• ONE OF THEM

    IN PROCESS...
  • Keeping up with Corç, George, Corç/George?

    „Keeping up with Corç, George, Corç/George?“ examines the transition from an educationally disadvantaged migrant working class into an intellectualised, highly privileged and predominantly white upper class. Utilising an auto-ethnographic approach, this installation is an attempt to reconstruct a collective experience by means of  Demir’s individual transition. Attention is drawn to the emerging social literacy of codes from both, the working and upper class, in order to understand and effectively use various referential systems to pose the questions of what happens to a person when passing through milieus.
  • Solidarity

    Would you pick up a hammer and smash a window? Fighting against inequality of all kind needs allies. Showing support without being affected yourself is a tool to stand with the people concerned; but in what way? In celebration of the 100th anniversary of women’s right to vote and being able to be elected into parliament in the UK, "Solidarity"poses the question of how to fight in solidarity and stand with marginalised people by appropriating the toffee hammer, used by the suffragette movement of the early 20th century in order to gain visibility for their fight for women’s votes. It was used to smash windows all over London and because of its handy and inconspicuous matter, the toffee hammer was an easily accessible tool proven to be very effective. The reproductions are featured in the suffragette’s colour scheme, designed by Emmeline Pethick-Lawrence, of purple for loyalty and dignity, white for purity, and green for hope. Wearing these colours was a way of showing solidarity with the cause and by simply doing that putting a target on the wearers back. "Solidarity" functions as a call for smashing ideologies of sexism, gender-inequality and oppression of all kinds, questioning the viewers to reflect on their roles as supporters in the fights for equality.
  • Monuments

    “Monuments” examines the constitution of transformatory monuments on the basis of fragmentally created representation through mutual processes of interaction. It touches on mutual issues and circumstances as a fragment of self-representation, on a universal level, through intimate conversations with different people that have different lifestyles, different sexualities, different gender-identities and different stories. “Monuments” utilises the traditional south indian art form of Channapatna dolls in order to present a form of representation but also transporting the handcraft into a rather contemporary time, as being a monument to a pluralistic public, trying to look forward to a transformation on how we perceive ourselves and the society we live in.
  • Diakritikon

    „Diakritikon“ criticises the institutionalised exclusion of diacritical marks in identification documents of first and last names, throughout different nations. Based on the Latin alphabet, many marks that might not be embedded in a language like the Turkish "ç" in English for instance are plainly substituted by the closest letter in the alphabet, in this case a "c". This circumstance not only changes the writing and spelling of a name but also implies and creates a form of othering. Through these legislations immediate national institutionalised discrimination is effect. "Diakritikon" consists of an edition of 2.000 letrasets containing diacritical marks that can be rubbed into identification documents like passports or I-D's in order to temporary correct ones deliberately misspelled name.
  • Iconoclasm – Iconodulism

    “Iconoclasm – Iconodulism” represents an intersection of “Iconoclasm” and “Idol/Totem/Fetish” in form of a variety of gilded objects which in the style of Buddhist and Hindu icon veneration, are layered with gold leafs until the underlying objects are deformed beyond recognition. Drawn from idols and totems of diverse groups of people, whether religious or not, the underlain objects are are destructed through the gilding process which is a variation of iconoclasm out of adoration, while the objects themselves transform into fetishes by enslaving their creator with the gilding process – the artist subordinates herself/himself to his own creation.
  • Idol/Totem/Fetish

    The multi-media project “Idol/Totem/Fetish” examines the relations of humans to objects in order to create idols, totems and fetishes. Starting with the biblical Golden Calf, which can be categorised in all three forms, this workseries is a research on a variation physical and imaginative images that fit the definitions of idols, totems and fetishes alike.
  • Iconoclasm

    The multi-media project „Iconoclasm” tries to contrast two variations of iconoclasm. On one hand there is the classic iconoclasm, the wilful destruction or damage of images or monuments for religious or political motives, while on the other there is a particular form of iconoclasm motivated by adoration or superstition, in which images are not only visually worshipped but haptically as well. While the acts are based in opposing intentional poles, the result seems to be the same: the destruction or damaging of images. Through photographic based scanning, 3D-objects are generated to document each image detached from its actual environment in order to create a rather objective setting for a comparison.
  • Visibility

    Based on Gayatri Chakravorty Spivak’s post-colonial studies, the photogrammatic installation “Visibility“ deals with politically invisible subaltern groupings which are marginalised by immaterial borders and boundaries, created by the cause of post-colonial social structures. Referring to a historic faction of Japan’s feudal era, the body of work examines social-hierarchic enhancements through engaged artistic lifestyles such as kabuki theatre and the geisha class. A hand printed kimono, using cyanotype-printing, depicts drawings and paintings of water and eroticism which represents various historic aspects and references of the former grouping. By erupting socially or politically enforced borders and boundaries through engaged art forms, subaltern groupings can step into visibility which allows them to improve their quality of living and political mobility.
  • Topos

    “Topos” is an installative projection dealing with the transformation and dissolving of ever changing artificial national as well as urban borders. By overlaying maps of different continents, countries and cities of varying scale, these borders transform, merge and dissolve into each other while the route stays the same.
  • Göçmenler

    The project „Göçmenler“ (turk. migrants or wanderer) deals with the aerial as well as transnational migration of images, symbols, ideas and philosophies, which occur simultaneously, detached from the physical migration of man but hasn’t found it’s recognition in the public dialogue yet. Initiating in a photograph of a graffiti found in the streets of Istanbul, variations of reproductions have been migrating through Europe, crossing national, social as well as political borders. Considering images as living organisms, they are moving, independent of cultural and social conventions, temporary and regional factors, while shifting in shapes and materials. Whereas following locations are yet unknown – like in the general sense of migration – the work underlines that not only people are actors of migration but images can be understood with a mental addition and creating new perspectives.
  • Vertex

    “Vertex” is a photographic workseries that re-examines Leonardo DaVinci’s theories on waterflow and the vortexes it creates, applying his research onto hairstructures. Referring to his studies in his “Codex Leicester”, comparing these vortexes to small scale bloodflow and big scale riverbeds and mountains’ topographies, this series concentrates on the structures, visible in ancient sculptures’ hair, blown up in size in order to create the same structures on a micro and macro levels.