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Sleep carries from the concrete thing that denominate us to the truth of the nameless I of the entirely imaginary world which is neutral: its mere skill is to eternalize imaginary by crossing over to the space of immobility. Now, in this space exists a ponderous body that does not need the agitation of desire. This sleep is intense fidelity of the meaningless of trial.

The most direct state of infidelity is memory. Being loyal to an event or fact does not imply remembering it. Memory fills its own "void" through the seduction of its desire-ridden fiction. In this way, the traces in the scene of the event are abandoned to pitch darkness - void. Sleep, on the other hand, brings us to daylight from the void of pitch darkness - place and actions appear in the shadow of doubt.

Hacer Kıroğlu marks her renunciation to pitch darkness, the place of the void, the dark emptiness, by writing the losing oneself of the body, or, by rewriting on the words with a solvent or ink. On the other hand, the signs of the text are displaced as the ecstatic figure leaves the body. The truth of the nameless I who has abandoned all these enticements is eternalized in the uncanny dusk of sleep. This is the place where emptiness and fullness are fusing into each other.

According to Alain Badiou, "what appears in the dusk, what dusk reveals as shadow - that is the shadow in the dusk." means the reunion of the eye that looks through closed eyes with its suspending truth during sleep, and the simulacrum that lessens this truth constitute the double shadow in the work of Neriman Polat.

When Alain Badiou says that "Beckett provides us the two of love as a migration onto oneself. Migration does not involve moving from one place to another; it is a displacement within a place, and the paradigm of this immanent displacement is the two of love," he describes the spacelessness of love with immobile migration. This spacelessness is the place where the void of pitch darkness fuses with dusk... Dejan Kaludjerovic relinquishes the seduction of the image of consumption to the void by describing the body of an innocent child as a metaphorical place.

In her works, Elif Öner transforms space and time into an inner timelessness, spacelessness. Doubtless, movement implies time, yet, what we refer to here is an ontological state. We can say that space exists as a mere "place."

The disappearance of time and space as timelessness and spacelessness; toward the void but beyond the void - this is being lost at dusk: It is the reunion of being with daylight during the sleep through doubtful shadow.

Mürteza Fidan - January 2011