Piano Concerto for the Left Hand in C-Sharp Major (2024)

Vinyl, closed-circuit video camera, HD monitor, wall bracket, Floor section: H 375 x W 293 cm, wall section: H197 x W284 cm

Biographical aspects of Wittgenstein and his family’s life (the anamorphic piano drawing refers to his brother Paul, a concert pianist) that inform several more of Çavuşoğlu’s works are much more about context and immersion in a culture of creativity that the philosopher develops in the Investigations. Indeed, there are several key concepts from this later work that inspire, or might be seen to echo the artist’s work here. Production of meaning, for the later Wittgenstein, had to be produced in context and is termed `aspect seeing`. Accordingly, Çavuşoğlu’s work gives us this fuller picture with multiple viewpoints. The component parts of his installation might be considered to have ‘family resemblances’ and ‘internal relations’ (which are a development from the fixed perspectives of Wittgenstein’s famous picture constructions of the earlier work). The ‘expressive playing’ of pianists can only be felt if one has been immersed in a culture of music, as Wittgenstein was from birth. The artworks here, precise and light touch, seeped in the culture of Wittgenstein, are analogous to this culture of expressive performance. Simon Harvey, departures, homecomings (Danielle Arnaud Gallery - Excerpts from the Exhibition Text)