Land without Land I Heidelberger Kunstverein
Zişan, İz Öztat, BAÇOY KOOP (Printing, Duplication and Distribution Cooperative) and Mustafa Erdem Özler
A work on paper by Zişan dated 1923, situates the audience in the black square that is Felaket / Catastrophe; calling geometric abstraction to aid as a possibility, when reality defies representation. A contemporary interpretation of Zişan’s work points to the continuity of political violence perpetuated by denial.
In a posthumous dialogue with Zişan, İz Öztat attempts to imagine After in relation to the catastrophe, which she articulates as the impossibility of making sense and mourning, suggesting solidarity and resistance as practices of survival. Repeating geometric forms abstracted from these ideas in the space, on the skin and on paper, Öztat invites the audience to position themselves within the two dimensional markings.
BAÇOY KOOP (Printing, Duplication and Distribution Cooperative) departs from their research on the use of the mimeograph in the 1960s and 1970s by leftist organizations to duplicate and disseminate dissident content. They do an action of Birding—throwing pamphlets up in the air in a crowd to disseminate and to be disguised—by the sea to poetically address the current suppressive environment in Turkey. The pamphlets, duplicated with the mimeograph, suggest an associative plane of actions in relation to the geometric abstractions and are present in the exhibition space.
Mustafa Erdem Özler, a poet and an artist, responds to the question, “Is it still possible to write after the catastrophe?” In Rupture, the sound of writing a verse displaces what is written and the insistence on writing becomes the act of resistance.