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4		<title>works - Lara Ögel</title>
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7		<meta name="description" content="LOCUS AFFECTUS, solo exhibition at Galerist, 2026 
8installation photographs by Zeynep Fırat
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11untitled, glazed stoneware, rust, iron, veil, ox horn, ...">
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18		<meta property="og:title" content="works - Lara Ögel">		
19		<meta property="og:description" content="LOCUS AFFECTUS, solo exhibition at Galerist, 2026 
20installation photographs by Zeynep Fırat
21
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23untitled, glazed stoneware, rust, iron, veil, ox horn, 2026
24photography by Kayhan Kaygusuz
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26
27untitled, plaster mould, 2026
28
29
30In The Arms of ...">
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44<script type="text/json" data-set="DisplayOptions">{"user_id":292331,"pagination_count":60,"header_link_to_index":true,"header_2x":false,"total_projects":"0","thumb_size":{"w":"200","h":"134"},"image_width":"670","pages_do_not_paginate":false,"following_link_in_nav":false,"tags_in_thumb":false,"title_in_thumb":true,"view_count_in_project":false,"title_in_project":false,"footer_in_project":true,"pages_in_text_nav":true,"projects_in_text_nav":false,"use_sets":true,"sets_open_by_default":true,"sets_can_toggle":true,"sets_one_at_a_time":false,"use_set_links":false,"sets_are_clickable":null,"set_links_position":"top","disable_project_scroll":false,"recent_project_as_start":false,"excerpt_in_thumb":true,"thumbs_below_projects":true,"thumbs_below_pages":false,"lightbox_view":true,"slide_transition":"fade","slide_transition_duration":0.4,"slide_auto_play":{"enabled":false,"delay":"1"},"slide_text_nav":{"enabled":true,"prev":"Previous","slash":"\/","next":"Next image","number_enabled":true,"number_style":"parentheses"},"slide_nav_position":"top","slide_image_position":{"center":true,"responsive":false},"slide_thumbnails":{"enabled":false,"position":"bottom"},"slide_default_thumbs":true,"slide_toggle_thumb_link":{"enabled":true,"title":"Thumbnails"},"resource_url":null,"sticky_pages":null,"lightbox_zoom_enabled":true,"set_options":true,"slideshow_responsive":false,"slideshow_thumbnails_header":true}</script>
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45<script type="text/json" data-set="Site">{"id":"292331","direct_link":"https:\/\/www.laraogel.com","display_url":"laraogel.com","following_url":"https:\/\/www.laraogel.com\/following","website_title":"Lara \u00d6gel","meta_tags":"","meta_description":"","meta_head":"","start_project_id":"11582026","thumb_url":"https:\/\/www.laraogel.com\/_gfx\/default-network-thumb.gif","css_url":"\/stylesheet","rss_url":"https:\/\/www.laraogel.com\/rss","js_url":"\/javascript","asset_path":"https:\/\/assets.cdn.cargocollective.com\/408512\/435754190620483103326993812115427328","favicon_url":"https:\/\/favicon.cargocollective.com\/292331-1714557297.ico","header_url":null,"header_width":null,"header_height":null,"header_width_2x":0,"header_height_2x":0,"header_text":"LARA \u00d6GEL","mobile_header_url":null,"mobile_header_width":0,"mobile_header_height":0,"mobile_header_text":"Lara \u00d6gel","custom_html":"<customhtml><div class=\"cargo_link\">Running on <a href=\"http:\/\/cargocollective.com\">Cargo<\/a><\/div><\/customhtml>","filter":false,"following_count":"2","is_editor":false,"use_hi_res":false,"files":{"Mundessa-u-zerine---Art-Unlimited.pdf":"https:\/\/files.cargocollective.com\/292331\/Mundessa-u-zerine---Art-Unlimited.pdf?1694695796"},"resource_url":"www.laraogel.com\/_api\/v0\/site\/292331","current_set_key":null}</script>
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47<script type="text/json" data-set="ProjectDetail">{"id":14582159,"site_id":"292331","link_url":false,"project_url":"works","direct_link":"https:\/\/www.laraogel.com\/works","type":"page","link_target":"","title":"works","title_no_html":"works","show_title":true,"tags":[],"display":true,"excerpt":"LOCUS AFFECTUS, solo exhibition at Galerist, 2026 \r\ninstallation photographs by Zeynep F\u0131rat\r\n\r\n\r\nuntitled, glazed stoneware, rust, iron, veil, ox horn, ...","excerpt_long":"LOCUS AFFECTUS, solo exhibition at Galerist, 2026 \r\ninstallation photographs by Zeynep F\u0131rat\r\n\r\n\r\nuntitled, glazed stoneware, rust, iron, veil, ox horn, 2026\r\nphotography by Kayhan Kaygusuz\r\n\r\n\r\nuntitled, plaster mould, 2026\r\n\r\n\r\nIn The Arms of ...","content":"<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_3750.jpg\" data-mid=\"80619509\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_3750.jpg\" data-mid=\"80619510\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_3750.jpg\" data-mid=\"80619511\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3751\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_3751.jpg\" data-mid=\"80619512\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_3750.jpg\" data-mid=\"80619513\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_3750.jpg\" data-mid=\"80619514\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3751\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_3751.jpg\" data-mid=\"80619515\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_3750.jpg\" data-mid=\"80619516\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_3750.jpg\" data-mid=\"80619517\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_3750.jpg\" data-mid=\"80619518\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_670.jpg\" width=\"670\" height=\"1005\" width_o=\"2500\" height_o=\"3750\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_2500.jpg\" data-mid=\"80619519\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 1005\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/160-locus-affectus-lara-ogel\/\" target=\"_blank\">LOCUS AFFECTUS, solo exhibition at Galerist, 2026 <\/a><br \/>\r\ninstallation photographs by Zeynep F\u0131rat<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_670.jpg\" width=\"670\" height=\"502\" width_o=\"3150\" height_o=\"2362\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_3150.jpg\" data-mid=\"80619483\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_670.jpg\" width=\"670\" height=\"893\" width_o=\"2362\" height_o=\"3150\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_2362.jpg\" data-mid=\"80619484\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_670.jpg\" width=\"670\" height=\"893\" width_o=\"2362\" height_o=\"3150\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_2362.jpg\" data-mid=\"80619485\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_670.jpg\" width=\"670\" height=\"770\" width_o=\"2055\" height_o=\"2362\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_2055.jpg\" data-mid=\"80619486\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 770\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_1340_c.jpg\" \/><br \/>\r\nuntitled, glazed stoneware, rust, iron, veil, ox horn, 2026<br \/>\r\nphotography by Kayhan Kaygusuz<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_670.jpg\" width=\"670\" height=\"502\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_4032.jpg\" data-mid=\"80619490\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_1340_c.jpg\" \/><br \/>\r\nuntitled, plaster mould, 2026<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_670.jpg\" width=\"670\" height=\"670\" width_o=\"2000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_2000.jpg\" data-mid=\"80208567\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 670\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_1340_c.jpg\" \/><br \/>\r\nIn The Arms of the Abyss, glazed stoneware, 98 x 98 cm, 2025<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3332\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_5000.jpg\" data-mid=\"80208566\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_1340_c.jpg\" \/><br \/>\r\nThe Molten Word, gold gilded press on linen, brass, 43 x 50 cm, 2025<br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/154-the-volcano-lover\/\" target=\"_blank\">The Volcano Lover, Galerist, 2025<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_670.jpg\" width=\"670\" height=\"893\" width_o=\"5000\" height_o=\"6666\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_5000.jpg\" data-mid=\"80167728\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_1340_c.jpg\" \/><i>flame of a candle<\/i>, 2024, 25 x 7 x 2 cm, Brass\/Pirin\u00e7, Variation of 27 + 3 AP , 3 PP<br \/>\r\n<br \/>\r\n<br \/>\r\nIn a cemetery in Paris, I was struck by a candle left on a grave\u2014its melted remains stretched out like clouds, capturing the presence of someone\u2019s brief visitation. This encounter inspired a ritual, every day I watched candles burn, each leaving unique traces, like personal stories shaped by flame and time. Now, I\u2019m casting them into offerings in brass through sand casting.<br \/>\r\n<br \/>\r\nWhere a candle once reigned, now reigns memory.*<br \/>\r\n<br \/>\r\n*adapted from the preface of Gaston Bachelard's Flame of A Candle<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_670.jpg\" width=\"670\" height=\"502\" width_o=\"5000\" height_o=\"3750\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_5000.jpg\" data-mid=\"80167729\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.border-l-e-s-s.com\/editions\" target=\"_blank\">installation views of flame of a candle for border_less editions, Galerist, 2024<\/a><br \/>\r\n<br \/>\r\nAll photography by Bar\u0131\u015f \u00d6z\u00e7etin<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_670.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_1500.jpg\" data-mid=\"80167730\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_670.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_1500.jpg\" data-mid=\"80167731\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_670.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_1500.jpg\" data-mid=\"80167732\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_1340_c.jpg\" \/><i>Asaroton<\/i>, 2022-2023<br \/>\r\nInstallation with brass, bronze and basalt stones<br \/>\r\nDimensions variable <img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_670.jpeg\" width=\"670\" height=\"893\" width_o=\"2044\" height_o=\"2725\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_2044.jpeg\" data-mid=\"80167733\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_1340_c.jpeg\" \/><i>Threshold,<\/i> 2023<br \/>\r\nDigital UV print on plexiglass, aluminium<br \/>\r\n80 x 70 cm<br \/>\r\n<br \/>\r\n<i>Starry Earth (Two Fold) II,<\/i> 2023<br \/>\r\nGlazed ceramic<br \/>\r\n17 x 31,7 x 12,5 cm<br \/>\r\n<br \/>\r\n<a href=\"https:\/\/zeyrekcinilihamam.com\/en\/healing-ruins\" target=\"_blank\">HEALING RUINS curated by Anlam De Coster at \u00c7inili Hamam, Istanbul, 202<\/a>3<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_5000.jpg\" data-mid=\"80167734\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_3000.jpg\" data-mid=\"80190339\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_2000.jpg\" data-mid=\"80190341\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_670.jpg\" width=\"670\" height=\"900\" width_o=\"3380\" height_o=\"4543\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_3380.jpg\" data-mid=\"80190350\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 900\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" hei
47ght_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_3000.jpg\" data-mid=\"80190342\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_3000.jpg\" data-mid=\"80190343\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_2000.jpg\" data-mid=\"80190344\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_670.jpg\" width=\"670\" height=\"1003\" width_o=\"1500\" height_o=\"2247\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_1500.jpg\" data-mid=\"80190348\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 1003\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/10-starry-heavens-above-me-and-within-me-lara-ogel\/\" target=\"_blank\">Starry Heavens Above Me and Within Me, solo exhibition at Galerist, 2023<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1334\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_2000.jpg\" data-mid=\"80167925\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_2000.jpg\" data-mid=\"80167926\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_1340_c.jpg\" \/><br \/>\r\n<i>houses were rooms, I had forgotten<\/i> <a href=\"https:\/\/www.arter.org.tr\/EN\/exhibitions\/koyun-koyuna\/362\" target=\"_blank\">as part of Rounded by Sleep, curated by Eda Berkmen, Arter, 2022<\/a><br \/>\r\n<br \/>\r\n\u201cKeeping and preserving are often connected with the past. The closet of unsettling dimensions which Lara \u00d6gel installed within the exhibition space delivers a multi-layered interpretation of the distinction between interior and exterior, and individual and collective memory. In her work titled Houses Were Rooms, I Had Forgotten, oblivion and remembrance, matter, frontiers, smells and connotations follow and\/or substitute one another. Realised in the form of a closet, the installation both preserves the closet doors that \u00d6gel inherited from her grandmother and allows one to cast a look at a different space which extends perpetually into the past.\u201d<br \/>\r\n- Eda Berkmen, the curator of \u2018ROUNDED BY SLEEP\u2019<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_670.jpg\" width=\"670\" height=\"502\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_4032.jpg\" data-mid=\"80167741\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_670.jpg\" width=\"670\" height=\"502\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_4032.jpg\" data-mid=\"80167742\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_670.jpg\" width=\"670\" height=\"893\" width_o=\"3024\" height_o=\"4032\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_3024.jpg\" data-mid=\"80167743\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_670.jpg\" width=\"670\" height=\"893\" width_o=\"3024\" height_o=\"4032\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_3024.jpg\" data-mid=\"80167744\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_1340_c.jpg\" \/><br \/>\r\nIn the Hour of Terra, 2022. Installation with bronze, clay, gold lustre and dirt, variable dimensions.<br \/>\r\n<br \/>\r\nThe installation titled In the Hour of Terra is composed of clay tablets that safekeep dreams of the earth. Each piece contains 
47natural symbols of transformation found in various cosmologies. Half-buried in dust lie glittering pieces of bronze imitating classical asaroton (Greek for unswept floor) mosaics depicting traces of banquets, conceived with the intention of rekindling the plenitude of the hearth. Bronze, clay and gold are all elements borrowed from alchemy, a science that aims to transform matter into gold. In a manner similar to the Swiss psychoanalyst, Carl Jung\u2019s readings of alchemy where gold metaphorises psychological maturity\/purity, \u00d6gel\u2019s asaroton pieces become tokens of the subconscious offered to the great alchemical hearth \u2014 the earth \u2014 to be cooked anew. This is the kind of semiotic kitchen the installation dwells in.<br \/>\r\n<br \/>\r\n<br \/>\r\nThe work\u2019s turn to mythology derives from the current state of the unknown and a perceived urgency to \u2018reopen our imaginations,\u2019 to borrow words from the ecofeminist, Anna Tsing. Put otherwise, the belly of the whale signifies to the artist, a space for semiotic cultural reinterpretation. Through the act of witnessing, acknowledging and internalising such images of metamorphosis, the work invites meditations on creative death, where an end of something could bring forth another. The ceremonial return of the pieces fired from the earth marks the paving of the ground for more imaginative symbols to come.<br \/>\r\n<br \/>\r\nText by Adwait Singh<br \/>\r\n<a href=\"https:\/\/en.mardinbienali.org\/arsivdetay.aspx\" target=\"_blank\">Commisioned and Exhibited at the 5th Mardin Biennial The Promise of Grass curator Adwait Singh. May 2022, Mardin, Turkey.<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_670.jpg\" width=\"670\" height=\"963\" width_o=\"2654\" height_o=\"3816\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_2654.jpg\" data-mid=\"80190356\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 963\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_670.jpg\" width=\"670\" height=\"954\" width_o=\"2655\" height_o=\"3781\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_2655.jpg\" data-mid=\"80190357\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 954\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_670.jpg\" width=\"670\" height=\"948\" width_o=\"2712\" height_o=\"3839\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_2712.jpg\" data-mid=\"80190358\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 948\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_1340_c.jpg\" \/><br \/>\r\nLIBER I, gold gilded press on linen, birch frame, 2021<br \/>\r\nexhibited at <a href=\"https:\/\/art.ykykultur.com.tr\/exhibitions\/this-place\" target=\"_blank\">BURASI, Yap\u0131 Kredi, Istanbul<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_670.jpeg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3335\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_5000.jpeg\" data-mid=\"80167885\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_1340_c.jpeg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3335\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_5000.JPG\" data-mid=\"8016788
