Emre Hüner (1978, TR/NL)
Hüner’s prints unfold as diverse historical layers, layers of collective memory related to subjects like inventions and machines, anatomical drawings, modernist utopias, ancient scripts, architecture and esoteric elements, referring indirectly to print applications.
The Allard Pierson Special Collections are Hüner’s new primary sources for his prints. The historical, heterogeneous reference images originate from various printed and digital media: magazines, Wikipedia images, books, bills, posters, comics, ads, and so forth. Hüner collected hundreds of pictures from books such as Juan Valverde’s Vivae imagines partium corporis humani aereis formis expressae (1579), Robert Hooke’s Micrographia (1665), and Agostino Ramelli’s Le diverse et artificiose machine (1588), to subsequently rearrange them and provide them with a new context.
The pictures’ magic and their different interpretations inspired Emre Hüner to create new assemblages visualizing clusters of etchings and screenprints, pictorial contrasts between older and digital images, on varying materials. He incorporated Wim Crouwel’s 1967 font New Alphabet: a Possibility for the New Development. Hüner’s futuristic image collages speculate on future world views. These new combinations of image information give the future status of print a historical as well as a fictional angle; by using symbols and the various themes Hüner accumulates imagination between the carefully chosen pictures and words.
Most of the prints were made in black-and-white or monochrome in order to enhance the imagination. The difference between the older and the digital pictures is striking pictorially while also referring to our different ways of looking, on a page or on a screen. With his 3D-printed object as a sculptural extension Emre speculates on the various forms of conservation or distribution of various materials.
The modernist, Dadaist, and poetic collage prints give us a fresh, fictional view of the future—a future where Western collective memory makes new connections by means of our new ways of handling historical information on the Internet, by scrolling, zapping, and surfing. Collages wishing for a new world show a search for new connections, depths, fears, desires: a rearrangement of world views.
Emre Hüner’s work elaborates on the concept of materiality as a thought and objects as artifacts, asking questions about their origin and situation: an archaeology of the present that is an invitation to generate new names and meanings. His source materials are a starting point from which to magnify, reshape, isolate or decontextualize their pictorial elements, resulting in sculptural assemblages, drawings or video.
The works unfold multiple storylines that often refer to utopian models of modernity, ideas of progress and future. They are possible, speculative scenarios with their own preconditions and possibilities. Hüner’s installations suppose the archaic to be contemporary as well.