NON Gallery: A Research on Liquid State / Berkutay Günel

A Research on Liquid State / Berkutay Günel

June 5 – June 28 2014

For three weeks, A Research on Liquid State, a project as an intense study of two years by Berkutay Günel, can be seen in NON and it will be accompanied by spontaneous close/open talks at the terrace of NON.

“On Writing, Visual Verbal Visual” focuses on the oscillating pattern between verbal and visual language. Compiled via Google Image searches in 3 different languages, the project seeks to explore the field of a new visual library. Since the emergence of spoken languages, language – oral and verbal – had occupied the dominant role in communication, relegating visual language to the role of a specific tool used by political, intellectual and artistic elites to convey their ideas. With the rise of digital systems and the World Wide Web, visual language began to regain its place as a form of conscious and subconscious communication tool once more. With auto-control mechanisms, restrictions and content filtering techniques, visual language shares the same pattern of formation with verbal language. Besides all these regulations, the effect of collective and personal history can clearly be seen in Google Image searches, executed in different languages.

“On Writing, Suspension” focuses on the act of writing itself. Asemic writing stands somewhere between the visual and the verbal. Here, form takes the place of certain sets of rules that define a type of language. It is neither writing nor drawing. Somewhere in between, in a state of bifurcation, writing recreates itself in this flow. The gesture of scrawling stays as a mark in the air, transformed with light passing through a thin layer of gelatine illuminated with cold fluorescent light.

In the work, “How to disappear”, pixelization manifests the involvement of the tool. The pixelated pattern resembles a landscape on a low-res screen and the detail of a texture that is microns small. At the same time, it is just what you see, not representative but the output of a fractal equation. Squares form a cognitive pattern. The proposition is there, in order to completely disappear in and become one with nature, an advanced level of digitisation is necessary.

This piece is developed after the story of Guy Cramer, a paintball champion whose camouflage patterns, based on mathematical fractals, first caught the attention of King Abdullah II of Jordan. Starting from the 2000s, he designed camouflage patterns for armed forces, focusing on neurological and environmental factors. The initial interest in making the best paintball camouflage pattern led to the foundation of Hyper-Stealth Biotechnology Corp., which today designs special patterns for different armies, in selected areas of the world.

“EXOVSESO” materialises the representation of reality in media and the construction of narratives in manipulated environments. The piece stands as a mocked monument, materialising the state of amnesia in two main axes, as an act of transformation strategy. It is we who create certain so-called hidden truths to conceal reality, and who are fooled by them. The material aspect of the piece stands as a combination of our varying preconceptions regarding the finished product. A shiny marble surface stands on an unvarnished metal structure. As the viewer approaches the work, the marble is also seen to be marred with a single cut-out, displaying the inexpert workmanship illuminated by a fluorescent light source. This imperfect line of light separates the EXO from the ESO, but still as a pattern of cognition those two prefixes seem the same.

In “Impossibility of Total Contact”, the oscillating pattern is visualised by the video of a Briggs-Rauscher reaction. Here, the ingredients of the aqueous solution enter into reaction to create a new material, however, the byproducts then act as catalyst, creating a reverse reaction forming the initial ingredients. The reaction takes around ten oscillating patterns to settle, but here in the video, the audience sees the oscillation in a loop as a non-ending circulation. The image of two hands grasping each other from the wrist accompanies the video. The image is separated into two 3D generated prints, showing the impossibility of total contact, or of a state of equilibrium. The hands that form the image are in fact the same hand, duplicated as actual- and reverse-image.

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