Spend 47 days in the art world withSeen.
Save this article to read it later.
Find this story in your accountsSaved for Latersection.
Turkey is a land of competing identities, and competing senses of its own history.
Occasional shut-downs of Twitter or YouTube have since become the ordinary.
Wikipedia is still inaccessible in the country to this day.
We had a golden heart.
One day soon Im gonna tell the moon about the crying game.
I spoke to Cennetoglu from her Harbiye apartment.
The conversation started in Turkish but switched to English while occasionally returning to our shared mother tongue.
Lets start with the exhibition.
After the films premiere, he invited me to show it at the Sculpture Center.
The second large work is the daily newspaper archives that I have been working on since 2010.
The work is about newspapers being a public space about collective memory.
OffDutystems from my documenta 14 project.
Once d14 was over, we returned the originals to Fridericianum and six new casts becameOffDuty.
The rest follows a chronological order based on dates the images entered my devices, starting from June 2006.
Dates are crucial for the film you were also born in 1970, for example.
You dont call the List an artwork, but rather a growing public database.
I want to look into the contrast between daily life and practice.
I live in Istanbul, you live in New York, both in messed up situations.
I have been involved with the List on different levels for many years.
The situation is worse than 2002 when the change of policies was already urgent.
Hard to put in concrete words, but the work departs from this contrast.
I needed to look at what I have accumulated.
I did not want to weed out, choosing one over the other for any reason.
It is a circle with hundreds of tangents.
I tried but it was impossible to reduce 12 years and 46,685 files to one line.
You have to constantly chew it just to get little flavor.
In terms ofGuilty feet have got no rhythm,I love Georgios Kyriacos Panayiotou [George Michael]!
Also, this was the title of my Kunsthalle Basel exhibition in 2011 and I wanted to recycle it.
You avoid a narrative or hierarchy between the images.
Obviously I am the common denominator, or carrier, but it is also collective and collected history.
Because the majority was not shot to be shown, there is not one dominant narrative or construction.
Bearing both on my and the audiences end is the strongest part of this work.
The images I present give them the material to build their version of a story.
With patience, they realize their story starts to grow.
At that point, the images are not mine, but then the audiences.
