In this view of a mass, actors directly look at us and they carry banners on which elements from my visual vocabulary feature. The preliminary drawings I made for this work re-appear as words on these banners. The belly dance is very important in this piece since it is a response to the represe tation systems the East has been subjected to for ages; the dance is joyful and it cannot distance itself from implications of terror. The figures on the front row open a space for the sorrows following this resistance.
The setting is a steppe, girls are on stage and on the front row you see a series of leg movements seeming like an ungendered can-can dance or sport activities reminding the official celebrations of nationally commemorated 19th of May Youth and Sports Day. Fields are burnt down in distance and public residencies up rise. The steppes between Ankara and Polatlı where I spent my childhood intrude in spite of me. I dedicated this scene to girls.
Issues of identity are among my major concerns for quite a long time. This piece might be related with European identity and the cultural impositions related with this construction in a cynical manner. Dogs… Street dogs of Istanbul… It is possible to read them like a novel again and again to discover new associations. It is like to see the scenes of a very long film all at once… The piece demands a different reading each time and attracts the audience to the darkness it sprang.
I think this triptych reflect the world we currently dwell in.
Stages of Everyday Politics, Mario Mauroner Contemporary, Vienna, 2015
Broken Manifestos, Espace Chatelain, Brussels, 2013
Broken Manifestos, Musée d’Art Moderne de la Ville de Paris, Paris, 2011
Broken Manifestos, Nesrin Esirtgen Collection, Istanbul, 2011
Installation view from Stages of Everyday Politics, Mario Mauroner Contemporary, Vienna, 2014