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.
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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.
