EBRU YETİŞKİN

How did you choose “waves” as the theme of the exhibition?

I have been working on the conceptualization of waves to explore current social change for two years, and we finally found the chance to turn this exhibition into reality. Today I believe that investigating contemporary social transformation calls for an approach that goes beyond borders of disciplines. This of course, can also be understood as an attempt to carry the contemporary state of art to a new level. I wanted to curate an exhibition in which under current circumstances not only the viewers feel a connection to the theme, but also science, art, and technology can interrelate with each other. From this perspective, waves are concurrently thought provoking and a basic form that constitute life. A natural continuation of the discussion I have developed under “Cacophony” and “Unknown Code” exhibitions, in “Waves”, we have focused on exploring what kind of interactions our micro actions or inactions could lead to. Instead of suggesting an ethics of responsibility, or depicting a criticism of degradation, I have tried to draw attention to the transformation and the mutation that are caused by the different energies we produce and transfer, and how these become consumable through probing.

As such, the exhibition’s works and discussions of interactive and performative nature aim to shine a light on how different forms of waves, such as mechanic, electro-magnetic, light, and sound waves operate. Especially through the talks scheduled to take place during the exhibition, I attempted to emphasize the affect that waves generate on daily life’s transformation, by discussion on waves in the context of architecture, philosophy, sociology, technology, and politics.

Could you describe the implementation process of the exhibition?

This exhibition was collectively produced by a team composed of artists, engineers and researchers that have participated to the most

prestigious events, worked for the most esteemed institutions, and have won prizes all around the world. The exhibition received a great support from the maker movement in Turkey pioneered by Osman Koç and İskele47. The interviews I have conducted alongside my students of Contemporary Art, Science, and Technology have formed the learning and researching process we needed for this project. Since institutional support or initiatives are lacking in Turkey when it comes to exhibitions such as ours, we adopted the do-it-yourself culture towards turning our project into reality, which took quite some time. From this perspective, BLOK art space is a pioneer in the culture and arts field with their brave, experimental, and avant-garde vision.

I believe it is important when digital works are presented in open, old, or battered spaces of contrast, where the viewer can interact with the work and becomes a user. For this reason, the exhibition’s expansion into the unoccupied building under construction right next to BLOK art space creates a great opportunity, since it presents a different experience for the viewer that lives their daily life in an urban space of never-ending constructions in Turkey.

What are your future projects?

I believe universities in Turkey should allow experimental artists into their laboratories so that new media culture can spread through culture and arts. Almost all researchers and artists who work under this field in Turkey receive their education abroad. The development of interdisciplinary programs on science, art, and technology will be essential for anyone interested in, or looking to improve themselves under these fields. Our next step will be to work on another exhibition related to waves: “Contagious Bodies.” In the near future we wish to realize this project, and to bring works in Turkey together with platforms abroad. We’ll see how it goes…

 

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