AslieMK, M. Cevahir Akbaş, and Züleyha Altıntaş are brought together on different approaches to memory.

AslieMk is a performance duo project including the experiences of performative intervention, performative sculpture, site-specific installation with keywords like psychogeography, cosmic, ghostly-becoming, and material / immaterial. The first performance, in 2012, began with their misunderstanding of a public WC construction in a forest as a cemetery which has remained from ancient civilizations. They organized a spiritual and a physical ritual within this space. “To find out (free side)” as they named this ritual, they read William Gibson’s “Neuromancer” to the tombstones like a holy book and they attempted to decrypt the structure by their own devices. “Memory” a Performistanbul production is an experiment of spatial encounters, where AslieMk nest audio recordings within one another, which belong to their memories linked with their different life periods. "Hyperrequiem for soil, crop, and office" is a hypertextual/visual requiem for the grain silo building of Turkish Grain Board at Haydarpaşa, Istanbul which is planned to be privatized in the national urban transformation project in Turkey. The starting point of the project is this message on the facade is a record of history and it will transform into a different image by this urban transformation project. This record can be multiplied with hypertextual connections and transform into a new text.

Cevahir Akbaş combines the hunter identity he created in his mind with his father’s image of being a hunter in his series "Hunter". In photographs that reflect individual narratives, the hunter turns into a character that moves between reality and fiction. Cevahir Akbaş, whose relationship with his dad grows on the path through the entire forest tell us with his own words “not only a “hunt story” that I primarily intended to observe anymore, but more like a power struggle between us that confronts us with being a hunt and a hunter.”

In her work called “Jan van Eyck was here...” the puppets by which Züleyha Altıntaş reproduced the image of the Arnolfini couple plays the "marriage moment" carried by the northern master to the stage. As Eyck's static figures turn into puppets, the married couple is surrendering to the "actuation" of the hands that portray them. The puppets refer to a social contractor as shaping the life of a woman and a man, but also to the "hand of order". The recitation of marriage as social status, while documented in Eyck's work, almost reproduces the marriage imposed by the puppet of the Arnolfini couple social mechanisms. The puppet couple, who comes to life in audience's hands, can also turn into the assimilation of the roles of women and men; it can also be fun by stripping one of the most known couple of art history from its stable status ...