476\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_1340_c.JPG\" \/><br \/>\r\n<i>the pea<\/i>, site-specific installation, 2021<br \/>\r\n<br \/>\r\nthe pea is a site-specific installation inspired by Hans Christian Andersen\u2019s fairy tale The Princess and The Pea. Whereas most of the guest rooms look towards the Bosphorus, the garden etc. the atrium room used in the installation has windows facing the interior of the hotel. The act of looking within recalls the gaze onto the sources and causes of behaviors and attitudes that have surfaced on the facade of a culture. As the fairy tales travel through oral tradition similar to the ways cultural codes are carried on, the pea aims to open new interpretations to both the fairy tale and the theme of the exhibition.<br \/>\r\n<br \/>\r\nThe Princess and The Pea is a tale of a young woman who takes shelter in a palace on a rainy night. In the palace lives a king, a queen and a young prince who has reached the marrying age. The queen, who questions the young girl\u2019s royalty as she claims to be a princess and puts her to a test. The queen makes a bed consisting of ten layers and places underneath a pea. As the young girl awakes with pain in the morning, she has proven with her very sensitive body that she is indeed royalty. At the end of the tale, the young girl marries the prince.<br \/>\r\n<br \/>\r\nThe installation approaches ideas on the delicacy of the women\u2019s body alongside the rich visual world of the tale. For Andersen, the sensitivity of the girl comes from her compassion and susceptibility towards life, that is beyond her royalty. The young girl is not trying to convince or trick those that question her identity. As she sleeps in discomfort , she feels, responds to something that is buried way underneath. Anderson puts himself in place of the young girl, and carries into the aristocracy the sensitivity and susceptibility he nurtures within. As Anderson has observed the problematic of the aristocratic ethics, he criticises through his tale, a feudal cast system imposed onto the young girl\u2019s body.<br \/>\r\n<br \/>\r\nI liken the pea hidden underneath the bed to a wound. A wound not covered or healed completely but one that emits light\u2026 The pea hidden under the beds is exchanged with light, and the test imposed on the young girl is equated to a social wound. The beds are stacked up like a monument, one that hides our wound, a monument that represents accumulations, those that we borrowed and perhaps that do not even belong to us. Despite our efforts shines a light underneath, a guide that will bring us hope. And perhaps a little perspective.<br \/>\r\n<br \/>\r\nas part of <i>Intervention<\/i> at the Artisan Istanbul Hotel, 2021<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_670.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_1200.jpg\" data-mid=\"80167888\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_1000.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_670.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_1200.jpg\" data-mid=\"80167889\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_1000.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_670.jpg\" width=\"670\" height=\"1005\" width_o=\"800\" height_o=\"1200\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_800.jpg\" data-mid=\"80167890\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 1005\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_800.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_670.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_1200.jpg\" data-mid=\"80167891\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_1000.jpg\" \/><br \/>\r\n<i>houses were rooms, I had forgotten (variation III)<\/i>, ceramics, soil, grass, wood, seeds, single channel video of digitised 8mm footage 4:3, 2019<br \/>\r\n<br \/>\r\nBallon Rouge Collective at Hannah Barry Gallery, London<br \/>\r\n<br \/>\r\nI remember;<br \/>\r\n<br \/>\r\nwith merve I\u015feri, Jean Feline, & Lara \u00d6gel<br \/>\r\n<br \/>\r\nSeptember 25 - November 2, 2019<br \/>\r\nOpening September 25, 6:30-9:00pm<br \/>\r\n4 Holly Grove, Peckham<br \/>\r\nLondon SE15 4DF, UK<br \/>\r\n<br \/>\r\n\u201cthe places in which we have experienced day-dreaming reconstitute themselves in a new day-dream, and it is because our memories of former dwelling-places are re-lived as day-dreams these dwelling-places of the past remain in us for all time.\u201d<br \/>\r\n- Gaston Bachelard, The Poetics of Space<br \/>\r\n<br \/>\r\nI remember; is an exhibition about the day-dream of a place once lived in or imagined. It is about the body in those spaces both actual and imaginary, and it is nostalgic and nihilist about its own nostalgia.<br \/>\r\n<br \/>\r\nMerve I\u015feri\u2019s works on canvas are day-dreams encapsulated, representations of half-remembered, embodied and outer body experiences. The sometimes soft outlines are mi
47xed with frames, hard and assured lines. Sometimes there is simply space and there appears to be forms human or otherwise. These forms hover in the ground of the canvas, a ground that may be common to both but in constant movement; the relationship between them, like the daydream itself, is fragile but pulsing with energy.<br \/>\r\n<br \/>\r\nJean Feline\u2019s works vary in media from drawing to sculpture and installation. Each work, whether through scale or functionality of the thing represented and re-formed, plays with the idea of personal, cultural and historical memory; and too, plays with ideas surrounding how we live with objects and inhabit spaces and how objects themselves have a memory. A perfect example of the way an object, like a person, can have a day-dream-like memory is the Tam Tam stool designed by Henry Massonnet in 1968 - a chair which features prominently in the body of works Jean presents here.<br \/>\r\n<br \/>\r\nLara \u00d6gel\u2019s installation, video, sound, and works on paper also speak to the memory of and in objects as well as the lives lived and living that relate to them. In an installation of a time-worn bedroom, with earth overtaking and grass growing, Lara\u2019s suggestion of a bed is noted only with ceramic paw foundations and wooden bars. Each made by hand and from memory the paws reference both her personal memory of a home once lived-in but also the muscle memory of and in making and remembering itself. The reliance on a day-dream state that takes you to a final form and feels like a memory brought to life.<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_670.jpg\" width=\"670\" height=\"376\" width_o=\"1920\" height_o=\"1080\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_1920.jpg\" data-mid=\"80167894\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 376\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_1340_c.jpg\" \/><br \/>\r\nA young woman walks into a labyrinth in a park in the middle of the city of Istanbul. During the journey she encounters a variety of sensory environments where she watches, interacts with and reflects upon. As she spirals towards the center of the labyrinth in a dream state of wandering, the echos of her encounters take her on a journey into her memory.<br \/>\r\n<br \/>\r\n<i>dream lives of debris (and what has location may be approached),<\/i> video and sound, 10', 2019<br \/>\r\n<br \/>\r\nScreenings and exhibitions:<br \/>\r\nSanctuary, fused space, San Francisco, 2019<br \/>\r\nPublic Intimacy, a\u00e7\u0131kekran, Istanbul, 2019<br \/>\r\n<br \/>\r\nScreenings at Protocinema Screening Tour 2019<br \/>\r\nKundura Sinema (Beykoz, Istanbul)<br \/>\r\nRampa (Porto Portugal)<br \/>\r\nSculpture Center (New York, USA)<br \/>\r\nsub (\u00c7anakkale, Turkey)<br \/>\r\nTeatro Union (Honda, Colombia)<br \/>\r\nCin\u00e9math\u00e8que de Tangier (Tangier, Morocco)<br \/>\r\nLumbardhi (Prizen, Kosovo)<br \/>\r\nOnde \u2013 Artrum, of 37th Torino Film Festival (Torino, Italy)<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_670.JPG\" width=\"670\" height=\"501\" width_o=\"1080\" height_o=\"809\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1080.JPG\" data-mid=\"80167898\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 501\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1000.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_670.JPG\" width=\"670\" height=\"501\" width_o=\"1080\" height_o=\"809\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_1080.JPG\" data-mid=\"80167899\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 501\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_1000.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_670.jpeg\" width=\"670\" height=\"874\" width_o=\"1774\" height_o=\"2315\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_1774.jpeg\" data-mid=\"80167900\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 874\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_1340_c.jpeg\" \/><br \/>\r\nAs I leave my cycle at the Anel Building at Galeri 5, I am leaving my collaborator Sena Ba\u015f\u00f6z the piece titled Lone Cypress.<br \/>\r\nI am watching the work that was left in January by Merve \u00dcnsal, I am watching my own position, I am watching people coming in an out of Anel Building and especially those that choose to come in to Galeri 5. From Merve\u2019s clues, I am drawn to the concept of \u2018moving bodies\u2019, of those that c
47ome in and out of the gallery space I draw with red marker their traces on the papers I modified as the plan of the gallery.<br \/>\r\n\u00dcmraniye, the location where the corporate building resides was once called Lone Cypress as there was not much but a few cypress trees, graveyards and a few houses in between. I see myself and the people arriving and leaving the gallery as Lone Cypress\u2019. I apply the drawings on white marble used for gravestones and fill the traces of the movements with red yarn. I select four drawings on marble and arrange them together to perform as a vase for the young cypress tree I bring into the gallery space to be further nurtured by the rest of the participants of the exhibition. I rearrange the printed photograph of Clara Rockmore so that she may watch the tree grow.<br \/>\r\nThe word \u00dcmran means prosperity, progress, develop, refined and civilisation. The marble represents the rigid and determined characteristics of the corporate buildings Anel and the others now occupying \u00dcmraniye while contrasting with the organic and soft material of the yarn that represents the bodies and souls that encounter the corporate lifestyle.<br \/>\r\n<br \/>\r\nas part of <i>Devir<\/i>, ANEL building, 2019<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" width=\"670\" height=\"503\" width_o=\"1200\" height_o=\"900\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" data-mid=\"80167903\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1200 \u00d7 900\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3334\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_5000.jpg\" data-mid=\"80167904\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_5000.jpg\" data-mid=\"80167905\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_1340_c.jpg\" \/><br \/>\r\n<div style=\"padding:62.32% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/293095515?title=0&byline=0&portrait=0&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"all seeds \/ b\u00fct\u00fcn tohumlar\"><\/iframe><\/div>
47<script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script><br \/>\r\n<i>dust is not the homogeneous residue of decay, but an intimate trace, a spatial testimony to the singular journey of each being through time<\/i><br \/>\r\nexcerpt from Dust by Michael Marder<br \/>\r\n<br \/>\r\nUpon invitation to make a site specific work, I combined my ongoing research on time, space, memory, archives, concepts of home and domesticity into the subterranean exhibition space at riverrun. As the work developed through these phenomena, they all inevitably led me to thoughts on dust and cyclical time. As I worked more on time and space, dust began to breed. Not just as an evidence of time itself but also as a holder of space and the very subject of the installation itself. Mundessa (the name of the dust you swept up in Adriatic Italian dialect) features a two channel video where I capture the floating dust in my living\/working space, a frozen bedskirt that traces the edges of a phantom bed, inside a composition of a collection of dust from my home. When the visitors enter the space, they walk through the projected image of The Soul of Man, borrowed from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History. A depiction of a human figure, made up of freckles of dust.<br \/>\r\n<br \/>\r\nInstallation view of Mundessa<br \/>\r\ntwo channel video, lace, elastic band, poliol, household dust, photographic slide<br \/>\r\n<br \/>\r\nExhibited at riverrun as part of the group show Large Meadow August 2 - September 29, 2018<br \/>\r\n<br \/>\r\nSoul of Man image from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History.<br \/>\r\n<br \/>\r\nDocumentation photography by Bar\u0131\u015f G\u00fclt\u00fcrk.<br \/>\r\n<a href=\"https:\/\/www.artforum.com\/events\/lara-ogel-241229\/\" target=\"_blank\">Critic's Picks Istanbul review by Kaya Gen\u00e7 on ARTFORUM<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_670.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3336\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_5000.jpg\" data-mid=\"80167906\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 447\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_670.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3337\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_5000.JPG\" data-mid=\"80167910\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 447\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_1340_c.JPG\" \/><br \/>\r\n5cm brass sculpture of a bent baba.<br \/>\r\n<a href=\"https:\/\/www.zilbermangallery.com\/restless-monuments-e228.html\" target=\"_blank\">Exhibition view from group show Restless Monuments, curated by Bettina Klein and Naz Cuguo\u011flu, at Zilberman Gallery, Istanbul. 2018.<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_5000.JPG\" data-mid=\"80167921\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_1340_c.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_5000.JPG\" data-mid=\"80190362\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_1340_c.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_670.jpeg\" width=\"670\" height=\"446\" width_o=\"2953\" height_o=\"1969\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_2953.jpeg\" data-mid=\"80167923\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_1340_c.jpeg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_5000.JPG\" data-mid=\"80190361\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_1340_c.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"1500\" height_o=\"1000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_1500.jpg\" data-mid=\"80167922\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_1340_c.jpg\" \/><br \/>\r\n4th Floor \/\/\/ Open School Library<br \/>\r\nGalata Greek School<br \/>\r\n<br \/>\r\nGalata Greek School is pleased to present Lara \u00d6gel\u2019s exhibition titled \u2019\u0130mtid\u00e2d \u2018 at Open School Library initiated as a reading room and project space.<br \/>\r\n<br \/>\r\nOh the things that constantly change<br \/>\r\nIn the threshold of time!<br \/>\r\nThis bright game awaits<br \/>\r\nOn the bedside of each dream...<br \/>\r\n<br \/>\r\n-Gradually Illuminated, Ahmet Hamdi Tanp\u0131nar<br \/>\r\n<br \/>\r\nAs we climb the steps to reach to the exhibition space, we witness amongst the old dark walls colourful blocks that carry us through. Slowly announcing themselves, these embedded squares seem to have come home from far away lands. The squares become more frequent, asking the viewer to follow them, leading us to an old classroom. Surrounding the entire room, the squares n
47ow have shapes, letters, texts written on their surface. We are readings bits from Sappho\u2019s fragments; some, similar to the remains of the poetry of Sappho are not read in full, half completed, or in Anne Carson\u2019s words are breathing. The installation titled dawn, composed of colourful book covers, are subtle hints at the previous condition of the school, when the blocks on the walls were full of colors.<br \/>\r\non the stairs of the trees we mount is a sculptural work composed of the old windows from the school and iron construction. Hinting at the characteristics of the school\u2019s staircases, the windows are climbing up a half circular construction. The sculptural work dreams of the students that once filled up the space, looking out towards the unknown, climbing up the reaching steps.<br \/>\r\nDisplayed in the Open School Library are watercolour sketches, drawings and collages by the artist that reveal the process of the exhibition, amongst the abstract watercolour paintings done by the kindergarten students, who are the last students of the Galata Greek School. These abstract paintings are the foundations of the composition and characteristics of the works displayed in the exhibition. The reading sessions that will be held in this space throughout the exhibition display compositions where the abstract watercolour paintings by the students are harmonised with the works on paper taken out of the artist\u2019s sketchbook.<br \/>\r\nLara \u00d6gel invites the viewer to an unusual journey amongst the memory of the Galata Greek School, taking steps with the idea of \u0130mtid\u00e2d, brought into our culture by Yahya Kemal and defined by his pupil Ahmet Hamdi Tanp\u0131nar as \u201cto evolve as you go on and to go on as you evolve\u201d. The school\u2019s evolution throughout the years is highlighted and its spirit reincarnated, blending into today.<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_670.jpg\" width=\"670\" height=\"461\" width_o=\"3000\" height_o=\"2067\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_3000.jpg\" data-mid=\"80190366\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 461\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_3000.jpg\" data-mid=\"80190368\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_670.jpeg\" width=\"670\" height=\"446\" width_o=\"1772\" height_o=\"1181\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_1772.jpeg\" data-mid=\"80190369\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_1340_c.jpeg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_3000.jpg\" data-mid=\"80190370\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_3000.jpg\" data-mid=\"80190372\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_3000.jpg\" data-mid=\"80190373\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_1340_c.jpg\" \/><br \/>\r\n<br \/>\r\nhouses were rooms, I had forgotten, site-specific installation with ceramics, soil, grass, crystals, seeds, closet doors and woo
