Developed in parallel to the major Prince Eugen of Savoy exhibition at the Lower Belvedere, tanzimat at the Augarten Contemporary examines the continual reorganization of historical constructs and devices that underscore the neverending project of modernity.

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It is an interesting fact that the fez, the iconic Turkish hat that was originally instituted as a “modernizing” symbol for the Ottoman Empire in 1826, was later banned in Turkey in 1925, also as part of a “modernizing” reform. It is also interesting to note that after the invention of synthetic dyes, the main manufacturer of the fez—which up until that point had been colored with native berry juice—was located in Austria, that is, until it was boycotted by Turkey in 1908 more »

The openness of her parents — to both traditional Islamic positions as well as the value system of the recent secularly oriented republic — was passed on to the children. Their upbringing allowed for independent thinking and provided the incentive to take autonomous positions. Füsun Onur studied with Hadi Bara at the Academy of Fine Arts in Istanbul, who broke with the tradition of sculpture in the form of official monuments in the fifties. A five-year postgraduate degree in the USA followed, after which she returned to Istanbul, where she has been continuing her artistic work in Kuzguncuk.

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Füsun Onur has played an important role in the development of modern Turkish art, possessing the power not only to invent her own view of things beyond reality, but also to create the space for such a world. Füsun Onur, among other artists, is responsible for avant-garde currents making their way into the primarily traditionally-oriented art enterprise of Turkey in the early 70s. Her independent approach not only strengthened other modern artists at this time, but she also continues to affect and inspire recent generations of Turkish artists. more »