Untitled (walking through barriers)

2021, Protective Structure Sangar by Hesco: Metal, Geo-textile, Protective walls, (External dimensions: 2.44 m x 2.44 m x 3.05 m)


Untitled (walking through barriers) does not 

remain fixed in one place. Rather, the  intention 

is to place the structure, marketed by the British 

manufacturer Hesco for its mobility, in different 

locations, on the street or inside an exhibition 


The resulting process of de- and 

recontextualization underlines the military 

origins of the sentry post, made to be used in 

war zones to control frontiers, and enables other 

ways of looking at the public space, and at one‘s 

own body.

For the first iteration of Untitled (walking through 

barriers), the work was shown in different 

locations in the city of Bern during the summer

 of  2021. It also served as a stage for 

performances.  I invited 3 artists, Tracy 

September, Ivy Monteiro and Kamran Behrouz 

and asked them to create new performances on 

the theme of mourning.


Performances, Ivy Monteiro, Kamran Behrouz and Tracy September, Helvetiaplatz Bern 2021

Photos: Courtesy the artist © Mîrkan Deniz


2017, three parts: 1 x 2 m; 1 x 2 m; 3 x 2 m, metal 

This work reconstructs different parts of the 

tank “Scorpion” (“Akrep” in Turkish), which is 

used against the population in Kurdish 

regions.  The installation “Akrep” confronts 

visitors to the exhibition on a physical level in

 a variety of ways. The work is a true to-scale

reconstruction of the individual components, 

distributed individually throughout the space. 

The actual size of the vehicle can thus be 


The pieces of the vehicle are deliberately  placed in the space in an awkward way, so as so prohibit unimpeded passage through the room. In this way visitors are compelled to find their own way through the parts of the vehicle, their movements determined by the structure of the installation. This installation reflects on the arbitrary quality of violence without explicitly representing it. The work also addresses the question of how the concept of ‘security’ can  be perceived differently when viewed from a variety of perspectives.




Les Complices*, Zurich 2017

Photos: Courtesy the artist © Mîrkan Deniz



2015, sculpture, 3 x 1 m, wood, velvet, metal sign


The work “Masa” (engl: table) refers to the

Treaty of Lausanne, which was signed in 

Lausanne in 1923. It redrew the borders of 

Turkey and Greece and also distributed

Kurdistan between Turkey, Iraq, Iran, and 

Syria. The treaty amounts to a 

disenfrachisement of Kurds and Armenians. 

Akademie der Künste, Berlin 2017

“Masa” deals with the places and objects connected to this Treaty. In 2008 the Federal Council Pascal Couchepin gave as a gift the table on which the peace treaty was signed. After extensive research the artist decided to  produce a replica of the original table and to offer it as a gift (back) to  Switzerland. 

In 2015 the first action was organized in

front of the Palais de Rumine in Lausanne.

In  2016 the action was repeated in Bern

in front of the Federal Palace. The “gift” has

 so far been declined. 

Public action, Lausanne 2015

The context of the  Lausanne Peace Treaty 

raises the specter of how to evaluate the

role of Switzerland in this process, even if

the country itself tries to restrict its role to

that of a non-participating “host”.


Public action, Bern 2016

Akademie der Künste, Berlin 2017

Photos: Sascha Ettlin and Laura Ferrara

Shedhalle, Zurich 2015