47d, 2017<br \/>\r\nproduced and exhibited on the occasion of the exhibition <a href=\"https:\/\/www.fondazioneprada.org\/project\/driftwood-or-how-we-surfaced-through-currents\/?lang=en\">DRIFTWOOD, OR HOW WE SURFACED THROUGH CURRENTS<\/a> Athens, Greece. <br \/>\r\n<br \/>\r\nIn an old Athenian mini market, Lara \u00d6gel draws on notions of the home, familiarity and constructing a safe haven in turbulent times. Such as is often the case in \u00d6gel\u2019s site-specific approach, her installation originates from physical elements found in her surroundings, bearing memories of an environment once inhabited. In this case a set of closet doors generously decorated with Italian Baroque motives, as well as the feet of tables and cabinets, hint at her upbringings in Izmir with her grandparents. The journey of the doors accompanying the artist subsequently to Istanbul and now to Athens evokes thoughts on the construction of a home, both physical and imagined. To what extent can migrating bodies - taking into account both forced diaspora\u2019s and nomadic lifestyles - sustain their idea of a home and their sense of belonging in foreign contexts? In what way can we rely on our memories when trying to convey a life once lived elsewhere?<br \/>\r\n<br \/>\r\nFollowing the fragments of her childhood, the artist embeds these questions in a site of healing and comfort by drawing further on the physical residues such as the closet doors and found pictures, collected from home.<br \/>\r\nPatches of grass and organic matter dispersed throughout the space form a common ground for diverse elements to coexist. Ceramic paws move in pairs along this excavation site where personal and collective remembrances, and memories yet to be made intertwine. The fact that they stand as disconnected body parts expresses a certain sense of disruption, hinting at the challenges that migration bring about. Challenges regarding the balance between processes of integration and assimilation, while ceasing to forget one\u2019s origins. houses were rooms, i had forgotten (variation II) is therefore also inhabited by gemstones and archetypal furniture remnants, suggesting recognition and rootedness.<br \/>\r\n<br \/>\r\nText by Evelyn Simons, available at the catalogue produced on the occasion of the exhibition <a href=\"https:\/\/www.fondazioneprada.org\/project\/driftwood-or-how-we-surfaced-through-currents\/?lang=en\" target=\"_blank\">Driftwood, or how we surfaced through currents<\/a><br \/>\r\nDocumentation photographs by Paris Tavitian.<br \/>\r\n<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_5000.jpg\" data-mid=\"80208560\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_5000.jpg\" data-mid=\"80208561\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_5000.jpg\" data-mid=\"80208562\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_5000.jpg\" data-mid=\"80208563\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.protocinema.org\/exhibitions\/lara-%C3%B6gel\" target=\"_blank\">Come Back! All is Forgiven, Protocinema, Paris, 2016<\/a><br \/>\r\n","content_2x":"<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_3750.jpg\" data-mid=\"80619509\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_3750.jpg\" data-mid=\"80619510\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_3750.jpg\" data-mid=\"80619511\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3751\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_3751.jpg\" data-mid=\"80619512\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_3750.jpg\" data-mid=\"80619513\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_3750.jpg\" data-mid=\"80619514\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3751\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_3751.jpg\" data-mid=\"80619515\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_3750.jpg\" data-mid=\"80619516\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_3750.jpg\" data-mid=\"80619517\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_3750.jpg\" data-mid=\"80619518\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_1340_c.jpg\" width=\"670\" height=\"1005\" width_o=\"2500\" height_o=\"3750\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_2500.jpg\" data-mid=\"80619519\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 2010 _c\"\/><br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/160-locus-affectus-lara-ogel\/\" target=\"_blank\">LOCUS AFFECTUS, solo exhibition at Galerist, 2026 <\/a><br \/>\r\ninstallation photographs by Zeynep F\u0131rat<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_1340_c.jpg\" width=\"670\" height=\"502\" width_o=\"3150\" height_o=\"2362\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_3150.jpg\" data-mid=\"80619483\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1004 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_1340_c.jpg\" width=\"670\" height=\"894\" width_o=\"2362\" height_o=\"3150\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_2362.jpg\" data-mid=\"80619484\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1787 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_1340_c.jpg\" width=\"670\" height=\"894\" width_o=\"2362\" height_o=\"3150\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_2362.jpg\" data-mid=\"80619485\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1787 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_1340_c.jpg\" width=\"670\" height=\"770\" width_o=\"2055\" height_o=\"2362\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_2055.jpg\" data-mid=\"80619486\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1540 _c\"\/><br \/>\r\nuntitled, glazed stoneware, rust, iron, veil, ox horn, 2026<br \/>\r\nphotography by Kayhan Kaygusuz<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_1340_c.jpg\" width=\"670\" height=\"503\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_4032.jpg\" data-mid=\"80619490\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1005 _c\"\/><br \/>\r\nuntitled, plaster mould, 2026<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_1340_c.jpg\" width=\"670\" height=\"670\" width_o=\"2000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_2000.jpg\" data-mid=\"80208567\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1340 _c\"\/><br \/>\r\nIn The Arms of the Abyss, glazed stoneware, 98 x 98 cm, 2025<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3332\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_5000.jpg\" data-mid=\"80208566\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\nThe Molten Word, gold gilded press on linen, brass, 43 x 50 cm, 2025<br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/154-the-volcano-lover\/\" target=\"_blank\">The Volcano Lover, Galerist, 2025<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_1340_c.jpg\" width=\"670\" height=\"893\" width_o=\"5000\" height_o=\"6666\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_5000.jpg\" data-mid=\"80167728\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><i>flame of a candle<\/i>, 2024, 25 x 7 x 2 cm, Brass\/Pirin\u00e7, Variation of 27 + 3 AP , 3 PP<br \/>\r\n<br \/>\r\n<br \/>\r\nIn a cemetery in Paris, I was struck by a candle left on a grave\u2014its melted remains stretched out like clouds, capturing the presence of someone\u2019s brief visitation. This encounter inspired a ritual, every day I watched candles burn, each leaving unique traces, like personal stories shaped by flame and time. Now, I\u2019m casting them into offerings in brass through sand casting.<br \/>\r\n<br \/>\r\nWhere a candle once reigned, now reigns memory.*<br \/>\r\n<br \/>\r\n*adapted from the preface of Gaston Bachelard's Flame of A Candle<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_1340_c.jpg\" width=\"670\" height=\"503\" width_o=\"5000\" height_o=\"3750\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_5000.jpg\" data-mid=\"80167729\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1005 _c\"\/><br \/>\r\n<a href=\"https:\/\/www.border-l-e-s-s.com\/editions\" target=\"_blank\">installation views of flame of a candle for border_less editions, Galerist, 2024<\/a><br \/>\r\n<br \/>\r\nAll photography by Bar\u0131\u015f \u00d6z\u00e7etin<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_1340_c.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_1500.jpg\" data-mid=\"80167730\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_1340_c.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_1500.jpg\" data-mid=\"80167731\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_1340_c.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_1500.jpg\" data-mid=\"80167732\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><i>Asaroton<\/i>, 2022-2023<br \/>\r\nInstallation with brass, bronze and basalt stones<br \/>\r\nDimensions variable <img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_1340_c.jpeg\" width=\"670\" height=\"893\" width_o=\"2044\" height_o=\"2725\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_2044.jpeg\" data-mid=\"80167733\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><i>Threshold,<\/i> 2023<br \/>\r\nDigital UV print on plexiglass, aluminium<br \/>\r\n80 x 70 cm<br \/>\r\n<br \/>\r\n<i>Starry Earth (Two Fold) II,<\/i> 2023<br \/>\r\nGlazed ceramic<br \/>\r\n17 x 31,7 x 12,5 cm<br \/>\r\n<br \/>\r\n<a href=\"https:\/\/zeyrekcinilihamam.com\/en\/healing-ruins\" target=\"_blank\">HEALING RUINS curated by Anlam De Coster at \u00c7inili Hamam, Istanbul, 202<\/a>3<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_5000.jpg\" data-mid=\"80167734\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_3000.jpg\" data-mid=\"80190339\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_1340_c.jpg\" width=\"670\" hei
47ght=\"447\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_2000.jpg\" data-mid=\"80190341\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_1340_c.jpg\" width=\"670\" height=\"901\" width_o=\"3380\" height_o=\"4543\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_3380.jpg\" data-mid=\"80190350\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1801 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_3000.jpg\" data-mid=\"80190342\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_3000.jpg\" data-mid=\"80190343\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_2000.jpg\" data-mid=\"80190344\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_1340_c.jpg\" width=\"670\" height=\"1004\" width_o=\"1500\" height_o=\"2247\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_1500.jpg\" data-mid=\"80190348\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 2007 _c\"\/><br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/10-starry-heavens-above-me-and-within-me-lara-ogel\/\" target=\"_blank\">Starry Heavens Above Me and Within Me, solo exhibition at Galerist, 2023<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"2000\" height_o=\"1334\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_2000.jpg\" data-mid=\"80167925\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_2000.jpg\" data-mid=\"80167926\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\n<i>houses were rooms, I had forgotten<\/i> <a href=\"https:\/\/www.arter.org.tr\/EN\/exhibitions\/koyun-koyuna\/362\" target=\"_blank\">as part of Rounded by Sleep, curated by Eda Berkmen, Arter, 2022<\/a><br \/>\r\n<br \/>\r\n\u201cKeeping and preserving are often connected with the past. The closet of unsettling dimensions which Lara \u00d6gel installed within the exhibition space delivers a multi-layered interpretation of the distinction between interior and exterior, and individual and collective memory. In her work titled Houses Were Rooms, I Had Forgotten, oblivion and remembrance, matter, frontiers, smells and connotations follow and\/or substitute one another. Realised in the form of a closet, the installation both preserves the closet doors that \u00d6gel inherited from her grandmother and allows one to cast a look at a different space which extends perpetually into the past.\u201d<br \/>\r\n- Eda Berkmen, the curator of \u2018ROUNDED BY SLEEP\u2019<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_1340_c.jpg\" width=\"670\" height=\"503\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_4032.jpg\" data-mid=\"80167741\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1005 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_1340_c.jpg\" width=\"670\" height=\"503\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_4032.jpg\" data-mid=\"80167742\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1005 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_1340_c.jpg\" width=\"670\" height=\"893\" width_o=\"3024\" height_o=\"4032\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_3024.jpg\" data-mid=\"80167743\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_1340_c.jpg\" width=\"670\" height=\"893\" width_o=\"3024\" height_o=\"4032\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_3024.jpg\" data-mid=\"80167744\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1786 _c\"\/><br \/>\r\nIn the Hour of Terra, 2022. Installation with bronze, clay, gold lustre and dirt, variable dimensions.<br \/>\r\n<br \/>\r\nThe installation titled In the Hour of Terra is composed of clay tablets that safekeep dreams of the earth. Each piece contains 
47natural symbols of transformation found in various cosmologies. Half-buried in dust lie glittering pieces of bronze imitating classical asaroton (Greek for unswept floor) mosaics depicting traces of banquets, conceived with the intention of rekindling the plenitude of the hearth. Bronze, clay and gold are all elements borrowed from alchemy, a science that aims to transform matter into gold. In a manner similar to the Swiss psychoanalyst, Carl Jung\u2019s readings of alchemy where gold metaphorises psychological maturity\/purity, \u00d6gel\u2019s asaroton pieces become tokens of the subconscious offered to the great alchemical hearth \u2014 the earth \u2014 to be cooked anew. This is the kind of semiotic kitchen the installation dwells in.<br \/>\r\n<br \/>\r\n<br \/>\r\nThe work\u2019s turn to mythology derives from the current state of the unknown and a perceived urgency to \u2018reopen our imaginations,\u2019 to borrow words from the ecofeminist, Anna Tsing. Put otherwise, the belly of the whale signifies to the artist, a space for semiotic cultural reinterpretation. Through the act of witnessing, acknowledging and internalising such images of metamorphosis, the work invites meditations on creative death, where an end of something could bring forth another. The ceremonial return of the pieces fired from the earth marks the paving of the ground for more imaginative symbols to come.<br \/>\r\n<br \/>\r\nText by Adwait Singh<br \/>\r\n<a href=\"https:\/\/en.mardinbienali.org\/arsivdetay.aspx\" target=\"_blank\">Commisioned and Exhibited at the 5th Mardin Biennial The Promise of Grass curator Adwait Singh. May 2022, Mardin, Turkey.<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_1340_c.jpg\" width=\"670\" height=\"963\" width_o=\"2654\" height_o=\"3816\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_2654.jpg\" data-mid=\"80190356\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1926 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_1340_c.jpg\" width=\"670\" height=\"954\" width_o=\"2655\" height_o=\"3781\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_2655.jpg\" data-mid=\"80190357\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1908 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_1340_c.jpg\" width=\"670\" height=\"948\" width_o=\"2712\" height_o=\"3839\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_2712.jpg\" data-mid=\"80190358\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1896 _c\"\/><br \/>\r\nLIBER I, gold gilded press on linen, birch frame, 2021<br \/>\r\nexhibited at <a href=\"https:\/\/art.ykykultur.com.tr\/exhibitions\/this-place\" target=\"_blank\">BURASI, Yap\u0131 Kredi, Istanbul<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_1340_c.jpeg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3335\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_5000.jpeg\" data-mid=\"80167885\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_1340_c.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3335\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_5000.JPG\" data-mid=\"8016788
