On the fringes

2022, Carpet 4 x 6 m and Motorcycle helmet, Safety goggles, Scarf, Lemons, Bottles, Mugs


In July 1923, Turkey and the allied powers signed the treaty of Lausanne. It redrew the borders of Turkey and Greece and had effects on the construction of the Middle-East and Armenia until today. It also distributed Kurdistan between Turkey, Iraq, Iran, and Syria. Almost ironically, the European and Turkish representatives, while signing the treaty in Palais de Rumine in Lausanne, were standing on a large “oriental” carpet. 


 


In recent years, protesters in Palestine, Kurdistan, and Lebanon have been using similar carpets to cover the streets, thus defining their own places of refuge and struggle within the public space. The long fringes of the carpet indicate that the protests are not yet finished. 




 








Swiss Art Awards, Basel 2022

Photos: Courtesy the artist © Mîrkan Deniz and BAK, Guadalupe Ruiz




I feel blue

2021, 1 x warning beacon 


The installation „I Feel Blue“ explores the

blue, blinking or spinning light associated 

in public with emergency organizations by 

transforming the exhibition space into a 

giant warning light. The intention is for the 

observer to perceive the space differently

in the evening by using lighting as a

 warning.


When is a situation considered an emergency? Who is being protected by whom? For whom is the security? Or against whom?

Grand Palais, Bern 2021

Photos: Courtesy the artist © Mîrkan Deniz




«Sîwan - On the illusion of safety»

 2020, 6 Umbrellas, each 90 x 90 cm 


The installation «Sîwan» (engl: umbrella) -about the illusion of safety» consists of six umbrellas. The topic of this artwork is safety. The umbrellas represent a kind of camouflage within the exhibition space, which visitors will not notice immediately. 

 


The umbrellas are normally used as everyday objects, but in other contexts, they symbolize protection against state violence. The installation is characterized  by its simple but precise approach to  thematising warfare from a distance with  an intentionally minimal use of resources. 



 



Helmhaus, Zurich 2020

Photos: Courtesy the artist © Mîrkan Deniz




Hanging in a Room with History

2020, 11 yellow neon tubes and 1 white neon tube (each one 9 m long)

 

The light installation “Hanging in a Room with History” consists of 12 neon tubes that are pulled across the room. Despite its minimalistic and abstract character, the installation changes the effect of the entire exhibition space. In this work, I deal with the violence of the Turkish state against the bodies of Kurds who have fallen in the war.


In 2017, the Turkish security service stole 267 buried people whose graves were found in the Kurdish village of Garzan.  Until 2019, the Forensic Medical Institute in Istanbul had identified only 12 of them. Out of these, the mortal remains of 11 could be picked up by their families, whereas the twelfth body was sent to the family in Kurdistan in a plastic box.

o.T Raum für aktuelle Kunst, Luzern 2020

(The title of the installation alludes to the writer Dionne Brand, who writes in her book “A Map to the Door of No Return” with reference to historical moments in the diaspora: “… sitting in the room with history”.)

Photos: Mario Caviezel




Dragon-1 Armor Tank, 

License No. 73 A 0133

House 13, 715th Street, Şırnak, Turkey ,N 37°15‘01.1“ E 42°28‘25.6“

2019, Hole in wall, 2.45 x 2.70 cm

2019, Painting on black paper, 40 x 35 cm


Through an exact replica of a hole in the  outer wall of a private home, I am creating  a new opening in the exhibition space.  Instead of installing an image or an object,  I am taking away a piece of the  institutional/structural base for  representations. 


From inside the booth, the hole is like a  window for looking at the rest of the  exhibition from a different perspective. From outside, the inside of the booth is laid open for an intruding gaze. A small drawing can be observed from a distance, featuring  the coordinates of a house in the Kurdish  populated territory in Turkey. 


Coordinates adopt the form of simplified world maps. Together with the crosshairs they mark the exact point where a specific event has happened, taking the role of an abstract witness. Since the supposed putsch in Turkey in 2015, the Turkish military has been imposing curfews in residential areas in the Kurdish territories. 


 


As a strategy of re-occupation in the region, civilian buildings are being bombed or attacked with tanks, leaving holes in private homes. With this work, I am referring to a specific case, where members of a family were killed, and the forces in the tank left unarrested.

Swiss Art Award, Basel 2019

Photos:  Guadalupe Ruiz



Galerija Forum, Zagreb, 2020

Photos: Anto Magzan