Final Session is a body-tutorial and performance based on recently documented cases of femicide in Turkey. Viewers occupy an ambiguous position of simultaneously being both exhibitionist and witness, passive onlooker and center of attention. Viewers enter a private, virtual rehearsal space and are positioned to choose passivity or decision. Inaction reduces viewers to mere witnesses while investigation demands that viewers be put on display.
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Live performance broadcasting during 7th Online Performance Art Festival
duration: 60 min
Live performed online on 11th February 2018 at 1 pm UTC
Live translation of a thematically linked constellation of stories about femicide and abuse of women in Turkey that do not, for a number of socio-political reasons, receive appropriate coverage from state and mainstream media. These stories are culled from a number of feminist media organizations, personal blogs, NGOs, private Facebook groups, WhatsApp group messages, Tumblr, etc. This act of live translation transfigures these fragments of distant stories into a new, communal and performative experience.
In Blunderers I explore a series of images depicting wedding dresses for sale on the website Letgo. I exaggerate redactions found in the original images by interpreting the images as a sonic waveform. The sound is generated by interpreting the visual data of each image as sound, drawing attention to the unique character of each redaction.
Exhibited on arr.dalpofzs.com/
Peak Pink is a site-specific virtual reality performance using an Oculus Rift and binaural audio.
The piece, in its combination of the virtual and physical, seeks to both immerse viewers in a multi-sensory experience, disrupting their spatial orientations, and to direct attention onto performative elements present in domestic privacy. The perverse interchangeability of women/images/objects found in the marketing of gendered products is made visible by the artist’s interactive role in the theatrical staging of the augmented reality experience and amplified by live performers in the surrounding space.
Collaboration with Troll Food.
‘perfect365’ is a video that is made entirely with the smartphone photo editing applications Perfect365 and FaceFilm. A single selfie is cycled 108 times through the same application, perfect365, where Face Detection automatically adds layered makeup filters. The same process repeated until the application is unable to detect a face anymore. Each recursively treated image is then fed to a face morphing app called FaceFilm, where a video document of the process is generated.
Hold it is a 3 channel looping HD video/sound installation consisting of a series of endurance video performances/video portraits mimicking visual tropes in representations of femininity in stock images. Each video is is displayed on a vertically mounted LCD monitor cycling one of 7 different and different length performances for the camera. Separate from the monitors, the soundtrack is of an all male crew repeating an endless series of confusing commands and countdowns. On-set production sound is transformed into a series of actions/directions, ordering the female body inside the stock white void and revealing the performance of a constructed image.
Expert of 3 hours long live performance. Endurance live performance with a vaginal exercise ball attached to camera(s) until the ball dropped after almost 3 hours. The view comes from the attached camera(s) live streamed through the tethered cables on 8 different sized monitors installation.
Selfie experience with an inserted vaginal exercise ball attached to a camera. Video becomes a collaborator with the genitals by involving the organ-like quality of the camera in the self-examination of bodies. I invert the sexualized gaze of the camera by using vaginal exercise balls to control and direct the ‘eye’ of the camera outward into the world from my interiority.
In In My Bedroom, I perform a seductively choreographed dance wearing a chroma‐blue full body suit in front of a green screen which has been replaced with an HD video of a penguin TV special as an invocation of the media experience circumscribing the Gezi Park protest of May 2013 in Istanbul, Turkey. I emphasize an aesthetics of replacement to critique the uncritical exchange of bodies, narratives, and images that were infamously mocked during the viral swarm of social media that covered the situation. I reimagine the event by humorously foregrounding the economies of attention and distraction that frame such charged and consumable images.
A week long experience in LA art scene. My digestion problem becomes my way of critiquing the art scene we had experienced and representing my concerns about emerging as an artist . Original video is in Turkish and explains how hard to defecate all the food we had in a week.
In this piece, I enact a self‐reflexive critique on the appearance of women and women nature in mainstream media. Through impromptu performance about bodily processes that involve endurance, I demonstrate the processes of struggle and ritual that women often perform to achieve idealized beauty standards.
A medical endoscopic camera performs an examination of the interior area of my menstruating genitalia to collapse fixed ideas about the creation of visual and bodily pleasure. The low-fidelity endoscopic footage is projected onto the wet surface of a fresh, vertically cut pineapple. The perspiration of the surface combines with the sound and image into a novel texture and smell. Pineapple screen provokes feelings of disgust while simultaneously exploring the processes of perception that bring us pleasure.
Expert of 40 minutes live performance in LoBe Gallery, Berlin. Various size of medical and cosmetic tweezers were given to the audience and asked to participate without any explanation.
This piece was inspired by the melodramatic manner that video bloggers recited personal poems to YouTube audiences. I decided to comment on their exaggerated behavior by filling my mouth with glitter and spitting it out as I read a poem about the feelings of sexual climax.