In Transcritique: On Kant and Marx Kojin Karatani argues that parallax can be considered as a clear re-positioning of an object (a shift relative to its position before a background) emanating from a new vision line formed by a change in the locus of observation. Indeed, the philosophical shift needs to follow this statement is that the observed opinion is not just subjective, since there is another object there and this same object is seen from two different locations or points of view. As modern architecture shaped our lives and our consciousness, it developed a universal model rejecting cultural differences. Comprehension of space imposed by this model incorporates particular systems of belief, perception, knowledge and history writing. This comprehension was never immune from presumptions and doubt. Especially after the II World War, the ideology built around this comprehension gained visibility in the design techniques of futuristic, shelter and camouflage architecture.
In Nursing Modern Fall I wanted to transform the fractured space into a working stage on which several historical encounters are continuously performed. On this stage as the Aircraft Engine Factory (built by Albert Kahn & Whitney Aircraft in 1941) fuse with interior drawings of Andrea Palladio, a particular zone in the space is transformed into an underground tunnel sheltering imaginary creatures-probably refugees. These uncanny encounters are applied to numerous examples and a space creating, reproducing and negating itself is construed on this stage through paradigmatic shifts. In this setting nurses strive for healing this modern destruction in an absurd way.
Broken Spaces is realized through a multilayered research, drawing and video compositing process; as I translate the language of architectural plan drawing into my personal visual language with the help of tracing paper, I break off with the plans and reach the final with my own work. I transferred this complex language of drawing into a three dimensional space using 3D modeling technologies and I wanted to create a new life in this setting. My figures struggle a great deal to dwell in this whimsical environment. These hurried figures running hither and yon precisely reveal the tension between human and citizen Giorgio Agamben mentions. This environment created by intersecting different point of views in order the architectural design process to render the unexpected possible, forces modernism to throw out its losses and repressions. This fractured, eclectic and floating space and this parallax reality I created through horizontal, vertical and cross operations with an obscure vantage point accommodate a critical capacity revealing these antagonisms, lost their edges in contemporary global optimism, into a possibility of being visible.
İnci Eviner
Beyond Home, İMALAT-HANE, Bursa, 2023
Under Pressure-On Forms of Authority and Decision-Making Power, Museums Quartier Wien, Wien, 2018
Dystopia: Making the 200th anniversary of Karl Marx’s birth, Kunstsammlung Jena, Jena, 2018
Imagined Borders, 12th Gwangju Biennial, Gwangju, 2018
Istanbul: Passion, Joy , Fury, Fondazione Maxxi, Rome, 2015
Nursing Modern Fall, Galeri Nev Istanbul, Istanbul, 2013
Ici, ailleurs, Marseille-Provence 2013 – Capitale Européenne de la Culture, Marseille, 2013
Everyday Life’ 4th Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, 2013
Installation view from Gwangju Biennial, 2018