«Sîwan - On the illusion of safety»
6 Umbrellas (each 90 x 90 cm, 2020)
The installation «Sîwan» (en: umbrella) - about the illusion of safety» consists of six umbrellas.
The topic of this installation is safety. This installation shows, how normal everyday objects, when changing their context and location, can be used in a different way, and how these changes can be fed back and let the
objects tell their new or «different» story simultaneously. The umbrellas represent a kind of camouflage within the exhibition space, what visitors will not notice immediately. The umbrellas are normally used as everyday objects, but in other contexts, they symbolize protection against state violence, for example in the mountains of Kurdistan or in the Hong Kong protests.
The installation is characterized by its simple but precise approach to
thematising warfare from a distance
with an intentionally minimal use of resources. The precise and prudent gesture of pointing out offers a potential for thinking ahead and following the thoughts, therefore an ethic of the gaze, while the installation is creating a generous and exciting permeability in the space.
Helmhaus, Zürich 2020
What is your survival strategy?
Safety Corridor, (Protective tarpaulin, 3 x 20 m, 2020)
The installation “Safety Corridor” consists of a blue protective tarpaulin that forms a safety corridor, leading from the outside into the exhibition room, where the light installation “Hanging in a Room with History” is shown. This corridor represents a strong contrast to the architecture of the pavilion and gives the public
the opportunity to see the location
in a new way.The material strained across the corridor is an allusion to the protective tarpaulins that were drawn across the streets in the Kurdish areas during the war in Syria, to make sure that attacking aircrafts could not see whether there were any people in this area. Thus, the installation has a performative effect: the visitors themselves turn into some kind of performers by following the choreography of the corridor.
Hanging in a Room with History, (2 x 6 Neon tubes, each one 9 m long, 2020)
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.
(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”.)
o.T Raum für aktuelle Kunst, Luzern 2020
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 (2.45X2.70 cm)
Painting on black paper
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.
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.
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.
Swiss Art Award, Basel 2019
Photos: Guadalupe Ruiz
Galerija Forum, Zagreb, 2020
Photos: Anto Magzan