In scope of this exhibition, four artists focus on the concept of “becoming” which considered as the future, and crystallizing the past in a “crystal time”. Each artist’s video work runs together with music pieces, or to the contrary, accompanied by silence. The delicate tension between the sound and music and image reveals itself throughout the works in the exhibition.
In Haluk Akakçe’s video titled Shadow Machine, on the one hand, images making reference to modern times slide sideways. On the other, Akakçe spirits images away by heterogenizing them as if he was referring to misfits and the union of those who cannot come side by side, which Gilles Deleuze calls “nuptials” in his dialogues with Claire Parnet. The machines that look like shadows each run as a “desired machine”. Akakçe pushes time into a becoming, by spiriting it away forward accompanied by a music track recalling the waltzes of engagement and wedding ceremonies in typical Western societies. Time may not be going by, but it enters into becoming. It problematizes not the future but the becoming. The music makes us feel the mood of an imperial order while it horizontalizes the latter through the transition of one step to another during the dance.
Christelle Familiari shows, precisely in this sense, how a silent passage or displacement can change through small nuances while going from one place to another, though it seems as if it was always the same. Contrary to the horizontal development of Haluk Akakçe’s video, the T sequence’, which she calls one of the bodies, moves vertically as if it was descending, and then recedes again. It reminds us that the movement of becoming is not a linear progress.
In Ali Emir Tapan's video Rehearsal, birds are landing on water the moving images function as the initiation t of the shift from silence to sound. The relation between the sound and image running like the rehearsal of an orchestra reminds us, optimistically, how the lines of life can come back again, by depicting in a metaphorical way, two different interpenetrated lives on the fine line between the migration and settlement of the birds. And at the end, the great change: the lines take off by escaping forward. The passions take off.
Seza Paker’s video Ella (love and liberty ) becomes legible with the music passing over a still image and traversing this image. By comparing the Love Songs created by Cole Porter in 1956 for those who migrated from Europe to escape the war in the rendition by the New Yorker black singer Ella Fitzgerald with the current status of the social, it updates time. The past crystallizes again as becoming. The video points to a similarity between a photograph on the cover of Wad magazine with an image of Paris, that is, of the Eiffel Tower, and makes us feel an opening of freedom as if a free wind is blowing behind the iron shutters: Ella’s Paris songs, love and freedom intersect with the liberation of women.
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