476\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\n<i>the pea<\/i>, site-specific installation, 2021<br \/>\r\n<br \/>\r\nthe pea is a site-specific installation inspired by Hans Christian Andersen\u2019s fairy tale The Princess and The Pea. Whereas most of the guest rooms look towards the Bosphorus, the garden etc. the atrium room used in the installation has windows facing the interior of the hotel. The act of looking within recalls the gaze onto the sources and causes of behaviors and attitudes that have surfaced on the facade of a culture. As the fairy tales travel through oral tradition similar to the ways cultural codes are carried on, the pea aims to open new interpretations to both the fairy tale and the theme of the exhibition.<br \/>\r\n<br \/>\r\nThe Princess and The Pea is a tale of a young woman who takes shelter in a palace on a rainy night. In the palace lives a king, a queen and a young prince who has reached the marrying age. The queen, who questions the young girl\u2019s royalty as she claims to be a princess and puts her to a test. The queen makes a bed consisting of ten layers and places underneath a pea. As the young girl awakes with pain in the morning, she has proven with her very sensitive body that she is indeed royalty. At the end of the tale, the young girl marries the prince.<br \/>\r\n<br \/>\r\nThe installation approaches ideas on the delicacy of the women\u2019s body alongside the rich visual world of the tale. For Andersen, the sensitivity of the girl comes from her compassion and susceptibility towards life, that is beyond her royalty. The young girl is not trying to convince or trick those that question her identity. As she sleeps in discomfort , she feels, responds to something that is buried way underneath. Anderson puts himself in place of the young girl, and carries into the aristocracy the sensitivity and susceptibility he nurtures within. As Anderson has observed the problematic of the aristocratic ethics, he criticises through his tale, a feudal cast system imposed onto the young girl\u2019s body.<br \/>\r\n<br \/>\r\nI liken the pea hidden underneath the bed to a wound. A wound not covered or healed completely but one that emits light\u2026 The pea hidden under the beds is exchanged with light, and the test imposed on the young girl is equated to a social wound. The beds are stacked up like a monument, one that hides our wound, a monument that represents accumulations, those that we borrowed and perhaps that do not even belong to us. Despite our efforts shines a light underneath, a guide that will bring us hope. And perhaps a little perspective.<br \/>\r\n<br \/>\r\nas part of <i>Intervention<\/i> at the Artisan Istanbul Hotel, 2021<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_1000.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_1200.jpg\" data-mid=\"80167888\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1000 \u00d7 666\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_1000.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_1200.jpg\" data-mid=\"80167889\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1000 \u00d7 666\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_800.jpg\" width=\"670\" height=\"1005\" width_o=\"800\" height_o=\"1200\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_800.jpg\" data-mid=\"80167890\" border=\"0\" align=\"left\" data-title=\"670 \u2014 800 \u00d7 1200\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_1000.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_1200.jpg\" data-mid=\"80167891\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1000 \u00d7 666\"\/><br \/>\r\n<i>houses were rooms, I had forgotten (variation III)<\/i>, ceramics, soil, grass, wood, seeds, single channel video of digitised 8mm footage 4:3, 2019<br \/>\r\n<br \/>\r\nBallon Rouge Collective at Hannah Barry Gallery, London<br \/>\r\n<br \/>\r\nI remember;<br \/>\r\n<br \/>\r\nwith merve I\u015feri, Jean Feline, & Lara \u00d6gel<br \/>\r\n<br \/>\r\nSeptember 25 - November 2, 2019<br \/>\r\nOpening September 25, 6:30-9:00pm<br \/>\r\n4 Holly Grove, Peckham<br \/>\r\nLondon SE15 4DF, UK<br \/>\r\n<br \/>\r\n\u201cthe places in which we have experienced day-dreaming reconstitute themselves in a new day-dream, and it is because our memories of former dwelling-places are re-lived as day-dreams these dwelling-places of the past remain in us for all time.\u201d<br \/>\r\n- Gaston Bachelard, The Poetics of Space<br \/>\r\n<br \/>\r\nI remember; is an exhibition about the day-dream of a place once lived in or imagined. It is about the body in those spaces both actual and imaginary, and it is nostalgic and nihilist about its own nostalgia.<br \/>\r\n<br \/>\r\nMerve I\u015feri\u2019s works on canvas are day-dreams encapsulated, representations of half-remembered, embodied and outer body experiences. The sometimes soft outlines are mi
47xed with frames, hard and assured lines. Sometimes there is simply space and there appears to be forms human or otherwise. These forms hover in the ground of the canvas, a ground that may be common to both but in constant movement; the relationship between them, like the daydream itself, is fragile but pulsing with energy.<br \/>\r\n<br \/>\r\nJean Feline\u2019s works vary in media from drawing to sculpture and installation. Each work, whether through scale or functionality of the thing represented and re-formed, plays with the idea of personal, cultural and historical memory; and too, plays with ideas surrounding how we live with objects and inhabit spaces and how objects themselves have a memory. A perfect example of the way an object, like a person, can have a day-dream-like memory is the Tam Tam stool designed by Henry Massonnet in 1968 - a chair which features prominently in the body of works Jean presents here.<br \/>\r\n<br \/>\r\nLara \u00d6gel\u2019s installation, video, sound, and works on paper also speak to the memory of and in objects as well as the lives lived and living that relate to them. In an installation of a time-worn bedroom, with earth overtaking and grass growing, Lara\u2019s suggestion of a bed is noted only with ceramic paw foundations and wooden bars. Each made by hand and from memory the paws reference both her personal memory of a home once lived-in but also the muscle memory of and in making and remembering itself. The reliance on a day-dream state that takes you to a final form and feels like a memory brought to life.<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_1340_c.jpg\" width=\"670\" height=\"377\" width_o=\"1920\" height_o=\"1080\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_1920.jpg\" data-mid=\"80167894\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 753 _c\"\/><br \/>\r\nA young woman walks into a labyrinth in a park in the middle of the city of Istanbul. During the journey she encounters a variety of sensory environments where she watches, interacts with and reflects upon. As she spirals towards the center of the labyrinth in a dream state of wandering, the echos of her encounters take her on a journey into her memory.<br \/>\r\n<br \/>\r\n<i>dream lives of debris (and what has location may be approached),<\/i> video and sound, 10', 2019<br \/>\r\n<br \/>\r\nScreenings and exhibitions:<br \/>\r\nSanctuary, fused space, San Francisco, 2019<br \/>\r\nPublic Intimacy, a\u00e7\u0131kekran, Istanbul, 2019<br \/>\r\n<br \/>\r\nScreenings at Protocinema Screening Tour 2019<br \/>\r\nKundura Sinema (Beykoz, Istanbul)<br \/>\r\nRampa (Porto Portugal)<br \/>\r\nSculpture Center (New York, USA)<br \/>\r\nsub (\u00c7anakkale, Turkey)<br \/>\r\nTeatro Union (Honda, Colombia)<br \/>\r\nCin\u00e9math\u00e8que de Tangier (Tangier, Morocco)<br \/>\r\nLumbardhi (Prizen, Kosovo)<br \/>\r\nOnde \u2013 Artrum, of 37th Torino Film Festival (Torino, Italy)<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1000.JPG\" width=\"670\" height=\"502\" width_o=\"1080\" height_o=\"809\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1080.JPG\" data-mid=\"80167898\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1000 \u00d7 749\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_1000.JPG\" width=\"670\" height=\"502\" width_o=\"1080\" height_o=\"809\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_1080.JPG\" data-mid=\"80167899\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1000 \u00d7 749\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_1340_c.jpeg\" width=\"670\" height=\"874\" width_o=\"1774\" height_o=\"2315\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_1774.jpeg\" data-mid=\"80167900\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 1748 _c\"\/><br \/>\r\nAs I leave my cycle at the Anel Building at Galeri 5, I am leaving my collaborator Sena Ba\u015f\u00f6z the piece titled Lone Cypress.<br \/>\r\nI am watching the work that was left in January by Merve \u00dcnsal, I am watching my own position, I am watching people coming in an out of Anel Building and especially those that choose to come in to Galeri 5. From Merve\u2019s clues, I am drawn to the concept of \u2018moving bodies\u2019, of those that c
47ome in and out of the gallery space I draw with red marker their traces on the papers I modified as the plan of the gallery.<br \/>\r\n\u00dcmraniye, the location where the corporate building resides was once called Lone Cypress as there was not much but a few cypress trees, graveyards and a few houses in between. I see myself and the people arriving and leaving the gallery as Lone Cypress\u2019. I apply the drawings on white marble used for gravestones and fill the traces of the movements with red yarn. I select four drawings on marble and arrange them together to perform as a vase for the young cypress tree I bring into the gallery space to be further nurtured by the rest of the participants of the exhibition. I rearrange the printed photograph of Clara Rockmore so that she may watch the tree grow.<br \/>\r\nThe word \u00dcmran means prosperity, progress, develop, refined and civilisation. The marble represents the rigid and determined characteristics of the corporate buildings Anel and the others now occupying \u00dcmraniye while contrasting with the organic and soft material of the yarn that represents the bodies and souls that encounter the corporate lifestyle.<br \/>\r\n<br \/>\r\nas part of <i>Devir<\/i>, ANEL building, 2019<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" width=\"670\" height=\"503\" width_o=\"1200\" height_o=\"900\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" data-mid=\"80167903\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1200 \u00d7 900\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3334\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_5000.jpg\" data-mid=\"80167904\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_5000.jpg\" data-mid=\"80167905\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\n<div style=\"padding:62.32% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/293095515?title=0&byline=0&portrait=0&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"all seeds \/ b\u00fct\u00fcn tohumlar\"><\/iframe><\/div>
47<script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script><br \/>\r\n<i>dust is not the homogeneous residue of decay, but an intimate trace, a spatial testimony to the singular journey of each being through time<\/i><br \/>\r\nexcerpt from Dust by Michael Marder<br \/>\r\n<br \/>\r\nUpon invitation to make a site specific work, I combined my ongoing research on time, space, memory, archives, concepts of home and domesticity into the subterranean exhibition space at riverrun. As the work developed through these phenomena, they all inevitably led me to thoughts on dust and cyclical time. As I worked more on time and space, dust began to breed. Not just as an evidence of time itself but also as a holder of space and the very subject of the installation itself. Mundessa (the name of the dust you swept up in Adriatic Italian dialect) features a two channel video where I capture the floating dust in my living\/working space, a frozen bedskirt that traces the edges of a phantom bed, inside a composition of a collection of dust from my home. When the visitors enter the space, they walk through the projected image of The Soul of Man, borrowed from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History. A depiction of a human figure, made up of freckles of dust.<br \/>\r\n<br \/>\r\nInstallation view of Mundessa<br \/>\r\ntwo channel video, lace, elastic band, poliol, household dust, photographic slide<br \/>\r\n<br \/>\r\nExhibited at riverrun as part of the group show Large Meadow August 2 - September 29, 2018<br \/>\r\n<br \/>\r\nSoul of Man image from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History.<br \/>\r\n<br \/>\r\nDocumentation photography by Bar\u0131\u015f G\u00fclt\u00fcrk.<br \/>\r\n<a href=\"https:\/\/www.artforum.com\/events\/lara-ogel-241229\/\" target=\"_blank\">Critic's Picks Istanbul review by Kaya Gen\u00e7 on ARTFORUM<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3336\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_5000.jpg\" data-mid=\"80167906\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 894 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_1340_c.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3337\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_5000.JPG\" data-mid=\"80167910\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 894 _c\"\/><br \/>\r\n5cm brass sculpture of a bent baba.<br \/>\r\n<a href=\"https:\/\/www.zilbermangallery.com\/restless-monuments-e228.html\" target=\"_blank\">Exhibition view from group show Restless Monuments, curated by Bettina Klein and Naz Cuguo\u011flu, at Zilberman Gallery, Istanbul. 2018.<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_1340_c.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_5000.JPG\" data-mid=\"80167921\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_1340_c.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_5000.JPG\" data-mid=\"80190362\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_1340_c.jpeg\" width=\"670\" height=\"447\" width_o=\"2953\" height_o=\"1969\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_2953.jpeg\" data-mid=\"80167923\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_1340_c.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_5000.JPG\" data-mid=\"80190361\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"1500\" height_o=\"1000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_1500.jpg\" data-mid=\"80167922\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\n4th Floor \/\/\/ Open School Library<br \/>\r\nGalata Greek School<br \/>\r\n<br \/>\r\nGalata Greek School is pleased to present Lara \u00d6gel\u2019s exhibition titled \u2019\u0130mtid\u00e2d \u2018 at Open School Library initiated as a reading room and project space.<br \/>\r\n<br \/>\r\nOh the things that constantly change<br \/>\r\nIn the threshold of time!<br \/>\r\nThis bright game awaits<br \/>\r\nOn the bedside of each dream...<br \/>\r\n<br \/>\r\n-Gradually Illuminated, Ahmet Hamdi Tanp\u0131nar<br \/>\r\n<br \/>\r\nAs we climb the steps to reach to the exhibition space, we witness amongst the old dark walls colourful blocks that carry us through. Slowly announcing themselves, these embedded squares seem to have come home from far away lands. The squares become more frequent, asking the viewer to follow them, leading us to an old classroom. Surrounding the entire room, the squares n
47ow have shapes, letters, texts written on their surface. We are readings bits from Sappho\u2019s fragments; some, similar to the remains of the poetry of Sappho are not read in full, half completed, or in Anne Carson\u2019s words are breathing. The installation titled dawn, composed of colourful book covers, are subtle hints at the previous condition of the school, when the blocks on the walls were full of colors.<br \/>\r\non the stairs of the trees we mount is a sculptural work composed of the old windows from the school and iron construction. Hinting at the characteristics of the school\u2019s staircases, the windows are climbing up a half circular construction. The sculptural work dreams of the students that once filled up the space, looking out towards the unknown, climbing up the reaching steps.<br \/>\r\nDisplayed in the Open School Library are watercolour sketches, drawings and collages by the artist that reveal the process of the exhibition, amongst the abstract watercolour paintings done by the kindergarten students, who are the last students of the Galata Greek School. These abstract paintings are the foundations of the composition and characteristics of the works displayed in the exhibition. The reading sessions that will be held in this space throughout the exhibition display compositions where the abstract watercolour paintings by the students are harmonised with the works on paper taken out of the artist\u2019s sketchbook.<br \/>\r\nLara \u00d6gel invites the viewer to an unusual journey amongst the memory of the Galata Greek School, taking steps with the idea of \u0130mtid\u00e2d, brought into our culture by Yahya Kemal and defined by his pupil Ahmet Hamdi Tanp\u0131nar as \u201cto evolve as you go on and to go on as you evolve\u201d. The school\u2019s evolution throughout the years is highlighted and its spirit reincarnated, blending into today.<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_1340_c.jpg\" width=\"670\" height=\"462\" width_o=\"3000\" height_o=\"2067\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_3000.jpg\" data-mid=\"80190366\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 923 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_3000.jpg\" data-mid=\"80190368\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_1340_c.jpeg\" width=\"670\" height=\"447\" width_o=\"1772\" height_o=\"1181\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_1772.jpeg\" data-mid=\"80190369\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_3000.jpg\" data-mid=\"80190370\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_3000.jpg\" data-mid=\"80190372\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_3000.jpg\" data-mid=\"80190373\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\n<br \/>\r\nhouses were rooms, I had forgotten, site-specific installation with ceramics, soil, grass, crystals, seeds, closet doors and woo
