Economist, trainer, and world-traveling performance artist Çiğdem Yorgancıoğlu, who conducts training and workshops on Contract Management in sectors such as Theater Education, Basic Occupational Health and Safety, Forensic Psychology, Information Technologies, Energy, and others in Turkey and abroad, took the stage at the opening cocktail of the personal painting and sculpture exhibition of ceramic artist Nagehan Elibol, the founder of Nage Ceramic, at NEXT PERA ART GALLERY with MIM CHI 360 on January 27, 2024, in Galata.
During her performance, Çiğdem Yorgancıoğlu portrayed the transformation of desert sand into mud and mud into clay with a lament for lost sculptures, expressing the metamorphosis from ancient times to the present through figurative female sculptures in their hands. Responding to art enthusiasts asking about the whereabouts of the Phantom of the Opera, she mentioned that it was in India on that particular day.
In her performance with Mim Chi 360’s ethnic contemporary interpretations, Çiğdem Yorgancıoğlu first symbolized votive sculptures with her hands in dance. The mystery of feminine energy in inspiration from the exhibition transformed and changed Goddesses throughout ages, from “Kibele” in Anatolia, “Arinna” in the Hittite era, “Isis” in Egypt, “Artemis” in Ephesus, “Rhea” in Rome taking Aphrodite from Greece to Venus, “Inanna” in Sumer, “Ishtar” in Babylon-Assyria, “Astarte” in Syria, and “Anat” in Palestine, sending the archetype of the Wild Woman to the collective consciousness on Earth, inspired by Jung’s Women Who Run with the Wolves, ending her dance before the music stops and stating, “The sound of the clock inside me surpasses the sound of the music; we are working with different settings, mine operates with the factory settings of nature.”
Çiğdem Yorgancıoğlu, who added improvisational choreographies prepared for the section titled “TERRA COTTA ESSENCE” in her book NOVUS ORDO SECLORUM – THE NEW WORLD ORDER – TANGO WITH MALE HORSES AND FEMALE ELEPHANTS, which compiles poetic and educational content on the dilemmas of Ethnic Contemporary Modern Man, as well as issues such as Humanity and Sustainability (page 37), to the Drama Dance Theatrical section of MIM CHI 360, said about artist Nagehan Elibol’s works, “Extremely inspiring, profound works that intertwine different times from ancient eras to the future world, reflecting the feminine energy and the sense of compassion in the twists and narratives of her art, prepared with serious efforts. Welcomed with her works from the Mediterranean to Istanbul. After the exhibition ends on February 2, let her come again to inspire us, to art, to artists, and art lovers.”