Girls who run away from home for the sake of love, hope for the future and joy, or those who escape from violence, need to develop certain skills in order to survive in a male-dominated society.
I do not have certain strategies that I can recommend, but I want to bring forward the unspoken just as much as the spoken and build a circular conception of space and time as a response to this urgency.
At a construction site, the runaway girls rigorously struggle to cope with a camera which is recording as it is continuously rotating around itself 360 degrees.
This tension, in which it is not clear who is chasing whom, undergoes a sliding of time and resides in the time frame between dream and reality. In this circular time, drawings are actors to be involved in the story. Drawings demand to be free and refuse to go on their life as images any more, instead trying to tear themselves from the paper.
Several circles of shootings are coming in juxtaposition to each other. As the shootings accumulate layer by layer, the background remains the same. This effect is provided by the composite technique that requires an arduous effort.
Sound design is realized in collaboration between the music band Baba Zula and I. We hear some sounds from folkloric spoon music and some atmospheric sound in the background.
I can say that this is an operation of moving imagery with drawings, and it aims to mess with our relationship with the runaway girls. This is only possible by overturning the conventional channels of perception.
Caution: Everything that the camera sees must be rescued immediately before it turns into an image.
İnci Eviner
Tamawuj, 13th Sharjah Biennial, Calligraphy Centre, Sharjah, 2017
Inci Eviner Retrospective: Who’s Inside You?, Istanbul Modern, Istanbul, 2016
Looping on Thin Ice, Pearl Lam Galleries, Shangai, 2016
İnci Eviner: Runaway Girls, Drawing Center, NY, 2015
Dancing Mama, Coreana Museum of Art, Seoul, 2015
Installation view from Tamawuj, 13th Sharjah Biennial, Calligraphy Centre, Sharjah, 2017