Bahar 13. Sharjah Bienali İstanbul Ayağı dahilinde Abud Efendi Konağı’nda sergilendi. 2017.
Bataklığı bataklık yapan en nihayetinde zemin yapısı olsa da bataklığa düşen, ferdi özelliklerini kaybedip bataklık bütününün bir parçası olur. Suda yüzen balığın da tepesinde uçan kuşun da adı turnadır. Sazın kökleri yılana, yılan köklere benzer. Bataklıkta biten saz da ancak kesilince tek başına bir ferttir.
Bahar İstanbul Off-Site Project for Sharjah Biennal 13, Abud Efendi Mansion. 2017.
Although what makes a marsh is ultimately the soil structure, one who falls in it, loses its individual characteristics and becomes a part of the entirety of the marsh. Both the fish swimming in the water and the bird flying above are called by the same name. The roots of the reed look like snakes, the snakes look like the roots. Once the reed that grows in a marsh is cut, only then it could be an individual by itself.
Not a Unit In the Marsh is an installation placed in the cellar of an historical mansion and was produced for Bahar İstanbul Off-site Project of 13th Sharjah Biennial. The visitor enters the installation passing through reeds. In the cellar prints of drawings of a fictional creature are suspended from above. The installation is an extension of the work’s accompanying text, an essay called “Eleven Birds”.
The essay and the installation revolve around the contradiction of being a part of a whole (a flock, a field of reeds, a marsh) and individuality. Because in the marsh, every individual blends into another. When one individual (a crane, a reed or a pike) is distinguished from the marsh, however in these instances almost always the individual is separated from the marsh (it is either in extinction or it is cut or it is caught and killed). Although what makes a marsh is the soil structure, one who falls in it, loses its individual characteristics and becomes one with it.