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“Nowhere-body-here” was a photography project that emerged from the demands of the crowds that besieged my studio in Tarlabaşı, they asked me constantly and insistently for an image. They were the source of the power that threatened the sanctity of the painter’s studio, that broke down the walls and flung the painter such a distance. Photography’s memory is short compared to that of painting, and in this project it served as a vehicle to oppose the weight of the history of Western painting. The suspect relationship that those who settle in Tarlabaşı have with the past and the future, the dynamism that gives the sense that at any moment everything could be taken apart and put back together again made it possible for me to discuss the dramatic structure of Europe’s tradition of painting and carry it to another dimension, I wondered about the source of all this and began seeking “a place”… I imagined a place built secretly by the dark-skinned crowds that spread like weeds from the street and fill the empty spaces. I think in images. They conquer the city by multiplying. They frighten the streets and the houses and make them feel ashamed. The city is a giant, dead insect. The children are its secret organs. Thousands of hands and feet carry the corpse from street to street with the haste of a colony of ants. The city opens itself up to me as a manifestation of imagination.

...In the city where I live, the psychic space is superimposed on the map of the social space and the city is not a place. The besieging gaze that the angels cast on the city has been disrupted. The sense of eeriness, the underground demons and the instinctive powers are driven back from the horizon. Repressed fears emerge in full force. This will never be the “conceptual city” that exists in the mind of an idealistic student of architecture. The body has slipped beyond the horizon and the underground demons and Albinos are not the angels that bless the city from afar.

We started filming in Esentepe with a group of 16 people, the albinos were already there. The children around us took their place on the stage as new images. We have to work quickly because we are dependant on the movement of the sun. Working at this pace, I feel completely taken over by the sourroundings and by the children. From time to time they take the lead. The albinos’ bodies reflect the light, while the dark-skinner girls absorb it. These plays oscillate between the plot of a tragedy and survival techniques.

I gave the stuffed lamb the role of “the certainty of death”.
Two pairs of silver transvestite shoes
“tempation and libido”
Fish; (a spiritual place where the water ebbs)
Bell-jar (melancholy).

So many images have been produced in the field of art that it is very difficult to produce a new image. With the breaking away of the image from being, the space between the real and the image is wrinkled. Every image we encounter has another image reflected within itself. The image established the problematic of its relationship to the real in its own past which it establishes within its layers. Imaging technologies, photography and painting are on the verge of establishing a self-contained system. And they establish a position for those who have lost any consciousness of changing the world.

İnci Eviner-2000

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