a thousands dots and no line
8 November -15 December 2018
Opening: 8 November 18:00
Visiting dates and hours:
Every Thursday - Friday: 14.00 - 19.00
Every Saturday : 11.00 - 15.00
other days by appointment
The two components of this exhibition, a series of photographs and an installation created especially for PASAJ, each reflect in their own way the recurring reflections of memory, its lack of security and incompleteness as well the mechanisms involved in its construction.
The series Forever Is Made of Nows, was obtained from one thousand analog pictures taken in Istanbul between 2014 and 2016 and stems from a personal ritual established in order to try and figure out this gigantic city, which seemed almost inhuman to me through the rapidity of its transformations.
The paradoxical pursuit of this photographic series is to set a subjective sensation of timelessness by installments of one-fiftieth of a second. And after that, at the end of an extended selection and recombination process, by assembling them in a way likely to suggest in the mind of the spectator my idea of the city — out of a tiny series of chosen points. As an imaginary line which, by the transition to the next dimension, would connect them all.
At the other far end of the spectrum, the installation Topology is the result of my disparate efforts to try and comprehend Nimet Hani, the building housing the PASAJ gallery. This restricted scope, which may seem easier to apprehend than the previous one, rapidly proved to be unexpectedly complex. The more I researched the history of this relatively unknown han, hardly mentioned in specialized literature, the wider the scope of my research got and more numerous my questions.
First row, from left to right : Entryway of Nimet Hani; orthodox oratory on top of the edifice; detail of the corbelled façade. Second row, from left to right : Details of three ancient maps showing the Nimet Hani location at the crossing of Mumhane Sokak with Akçe Sokak : Map by Charles Goad (1906); German map [Mavi alman] (1914); map by Suat Niven (1948), complement to Goad’s work.