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✨ Homecoming, 17.09-31.10.2026

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Melih Çebi
Teşekkürler, İyi Günler / Thank You, Have a Nice Day, 2025
Karışık teknik (OSB üzerine akrilik, yağlı pastel, buluntu malzemeler ve epoksi)
Mixed media (acrylic, oil pastel, found materials and epoxy on OSB)
86 × 127 cm

Sanatçı, çocukluğun görsel dilini tüketim kültürü, teknoloji ve günümüzün karmaşık insan ilişkileriyle bir araya getiriyor. Mizah ile kaygının, masumiyet ile yabancılaşmanın yan yana durduğu eserlerinde, gündelik hayatın üzerimizde bıraktığı izleri araştırıyor. Kullandığı ambalajlar, buluntu malzemeler ve parlak yüzeyler, içinde yaşadığımız tüketim dünyasının izlerini taşıyor.

Parlak renkler ve tanıdık çizgi film karakterlerini anımsatan figürlerle ilk bakışta oldukça neşeli bir dünya sunsa da Melih Çebi’nin resimlerine biraz daha yakından baktığınızda, bu renkli yüzeylerin ardında başka detaylarla karşılaşıyorsunuz.

Teşekkürler, İyi Günler (2025) başlıklı eserinde sanatçı, alışveriş poşetleriyle yürüyen bir figür üzerinden tüketim kültürüne hem oyuncu hem de düşündürücü bir bakış sunuyor.

Teşekkürler, İyi Günler (2025), 31 Ekim’e dek PILOT’ta Eve Dönüş / Homecoming sergisinde görülebilir!

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The artist brings together the visual language of childhood with consumer culture, technology and the complexities of contemporary relationships. In works where humour meets anxiety and innocence coexists with alienation, Çebi explores the traces that everyday life leaves on us. The packaging, found materials and glossy surfaces he uses carry traces of the consumer culture we inhabit.

With bright colours and figures reminiscent of familiar cartoon characters, his paintings may appear to present a cheerful world at first glance. But look a little closer, and other details begin to emerge beneath these colourful surfaces.

In Thank You, Have a Nice Day (2025), Çebi depicts a figure walking with shopping bags, offering a playful yet thought-provoking perspective on consumer culture.

Thank You, Have a Nice Day (2025) is on view as part of Homecoming / Eve Dönüş at PILOT through October 31! taken in Pilot by @pilotgaleri

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2 days ago

Tufan Baltalar’ın eserlerini ne kadar yakından fotoğraflasak da, karşılarında durmanın yerini tutmayacağını biliyoruz. 🌬️☁️

Doğayla insanın iç içe geçtiği seramiklerinde ve yağlıboya resimlerinde, rüzgarla savrulan, sulara karışan, kimi zaman da fırtına sonrası dinginliğe kavuşan biçimlerle karşılaşıyoruz. Yaprakların, dalgaların ve kıvrımların arasına kimi zaman kendi siluetini de sıkıştıran Baltalar, insan ile doğa arasındaki sınırların belirsizleştiği bir dünya kuruyor.

Baltalar’ın eserlerini, 31 Ekim’e dek PILOT’un Sıraselviler 83’teki yeni mekanında devam eden Eve Dönüş / Homecoming sergisinde yakından görebilirsiniz.

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No matter how closely we photograph Tufan Baltalar’s works, we know the images can never quite capture what it feels like to see them in person. 🌬️☁️

Across his ceramics and oil paintings, the human and the nature become intertwined. Forms are swept up by the wind, immersed in water, or find a moment of stillness after the storm. At times, Baltalar tucks his own silhouette between leaves, waves and swirling forms, creating a world where the boundaries between the human figure and nature begin to blur.

Experience Baltalar’s works in person at Homecoming / Eve Dönüş, on view through October 31 at PILOT’s new space at Sıraselviler 83, Istanbul.

Tufan Baltalar İsimsiz / Untitled, 2023–2026 Çeşitli ölçülerde sırlanmış seramik ve yağlıboya tablolar Glazed ceramics and oil on canvas, various dimensions 267 × 67 × 200 (h) cm

📷: @sahirugureren.photo taken in Pilot by @pilotgaleri

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3 days ago

For a while, I’ve been thinking about birds, especially in relation to space, human and animal relationships and human control over nature. In my first solo exhibition Square, I made works about how the pandemic changed our relationship with space and limited our everyday lives. My work Garden, made for this exhibition in 2022, led me to explore the idea of parterre gardens.

