

Sillage, 2024
Installation
42 perfume bottles with original packaging

Seen in the photo: DL holding the publication designed by Sabo Day (@sabo_day ) and posing for me, sitting on top of a Wassily Chair by Marcel Breuer.

Zekeriyaköy, Istanbul, June 2026.

Posing in front of ‘Sillage’ for Clara Superfine

Clara getting closer and smelling to “Be Seduced Boy”

I encountered this sleeping spider-boy during the night prayer and, two days later, saw him again in a shop near the Kaaba selling perfumes with poetic(?) names.

“Lord” and “Victory” standing next to each other in a small shop.

Mecca, 3 May 2024, 08:59, during the Duha hours.

DL spraying his chest with Enclade by Marc-Antoine Barrois ( @marcantoinebarrois ) is a Aromatic Green fragrance for women and men. Encelade was launched in 2022. The nose behind this fragrance is Quentin Bisch. Top note is Rhubarb; middle note is Cedar; base notes are Vetiver, Sandalwood, Tonka Bean and Leather.

Gratzie mille @rozaynberger 🍋

“One Man Show, One Men Snow, Open Secret, Be Seduced Boy” photographed by Juni Mun ( @mm_umu_nn )

DL flexing his Cartier and posing like he s reading.

Clara actually reading the publication at Stedelijk Museum’s Book Shop.

People in front of one of my favorite works in the exhibition: Untitled, 2026 by Hamishi Farah ( @merlincarpenter ) photographed by me.

DL is not happy with the first shirt I gave him, complaining about its quality before spotting an Italian-made silk blouse.

DL’s wife photographing me as I photograph DL.

DL lighting up his cigar.

DL dressing down while watching himself in the mirror, making me wonder how a person can be so deeply in love with himself. Not sarcastically, out of genuine curiosity.

The first perfume I ever saw. The one that made me think, so this is what perfume is. Le Male by Jean Paul Gaultier ( @jeanpaulgaultier ), worn by my father for more than thirty years.

Me taking a by @emirhakin

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2 months ago

Snippets from:

DUST OF 4 AM 9 Acts   Video Essay / Spacial Intervention
 2023 © Emirhakin  Developed during AIR InSILo ( @air.in.silo ) Residency Curated by @ksenia_yurk and @martin_breindl   To watch the full video essay and read Ksenia Yurkova’s accompanying text, follow the link in my bio.

After spending three years and thousands of hours vacuuming, cleaning, spraying, scrubbing, and dancing a purposefully invisible choreography across countless slippery floors, I arrived at the Air in SiLo residency on the 7th of October 2023.

The following day marked the beginning of a nocturnal month ahead, accompanied by the sounds of rodents feasting insatiably beneath the ground, as if hell had cracked open, while I compulsively plucked my eyebrows, sliding the images crashing onto my face from the wide-open dam.

A few days later, I decided to do what I know best after midnight: cleaning. I devoured “The Evidence of Things Not Seen” by James Baldwin cover to cover countless times once again and realised that not being able to sleep is not always the problem; sometimes the question is how others were able to sleep.

I cleaned art institutions, buildings that housed hundreds of artists living in precarity while they slept, and my only companions were the rats chewing on toilet paper and, sometimes, the sound of snow touching the windows, as if everything were okay with the silence. As I brushed away the final remnants of a human being left behind, thinking no one would ever see them, I sat down on the toilet, closed the cabin door, and thought: nothing goes unseen. There is always evidence.

For years (during the entire school years) I was terrorized by the idea of being in the boys’ bathroom. Now I have access to all of them, and I’m the safest one there because no one can see me.

18 July 2021, 15:40 Amsterdam West

Just like a long-awaited trash bin with a lid, all this dirt started reacting with itself, generating the heat that hits your face the moment you open it to change the bag.

The Bugs I didn’t kill while cleaning,
Now mopping up their dry blood, Everything fades away, Except for death.  31 May 2022, 16:02 Amsterdam West

I can clean every trace of urine f by @emirhakin

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3 months ago

During the eclipse watching at Oosterpark, I overheard someone asking their friend, “What song do you think your childhood self would send you right now?”

Mine was composed by (not surprisingly) Sezen Aksu by @emirhakin

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2 months ago

HORROR: Made in Turkey x @burostedelijk as part of BURO RELAYS: Open Call for Unexpected Combinations (2026)
A lecture performance by Emirhakin & Elif Satanaya Özbay

Curated by Jo-Lene Ong ( @ongjolene )
Project Management by Anouk van Amsterdam ( @anouk.eva )
Tech Support by Tom Makkes ( @tom_makkes )

Photography by Luigi Simiani ( @goombasteppa ) (slide: 4, 5, 6, 7, 8, 9, 10, 11, 13, 14, 19)
Photography by Ghaith Kween Qoutainy ( @_._k.w.e.e.n_._ (slide: 2)
Photography by Siko Mohammed Tatour ( @sikotatour ) (slide: 1, 12, 15, 16, 17, 18, 19)
Photography by Emirhakin ( @emirhakin ) (slide: 20)

“We are GOOD at jump scares…”

The conversation features excerpts from iconic Turkish horror films spanning from 1949 to the present, with a focus on the genre’s transformation over the past two decades — from imitating Hollywood tropes to embracing distinct Quranic symbolism. Through these films, the artists reflect on how horror shaped their understanding of identity from an early age. Growing up simultaneously inside and outside Turkey, they encountered the same cinematic references without knowing one another: one through everyday life in Turkey, the other through the mediated space of diaspora. Come join them in revisiting these films together, tracing how horror continues to shape ideas of memory, identity, fear, and belonging across different but strangely parallel lives.

Thank you forever to @dilarafindikoglu for creating the most excellent pieces that fit HORROR: Made in Turkey like a glove.

Song:
Sakın Ha - Techno
Performed by @nezonline 👑 taken in Stedelijk Museum Amsterdam by @emirhakin

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