Patron (II) is shaped around the relationships established between form, production, and power. Its point of departure is Göksu Baysal’s Modulo series, which he has been developing since 2021: architectural models that evoke brutalist structures. Here, the series moves beyond an architectural inquiry and is reconsidered as a field that opens onto pattern-making, cutting, and logics of production.
The title draws on the double meaning of the Turkish word “patron,” which refers both to a “pattern” (template) and an “employer.” The pattern functions, on the one hand, as a form-giving tool; on the other, as an authority that regulates and determines. This duality permeates the structure of the work. Planar unfoldings derived from sculptural models are reassembled as cut and separated surfaces. Patterns developed in Berlin are installed in the exhibition space as temporary and modular structures. Cardboard here is not merely a material; it operates as a threshold oscillating between model and architecture, temporality and construction. Processes such as cutting, transport, and assembly are not concealed; on the contrary, they remain visible as integral parts of the structure.
The modernist architecture of İMÇ emerges in the background of the work. Interwoven with textile production, circulation, and labor, this site opens up a line of tension between the utopian modernism of the 1960s and contemporary production networks. At the intersection of model language and pattern logic, relationships between production and authority, employer and worker, are not directly represented; rather, they are felt through surfaces, sections, and modes of installation.
Patron (II) constructs a field that oscillates between architecture and textile, model and pattern, production and power. Instead of drawing clear boundaries, these domains come into contact, overlap, and coexist.
The exhibition supported by SAHA and IFA