When I started looking into parterre gardens, I came across a sentence on wiki that made me look at them differently: “The view of a parterre from inside the house, especially from the upper floors, was a major consideration in its design.” In other words, these gardens were designed to be best viewed from inside the house, especially from the upper floors So if you owned a property, you had the privilege of enjoying this view and
the higher you were, the better you could see the gardens.
I find it interesting that humans try to control nature by turning something wild and unpredictable into something neat and orderly. Meanwhile, birds naturally have the perfect view of these gardens simply by flying above them. What humans try so hard to achieve, birds can do effortlessly. I find this contrast a little funny. 🐸

In Birdview, I brought images of the roadside landscape into the aesthetic of parterre gardens. These are photographs I took on the road to Izmir Bird Paradise, showing wild plants growing along the way. I placed these images of wild landscapes within the controlled and symmetrical structure of a formal garden. Despite the waste and factories around them, these plants continue to grow naturally. In the center of the garden, I placed a birdbath instead of a fountain and added elements to the frame that resemble topiary. 🪹

Topiary, A. M. Clevely, 1988

New principles of gardening, 1728

View of Versailles, garden facade

https://www.metmuseum.org/art/collection/search/360438

The road to the first stop in the Gediz Delta. (to Bird Paradise)

These pigeons literally posed for me 🥨 by @pilotgaleri

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4 days ago

Gözde Mimiko Türkkan & Uğur Cinel at the 10th Çanakkale Biennale!

Our artists Gözde Mimiko Türkkan and Uğur Cinel works are all set for tomorrow’s opening of the 10th Çanakkale Biennale, Metcezir / Ebb & Flow!

Gözde Mimiko Türkkan presents Earthen Waves # 10 (2026), alongside All-knowing we seem; drifting through the universe, wondering. (# 3) (2026), a new video work produced specifically for the Biennale and Uğur Cinel joins the Biennale with his work Monet’s Garden. Exploring the relationships between earth and water through memory, movement and transformation, the Biennale unfolds across Çanakkale and its surrounding historical landscapes.   Opening tomorrow, October 10 and on view through November 20, 2026.

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Sanatçılarımız Gözde Mimiko Türkkan ve Uğur Cinel, 10. Çanakkale Bienali’nde! Sanatçılarımızın eserleri, yarın kapılarını açacak Metcezir başlıklı 10. Çanakkale Bienali’nde izleyiciyle buluşmaya hazır!
Gözde Mimiko Türkkan, Yeryüzü Dalgaları # 10 (2026) adlı çalışmasının yanı sıra bienal için özel olarak ürettiği Her şeyi biliyor sanır; sürükleniriz evrende, hayret ede ede. (# 3) (2026) başlıklı video çalışmasıyla yer alıyor. Çanakkale’nin jeolojik, tarihsel ve kültürel katmanları arasında ilerleyen video, suyun, toprağın, insan yapımı yapıların ve canlıların birbirleriyle kurdukları iç içe geçmiş ilişkilerin izini sürüyor. Uğur Cinel ise Monet’nin Bahçesi adlı eseriyle bienale katılıyor. Toprak ve su arasındaki ilişkileri hafıza, hareket ve dönüşüm kavramları üzerinden ele alan bienal, Çanakkale ve çevresindeki tarihsel coğrafyaya yayılıyor.

Metcezir yarın, 10 Ekim’de açılıyor ve 20 Kasım 2026’ya dek ziyaret edilebilir.

Uğur Cinel Monet’nin Bahçesi / Monet’s Garden
Dolomit taşı, paslanmaz çelik / Dolomite stone, stainless steel
520 x 210 x 220 cm
Destekleriyle / Supported by
@derelimarmo @sahadernegi @canakkalebienal

Gözde Mimiko Türkkan Yeryüzü Dalgaları # 10, 2026 / Earthen Waves # 10 Pirinç kâğıdı üzerine kaligrafi mürekkebi ve akrilik mürekkep / Calligraphy and acrylic ink on rice paper Her biri 70 × 1000 cm olan 4 parça / 4 pieces of 70 cm x 1000 cm in total
Destekleriyle / Supported by @canakkalebienal @sahadernegi

Gözde Mimiko Türkkan taken in Çanakkale, Turkey by @pilotgaleri

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7 days ago

Murat Şahinler’s Untitled (2011) can be seen at Galerist’s new group exhibition Labour of Love celebrating its 25th year anniversary!

Bringing 50 artists together, the exhibition opens up a reflection on the gallery through the works of the artists who shared the journey with them.

Labour of Love can be visited until 7th of November 2026. 🩷

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Murat Şahinler’in İsimsiz (2011) yapıtı Galerist’in 25.yılını kutladığı Gönül İşi isimli sergide görülebilir.