47d, 2017<br \/>\r\nproduced and exhibited on the occasion of the exhibition <a href=\"https:\/\/www.fondazioneprada.org\/project\/driftwood-or-how-we-surfaced-through-currents\/?lang=en\">DRIFTWOOD, OR HOW WE SURFACED THROUGH CURRENTS<\/a> Athens, Greece. <br \/>\r\n<br \/>\r\nIn an old Athenian mini market, Lara \u00d6gel draws on notions of the home, familiarity and constructing a safe haven in turbulent times. Such as is often the case in \u00d6gel\u2019s site-specific approach, her installation originates from physical elements found in her surroundings, bearing memories of an environment once inhabited. In this case a set of closet doors generously decorated with Italian Baroque motives, as well as the feet of tables and cabinets, hint at her upbringings in Izmir with her grandparents. The journey of the doors accompanying the artist subsequently to Istanbul and now to Athens evokes thoughts on the construction of a home, both physical and imagined. To what extent can migrating bodies - taking into account both forced diaspora\u2019s and nomadic lifestyles - sustain their idea of a home and their sense of belonging in foreign contexts? In what way can we rely on our memories when trying to convey a life once lived elsewhere?<br \/>\r\n<br \/>\r\nFollowing the fragments of her childhood, the artist embeds these questions in a site of healing and comfort by drawing further on the physical residues such as the closet doors and found pictures, collected from home.<br \/>\r\nPatches of grass and organic matter dispersed throughout the space form a common ground for diverse elements to coexist. Ceramic paws move in pairs along this excavation site where personal and collective remembrances, and memories yet to be made intertwine. The fact that they stand as disconnected body parts expresses a certain sense of disruption, hinting at the challenges that migration bring about. Challenges regarding the balance between processes of integration and assimilation, while ceasing to forget one\u2019s origins. houses were rooms, i had forgotten (variation II) is therefore also inhabited by gemstones and archetypal furniture remnants, suggesting recognition and rootedness.<br \/>\r\n<br \/>\r\nText by Evelyn Simons, available at the catalogue produced on the occasion of the exhibition <a href=\"https:\/\/www.fondazioneprada.org\/project\/driftwood-or-how-we-surfaced-through-currents\/?lang=en\" target=\"_blank\">Driftwood, or how we surfaced through currents<\/a><br \/>\r\nDocumentation photographs by Paris Tavitian.<br \/>\r\n<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_5000.jpg\" data-mid=\"80208560\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_5000.jpg\" data-mid=\"80208561\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_5000.jpg\" data-mid=\"80208562\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_1340_c.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_5000.jpg\" data-mid=\"80208563\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1340 \u00d7 893 _c\"\/><br \/>\r\n<a href=\"https:\/\/www.protocinema.org\/exhibitions\/lara-%C3%B6gel\" target=\"_blank\">Come Back! All is Forgiven, Protocinema, Paris, 2016<\/a><br \/>\r\n","content_no_html":"{image 65}{image 66}{image 67}{image 68}{image 69}{image 70}{image 71}{image 72}{image 73}{image 74}{image 75}\r\nLOCUS AFFECTUS, solo exhibition at Galerist, 2026 \r\ninstallation photographs by Zeynep F\u0131rat\r\n\r\n{image 60}{image 61}{image 62}{image 63}\r\nuntitled, glazed stoneware, rust, iron, veil, ox horn, 2026\r\nphotography by Kayhan Kaygusuz\r\n\r\n{image 64}\r\nuntitled, plaster mould, 2026\r\n\r\n{image 59}\r\nIn The Arms of the Abyss, glazed stoneware, 98 x 98 cm, 2025\r\n{image 58}\r\nThe Molten Word, gold gilded press on linen, brass, 43 x 50 cm, 2025\r\nThe Volcano Lover, Galerist, 2025\r\n\r\n{image 3}flame of a candle, 2024, 25 x 7 x 2 cm, Brass\/Pirin\u00e7, Variation of 27 + 3 AP , 3 PP\r\n\r\n\r\nIn a cemetery in Paris, I was struck by a candle left on a grave\u2014its melted remains stretched out like clouds, capturing the presence of someone\u2019s brief visitation. This encounter inspired a ritual, every day I watched candles burn, each leaving unique traces, like personal stories shaped by flame and time. Now, I\u2019m casting them into offerings in brass through sand casting.\r\n\r\nWhere a candle once reigned, now reigns memory.*\r\n\r\n*adapted from the preface of Gaston Bachelard's Flame of A Candle\r\n{image 4}\r\ninstallation views of flame of a candle for border_less editions, Galerist, 2024\r\n\r\nAll photography by Bar\u0131\u015f \u00d6z\u00e7etin\r\n\r\n{image 5}{image 6}{image 7}Asaroton, 2022-2023\r\nInstallation with brass, bronze and basalt stones\r\nDimensions variable {image 8}Threshold, 2023\r\nDigital UV print on plexiglass, aluminium\r\n80 x 70 cm\r\n\r\nStarry Earth (Two Fold) II, 2023\r\nGlazed ceramic\r\n17 x 31,7 x 12,5 cm\r\n\r\nHEALING RUINS curated by Anlam De Coster at \u00c7inili Hamam, Istanbul, 2023\r\n\r\n{image 9}{image 34}{image 35}{image 40}{image 36}{image 37}{image 38}{image 39}\r\nStarry Heavens Above Me and Within Me, solo exhibition at Galerist, 2023\r\n\r\n{image 32}{image 33}\r\nhouses were rooms, I had forgotten as part of Rounded by Sleep, curated by Eda Berkmen, Arter, 2022\r\n\r\n\u201cKeeping and preserving are often connected with the past. The closet of unsettling dimensions which Lara \u00d6gel installed within the exhibition space delivers a multi-layered interpretation of the distinction between interior and exterior, and individual and collective memory. In her work titled Houses Were Rooms, I Had Forgotten, oblivion and remembrance, matter, frontiers, smells and connotations follow and\/or substitute one another. Realised in the form of a closet, the installation both preserves the closet doors that \u00d6gel inherited from her grandmother and allows one to cast a look at a different space which extends perpetually into the past.\u201d\r\n- Eda Berkmen, the curator of \u2018ROUNDED BY SLEEP\u2019\r\n\r\n{image 10}{image 11}{image 12}{image 13}\r\nIn the Hour of Terra, 2022. Installation with bronze, clay, gold lustre and dirt, variable dimensions.\r\n\r\nThe installation titled In the Hour of Terra is composed of clay tablets that safekeep dreams of the earth. Each piece contains 
47natural symbols of transformation found in various cosmologies. Half-buried in dust lie glittering pieces of bronze imitating classical asaroton (Greek for unswept floor) mosaics depicting traces of banquets, conceived with the intention of rekindling the plenitude of the hearth. Bronze, clay and gold are all elements borrowed from alchemy, a science that aims to transform matter into gold. In a manner similar to the Swiss psychoanalyst, Carl Jung\u2019s readings of alchemy where gold metaphorises psychological maturity\/purity, \u00d6gel\u2019s asaroton pieces become tokens of the subconscious offered to the great alchemical hearth \u2014 the earth \u2014 to be cooked anew. This is the kind of semiotic kitchen the installation dwells in.\r\n\r\n\r\nThe work\u2019s turn to mythology derives from the current state of the unknown and a perceived urgency to \u2018reopen our imaginations,\u2019 to borrow words from the ecofeminist, Anna Tsing. Put otherwise, the belly of the whale signifies to the artist, a space for semiotic cultural reinterpretation. Through the act of witnessing, acknowledging and internalising such images of metamorphosis, the work invites meditations on creative death, where an end of something could bring forth another. The ceremonial return of the pieces fired from the earth marks the paving of the ground for more imaginative symbols to come.\r\n\r\nText by Adwait Singh\r\nCommisioned and Exhibited at the 5th Mardin Biennial The Promise of Grass curator Adwait Singh. May 2022, Mardin, Turkey.\r\n\r\n{image 41}{image 42}{image 43}\r\nLIBER I, gold gilded press on linen, birch frame, 2021\r\nexhibited at BURASI, Yap\u0131 Kredi, Istanbul\r\n\r\n{image 14}{image 15}\r\nthe pea, site-specific installation, 2021\r\n\r\nthe pea is a site-specific installation inspired by Hans Christian Andersen\u2019s fairy tale The Princess and The Pea. Whereas most of the guest rooms look towards the Bosphorus, the garden etc. the atrium room used in the installation has windows facing the interior of the hotel. The act of looking within recalls the gaze onto the sources and causes of behaviors and attitudes that have surfaced on the facade of a culture. As the fairy tales travel through oral tradition similar to the ways cultural codes are carried on, the pea aims to open new interpretations to both the fairy tale and the theme of the exhibition.\r\n\r\nThe Princess and The Pea is a tale of a young woman who takes shelter in a palace on a rainy night. In the palace lives a king, a queen and a young prince who has reached the marrying age. The queen, who questions the young girl\u2019s royalty as she claims to be a princess and puts her to a test. The queen makes a bed consisting of ten layers and places underneath a pea. As the young girl awakes with pain in the morning, she has proven with her very sensitive body that she is indeed royalty. At the end of the tale, the young girl marries the prince.\r\n\r\nThe installation approaches ideas on the delicacy of the women\u2019s body alongside the rich visual world of the tale. For Andersen, the sensitivity of the girl comes from her compassion and susceptibility towards life, that is beyond her royalty. The young girl is not trying to convince or trick those that question her identity. As she sleeps in discomfort , she feels, responds to something that is buried way underneath. Anderson puts himself in place of the young girl, and carries into the aristocracy the sensitivity and susceptibility he nurtures within. As Anderson has observed the problematic of the aristocratic ethics, he criticises through his tale, a feudal cast system imposed onto the young girl\u2019s body.\r\n\r\nI liken the pea hidden underneath the bed to a wound. A wound not covered or healed completely but one that emits light\u2026 The pea hidden under the beds is exchanged with light, and the test imposed on the young girl is equated to a social wound. The beds are stacked up like a monument, one that hides our wound, a monument that represents accumulations, those that we borrowed and perhaps that do not even belong to us. Despite our efforts shines a light underneath, a guide that will bring us hope. And perhaps a little perspective.\r\n\r\n
47as part of Intervention at the Artisan Istanbul Hotel, 2021\r\n\r\n{image 16}{image 17}{image 18}{image 19}\r\nhouses were rooms, I had forgotten (variation III), ceramics, soil, grass, wood, seeds, single channel video of digitised 8mm footage 4:3, 2019\r\n\r\nBallon Rouge Collective at Hannah Barry Gallery, London\r\n\r\nI remember;\r\n\r\nwith merve I\u015feri, Jean Feline, & Lara \u00d6gel\r\n\r\nSeptember 25 - November 2, 2019\r\nOpening September 25, 6:30-9:00pm\r\n4 Holly Grove, Peckham\r\nLondon SE15 4DF, UK\r\n\r\n\u201cthe places in which we have experienced day-dreaming reconstitute themselves in a new day-dream, and it is because our memories of former dwelling-places are re-lived as day-dreams these dwelling-places of the past remain in us for all time.\u201d\r\n- Gaston Bachelard, The Poetics of Space\r\n\r\nI remember; is an exhibition about the day-dream of a place once lived in or imagined. It is about the body in those spaces both actual and imaginary, and it is nostalgic and nihilist about its own nostalgia.\r\n\r\nMerve I\u015feri\u2019s works on canvas are day-dreams encapsulated, representations of half-remembered, embodied and outer body experiences. The sometimes soft outlines are mi
47xed with frames, hard and assured lines. Sometimes there is simply space and there appears to be forms human or otherwise. These forms hover in the ground of the canvas, a ground that may be common to both but in constant movement; the relationship between them, like the daydream itself, is fragile but pulsing with energy.\r\n\r\nJean Feline\u2019s works vary in media from drawing to sculpture and installation. Each work, whether through scale or functionality of the thing represented and re-formed, plays with the idea of personal, cultural and historical memory; and too, plays with ideas surrounding how we live with objects and inhabit spaces and how objects themselves have a memory. A perfect example of the way an object, like a person, can have a day-dream-like memory is the Tam Tam stool designed by Henry Massonnet in 1968 - a chair which features prominently in the body of works Jean presents here.\r\n\r\nLara \u00d6gel\u2019s installation, video, sound, and works on paper also speak to the memory of and in objects as well as the lives lived and living that relate to them. In an installation of a time-worn bedroom, with earth overtaking and grass growing, Lara\u2019s suggestion of a bed is noted only with ceramic paw foundations and wooden bars. Each made by hand and from memory the paws reference both her personal memory of a home once lived-in but also the muscle memory of and in making and remembering itself. The reliance on a day-dream state that takes you to a final form and feels like a memory brought to life.\r\n\r\n{image 20}\r\nA young woman walks into a labyrinth in a park in the middle of the city of Istanbul. During the journey she encounters a variety of sensory environments where she watches, interacts with and reflects upon. As she spirals towards the center of the labyrinth in a dream state of wandering, the echos of her encounters take her on a journey into her memory.\r\n\r\ndream lives of debris (and what has location may be approached), video and sound, 10', 2019\r\n\r\nScreenings and exhibitions:\r\nSanctuary, fused space, San Francisco, 2019\r\nPublic Intimacy, a\u00e7\u0131kekran, Istanbul, 2019\r\n\r\nScreenings at Protocinema Screening Tour 2019\r\nKundura Sinema (Beykoz, Istanbul)\r\nRampa (Porto Portugal)\r\nSculpture Center (New York, USA)\r\nsub (\u00c7anakkale, Turkey)\r\nTeatro Union (Honda, Colombia)\r\nCin\u00e9math\u00e8que de Tangier (Tangier, Morocco)\r\nLumbardhi (Prizen, Kosovo)\r\nOnde \u2013 Artrum, of 37th Torino Film Festival (Torino, Italy)\r\n\r\n{image 21}{image 22}{image 23}\r\nAs I leave my cycle at the Anel Building at Galeri 5, I am leaving my collaborator Sena Ba\u015f\u00f6z the piece titled Lone Cypress.\r\nI am watching the work that was left in January by Merve \u00dcnsal, I am watching my own position, I am watching people coming in an out of Anel Building and especially those that choose to come in to Galeri 5. From Merve\u2019s clues, I am drawn to the concept of \u2018moving bodies\u2019, of those that come in and out of the gallery space I draw with red marker their traces on the papers I modified as the plan of the gallery.\r\n\u00dcmraniye, the location where the corporate building resides was once called Lone Cypress as there was not much but a few cypress trees, graveyards and a few houses in between. I see myself and the people arriving and leaving the gallery as Lone Cypress\u2019. I apply the drawings on white marble used for gravestones and fill the traces of the movements with red yarn. I select four drawings on marble and arrange them together to perform as a vase for the young cypress tree I bring into the gallery space to be further nurtured by the rest of the participants of the exhibition. I rearrange the printed photograph of Clara Rockmore so that she may watch the tree grow.\r\nThe word \u00dcmran means prosperity, progress, develop, refined and civilisation. The marble represents the rigid and determined characteristics of the corporate buildings Anel and the others now occupying \u00dcmraniye while contrasting with the organic and soft material of the yarn that represents the bodies and souls that encounter the corporate lifestyle.\r\n\r\n
47as part of Devir, ANEL building, 2019\r\n\r\n{image 24}{image 25}{image 26}\r\n\r\ndust is not the homogeneous residue of decay, but an intimate trace, a spatial testimony to the singular journey of each being through time\r\nexcerpt from Dust by Michael Marder\r\n\r\nUpon invitation to make a site specific work, I combined my ongoing research on time, space, memory, archives, concepts of home and domesticity into the subterranean exhibition space at riverrun. As the work developed through these phenomena, they all inevitably led me to thoughts on dust and cyclical time. As I worked more on time and space, dust began to breed. Not just as an evidence of time itself but also as a holder of space and the very subject of the installation itself. Mundessa (the name of the dust you swept up in Adriatic Italian dialect) features a two channel video where I capture the floating dust in my living\/working space, a frozen bedskirt that traces the edges of a phantom bed, inside a composition of a collection of dust from my home. When the visitors enter the space, they walk through the projected image of The Soul of Man, borrowed from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History. A depiction of a human figure, made up of freckles of dust.\r\n\r\nInstallation view of Mundessa\r\ntwo channel video, lace, elastic band, poliol, household dust, photographic slide\r\n\r\nExhibited at riverrun as part of the group show Large Meadow August 2 - September 29, 2018\r\n\r\nSoul of Man image from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History.\r\n\r\nDocumentation photography by Bar\u0131\u015f G\u00fclt\u00fcrk.\r\nCritic's Picks Istanbul review by Kaya Gen\u00e7 on ARTFORUM\r\n\r\n{image 27}{image 28}\r\n5cm brass sculpture of a bent baba.\r\nExhibition view from group show Restless Monuments, curated by Bettina Klein and Naz Cuguo\u011flu, at Zilberman Gallery, Istanbul. 2018.\r\n\r\n{image 29}{image 45}{image 31}{image 44}{image 30}\r\n4th Floor \/\/\/ Open School Library\r\nGalata Greek School\r\n\r\nGalata Greek School is pleased to present Lara \u00d6gel\u2019s exhibition titled \u2019\u0130mtid\u00e2d \u2018 at Open School Library initiated as a reading room and project space.\r\n\r\nOh the things that constantly change\r\nIn the threshold of time!\r\nThis bright game awaits\r\nOn the bedside of each dream...\r\n\r\n-Gradually Illuminated, Ahmet Hamdi Tanp\u0131nar\r\n\r\nAs we climb the steps to reach to the exhibition space, we witness amongst the old dark walls colourful blocks that carry us through. Slowly announcing themselves, these embedded squares seem to have come home from far away lands. The squares become more frequent, asking the viewer to follow them, leading us to an old classroom. Surrounding the entire room, the squares now have shapes, letters, texts written on their surface. We are readings bits from Sappho\u2019s fragments; some, similar to the remains of the poetry of Sappho are not read in full, half completed, or in Anne Carson\u2019s words are breathing. The installation titled dawn, composed of colourful book covers, are subtle hints at the previous condition of the school, when the blocks on the walls were full of colors.\r\non the stairs of the trees we mount is a sculptural work composed of the old windows from the school and iron construction. Hinting at the characteristics of the school\u2019s staircases, the windows are climbing up a half circular construction. The sculptural work dreams of the students that once filled up the space, looking out towards the unknown, climbing up the reaching steps.\r\nDisplayed in the Open School Library are watercolour sketches, drawings and collages by the artist that reveal the process of the exhibition, amongst the abstract watercolour paintings done by the kindergarten students, who are the last students of the Galata Greek School. These abstract paintings are the foundations of the composition and characteristics of the works displayed in the exhibition. The reading sessions that will be held in this space throughout the exhibition display compositions where the abstract watercolour paintings by the students are harmonised with the works on paper taken out of the artist\u2019s sketchbook.\r\nLara \u00d6gel invites the viewer to an unusual journey amongst the memory of the Galata Greek School, taking steps with the idea of \u0130mtid\u00e2d, brought into our 
