SINOPALE 3

When did you conceive your work shown in Sinopale 3?

Throughout a year traveling and living in Australia. That’s my process; things become clear while I’m doing them.

Why did you choose the Australian desert as a place?

The desert is the nomad’s habitat; the place without limit, borders and property fences. In my film it becomes a metaphor for all the inner and proper deserts, while I’m looking for a place to belong instead of a place to own.

Where does the end scene of your work leave the spectator at?

The film I’m showing is more an experience than a story. Following this perspective, the end scene is about disconnection from the context and time; to make clear the shamanic nature of my journey, to generate a sense of enlightenment in the spectator. Also it’s the only part of the film in which the soundtrack and the images synchronize. Do you want to know what’s the meaning of that? Maybe there’s just not one meaning on the way things are, especially when we talk about human beings.

Would you tell us a bit about your latest work at the radar station?

It is a new short film. While I keep walking on my journey, I meet the ancient mysteries of Sinop. There will be a ceremony between the travelers (passing through this land as many did in present and ancient times) and the fisherman representing the locals and their relationship with the Black Sea scenario. It happens in one abandoned building of the former NATO base. A place out of time. Now it is a stable.

What narrative of the city did you get attached to?

Thinking about doing a film in just one week in Sinop, I was forced to use the conventional internet-tools to search about Sinop. I was immediately attracted by the sunken cities that are located all around Sinop in the Black Sea. That was the starting point. Through interviews done while there, I come across different stories about ancient times: stories of fishermen and shepherds, Amazons and Octomans, dozens of different population and societies passing through Sinop in their trip or business around the Mediterranean and beyond…

How this work differs from the works that you generally make / are involved in / create?

Not much really. Since I started to work on my journey across this planet, every destination is a growing experience. Every new work is supposed to be better than the previous one (maybe too much pressure on this one). The new thing here is to get involved with a local (Mustafa) that even through communication barriers generate an interesting interaction (thank you very much).

What do you think about the conditions where you are confined by the environment, the language and time?

The environment is a huge resource. The time is a stressful bet. The language is the biggest issue with me. Communicating through others (lost in translation) is something that really makes me feel harmless. I tried to keep eye contact to build trust as much as possible and sometimes a tried body language. I was in a bubble and there’s an urgency of developing my silent communicating skills.

Contemporary fine art is generally not inclusive and there’s normally a separation between artist, art spectator and the public. Do you think Sinopale overcomes this problem or issue more than other art projects you have been involved in?

This distinction issue is one I always care about. That’s where the choice of acting with video comes from; trying to talk with a language the public can understand better: moving images (cinema, TV shows etc.)
Sinopale is of course trying to fill that gap but the results are yet not complete. It’s a long way of educating, caring, taking responsibilities and risks. 

Your impressions about Sinop?

It’s my first time in Turkey. I can make a long list of clichés, things that I noticed, that maybe aren’t that interesting for you. I just can say the people here is really welcoming while keeping a hardness that can be associated to the isolation of this city from the rest of the nation. This place has lots of unused resources that can be enhanced to attract tourism and investments. Building a nuclear plant here is just not the right way to do it.

*Interiew by Funda Oruç, on the occasion of the artist’s participation in Sinopale 3 with his work titled “A man afoot ain’t a man at all” (video installation). This interview is published in Turkish in Sinopsis 4/4.


exibition view
exibition view
exibition view
exibition view
view of the screen
view of the screen

Tutulma (work in progress):

view of the installation
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