Carpe Noctem//Solo Exhitibition
Milli Reasurans Art Gallery
28.11.2018 - 31.12.2018

Curated&Text by Rana Ozturk

“Carpe Noctem, presents Aslı Narin's recent photographic series along with a series of found photographs and issues a call for making the best of the night. In the exhibition, we encounter the artist not only as a protagonist of her photographs through her nightly walks on the streets, but also as an explorer who wants to discover the potential of the night to comprehend life, the light within the darkness, and a different kind of existence that is not possible in daylight. She explores the boundaries of aesthetic experience by creating links between the darkness of the night, visual experiences and photographic images through the idea of a threshold.


In classical Greek narratives, personified by the Goddess Nyx, the Night symbolizes a threshold between the primordial night and the worldly night. The terrestrial night belongs to a concrete and perceptible world, while the primordial night symbolizes what is beyond that world. Overpassing the threshold of the night is to overpass the limits of terrestrial experiences that can be perceived by the senses. Narin's efforts to comprehend some truth about life through the images captured at the threshold of seeing aims for a kind of renewal when she gets out to daylight again at the end of the night. Carpe Noctem keeps a record of what happens after jumping over the threshold and presents the audience this transformation process with an aesthetic at the boundaries of seeing. “

Preview the exhibition book from

Flow//Solo Exhitibition
Oktem Aykut Gallery
19.11.2015 - 12.12.2015


Press Release

In her works of photography and video, Aslı Narin throws a look beyond the soil, water and air. She investigates our position in the world, through placing her camera within and around the nature. As she did in her previous show Spin that took place in Kasa Gallery in Istanbul, Narin continues presenting the journey of the individual discovering him/herself within the nature.

Narin looks closer to the transformations and movements peculiar to nature in order to understand the dance of the individual with the society. In her photographs, the nature becomes a map for the unpredictable tides of our personalities. She suddenly directs her camera to birds, leaves and waves, as if to try to catch them by surprise. In her photographs in black and white, she does not only look for some hints implying our inner nature, but she also attempts to reveal patterns and latent forces that keep us running.

Narin’s exhibition welcomes the visitor with Movement and Stagnation, the Highest Form of Ecstasy. Borrowing its title from a sentence in the Nomad’s Hotel by Cees Nooteboom, the photograph records the reflection of this sentence written in Turkish by Narin’s handwriting upon flowing water. This very sentence by Nooteboom, one of the prominent novelists of Modern European Literature, also indicates the starting point of Narin’s show.The subject of the exhibition is a wanderer in search for the answers to the numerous questions in his/her mind…

Millions of Pieces, the only other photograph that does not belong to a series in Flow, indicates the fact that nature will only respond with numerous new questions to the already existing ones in the wanderer’s mind. The figures of birds that fly around, that seem to exist on different levels and their reflections indistinguishable from their original images imply the endlessness and the ephemerality of both, the questions in the wanderer’s mind and the responds by the nature.

Inlands, where Narin catches the mist of the plateaus of Northern Turkey, presents a sublimity that sooth the mind exhausted by unanswered questions. The tired individual of the late Modernity now finds embracement within the fog rather than unease and approaches the rugged mountains and the steep paths as already concurred territories rather than an exotic unknown. Think of the Wind, the other series in Flow, is composed of photographs of hands holding ribbons and close-up shots of bodies of trees. As opposed to the case in Inlands, here the eye behind the camera aims to have a closer look to the objects and hence to calm down through analyzing them. Yet, the same eye is also willing to surrender to the magic of the same objects.

This very submission is crucial as it is shown in Tide, the video by Narin. In Tide, we see Narin herself taking a peaceful sleep despite the tense music and the reflections indicating the ebb and flow of the water. If not for the dreams that recall the essential flux behind the visible movements of the nature; how would the individual look unafraid into the cliffs and coves, how would he/she step in to the haze; how would he/she resist to the winds that suddenly change direction?

