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Atılım Şahin

Back to the showroom


Works in the temporary Exhibition "Utopias"




atılım Şahin portrait


Basic Information:

Name: Atilim Sahin
Date of Birth: 1987
Place of Birth: Kirklareli, Turkey
Current Residence: Istanbul, Turkey

2012-2013, Malmö University, Sweden
K3 School of Art, Culture and Communication
Msc. Interaction Design (1 year)                        

2010-2014, Istanbul Technical University, Turkey
Graduate School of Science and Technology            
Msc. Industrial Product Design

2005-2010, Istanbul Technical University, Turkey
Bsc. Mechanical Engineering

Having studied engineering, product design and interaction design throughout his education life, Atilim does not like to define himself as “something”. Besides his “official” studies, he has also had long years of experience in the field of performance arts. The multidisciplinary structure of his background has always pushed him to find a way to fuse his skills in one pot. A pot, which is supposed to be the ultimate formula of his happiness. However, rather than finding that mere pot, he found himself pulled into lots of multidisciplinary environments which demanded him to express a different side of him at every turn.
That being the case, it sounds like Atilim’s thing to collect different pots in his cupboard instead of waiting for the magic pot.

His recent work (Hacking the Gestures of Past for Future Interactions) demonstrates his enthusiasm on human-object relations with a particular focus on the “movement”.
He is continuing to ponder about the term “intuition” nowadays.



Several projects that Atilim has involved in can be found on the following link.         
Works included here were mostly chosen from interaction design-related projects.

ITU Sahnesi (2005-2010)
2006, Dead Souls,  Nikolay Gogol (Actor)
2007, The Tempest,  William Shakespeare (Actor)
2008, The Rhinoceros,  Eugéne Ionesco (Actor)
2009, Rumours From the Present, ITU Sahnesi (Actor)
2010, Rumours From the Past, ITU Sahnesi (Actor)

Seyyar Sahne (2010-2013)
Nü Kolektif (2011-2012)
2011, Being a Man: Creeping by Advancing,  Pınar Selek (Actor)

Atel Dance Theatre (2012-2013)
2012, Vanity (Actor)

Mekan Artı (2014-present)
2014, The Pencil, Didem Kaplan (Actor)    


Where do you find your inspiration?
Mostly from people. I like spending time together with inspiring people. By “inspiring people” I do not necessarily mean people who are good at their professions or did some cool stuff previously in their lives. To me, people that I share similar sense of humour is the source of my inspiration.

How and where is your art produced?
Well, there is not merely one type of artwork that I am working on. The way I produce them differs from work to work depending on what their contexts are. Even so, I mostly produce within the field of performance arts. The main scaffolding of these works is basically driven by my enthusiasm to observe people. This enthusiasm materialises itself in the form or theatre, dance or video works.
Besides that, I have always been fascinated by pondering on human-object relationships in daily life. The way we interact with our artefacts is always interesting for me by means of bodily and spatial manners. Relatedly, I like to play with the materiality of our interactions in this respect. Being mingled with the world of digital materials recently allowed me to merge those notions all together in order to create a way to review new technologies from the point of performance and body-centred approach. This being the case, broad consideration of the terms like “Embodiment” and “Intuition” play crucial role in the approach that I produce my works.

How would you describe your art – local, global or glocal – or it doesn’t matter for you?

It doesn’t really matter for me. I don’t think I would consider myself as a person belonging to a particular city/location. On the other hand, ascribing my works as “global” would be inappropriate as well.
But again, I believe that it is not possible to escape from the norms which grows individuals up and make them who they are. We carry those norms with us to wherever we go and it is always possible detect the traces of them in whatever we created: art pieces, literature, established behaviours and so on. “Geography is the faith” says Ibn Khaldun, along the same line..
Therefore, in some way, even if somebody define one’s works as “global”, there is still a unique locality embedded in that work which gives it a genuine touch. Here, local means much more than a “spatial” thing which enrich the meaning of “global” as well.

Do you see yourself as a part of a global art community?
Yeah I do, but much the same that I see myself as the citizen of this world and willing to see what other people do and share my works with them as well. To me, it is all about feeling enthusiasm to see other people’s works and also being able to share my own.
More than that, I am against acknowledging global art community as something surpassing all kind of local attempts. Trying to be “global” could easily turn into a fetish at a certain point.

What are your previous experiences with the art market (galleries, exhibitions, curators, museums)
International and domestic theatre/performance festivals.

What do you find attractive or interesting about project open art and why do you like to participate?
To me, the most important aspect of this project is the opportunity of meeting with other artists and audience around the world in the same platform. That kind of meeting could lead people to exchange ideas and collaborate in the further projects/exhibitions together. And of course, internet is perfectly suited to facilitate this kind of platform.
On the other hand, many artists are suffering from either finding spaces to exhibit their works in the galleries or even if they find space to exhibit they have to give huge amounts of commissions to the galleries just for exhibiting them.  I believe the idea of “Exhibition space” is going to be transformed day by day especially with the attempts similar to “Project-Open-Art”.


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