Uygur Yilmaz continues to focus on the aftermath of summertime when holiday spots are most crowded and on the human traces left behind. In the exhibition "Taken", the ready-mades that he has been preoccupied with recently, join his photographs that act as silent witnesses of tourism’s off-season (literally dead-season in Turkish). 

   The objects he collects in expeditions at beaches and surroundings or the remains he comes upon during the off-season come together under one roof after the artist’s touch. This method lends his practice an archeological dimension. He picks up an old billbook of a cafeteria from a junkyard and turns it into a memory carrier; he puts on display the piece of a paddle boat washed up onto the shore after he dresses its wound. 

   In the exhibition "Taken", the artist deals with ideas of dysfunctionality / loss of function and vulnerability; he explores ways of reinterpretation.  While transforming the waste of tourism, he poses a new question: “ ... when I interfere into the course of recycling industry, do I spare these objects off the cycle of consumerism, or do they re-gain function as they become part of another industry, namely the art world?

   The three-dimensional works that are at the foreground of the exhibition both pursues the liminality between land and sea, winter and summer, culture and chaos; and also opens way to a new period for the artist both in terms of content and material.