Spin//Solo Exhitibition
KASA Gallery
24.01.2014 - 22.02.2014

Press Release

It's not easy to stand in my spot
I seem to sense the call of other spots
Yet could my standing-in-a-spot be called just that
When that spot I stand in will not stand still

(Özdemir Asaf, Electronic)

Aslı Narin’s first solo exhibition Spin is about the artist, having set out on the road with no purpose of destination, searching for what is constant in nature and within herself. At points where she pauses along her path, Narin captures distinct moments as photographs and videos. In these monochromatic, almost abstract images, the essence of matter momentarily appears to become visible; nature and the body reveal their secrets. The movement of the path, of light and of water remind the viewer of the impossibility of remaining in a single spot, and the inevitability of returning to a point of origin.

Özdemir Asaf’s poem titled Electronic is the most important source of inspiration in Narin’s research process. As a science, electronics is based on the principle of the movement of electrons (free electrons dragged towards a magnetic field form an electrical current). In this sense, the dynamic structure of the atomic universe implied by the title of the poem enables us to view the desperate search of the self from a physical and universal perspective. Why do we seek stability, while the world we inhabit, and in fact, the universe itself, revolves and flows? What happens when that state of equilibrium is disturbed? Balance lost, disrupted, drifting towards uncharted territory, where do the oscillations of the self take us? It is perhaps these lines from T.S Eliot's Four Quartets that best shed light on these questions posed by this exhibition: “We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the first time.”


absencexpresence, 2018.
video and audio&visual performance, 14.38'
collaboration with gurkan mihci

“absencexpresence” focuses on Asli Narin’s and Gurkan Mihci’s 24-hour-experience on Eastern Express train journey, from Ankara to Kars. The artists took off with the intention of collaboration and art production. As Maurice Merleau-Ponty claims that the painter changes the world into paintings by lending his body to the world*, Asli Narin and Gurkan Mihci takes this phenomena to its maximum in their collaboration.

This one day self-held residency under the name of “Moving Atelier” which was a project found by Asli Narin and continued later on with other projects, questions the effects of constant motion and the limitation of time and space in art production. Lawrence Weschler aims this kind of production method “radical self limitation” and discusses its positive effects for new works for artists**. In this experimental situation, the train became both the studio and the material for the artists. By recording both sound and image constantly and separate from each other, the artists’ aim was to create a mutual/joint body of work of their experience of the train journey.

Ponty depicts that we should understand the body not as a space or a device with functions; we should look at it as an intertwining of vision and movement.* While the window of the train served as a screen for moving frames, the mechanics of the train served as sound sources. Two separate movements were accomplished: The train and the bodies of the artists. This chaotic environment that they were in can be realized as the undividedness of the sensing and the sensed in Ponty’s words.

In their audiovisual show, the artists perform their experience of the one-day cycle, which mostly took their attention. Taking the inspiration from the changes of the mood-especially with the light- between the day and the night journey, the show is an spontaneous abstraction of these moods and feelings. Immersed in constant motion, their bodies were exposed to many sounds and images in flux. This flux is taken in fragments and converted into sound and image compositions in a new flow.

*Merleau-Ponty, Maurice, Eye and Mind, 1961
**Weschler, Lawrence, The Sense of Movement, 2015

seeds, 2017.
artist book produced during the performative exhibition
"Blow Up: I Saw The Melon".

“Seeds” was produced in three days during the performative group exhibition called “Blow Up: I Saw The Melon” in SALT Galata, Istanbul, Turkey. The exhibition was built around the myth of melon seeds. Melons were known among the earliest plants to be domesticated. We believe that melons have been recording our world from the ancient times. As a result, we decided to behave like it is a recording machine of everyday life. Collecting images and texts, I was in charge of making an artist book which looks like a journey of a melon from past to the future. I used a Moleskine notebook with Japanese Binding to create an artist book which stands as an object as well. The images were collected from the artists in the exhibition and via the internet. The texts are from the visitors’ notes left on my desk and Safak Catalbas’s performances which happened during the show.