Istanbul’s KRANK Art Gallery is presently internet hosting artist Sena Başöz’s solo exhibition “A Consolation,” which will probably be open to guests through Oct. 31. The show questions the results of collected tales and information that leak through the linear narratives of human lives and don’t match into an institutional construction.
Time flows so quick, and the thought of an finish is quick approaching us. In his guide “Learning to Die within the Anthropocene: Reflections on the End of a Civilization,” Roy Scranton means that the one factor that would save humanity within the Anthropocene, the interval referring to the previous two centuries of elevated human impression on the surroundings, is our reminiscence.
Addressing therapeutic processes on the idea of the care, self-regeneration and long-term balancing of nature, Başöz, due to this fact, perceives archiving as displaying take care of our reminiscence. She believes that modifying narratives from an archive invigorates the archive and turns into a observe that creates continuity between life and dying.
According to the artist, it takes effort and time to revive an archive by creating narratives from it. Some institutional archives will be dealt with with care and a focus. But what occurs to the non-public archives, tales and information that don’t match into the institutional construction? This query appeared in Başöz’s thoughts when she labored with an institutional archive final yr. She was questioning what we are able to conceal within the face of an finish, dying.
“A Consolation” got here at a time when the artist labored intently with this institutional archive of reminiscence area whereas reviewing her private archives of images, written and visible supplies at her residence on the identical time. The artist focuses on the shortage of assets to pen private archives and accumulation of information that don’t match within the institutional construction within the narrative. She asks the query, “Can private narratives and information which can be misplaced, destroyed, torn aside, forgotten or combined as a result of they’re too collected be revived as half of an entire?”
The exhibition is called after Roman statesman Marcus Tullius Cicero’s misplaced work “Consolatio,” which he wrote to ease his ache after the dying of his daughter. Başöz addresses the connections between life and dying by utilizing life kinds and extensions which can be dispersed and fragmented in nature within the exhibit.
In the exhibit, the video known as “The Box” triggers opposing phenomena akin to hiding and revealing, holding and releasing, and life and dying. Another video set up that takes over the ground of the exhibition area facilities on Posidonia oceanica, a species of algae native to the Mediterranean Sea. The artist thinks of the cycles of data and reminiscence that pile up in particular person archives on the axis of the cycles of this moss that oscillate collectively in an underwater meadow after which disperse, type piles on seashores after which flip into compost. The set up is accompanied by images taken from the doc destruction machine, which formally resembles Posidonia oceanica, in addition to collages product of moss, hair and fowl feathers.
Başöz continues her analysis on the circumstances and strategies of animating an institutional archive for her efficiency named “Slalom,” which she began to develop throughout the Delfina Foundation Residency Program in London.
“A Consolation” consists of the artist’s works on private archives which have developed in parallel along with her work on reinvigorating institutional archives as coping with an archive is, in any case, all the time concerning the future for her. Adapting the previous and future permits us to know the place we stand at the moment.