şığın Çapraz Geldiği Saat is a zine produced for Galip Project: Ayn-ı Galip, an exhibition organized by Eda Emirdağ at Pasaj to commemorate photojournalist Galip Caner who ended his own life in the year 2000. Having recently received the single remaining box of Galip’s negatives together with a few of his personal items, Emirdağ decided to open up this small archive and invite her artist friends to ponder on this material.
“Işığın Çapraz Geldiği Saat” combines a rewritten version of a poem by Sabahattin Teoman with images selected from Galip’s archive. The original text was found in a collection of poems Galip used to enjoy reading throughout his youth.
The book takes this poem as a puzzle alluding to Galip’s personal history and tries to reframe it by altering the order in which certain words or punctuation marks appear within the textual structure. If all of the pages making this book could be seen at once as layers stacked on top of each other, images and clusters of words would realign and a past meaning or a past condition would be reconstructed.
All images courtesy of Galip Caner.
'Hammer For Scale'
Size: 16 x 12.5 cm
Illustrations: 76 B&W Images
Printing: Duotone Indigo Print
Paper: 150 gr. Munken Pure Rough
Cover: Soft Cover
Binding: Case Bound
Printrun: 20 (pre-edition) - 230 (1st edition)
The geologist and his hammer should be inseparable. There are many patterns of this useful instrument, but the most generally serviceable, perhaps, has a head of well-tempered (not too hard) steel, about five or six inches in length, and having a face about one inch square at the one end, and a horizontal chisel-edge at the other. The shaft should be of ash, and about eighteen inches in length, marked off into spaces of three inches each so that it can be used as a measure.
W. J. Harrison, A Textbook of Geology, 1897
Hammer For Scale traces individual instances of a common field instrument as found in the U.S. Geological Survey Web Archives. These images, made over the course of a century portray rock hammers photographed against varying features of the landscape. The compilation tackles the peculiarities of a delineating vision, which borrows the formal qualities of an emblematic tool in configuring a standard placeholder to negotiate with nature.
Hammer For Scale originally appeared as a limited edition artist book in 2017 and was later self-published in 2018.
A photographic print is a translucent item, on the surfaces of which, marks, dents, and inscriptions collide and create a semantic tension. Understood as a mobile agent, participating in a series of interactions such as gazing, smelling, touching, writing, folding, tearing, exchanging or discarding; the image-object oscillates between presence and absence, transience and permanence, forgetting and remembrance.
In Retouch, I try to chart a hypothetical history of tactility relating to a selection of anonymous photographs I’ve collected. Using a forensic method of fingerprint detection that utilizes iodine fumes, the photographic images contained in this folder were re-developed chemically to reveal yet another layer of latent traces. Here, the idea of retouching alludes to any revelatory gesture applicable to photographic content, as well as to deterioration, the touch of time acting upon the image-object.
Retouch was produced during the workshop "From a Body of Work to the Right Book" led by Matthieu Charon and Remi Faucheux (RVB Books) at FUAM in 2016. The work was later shortlisted at FUAM "Dummy Book Awards" held on the occasion of Istanbul Photobook Festival the same year.
The repetition series consists of about 80 found passport photographs that I remade and resized. I concealed all identifying information of the subjects. The disconnection that arises when the photographic image is cut off from its function evokes the rupture that occurs when the passport photographs are isolated from their political, historical context – a type of problem of representation.
The series had 2 starting points:
The gaze as the origin of desire;
in our gaze we search for the object not present, and this creates desire. A reading based on the Lacanian gaze and its uncanniness (as well as Zizek’s looking awry). The series examines the relationship between the elected (because they are sufficiently dominant to be elected), the ruling, the power holders (powerful males, rhetoricians, leaders and the rich in turkey) and ordinary people. The Hegelian master-slave dialectic is conjured in relationships where there is a disparity in power, in this series between rulers and the ruled. The effect of the gaze on people, or how we position ourselves according to it…
the repetitiveness of history the detachment of the gaze/potency in this series from temporality, and its perpetual repetition. The fact that we become part of this cycle once we position ourselves according to the gaze in this master-slave dialectic. How we play the role of master and of slave in our daily lives, and how our perception of the image clashes with its representation and creates an uncanny space.
The creation of history and memory – with and without a mediator - in time, repetitively and continuously, and the photograph’s role in this process.
How do the relationships we form with images manifest in our memories, in our minds? Who remembers what, and how much? What is the role of the image in this?
The series “All the trees were red” is composed of photos I took during a long caravan trip that I made throughout the Eastern European countries founded after the collapse of the Soviet Union,where I spent part of my childhood. In fact this trip was an experience of rewriting my diary, updating my memory and breaking the linear perception of time. I feel that my memories are bound to the images I made today through this trip. It’s as if the past, the present and the future are linked.
Book design: Aylin Önel
Size: 11.2 x 18 cm
Pagination: 128 pages
Printing: Offset print
Publisher: REC Collective
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Süme, with his book portrays an intimate account of his time at the military and genuinely questions this period through photographs combined with fragments of his journal. The photographs and writings that appear in "289KD" which has been designed by Aylin Önel, reveal two different approaches to the narrative which ultimately complement each other and aim at creating an individualized language about the politicized notion of being a soldier.