Sergi, birlikte yol aldığı 50 sanatçının üretimleri üzerinden galeriyi düşünmeye açıyor.

Gönül İşi, 7 Kasım 2026’ya dek görülebilir. 🩷

Murat Şahinler
İsimsiz/Untitled, 2011
Tuval üzerine yağlıboya
40 x 40 cm taken in GALERIST by @pilotgaleri

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8 days ago

Halil Altındere’nin Exit (2014) adlı eserinin, Arter’de Delfin Öğütoğulları küratörlüğünde gerçekleşen Sonrası yok. Sonrası şimdi. grup sergisinde yer aldığını duyurmaktan mutluluk duyarız. 💚🖤

Başlığını Cormac McCarthy’nin Yol romanından ödünç alan sergi, kıyameti, siyasal, toplumsal ve ekolojik sistemlerin içinde aslında çoktan başlamış ve devam eden bir durum olarak ele alıyor. 20 sanatçının çalışmalarını bir araya getiren sergi, “dünyanın sonu” fikrine alışıldık felaket senaryolarının dışından bakıyor.

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We are happy to announce that Halil Altındere’s Exit (2014) is part of the group exhibition “There is no later. Later is here.”, curated by Delfin Öğütoğulları at Arter. 💚🖤

Borrowing its title from Cormac McCarthy’s novel The Road, the exhibition approaches the apocalypse as an ongoing condition already unfolding through the political, social and ecological systems we inhabit. Bringing together works by 20 artists, the exhibition looks beyond familiar scenarios of disaster to reconsider what we mean when we speak of “the end of the world.”

Halil Altındere
Exit, 2014
Lightbox, serigrafi
15 x 35 cm taken in Arter by @pilotgaleri

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9 days ago

PILOT joins forces with Commentarivm for a very exciting and long-standing collaboration!

Commentarivm brings its publishing practice, archive and international network into PILOT with books, editions, magazines and printed matter taking over the shelves. The collection, curated by Commentarivm, will change with every exhibition at PILOT. Artists’ books, rare publications, independent magazines, editions and unexpected finds keep the selection in constant flux.

So yes, you might want to come back. 🩷

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PILOT ve Commentarivm heyecan verici ve uzun süreli bir işbirliği için bir araya geldi!

Commentarivm; yayıncılık pratiğini, arşivini ve uluslararası ağını PILOT’a taşıyor; kitaplar, edisyonlar, dergiler ve basılı işler rafları ele geçiriyor. Commentarivm’in seçkisi, PILOT’taki her sergiyle birlikte değişecek. Sanatçı kitapları, nadir yayınlar, bağımsız dergiler ve edisyonlarla sürekli yeniden şekillenecek.

Kısacası, yeniden uğramak isteyebilirsiniz. 🩷 taken in Pilot by @pilotgaleri

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10 days ago

PILOT
Eve Dönüş / Homecoming
17.09 — 31.10.2026

We have finally settled in our new space in Sıraselviler 83 and celebrated it together with our new group exhibition Homecoming!

Here are some freshly captured pictures from the exhibition. If you haven’t visited yet, we can’t wait to welcome you at PILOT 🫶

Featuring works by Hamra Abbas, Ece Ağırtmış, Atıf Akın, Halil Altındere, Tufan Baltalar, Uğur Cinel, Melih Çebi, Emir Erkaya, Zeren Göktan, Ali Miharbi, M.K. Perker, Murat Şahinler, Constantinos Taliotis, İrem Tok and Gözde Mimiko Türkkan.

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En sonunda yeni yerimize yerleştik ve bunu yeni grup sergisi Eve Dönüş ile hep birlikte kutladık.

Sergiden taptaze kareleri paylaşıyoruz. Henüz ziyaret etmediyseniz, sizi PİLOT’ta ağırlamak için sabırsızlanıyoruz🫶

Sergide Hamra Abbas, Ece Ağırtmış, Atıf Akın, Halil Altındere, Tufan Baltalar, Uğur Cinel, Melih Çebi, Emir Erkaya, Zeren Göktan, Ali Miharbi, M.K. Perker, Murat Şahinler, Constantinos Taliotis, İrem Tok ve Gözde Mimiko Türkkan’ın işleri yer alıyor.

