2015
Ali Osman Coşkun
Halita / Alloy

Authors: Tanıl Bora, Sezai Nuhoğlu, Halil Duranay, Ferit Çengelli, Handan Koç, Z. Tül Akbal Süalp, M. Nedim Süalp, Barış Bıçakçı, Arin Eloğlu, Rüstem Temo

Dipnot Publications, Ankara, 2015

PUBLISHERS NOTE for HALİTA / ALLOY

Halita / Alloy comprise some paintings of Ali Osman Coşkun and on the considerations and remarks about his paintings.

Is not this a typical characteristic of the paintings of Ali Osman Coşkun? Imperfect bodies, imperfect –sometimes with surpluses – faces and “independent” organs… Fingers which declare their independence; fingers each of which takes wing to a different direction… A small horn, claw-nail… Heads composed of crowded figures, objects, organs, stains, parts and particles…
-Tanıl Bora-

The paintings of Ali Osman Coşkun bear the marks of the reflections of the living characters and going events of our age at the levels of effect and emotion. And… sometimes take you to a challenging adventure. An adventure in pursuit of light and meaning where similar and familiar images and shadows rush.
-Sezai Nuhoğlu-

If a feeling of uncertainty arises or you want to laugh or cry all of a sudden when you look at the paintings of Ali Osman, you should know that you are looking at a mirror and that weird feeling you have is nothing more than your own vertigo.
-Halil Duranay-

If it is absolutely essential to look for a relation with the paintings of Ali Osman, the paintings of the magnificent German expressionist painters where the explosion and decomposition of the spirits trapped between two big wars came into existence should be the first address. It is impossible not to see their screams under nightmares in the paintings of Ali Osman.
-Ferit Çengelli-

I appreciate Ali Osman’s paintings since I feel that they are contemplated but have turned into paintings with a sudden break from the thoughts. On the other hand, I like them selfishly due to the obsession I have for the “diamond” time in Ankara. I feel delighted while looking at his art through the eyes opened on the loneliness of adult men and women in this canvasses. Thanks to him, I decide to continue looking at them.
-Handan Koç-

If our bodies that are adorned up to the inner organs by the history completely full of inner- and outer- voices, background and hemstitches; are blessed with prays; carry the traces of all tails of the past; and consist of all untold stories have been the battle field of the struggle in this land with the history, the paintings of Ali Osman stand for all these.
-Z. Tül Akbal Süalp-

Ali Osman does not narrate war, violence and awful aspects of the life in his paintings, in his patterns… What really matters is to convey abstract relations, beneath the surface… Yes, the art of Ali Osman is really abstract…
-M. Nedim Süalp-

“My Poems.

Some good, some mediocre, some bad.

That’s just how it goes, Avitus!

A book cannot be written otherwise.”

Almost two thousand years after Martialis, Ali Osman uses the same verses for his own paintings. Not because that is just the way it goes but because he takes the risk of drawing bad pictures: This is because of the fact that a painting cannot be made otherwise.
-Barış Bıçakçı-

Ali Osman draws the hypocritical face of what is established, he wants to “draw”; he cannot be persuaded, he does not persuade; he pursues his watch; he is the convict of his watch…
-Arîn Eloğlu-

Writers present their anxieties. As for a painter, he seeks for what cannot be written and titters when his paintings are interpreted into essays… Ali Osman Coşkun has always had an “issue”… “Having an issue”, I mean the state of not being able to stay out of the issue in structural terms.
-Rüstem Temo-

Remarks/ Considerations: Tanıl Bora, Sezai Nuhoğlu, Halil Duranay, Ferit Çengelli, Handan Koç, Z. Tül Akbal Süalp, M. Nedim Süalp, Barış Bıçakçı, Arîn Eloğlu, Rüstem Temo. (The Blurb of Idefix)