47culture by Yahya Kemal and defined by his pupil Ahmet Hamdi Tanp\u0131nar as \u201cto evolve as you go on and to go on as you evolve\u201d. The school\u2019s evolution throughout the years is highlighted and its spirit reincarnated, blending into today.\r\n\r\n{image 46}{image 47}{image 48}{image 49}{image 50}{image 51}\r\n\r\nhouses were rooms, I had forgotten, site-specific installation with ceramics, soil, grass, crystals, seeds, closet doors and wood, 2017\r\nproduced and exhibited on the occasion of the exhibition DRIFTWOOD, OR HOW WE SURFACED THROUGH CURRENTS Athens, Greece. \r\n\r\nIn an old Athenian mini market, Lara \u00d6gel draws on notions of the home, familiarity and constructing a safe haven in turbulent times. Such as is often the case in \u00d6gel\u2019s site-specific approach, her installation originates from physical elements found in her surroundings, bearing memories of an environment once inhabited. In this case a set of closet doors generously decorated with Italian Baroque motives, as well as the feet of tables and cabinets, hint at her upbringings in Izmir with her grandparents. The journey of the doors accompanying the artist subsequently to Istanbul and now to Athens evokes thoughts on the construction of a home, both physical and imagined. To what extent can migrating bodies - taking into account both forced diaspora\u2019s and nomadic lifestyles - sustain their idea of a home and their sense of belonging in foreign contexts? In what way can we rely on our memories when trying to convey a life once lived elsewhere?\r\n\r\nFollowing the fragments of her childhood, the artist embeds these questions in a site of healing and comfort by drawing further on the physical residues such as the closet doors and found pictures, collected from home.\r\nPatches of grass and organic matter dispersed throughout the space form a common ground for diverse elements to coexist. Ceramic paws move in pairs along this excavation site where personal and collective remembrances, and memories yet to be made intertwine. The fact that they stand as disconnected body parts expresses a certain sense of disruption, hinting at the challenges that migration bring about. Challenges regarding the balance between processes of integration and assimilation, while ceasing to forget one\u2019s origins. houses were rooms, i had forgotten (variation II) is therefore also inhabited by gemstones and archetypal furniture remnants, suggesting recognition and rootedness.\r\n\r\nText by Evelyn Simons, available at the catalogue produced on the occasion of the exhibition Driftwoo
47d, or how we surfaced through currents\r\nDocumentation photographs by Paris Tavitian.\r\n\r\n\r\n{image 54}{image 55}{image 56}{image 57}\r\nCome Back! All is Forgiven, Protocinema, Paris, 2016\r\n","content_partial_html":"<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_3750.jpg\" data-mid=\"80619509\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1603_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_3750.jpg\" data-mid=\"80619510\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1605_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_3750.jpg\" data-mid=\"80619511\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1632_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3751\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_3751.jpg\" data-mid=\"80619512\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1646_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_3750.jpg\" data-mid=\"80619513\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1726_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_3750.jpg\" data-mid=\"80619514\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1750_revize_1_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3751\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_3751.jpg\" data-mid=\"80619515\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1777_revize_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_3750.jpg\" data-mid=\"80619516\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1832_1_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_3750.jpg\" data-mid=\"80619517\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1948-3_revize_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_670.jpg\" width=\"670\" height=\"446\" width_o=\"3750\" height_o=\"2500\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_3750.jpg\" data-mid=\"80619518\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1976_low_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_670.jpg\" width=\"670\" height=\"1005\" width_o=\"2500\" height_o=\"3750\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_2500.jpg\" data-mid=\"80619519\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 1005\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1979-HDRd__low_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/160-locus-affectus-lara-ogel\/\" target=\"_blank\">LOCUS AFFECTUS, solo exhibition at Galerist, 2026 <\/a><br \/>\r\ninstallation photographs by Zeynep F\u0131rat<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_670.jpg\" width=\"670\" height=\"502\" width_o=\"3150\" height_o=\"2362\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_3150.jpg\" data-mid=\"80619483\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6953_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_670.jpg\" width=\"670\" height=\"893\" width_o=\"2362\" height_o=\"3150\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_2362.jpg\" data-mid=\"80619484\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6962_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_670.jpg\" width=\"670\" height=\"893\" width_o=\"2362\" height_o=\"3150\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_2362.jpg\" data-mid=\"80619485\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6971_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_670.jpg\" width=\"670\" height=\"770\" width_o=\"2055\" height_o=\"2362\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_2055.jpg\" data-mid=\"80619486\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 770\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/SM_DSF6977_1340_c.jpg\" \/><br \/>\r\nuntitled, glazed stoneware, rust, iron, veil, ox horn, 2026<br \/>\r\nphotography by Kayhan Kaygusuz<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_670.jpg\" width=\"670\" height=\"502\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_4032.jpg\" data-mid=\"80619490\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_6139_1340_c.jpg\" \/><br \/>\r\nuntitled, plaster mould, 2026<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_670.jpg\" width=\"670\" height=\"670\" width_o=\"2000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_2000.jpg\" data-mid=\"80208567\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 670\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_1340_c.jpg\" \/><br \/>\r\nIn The Arms of the Abyss, glazed stoneware, 98 x 98 cm, 2025<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3332\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_5000.jpg\" data-mid=\"80208566\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_1340_c.jpg\" \/><br \/>\r\nThe Molten Word, gold gilded press on linen, brass, 43 x 50 cm, 2025<br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/154-the-volcano-lover\/\" target=\"_blank\">The Volcano Lover, Galerist, 2025<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_670.jpg\" width=\"670\" height=\"893\" width_o=\"5000\" height_o=\"6666\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_5000.jpg\" data-mid=\"80167728\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7766_1340_c.jpg\" \/><i>flame of a candle<\/i>, 2024, 25 x 7 x 2 cm, Brass\/Pirin\u00e7, Variation of 27 + 3 AP , 3 PP<br \/>\r\n<br \/>\r\n<br \/>\r\nIn a cemetery in Paris, I was struck by a candle left on a grave\u2014its melted remains stretched out like clouds, capturing the presence of someone\u2019s brief visitation. This encounter inspired a ritual, every day I watched candles burn, each leaving unique traces, like personal stories shaped by flame and time. Now, I\u2019m casting them into offerings in brass through sand casting.<br \/>\r\n<br \/>\r\nWhere a candle once reigned, now reigns memory.*<br \/>\r\n<br \/>\r\n*adapted from the preface of Gaston Bachelard's Flame of A Candle<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_670.jpg\" width=\"670\" height=\"502\" width_o=\"5000\" height_o=\"3750\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_5000.jpg\" data-mid=\"80167729\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/7679_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.border-l-e-s-s.com\/editions\" target=\"_blank\">installation views of flame of a candle for border_less editions, Galerist, 2024<\/a><br \/>\r\n<br \/>\r\nAll photography by Bar\u0131\u015f \u00d6z\u00e7etin<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_670.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_1500.jpg\" data-mid=\"80167730\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094140--sml_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_670.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_1500.jpg\" data-mid=\"80167731\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094156--sml_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_670.jpg\" width=\"670\" height=\"893\" width_o=\"1500\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_1500.jpg\" data-mid=\"80167732\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/PA094158--sml_1340_c.jpg\" \/><i>Asaroton<\/i>, 2022-2023<br \/>\r\nInstallation with brass, bronze and basalt stones<br \/>\r\nDimensions variable <img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_670.jpeg\" width=\"670\" height=\"893\" width_o=\"2044\" height_o=\"2725\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_2044.jpeg\" data-mid=\"80167733\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_8287_1340_c.jpeg\" \/><i>Threshold,<\/i> 2023<br \/>\r\nDigital UV print on plexiglass, aluminium<br \/>\r\n80 x 70 cm<br \/>\r\n<br \/>\r\n<i>Starry Earth (Two Fold) II,<\/i> 2023<br \/>\r\nGlazed ceramic<br \/>\r\n17 x 31,7 x 12,5 cm<br \/>\r\n<br \/>\r\n<a href=\"https:\/\/zeyrekcinilihamam.com\/en\/healing-ruins\" target=\"_blank\">HEALING RUINS curated by Anlam De Coster at \u00c7inili Hamam, Istanbul, 202<\/a>3<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_5000.jpg\" data-mid=\"80167734\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7601sm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_3000.jpg\" data-mid=\"80190339\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7511smsmlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_2000.jpg\" data-mid=\"80190341\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7554smsmlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_670.jpg\" width=\"670\" height=\"900\" width_o=\"3380\" height_o=\"4543\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_3380.jpg\" data-mid=\"80190350\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 900\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_3000.jpg\" data-mid=\"80190342\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7608sm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_30
4700.jpg\" data-mid=\"80190343\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7646smlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_2000.jpg\" data-mid=\"80190344\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC7670-copysmsmlr_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_670.jpg\" width=\"670\" height=\"1003\" width_o=\"1500\" height_o=\"2247\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_1500.jpg\" data-mid=\"80190348\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 1003\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC_9960_small_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.galerist.com.tr\/exhibitions\/10-starry-heavens-above-me-and-within-me-lara-ogel\/\" target=\"_blank\">Starry Heavens Above Me and Within Me, solo exhibition at Galerist, 2023<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1334\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_2000.jpg\" data-mid=\"80167925\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_670.jpg\" width=\"670\" height=\"446\" width_o=\"2000\" height_o=\"1333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_2000.jpg\" data-mid=\"80167926\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC08671_editsm_1340_c.jpg\" \/><br \/>\r\n<i>houses were rooms, I had forgotten<\/i> <a href=\"https:\/\/www.arter.org.tr\/EN\/exhibitions\/koyun-koyuna\/362\" target=\"_blank\">as part of Rounded by Sleep, curated by Eda Berkmen, Arter, 2022<\/a><br \/>\r\n<br \/>\r\n\u201cKeeping and preserving are often connected with the past. The closet of unsettling dimensions which Lara \u00d6gel installed within the exhibition space delivers a multi-layered interpretation of the distinction between interior and exterior, and individual and collective memory. In her work titled Houses Were Rooms, I Had Forgotten, oblivion and remembrance, matter, frontiers, smells and connotations follow and\/or substitute one another. Realised in the form of a closet, the installation both preserves the closet doors that \u00d6gel inherited from her grandmother and allows one to cast a look at a different space which extends perpetually into the past.\u201d<br \/>\r\n- Eda Berkmen, the curator of \u2018ROUNDED BY SLEEP\u2019<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_670.jpg\" width=\"670\" height=\"502\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_4032.jpg\" data-mid=\"80167741\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1418_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_670.jpg\" width=\"670\" height=\"502\" width_o=\"4032\" height_o=\"3024\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_4032.jpg\" data-mid=\"80167742\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 502\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1442_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_670.jpg\" width=\"670\" height=\"893\" width_o=\"3024\" height_o=\"4032\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_3024.jpg\" data-mid=\"80167743\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1441_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_670.jpg\" width=\"670\" height=\"893\" width_o=\"3024\" height_o=\"4032\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_3024.jpg\" data-mid=\"80167744\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 893\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_1443_1340_c.jpg\" \/><br \/>\r\nIn the Hour of Terra, 2022. Installation with bronze, clay, gold lustre and dirt, variable dimensions.<br \/>\r\n<br \/>\r\nThe installation titled In the Hour of Terra is composed of clay tablets that safekeep dreams of the earth. Each piece contains 
47natural symbols of transformation found in various cosmologies. Half-buried in dust lie glittering pieces of bronze imitating classical asaroton (Greek for unswept floor) mosaics depicting traces of banquets, conceived with the intention of rekindling the plenitude of the hearth. Bronze, clay and gold are all elements borrowed from alchemy, a science that aims to transform matter into gold. In a manner similar to the Swiss psychoanalyst, Carl Jung\u2019s readings of alchemy where gold metaphorises psychological maturity\/purity, \u00d6gel\u2019s asaroton pieces become tokens of the subconscious offered to the great alchemical hearth \u2014 the earth \u2014 to be cooked anew. This is the kind of semiotic kitchen the installation dwells in.<br \/>\r\n<br \/>\r\n<br \/>\r\nThe work\u2019s turn to mythology derives from the current state of the unknown and a perceived urgency to \u2018reopen our imaginations,\u2019 to borrow words from the ecofeminist, Anna Tsing. Put otherwise, the belly of the whale signifies to the artist, a space for semiotic cultural reinterpretation. Through the act of witnessing, acknowledging and internalising such images of metamorphosis, the work invites meditations on creative death, where an end of something could bring forth another. The ceremonial return of the pieces fired from the earth marks the paving of the ground for more imaginative symbols to come.<br \/>\r\n<br \/>\r\nText by Adwait Singh<br \/>\r\n<a href=\"https:\/\/en.mardinbienali.org\/arsivdetay.aspx\" target=\"_blank\">Commisioned and Exhibited at the 5th Mardin Biennial The Promise of Grass curator Adwait Singh. May 2022, Mardin, Turkey.<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_670.jpg\" width=\"670\" height=\"963\" width_o=\"2654\" height_o=\"3816\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_2654.jpg\" data-mid=\"80190356\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 963\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-I_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_670.jpg\" width=\"670\" height=\"954\" width_o=\"2655\" height_o=\"3781\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_2655.jpg\" data-mid=\"80190357\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 954\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-II_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_670.jpg\" width=\"670\" height=\"948\" width_o=\"2712\" height_o=\"3839\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_2712.jpg\" data-mid=\"80190358\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 948\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/S-III_1340_c.jpg\" \/><br \/>\r\nLIBER I, gold gilded press on linen, birch frame, 2021<br \/>\r\nexhibited at <a href=\"https:\/\/art.ykykultur.com.tr\/exhibitions\/this-place\" target=\"_blank\">BURASI, Yap\u0131 Kredi, Istanbul<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_670.jpeg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3335\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_5000.jpeg\" data-mid=\"80167885\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09091_1340_c.jpeg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3335\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_5000.JPG\" data-mid=\"8016788