Fotoğraf: @sahirugureren.photo ✨with kind support by @jotunturkiye @mozaikdesign @lorespresso_tr @club1887official @seferautoban @autoban212 taken in Pilot by @pilotgaleri

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10 days ago

Halil Altındere @ Kunstmuseum Wolfsburg
Sergi / Exhibition: Tell Me Where Home Is 19.09.2026 — 17.01.2027

We’re delighted to share that Halil Altındere’s work Homeland is part of Tell Me Where Home Is at Kunstmuseum Wolfsburg. Curated by Uta Ruhkamp, with curatorial assistance by Linus Jantzen and Anne Rybka, the exhibition brings together different perspectives on home, belonging, and displacement. On view through January 17, 2027.

Blending realism and humor, Homeland incorporates scenes based on real-life footage. It opens with images of refugees crossing a border through an area peppered with landmines—and performing unusual feats to overcome fences. It is almost impossible to tell what is news footage and what is staged. The video includes scenes from a luxury yoga retreat, highlights the journey through Aegean Sea to Balkans, and gives references to the mythological stories such as Troy and Medusa.

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Halil Altındere’nin Homeland başlıklı video işinin Kunstmuseum Wolfsburg’da gerçekleşen Tell Me Where Home Is sergisinde yer aldığını paylaşmaktan mutluluk duyuyoruz. Uta Ruhkamp küratörlüğünde, Linus Jantzen ve Anne Rybka’nın küratoryal asistanlığında hazırlanan sergi; ev, aidiyet ve yer değiştirme kavramlarına farklı perspektiflerden yaklaşıyor. Sergi 17 Ocak 2027’ye kadar ziyaret edilebilir.

Gerçekçilik ve mizahı harmanlayan Homeland, gerçek yaşam görüntülerinden yola çıkan sahneleri bir araya getiriyor. Video, kara mayınlarıyla çevrili bir bölgede sınırı geçmeye çalışan mültecilerin ve çitleri aşmak için sıra dışı yöntemlere başvurdukları görüntülerle açılıyor. Hangi sahnelerin haber görüntüsü, hangilerinin kurgulanmış olduğunu ayırt etmek neredeyse imkânsız. Video, lüks bir yoga kampından sahneler içerirken Ege Denizi’nden Balkanlar’a uzanan yolculuğa da odaklanıyor; ayrıca Troya ve Medusa gibi mitolojik anlatılara göndermelerde bulunuyor.

Homeland, 2016
HD Video, Color, Sound, 9’48”
Vocals and lyrics Mohammad Abu Hajar, Music Nqzunquzu taken in Kunstmuseum Wolfsburg by @pilotgaleri

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13 days ago

İrem Tok is part of the exhibition Aynı Yerde Yolculuk, curated by Nergis Abıyeva at Quick Art Space!

The exhibition features two of Tok’s earlier works, the animations Rüzgârlı (2013) and Tansiyon (2011), alongside Görünmezlerin Dünyası (2021), a series presented for the first time. Developed during the pandemic, the series emerged from water samples Tok collected from puddles, park pools, and small ponds encountered along her walking routes in Kadıköy. Examining these samples under a microscope and using methylene blue staining, Tok brings an otherwise invisible world into view.

Bringing together works by İrem Tok, Ayşe Kapusuz, Şebnem Keçeli, Ayça Özkaynak, and Erinç Seymen, the exhibition reflects on the stillness and inward-looking states of the pandemic period, inviting us to consider its lingering effects.

Aynı Yerde Yolculuk is on view at Quick Art Space through December 20, 2026.

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İrem Tok, Quick Art Space’te küratörlüğünü Nergis Abıyeva’nın üstlendiği Aynı Yerde Yolculuk sergisinde!

Sergide, Tok’un eski dönem üretimlerinden Rüzgârlı (2013) ve Tansiyon (2011) başlıklı animasyon çalışmaları ile pandemi döneminde Kadıköy’deki gezinti rotalarında gördüğü su birikintileri, park havuzları ve gölcüklerden topladığı su örneklerini mikroskobik şekilde inceleyerek metilen boyası ile görünmeyen dünyayı görünür hale getirdiği ve ilk kez gösterilen serisi Görünmezlerin Dünyası (2021) yer alıyor.

İrem Tok, Ayşe Kapusuz, Şebnem Keçeli, Ayça Özkaynak ve Erinç Seymen’in çalışmalarını bir araya getiren sergi, pandemi döneminin durgun ve içe dönük hallerine bakarak bu dönemin hala süren etkilerini düşünmeye davet ediyor.

Aynı Yerde Yolculuk, 20 Aralık 2026’ya dek Quick Art Space’te görülebilir.

