In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder,like Winnicott’s psychotic patient, over a catastrophe, which has already occurred.Whether or not the subject is already dead, every photograph is this catastrophe.
Today, media collects and distributes images for us with immense speed and magnitude.We are surrounded by these images; and more than ever, all communication technologies -as efficient apparatuses of late capitalism- infuse our lives with vast attacks of images. Nevertheless, we have also learned from the same sources that the meaning of any image is dependent on the context. It is not only the images, but also ideologies and realities behind the images that are being created for us.In this respect, “Postcapital”, as an ironically questioning archive developed by Daniel G. Andújar, shoots back with the same gun by detecting lapses in our perceptionand explanation of political, cultural, economic, social, and even technological conditions and realities. He indexes our cognitive mechanisms.
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KİTAPLAR Türkiye Pavyonu
Projede üç ciltlik bir kitap serisi de yer almaktadır. Başak Şenova’nın editörlüğünü yaptığı birinci cilt, projenin kataloğu işlevi görmesinin yanısıra kavramsal çerçeve, yapıtlar ve genel süreç hakkında notlar içerir. Küratör, asistan küratör, sanatçıların yanısıra Remco de Blaaij, Sezgin Boynik, Erhan Muratoğlu, November Paynter, Mounira Al Solh, ve Pelin Tan’ın metinlerinden oluşmaktadır.
Jalal Toufic’in editörlüğünü yaptığı ikinci ciltte, William C. Chittick, Jalal Toufic and Paul Virilio’nun felsefi metinleri yer alır. Bu metinler lapses kavramına farklı açılardan ve derinlemesine yaklaşımlar içerir. İçerdiği alıntılarla birlikte, tüm proje için esin kaynağı ve referans oluşturmaktadır.
Başak Şenova’nın editörlüğünü yaptığı üçüncü ciltte ise dört farklı proje, kavramsal çerçeve dahilinde tartışmaya açılmaktadır. Bu projeler, Ceren Oykut’un Park Otel’i, Gökhan Akçura, Korhan Gümüş, Cem Sorguç ve Levent Soysal’ın yazılı katkılarıyla; Daniel García Andújar’ın Postcapital projesi, Iris Dressler and Hans D. Christ’in katkılarıyla; Mushon Zer-Aviv ve Alex Galloway’in Kriegspiel adlı projesi; ve Yane Calovski’nin Master Plan projesi ve Başak Şenova’nın yaptığı kısa söyleşiler yer almaktadır.
Birinci ve üçüncü ciltlerin asistan editörü Nazlı Gürlek’tir. Kitap serisinin tasarımı Eray Makal’a aitttir.
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Curator Başak Şenova’s project, “Lapses,” which is going to be showcased in the Turkish Pavilion during this year’s Venice Biennial, was introduced to the press this week by Şenova and artists of the exhibition Ahmet Öğüt and Banu Cennetoğlu.
Şenova explained that the word “lapse” connotes numerous verbs and nouns in English, yet there is no one word that corresponds to it in Turkish. “A lapse in the linear and continuous flow of time implies either a sense of disorientation or a disconnection with our personal surroundings. Only by recognizing such a lapse do we realize our ability to restructure memory in the space and time continuum through an uninterrupted flow, with afterimages that recur by narrations and our senses,” she said, adding that the whole project is based on reconstructing the memory again and again by remembering the past.The project will be realized through Cennetoğlu’s “Catalog,” and Ögüt’s “Exploded City.” “Both shows reveal the possibility for diverse memory formations — or diverse narratives — conceivable through lapses,” the curator elaborated. Cennetoğlu’s photographs are presented in the form of a performative “mail order catalog,” where hundreds of photographs are classified under subjective categories. All of the photographs from the mailing catalog can be downloaded for free exclusively during the duration of the Venice Biennial. “Rather than selling my works for higher amounts, I chose to give them away for free, so, in a way, the audience will be rewarded when they go home,” she said, explaining the reasoning behind her work.
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