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Bubi

Bubi seeks for the nonexistent painting

When I think about the art of Bubi, I remember the quote of Beuys ‘the error already begins when someone goes out to buy a stretcher frame and canvas’. For Bubi the painting should almost not be looked at, it should not be sold and it should not make people think to hang it on the wall. Art is the sole preoccupation of the artist. Nothing should intervene.

All the paintings that have ever been made can never exceed being a creation of the society of consumption. This is true for old and new movements. This is an inevitable progression. Bubi seeks the nonexistent painting. There is only one way to do this – to dismember painting as we know it. Bubi’s painting naturally evinces this.

Bubi doesn’t intend for people to enjoy his art, like they would with Matisse. He says not to look at his paintings, but be floored by them. He wants his paintings to hit, to destroy, to give the joy of ruination and demolition. Painting for Bubi is a form of protest, and protest is a fundamental principle of his life. It is his modus operandi. This is why his painting isn’t motivated by the intention to please. With the exception of his earlier paintings, paper constructions, weavings and collages, his painting don’t smile, they grimace. They cause restlessness. In brief, he revolts against consumer society because this society does not give the right of being individual.

That’s why Bubi gradually starts to disregard the canvas. Painting is now constructed with fabric and glue. In this way painting has become not only more about craftmanship but dependent on collective labour.The brush has been replaced with fabric, rope, tethers. Bubi expresses rancor against representation, he throws painting away:

By sharpening his protest day by day

By burning the bridges he crossed

By surrounding himself with cages and watching the world from this confinement.

Until when?

Until the end, definitely.

Ilhan Berk