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Ogan Mete Yet Arzlanovich

I was born and raised in Istanbul. I’m from North Macedonia and Belgium. I’m 22 and Jewish. I study Photography at Mimar Sinan Fine Arts Universty. I’m interested in multidisiplinary arts. Mostly experimental videos and print making that i create. I started to take photos when i was child. Cause it always helped me to define myself without any identity words. In my works i try to explain human rights, human body politics, identities and animal rights as a vegan artist. I’m working as tattoo artist and piercer in Istanbul.

1/1 Exhibition : Worthless Things

“Worthless Things” explores the ways of healing in the face of artificial fears imposed by the competitive capitalist order. Perfectionism, inadequacy and self-doubt are the feelings that many academics, scientists, artists and creative professionals have to face at a certain point. The inner struggle of the individual with themself is determined by the system. It is silently and insidiously supported. The forms of violence called “academic shaming” / “student shaming” are systematically targeting many unprivileged individuals in academia, often manifesting through homophobia, misogyny and racism. Diversity and inclusion practices underline empathy, while the existence and politics of emotions are still among the least important areas in academic culture. Thus, dehumanizing approaches are also increasing.The Worthless Thing exhibition explores the spaces where the word “success” is defined and shaped. It reveals the inequalities created in the art industry by the primitive culture of competition, from which the definition of “success” comes, and displays a decolonizing attitude to the concept of “success”. What exactly happens when the creative potential is caught in the web of fear of inadequacy, while we are trying to overcome all this adventure in the competitive state imposed on us by the system? The exhibition deals with the nature of personal failures and Imposter Syndrome in macro and micro, political and psychological dimensions: as one of the “character erosion” tools of the capitalist system, as well as through psychological tension and fear. The exhibition puts forward a “new aesthetic” created by works that have been subjected to failure, and constitutes an example of decolonial resistance that emerges from it. Thus, it constitutes an area of research that focuses on the politics of the undesired art. In the exhibition, failure is considered as a rank that can save the soul and mind, which has become the subject of colonialism in this age. Systematically underappreciated are seen as the ones that reveal the decolonization of the mind. Assimilating failure is suggested as the weapon of creativity against non-occurance of artistic act and imposter syndrome promoted by the system and instutional rules. “Worthless Things” aims to create an atmosphere of solidarity by bringing together the undervalued, unfinished and/or rejected works of artsits and scholars trying to survive in a capitalist world.


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