Hiraki Sawa. Sleeping Machine I, 2011. Digital video, 7'07''
Ali Cherri. The Disquiet, 20' (2013)
Fatma Bucak. Blessed are you who come. Conversation on the Turkish-Armenian Border, 8'42'' (2012)
Hiraki Sawa. Sleeping Machine I, 7'07'' (2011)
Yane Calovski. Hollow Land, 8'24'' (2009)
Living in different time zones simultaneously; listening and repeating contradictory stories of the same land; trying to imagine multiple histories coexisting together; getting closer with distance and being detached from the closest; still bordering the unfamiliar.
Dislocating Patterns brings together four works that are not allied, but are remarkably connected. They detect and process diverse approaches, viewpoints, geographies, and catastrophes yet to come. Each of them shows paths to be lost; stories to be told; and personal details that haunt. Dislocating Patterns suggests a challenging act for the viewer: it is a tidal experience between watching and witnessing sorrow and beauty at the same time.
Ali Cherri's work The Disquiet is based on research around the seismic history of Lebanon, which stands on major fault lines. Whilst the ongoing political and social tensions repetitively lead to catastrophes, the work shifts our attention to the underground as the real threat, questioning the definition of catastrophe along with our incapability and ineffectiveness to prevent man-made disasters.
Hiraki Sawa takes us on a voyage through a whimsical mechanical dreamland with Sleeping Machine I, where spinning cogwheels and running clockwork parts solidly overlap with an interior, echoing dark Victorian elegance, accompanied by a repetitive soundtrack. Referring to the systematic act of forgetting and reconstructing the fragments of memory, the work repeats the same patterns with different imageries. The work is timeless by only referring to time.
Yane Calovski's Hollow Land navigates through a residential neighborhood built on artificial land. It is a video essay about IJburg, a collection of artificial islands, developed in intervals between 2006 and 2009, to solve Amsterdam's housing shortage. The project also targeted immigrants primarily from the former South-American Dutch colony of Suriname, Indonesia, as well as Turkey and Morocco. While showing extracts from a fabricated dream, the work foreshadows the complications regarding the social, economical, political, and, more importantly, cultural processes governing urban development.
Fatma Bucak's Blessed are you who come. Conversation on the Turkish-Armenian Border takes place in a Turkish border village that was once Armenian, before it was transformed by the displacement of the Armenian and the Turkish-Muslim population. The gestures of a black dressed woman underline the complicated relationship between generations, genders, and religious identities. The conversation between men questions the performance while introducing elements of negotiation and suppression between the two parts.
Curated by Basak Senova