476\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSC09051_1340_c.JPG\" \/><br \/>\r\n<i>the pea<\/i>, site-specific installation, 2021<br \/>\r\n<br \/>\r\nthe pea is a site-specific installation inspired by Hans Christian Andersen\u2019s fairy tale The Princess and The Pea. Whereas most of the guest rooms look towards the Bosphorus, the garden etc. the atrium room used in the installation has windows facing the interior of the hotel. The act of looking within recalls the gaze onto the sources and causes of behaviors and attitudes that have surfaced on the facade of a culture. As the fairy tales travel through oral tradition similar to the ways cultural codes are carried on, the pea aims to open new interpretations to both the fairy tale and the theme of the exhibition.<br \/>\r\n<br \/>\r\nThe Princess and The Pea is a tale of a young woman who takes shelter in a palace on a rainy night. In the palace lives a king, a queen and a young prince who has reached the marrying age. The queen, who questions the young girl\u2019s royalty as she claims to be a princess and puts her to a test. The queen makes a bed consisting of ten layers and places underneath a pea. As the young girl awakes with pain in the morning, she has proven with her very sensitive body that she is indeed royalty. At the end of the tale, the young girl marries the prince.<br \/>\r\n<br \/>\r\nThe installation approaches ideas on the delicacy of the women\u2019s body alongside the rich visual world of the tale. For Andersen, the sensitivity of the girl comes from her compassion and susceptibility towards life, that is beyond her royalty. The young girl is not trying to convince or trick those that question her identity. As she sleeps in discomfort , she feels, responds to something that is buried way underneath. Anderson puts himself in place of the young girl, and carries into the aristocracy the sensitivity and susceptibility he nurtures within. As Anderson has observed the problematic of the aristocratic ethics, he criticises through his tale, a feudal cast system imposed onto the young girl\u2019s body.<br \/>\r\n<br \/>\r\nI liken the pea hidden underneath the bed to a wound. A wound not covered or healed completely but one that emits light\u2026 The pea hidden under the beds is exchanged with light, and the test imposed on the young girl is equated to a social wound. The beds are stacked up like a monument, one that hides our wound, a monument that represents accumulations, those that we borrowed and perhaps that do not even belong to us. Despite our efforts shines a light underneath, a guide that will bring us hope. And perhaps a little perspective.<br \/>\r\n<br \/>\r\nas part of <i>Intervention<\/i> at the Artisan Istanbul Hotel, 2021<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_670.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_1200.jpg\" data-mid=\"80167888\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1968LR_1000.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_670.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_1200.jpg\" data-mid=\"80167889\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC1974LR_1000.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_670.jpg\" width=\"670\" height=\"1005\" width_o=\"800\" height_o=\"1200\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_800.jpg\" data-mid=\"80167890\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 1005\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2001LR_800.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_670.jpg\" width=\"670\" height=\"446\" width_o=\"1200\" height_o=\"800\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_1200.jpg\" data-mid=\"80167891\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/_DSC2029LR_1000.jpg\" \/><br \/>\r\n<i>houses were rooms, I had forgotten (variation III)<\/i>, ceramics, soil, grass, wood, seeds, single channel video of digitised 8mm footage 4:3, 2019<br \/>\r\n<br \/>\r\nBallon Rouge Collective at Hannah Barry Gallery, London<br \/>\r\n<br \/>\r\nI remember;<br \/>\r\n<br \/>\r\nwith merve I\u015feri, Jean Feline, & Lara \u00d6gel<br \/>\r\n<br \/>\r\nSeptember 25 - November 2, 2019<br \/>\r\nOpening September 25, 6:30-9:00pm<br \/>\r\n4 Holly Grove, Peckham<br \/>\r\nLondon SE15 4DF, UK<br \/>\r\n<br \/>\r\n\u201cthe places in which we have experienced day-dreaming reconstitute themselves in a new day-dream, and it is because our memories of former dwelling-places are re-lived as day-dreams these dwelling-places of the past remain in us for all time.\u201d<br \/>\r\n- Gaston Bachelard, The Poetics of Space<br \/>\r\n<br \/>\r\nI remember; is an exhibition about the day-dream of a place once lived in or imagined. It is about the body in those spaces both actual and imaginary, and it is nostalgic and nihilist about its own nostalgia.<br \/>\r\n<br \/>\r\nMerve I\u015feri\u2019s works on canvas are day-dreams encapsulated, representations of half-remembered, embodied and outer body experiences. The sometimes soft outlines are mi
47xed with frames, hard and assured lines. Sometimes there is simply space and there appears to be forms human or otherwise. These forms hover in the ground of the canvas, a ground that may be common to both but in constant movement; the relationship between them, like the daydream itself, is fragile but pulsing with energy.<br \/>\r\n<br \/>\r\nJean Feline\u2019s works vary in media from drawing to sculpture and installation. Each work, whether through scale or functionality of the thing represented and re-formed, plays with the idea of personal, cultural and historical memory; and too, plays with ideas surrounding how we live with objects and inhabit spaces and how objects themselves have a memory. A perfect example of the way an object, like a person, can have a day-dream-like memory is the Tam Tam stool designed by Henry Massonnet in 1968 - a chair which features prominently in the body of works Jean presents here.<br \/>\r\n<br \/>\r\nLara \u00d6gel\u2019s installation, video, sound, and works on paper also speak to the memory of and in objects as well as the lives lived and living that relate to them. In an installation of a time-worn bedroom, with earth overtaking and grass growing, Lara\u2019s suggestion of a bed is noted only with ceramic paw foundations and wooden bars. Each made by hand and from memory the paws reference both her personal memory of a home once lived-in but also the muscle memory of and in making and remembering itself. The reliance on a day-dream state that takes you to a final form and feels like a memory brought to life.<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_670.jpg\" width=\"670\" height=\"376\" width_o=\"1920\" height_o=\"1080\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_1920.jpg\" data-mid=\"80167894\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 376\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5387_-Converted.00_02_25_11.Still003_1340_c.jpg\" \/><br \/>\r\nA young woman walks into a labyrinth in a park in the middle of the city of Istanbul. During the journey she encounters a variety of sensory environments where she watches, interacts with and reflects upon. As she spirals towards the center of the labyrinth in a dream state of wandering, the echos of her encounters take her on a journey into her memory.<br \/>\r\n<br \/>\r\n<i>dream lives of debris (and what has location may be approached),<\/i> video and sound, 10', 2019<br \/>\r\n<br \/>\r\nScreenings and exhibitions:<br \/>\r\nSanctuary, fused space, San Francisco, 2019<br \/>\r\nPublic Intimacy, a\u00e7\u0131kekran, Istanbul, 2019<br \/>\r\n<br \/>\r\nScreenings at Protocinema Screening Tour 2019<br \/>\r\nKundura Sinema (Beykoz, Istanbul)<br \/>\r\nRampa (Porto Portugal)<br \/>\r\nSculpture Center (New York, USA)<br \/>\r\nsub (\u00c7anakkale, Turkey)<br \/>\r\nTeatro Union (Honda, Colombia)<br \/>\r\nCin\u00e9math\u00e8que de Tangier (Tangier, Morocco)<br \/>\r\nLumbardhi (Prizen, Kosovo)<br \/>\r\nOnde \u2013 Artrum, of 37th Torino Film Festival (Torino, Italy)<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_670.JPG\" width=\"670\" height=\"501\" width_o=\"1080\" height_o=\"809\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1080.JPG\" data-mid=\"80167898\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 501\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1000.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_670.JPG\" width=\"670\" height=\"501\" width_o=\"1080\" height_o=\"809\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_1080.JPG\" data-mid=\"80167899\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 501\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/5_1000.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_670.jpeg\" width=\"670\" height=\"874\" width_o=\"1774\" height_o=\"2315\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_1774.jpeg\" data-mid=\"80167900\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 874\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/yalnz-selviler--5_1340_c.jpeg\" \/><br \/>\r\nAs I leave my cycle at the Anel Building at Galeri 5, I am leaving my collaborator Sena Ba\u015f\u00f6z the piece titled Lone Cypress.<br \/>\r\nI am watching the work that was left in January by Merve \u00dcnsal, I am watching my own position, I am watching people coming in an out of Anel Building and especially those that choose to come in to Galeri 5. From Merve\u2019s clues, I am drawn to the concept of \u2018moving bodies\u2019, of those that c
47ome in and out of the gallery space I draw with red marker their traces on the papers I modified as the plan of the gallery.<br \/>\r\n\u00dcmraniye, the location where the corporate building resides was once called Lone Cypress as there was not much but a few cypress trees, graveyards and a few houses in between. I see myself and the people arriving and leaving the gallery as Lone Cypress\u2019. I apply the drawings on white marble used for gravestones and fill the traces of the movements with red yarn. I select four drawings on marble and arrange them together to perform as a vase for the young cypress tree I bring into the gallery space to be further nurtured by the rest of the participants of the exhibition. I rearrange the printed photograph of Clara Rockmore so that she may watch the tree grow.<br \/>\r\nThe word \u00dcmran means prosperity, progress, develop, refined and civilisation. The marble represents the rigid and determined characteristics of the corporate buildings Anel and the others now occupying \u00dcmraniye while contrasting with the organic and soft material of the yarn that represents the bodies and souls that encounter the corporate lifestyle.<br \/>\r\n<br \/>\r\nas part of <i>Devir<\/i>, ANEL building, 2019<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" width=\"670\" height=\"503\" width_o=\"1200\" height_o=\"900\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" data-mid=\"80167903\" border=\"0\" align=\"left\" data-title=\"670 \u2014 1200 \u00d7 900\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dustdust.gif\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3334\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_5000.jpg\" data-mid=\"80167904\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/15_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_5000.jpg\" data-mid=\"80167905\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/19_1340_c.jpg\" \/><br \/>\r\n<iframe src=\"https:\/\/player.vimeo.com\/video\/293095515?title=0&byline=0&portrait=0&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"all seeds \/ b\u00fct\u00fcn tohumlar\"><\/iframe><br \/>\r\n<i>dust is not the homogeneous residue of decay, but an intimate trace, a spatial testimony to the singular journey of each being through time<\/i><br \/>\r\nexcerpt from Dust by Michael Marder<br \/>\r\n<br \/>\r\nUpon invitation to make a site specific work, I combined my ongoing research on time, space, memory, archives, concepts of home and domesticity into the subterranean exhibition space at riverrun. As the work developed through these phenomena, they all inevitably led me to thoughts on dust and cyclical time. As I worked more on time and space, dust began to breed. Not just as an evidence of time itself but also as a holder of space and the very subject of the installation itself. Mundessa (the name of the dust you swept up in Adriatic Italian dialect) features a two channel video where I capture the floating dust in my living\/working space, a frozen bedskirt that traces the edges of a phantom bed, inside a composition of a collection of dust from my home. When the visitors enter the space, they walk through the projected image of The Soul of Man, borrowed from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History. A depiction of a human figure, made up of freckles of dust.<br \/>\r\n<br \/>\r\nInstallation view of Mundessa<br \/>\r\ntwo channel video, lace, elastic band, poliol, household dust, photographic slide<br \/>\r\n<br \/>\r\nExhibited at riverrun as part of the group show Large Meadow August 2 - September 29, 2018<br \/>\r\n<br \/>\r\nSoul of Man image from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History.<br \/>\r\n<br \/>\r\nDocumentation photography by Bar\u0131\u015f G\u00fclt\u00fcrk.<br \/>\r\n<a href=\"https:\/\/www.artforum.com\/events\/lara-ogel-241229\/\" target=\"_blank\">Critic's Picks Istanbul review by Kaya Gen\u00e7 on ARTFORUM<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_670.jpg\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3336\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_5000.jpg\" data-mid=\"80167906\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 447\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/DSD_8932_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_670.JPG\" width=\"670\" height=\"447\" width_o=\"5000\" height_o=\"3337\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_5000.JPG\" data-mid=\"80167910\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 447\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_1340_c.JPG\" \/><br \/>\r\n5cm brass sculpture of a bent baba.<br \/>\r\n<a href=\"https:\/\/www.zilbermangallery.com\/restless-monuments-e228.html\" target=\"_blank\">Exhibition view from group show Restless Monuments, curated by Bettina Klein and Naz Cuguo\u011flu, at Zilberman Gallery, Istanbul. 2018.<\/a><br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_5000.JPG\" data-mid=\"80167921\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7769_1340_c.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_5000.JPG\" data-mid=\"80190362\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7773_1340_c.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_670.jpeg\" width=\"670\" height=\"446\" width_o=\"2953\" height_o=\"1969\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_2953.jpeg\" data-mid=\"80167923\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/dawn-small_1340_c.jpeg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_670.JPG\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_5000.JPG\" data-mid=\"80190361\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7789_1340_c.JPG\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_670.jpg\" width=\"670\" height=\"446\" width_o=\"1500\" height_o=\"1000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_1500.jpg\" data-mid=\"80167922\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_7760sm_1340_c.jpg\" \/><br \/>\r\n4th Floor \/\/\/ Open School Library<br \/>\r\nGalata Greek School<br \/>\r\n<br \/>\r\nGalata Greek School is pleased to present Lara \u00d6gel\u2019s exhibition titled \u2019\u0130mtid\u00e2d \u2018 at Open School Library initiated as a reading room and project space.<br \/>\r\n<br \/>\r\nOh the things that constantly change<br \/>\r\nIn the threshold of time!<br \/>\r\nThis bright game awaits<br \/>\r\nOn the bedside of each dream...<br \/>\r\n<br \/>\r\n-Gradually Illuminated, Ahmet Hamdi Tanp\u0131nar<br \/>\r\n<br \/>\r\nAs we climb the steps to reach to the exhibition space, we witness amongst the old dark walls colourful blocks that carry us through. Slowly announcing themselves, these embedded squares seem to have come home from far away lands. The squares become more frequent, asking the viewer to follow them, leading us to an old classroom. Surrounding the entire room, the squares n
