Umbilical Cord

Various reasons and forms affect the undertaking of an exhibit. There are also several ways of establishing the relationship between the curator and the artist. For the exhibit Alice vs. Alice, the curator proposed a theme and conceptual framework and the placement of each artist was more or less determined on paper by the curator. But of course, when we came to the actual exhibition site, the actual works emerged and entered the balance of installation and space in terms of the relationship and interaction between works. The space had to be organized in terms of their coexistence and ability to communicate with each other, the ability of visitors to move around them easily. their legibility in the exhibit, and finding a place in the exhibit where they felt right. This made it necessary for artists to be in communication from the opening to the closing of the exhibition and for the curator to become a coordinator between them.

The visitor had to choose a stamp and press it to the wall. Since the 22 stamps were connected by chains bound at a shared point, they described a circle. I believe that each of us inevitably contributes as much as a stamp print to ongoing world wars. The period of time from the work's installation to its dismounting at the end of the exhibit is at hand. During this time, the work changes and gains meaning through the interventions and play of the visitor. Tomorrow when these stamps go somewhere else, when the bunch of umbilical cords is shaken, new visitors will create a new relationship between the stamp prints and the world. showed the work "Umbilical Cord" again at the "Modern and Beyond" exhibit at Santralistanbul in 2007 and watched as, for 10 months, visitors again created the work. I even got to change the work during the duration of the exhibit by moving its location every month, allowing the visitors to start over again each time. The stamp marks created by the visitors created a row of new circles and worlds on the wall of the gallery.