Tansiyon / Tension, 2011
Animasyon / Animation

Rüzgârlı / Windy, 2013
İnteraktif animasyon / Interactive animation

Görünmezlerin Dünyası / The World of the Invisible, 2021
El yapımı kağıt üzerine metilen mavisi / Methylene blue on handmade paper by @pilotgaleri

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14 days ago

The group exhibition Deviation Protocol (Sapma Protokolü), featuring our artist Ece Ağırtmış, opens today at PASAJ @ Barın Han as part of PASAJ’s Failure Is My Favorite Color theme, curated by Elif Bursalı. 🌀

Bringing together works by Bengü Karaduman, Cengiz Tekin, Ece Ağırtmış, Merve Kılıçer, Özgür Demirci, and Sümer Sayın, the exhibition focuses on moments when the course of a life shifts—sometimes through a conscious decision, sometimes through an unexpected intervention. It approaches deviation as a layered process shaped by belonging, restriction, error, failure, and displacement.

Opening: 1 October 2026, 18:00–20:30
Performance: Bengü Karaduman, Walking the Line – Stepping out of the Line, 19:00
📍 PASAJ @ Barın Han

On view until 15 November 2026.

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Sanatçımız Ece Ağırtmış’ın da yer aldığı Sapma Protokolü grup sergisi, PASAJ’ın Failure Is My Favorite Color teması altında Elif Bursalı küratörlüğünde bugün PASAJ @ Barın Han’da açılıyor. 🌀

Bengü Karaduman, Cengiz Tekin, Ece Ağırtmış, Merve Kılıçer, Özgür Demirci ve Sümer Sayın’ın işlerini bir araya getiren sergi, bir yaşam rotasının kimi zaman bilinçli bir kararla, kimi zamansa beklenmedik bir müdahaleyle yön değiştirdiği anlara odaklanıyor. Sapmayı aidiyet, kısıtlanma, hata, başarısızlık ve yerinden edilme arasında şekillenen katmanlı bir süreç olarak ele alıyor.

Açılış: 1 Ekim 2026, 18:00–20:30
Performans: Bengü Karaduman, Walking the Line – Stepping out of the Line, 19:00
📍 PASAJ @ Barın Han

Sergi 15 Kasım 2026 tarihine kadar ziyaret edilebilir.

Mistake, 2023
Kavak, balsa, akrilik, pastel boya / Poplar, balsa wood, acrylic, pastel
39 x 22 cm taken in Barın Han by @pilotgaleri

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15 days ago

Our artists Melih Çebi and Ali Miharbi are part of MAHALLA KĪMIYĀ — The Alchemist’s Assembly at Büyük Valide Han, bringing together more than 25 artists, collectives, and craftspeople from Afghanistan, Austria, France, Germany, Iran, Malta, Poland, Türkiye, and Ukraine.

Melih Çebi presents Alchemy Without Intention (2026), an oil painting that began as a self-portrait and gradually unfolded through a series of encounters, memories, and coincidences.

Ali Miharbi presents Machine that Tickles the Wall (2013), which takes on a new resonance at Büyük Valide Han, where its feather encounters a surface marked by time, use, and repair.

📍 Büyük Valide Han, Istanbul
18 September — 3 October 2026

Concept · Sabine Küper-Büsch
Artistic Direction · Sabine Küper-Büsch & Thomas Büsch
Associate Curator · Mathilde Melek An

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Sanatçılarımız Melih Çebi ve Ali Miharbi, Büyük Valide Han’da Afganistan, Avusturya, Fransa, Almanya, İran, Malta, Polonya, Türkiye ve Ukrayna’dan 25’ten fazla sanatçı, kolektif ve zanaatkârı bir araya getiren MAHALLA KĪMIYĀ — The Alchemist’s Assembly sergisinde yer alıyor.

Melih Çebi, bir otoportre olarak başlayıp zaman içinde karşılaşmalar, anılar ve tesadüflerle dönüşen Alchemy Without Intention (2026) adlı yağlıboya tablosuyla sergide yer alıyor.

Ali Miharbi’nin Machine that Tickles the Wall (2013) adlı işi ise Büyük Valide Han’da yeni bir anlam katmanı kazanıyor; eserin tüyü, zamanın, kullanımın ve onarımın izlerini taşıyan bir yüzeyle karşılaşıyor.

📍 Büyük Valide Han, İstanbul
18 Eylül — 3 Ekim 2026

Konsept · Sabine Küper-Büsch
Sanat Yönetimi · Sabine Küper-Büsch & Thomas Büsch
Yardımcı Küratör · Mathilde Melek An taken in Büyük Valide Han by @pilotgaleri

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16 days ago