47ow have shapes, letters, texts written on their surface. We are readings bits from Sappho\u2019s fragments; some, similar to the remains of the poetry of Sappho are not read in full, half completed, or in Anne Carson\u2019s words are breathing. The installation titled dawn, composed of colourful book covers, are subtle hints at the previous condition of the school, when the blocks on the walls were full of colors.<br \/>\r\non the stairs of the trees we mount is a sculptural work composed of the old windows from the school and iron construction. Hinting at the characteristics of the school\u2019s staircases, the windows are climbing up a half circular construction. The sculptural work dreams of the students that once filled up the space, looking out towards the unknown, climbing up the reaching steps.<br \/>\r\nDisplayed in the Open School Library are watercolour sketches, drawings and collages by the artist that reveal the process of the exhibition, amongst the abstract watercolour paintings done by the kindergarten students, who are the last students of the Galata Greek School. These abstract paintings are the foundations of the composition and characteristics of the works displayed in the exhibition. The reading sessions that will be held in this space throughout the exhibition display compositions where the abstract watercolour paintings by the students are harmonised with the works on paper taken out of the artist\u2019s sketchbook.<br \/>\r\nLara \u00d6gel invites the viewer to an unusual journey amongst the memory of the Galata Greek School, taking steps with the idea of \u0130mtid\u00e2d, brought into our culture by Yahya Kemal and defined by his pupil Ahmet Hamdi Tanp\u0131nar as \u201cto evolve as you go on and to go on as you evolve\u201d. The school\u2019s evolution throughout the years is highlighted and its spirit reincarnated, blending into today.<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_670.jpg\" width=\"670\" height=\"461\" width_o=\"3000\" height_o=\"2067\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_3000.jpg\" data-mid=\"80190366\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 461\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/1_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_3000.jpg\" data-mid=\"80190368\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/2_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_670.jpeg\" width=\"670\" height=\"446\" width_o=\"1772\" height_o=\"1181\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_1772.jpeg\" data-mid=\"80190369\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/detay-small_1340_c.jpeg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_3000.jpg\" data-mid=\"80190370\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_3815_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_3000.jpg\" data-mid=\"80190372\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5366_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_670.jpg\" width=\"670\" height=\"446\" width_o=\"3000\" height_o=\"2000\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_3000.jpg\" data-mid=\"80190373\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_5379_1340_c.jpg\" \/><br \/>\r\n<br \/>\r\nhouses were rooms, I had forgotten, site-specific installation with ceramics, soil, grass, crystals, seeds, closet doors and woo
47d, 2017<br \/>\r\nproduced and exhibited on the occasion of the exhibition <a href=\"https:\/\/www.fondazioneprada.org\/project\/driftwood-or-how-we-surfaced-through-currents\/?lang=en\">DRIFTWOOD, OR HOW WE SURFACED THROUGH CURRENTS<\/a> Athens, Greece. <br \/>\r\n<br \/>\r\nIn an old Athenian mini market, Lara \u00d6gel draws on notions of the home, familiarity and constructing a safe haven in turbulent times. Such as is often the case in \u00d6gel\u2019s site-specific approach, her installation originates from physical elements found in her surroundings, bearing memories of an environment once inhabited. In this case a set of closet doors generously decorated with Italian Baroque motives, as well as the feet of tables and cabinets, hint at her upbringings in Izmir with her grandparents. The journey of the doors accompanying the artist subsequently to Istanbul and now to Athens evokes thoughts on the construction of a home, both physical and imagined. To what extent can migrating bodies - taking into account both forced diaspora\u2019s and nomadic lifestyles - sustain their idea of a home and their sense of belonging in foreign contexts? In what way can we rely on our memories when trying to convey a life once lived elsewhere?<br \/>\r\n<br \/>\r\nFollowing the fragments of her childhood, the artist embeds these questions in a site of healing and comfort by drawing further on the physical residues such as the closet doors and found pictures, collected from home.<br \/>\r\nPatches of grass and organic matter dispersed throughout the space form a common ground for diverse elements to coexist. Ceramic paws move in pairs along this excavation site where personal and collective remembrances, and memories yet to be made intertwine. The fact that they stand as disconnected body parts expresses a certain sense of disruption, hinting at the challenges that migration bring about. Challenges regarding the balance between processes of integration and assimilation, while ceasing to forget one\u2019s origins. houses were rooms, i had forgotten (variation II) is therefore also inhabited by gemstones and archetypal furniture remnants, suggesting recognition and rootedness.<br \/>\r\n<br \/>\r\nText by Evelyn Simons, available at the catalogue produced on the occasion of the exhibition <a href=\"https:\/\/www.fondazioneprada.org\/project\/driftwood-or-how-we-surfaced-through-currents\/?lang=en\" target=\"_blank\">Driftwood, or how we surfaced through currents<\/a><br \/>\r\nDocumentation photographs by Paris Tavitian.<br \/>\r\n<br \/>\r\n<br \/>\r\n<img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_5000.jpg\" data-mid=\"80208560\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9519_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_5000.jpg\" data-mid=\"80208561\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9582_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_5000.jpg\" data-mid=\"80208562\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9629_1340_c.jpg\" \/><img src=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_670.jpg\" width=\"670\" height=\"446\" width_o=\"5000\" height_o=\"3333\" src_o=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_5000.jpg\" data-mid=\"80208563\" border=\"0\" align=\"left\" data-title=\"670 \u2014 670 \u00d7 446\"data-hi-res=\"https:\/\/payload.cargocollective.com\/1\/9\/292331\/14582159\/IMG_9595_1340_c.jpg\" \/><br \/>\r\n<a href=\"https:\/\/www.protocinema.org\/exhibitions\/lara-%C3%B6gel\" target=\"_blank\">Come Back! All is Forgiven, Protocinema, Paris, 2016<\/a><br \/>\r\n","date":false,"bgcolor":"","comment_count":0,"thumb_url":"\/_gfx\/thumb_default.gif","thumb_url_2x":"https:\/\/www.laraogel.com\/_gfx\/thumb_default_2x.gif","thumb_url_4x":null,"thumb_width":200,"thumb_height":134,"default_thumb_url":"\/_gfx\/thumb_default.gif","default_thumb_url_2x":"https:\/\/www.laraogel.com\/_gfx\/thumb_default_2x.gif","default_thumb_url_4x":null,"default_thumb_width":200,"default_thumb_height":134,"custom_thumb_url":"\/_gfx\/thumb_
47custom.gif","custom_thumb_url_2x":null,"custom_thumb_url_4x":null,"custom_thumb_width":200,"custom_thumb_height":134,"sort":4,"set_id":0,"set_name":null,"set_key":null,"set_url":null,"set_count":null,"is_set":false,"views":"1,789"}</script>
vendor: 1 bytes, line 47
47
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123						<projectcontent><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1603_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1603_low_3750.jpg" data-mid="80619509" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1603_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1605_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1605_low_3750.jpg" data-mid="80619510" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1605_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1632_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1632_low_3750.jpg" data-mid="80619511" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1632_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1646_low_670.jpg" width="670" height="446" width_o="3751" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1646_low_3751.jpg" data-mid="80619512" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1646_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1726_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1726_low_3750.jpg" data-mid="80619513" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1726_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1750_revize_1_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1750_revize_1_low_3750.jpg" data-mid="80619514" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1750_revize_1_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1777_revize_low_670.jpg" width="670" height="446" width_o="3751" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1777_revize_low_3751.jpg" data-mid="80619515" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1777_revize_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1832_1_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1832_1_low_3750.jpg" data-mid="80619516" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1832_1_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1948-3_revize_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1948-3_revize_low_3750.jpg" data-mid="80619517" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1948-3_revize_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1976_low_670.jpg" width="670" height="446" width_o="3750" height_o="2500" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1976_low_3750.jpg" data-mid="80619518" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1976_low_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1979-HDRd__low_670.jpg" width="670" height="1005" width_o="2500" height_o="3750" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1979-HDRd__low_2500.jpg" data-mid="80619519" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1979-HDRd__low_1340_c.jpg" /><br />
124<a href="https://www.galerist.com.tr/exhibitions/160-locus-affectus-lara-ogel/" target="_blank">LOCUS AFFECTUS, solo exhibition at Galerist, 2026 </a><br />
125installation photographs by Zeynep Fırat<br />
126<br />
127<img src="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6953_670.jpg" width="670" height="502" width_o="3150" height_o="2362" src_o="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6953_3150.jpg" data-mid="80619483" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6953_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6962_670.jpg" width="670" height="893" width_o="2362" height_o="3150" src_o="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6962_2362.jpg" data-mid="80619484" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6962_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6971_670.jpg" width="670" height="893" width_o="2362" height_o="3150" src_o="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6971_2362.jpg" data-mid="80619485" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6971_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6977_670.jpg" width="670" height="770" width_o="2055" height_o="2362" src_o="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6977_2055.jpg" data-mid="80619486" border="0" align="left" data-title="670 — 670 × 770"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/SM_DSF6977_1340_c.jpg" /><br />
128untitled, glazed stoneware, rust, iron, veil, ox horn, 2026<br />
129photography by Kayhan Kaygusuz<br />
130<br />
131<img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_6139_670.jpg" width="670" height="502" width_o="4032" height_o="3024" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_6139_4032.jpg" data-mid="80619490" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_6139_1340_c.jpg" /><br />
132untitled, plaster mould, 2026<br />
133<br />
134<img src="https://payload.cargocollective.com/1/9/292331/14582159/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_670.jpg" width="670" height="670" width_o="2000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_2000.jpg" data-mid="80208567" border="0" align="left" data-title="670 — 670 × 670"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/In-the-Arms-of-the-Abyss_2025_Glazed-stoneware_98-x-98-cmcm_1340_c.jpg" /><br />
135In The Arms of the Abyss, glazed stoneware, 98 x 98 cm, 2025<br />
136<img src="https://payload.cargocollective.com/1/9/292331/14582159/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_670.jpg" width="670" height="446" width_o="5000" height_o="3332" src_o="https://payload.cargocollective.com/1/9/292331/14582159/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_5000.jpg" data-mid="80208566" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/The-Molten-Word_2025_Gold-gilded-press-on-linen--brass_43-x-50-cm_1340_c.jpg" /><br />
137The Molten Word, gold gilded press on linen, brass, 43 x 50 cm, 2025<br />
138<a href="https://www.galerist.com.tr/exhibitions/154-the-volcano-lover/" target="_blank">The Volcano Lover, Galerist, 2025</a><br />
139<br />
140<img src="https://payload.cargocollective.com/1/9/292331/14582159/7766_670.jpg" width="670" height="893" width_o="5000" height_o="6666" src_o="https://payload.cargocollective.com/1/9/292331/14582159/7766_5000.jpg" data-mid="80167728" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/7766_1340_c.jpg" /><i>flame of a candle</i>, 2024, 25 x 7 x 2 cm, Brass/Pirinç, Variation of 27 + 3 AP , 3 PP<br />
141<br />
142<br />
143In a cemetery in Paris, I was struck by a candle left on a grave—its melted remains stretched out like clouds, capturing the presence of someone’s brief visitation. This encounter inspired a ritual, every day I watched candles burn, each leaving unique traces, like personal stories shaped by flame and time. Now, I’m casting them into offerings in brass through sand casting.<br />
144<br />
145Where a candle once reigned, now reigns memory.*<br />
146<br />
147*adapted from the preface of Gaston Bachelard's Flame of A Candle<br />
148<img src="https://payload.cargocollective.com/1/9/292331/14582159/7679_670.jpg" width="670" height="502" width_o="5000" height_o="3750" src_o="https://payload.cargocollective.com/1/9/292331/14582159/7679_5000.jpg" data-mid="80167729" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/7679_1340_c.jpg" /><br />
149<a href="https://www.border-l-e-s-s.com/editions" target="_blank">installation views of flame of a candle for border_less editions, Galerist, 2024</a><br />
150<br />
151All photography by Barış Özçetin<br />
152<br />
153<img src="https://payload.cargocollective.com/1/9/292331/14582159/PA094140--sml_670.jpg" width="670" height="893" width_o="1500" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/PA094140--sml_1500.jpg" data-mid="80167730" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/PA094140--sml_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/PA094156--sml_670.jpg" width="670" height="893" width_o="1500" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/PA094156--sml_1500.jpg" data-mid="80167731" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/PA094156--sml_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/PA094158--sml_670.jpg" width="670" height="893" width_o="1500" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/PA094158--sml_1500.jpg" data-mid="80167732" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/PA094158--sml_1340_c.jpg" /><i>Asaroton</i>, 2022-2023<br />
154Installation with brass, bronze and basalt stones<br />
155Dimensions variable <img src="https://payload.cargocollective.com/1/9/292331/14582159/_8287_670.jpeg" width="670" height="893" width_o="2044" height_o="2725" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_8287_2044.jpeg" data-mid="80167733" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_8287_1340_c.jpeg" /><i>Threshold,</i> 2023<br />
156Digital UV print on plexiglass, aluminium<br />
15780 x 70 cm<br />
158<br />
159<i>Starry Earth (Two Fold) II,</i> 2023<br />
160Glazed ceramic<br />
16117 x 31,7 x 12,5 cm<br />
162<br />
163<a href="https://zeyrekcinilihamam.com/en/healing-ruins" target="_blank">HEALING RUINS curated by Anlam De Coster at Çinili Hamam, Istanbul, 202</a>3<br />
164<br />
165<img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7601sm_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7601sm_5000.jpg" data-mid="80167734" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7601sm_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7511smsmlr_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7511smsmlr_3000.jpg" data-mid="80190339" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7511smsmlr_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7554smsmlr_6
16570.jpg" width="670" height="446" width_o="2000" height_o="1333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7554smsmlr_2000.jpg" data-mid="80190341" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7554smsmlr_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_670.jpg" width="670" height="900" width_o="3380" height_o="4543" src_o="https://payload.cargocollective.com/1/9/292331/14582159/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_3380.jpg" data-mid="80190350" border="0" align="left" data-title="670 — 670 × 900"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/BooksofSilveryWater_Threshold_2023_Goldgildedpressonlinenbookclothandbirchframe_47x65x6cm_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7608sm_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7608sm_3000.jpg" data-mid="80190342" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7608sm_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7646smlr_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7646smlr_3000.jpg" data-mid="80190343" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7646smlr_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7670-copysmsmlr_670.jpg" width="670" height="446" width_o="2000" height_o="1333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7670-copysmsmlr_2000.jpg" data-mid="80190344" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC7670-copysmsmlr_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/DSC_9960_small_670.jpg" width="670" height="1003" width_o="1500" height_o="2247" src_o="https://payload.cargocollective.com/1/9/292331/14582159/DSC_9960_small_1500.jpg" data-mid="80190348" border="0" align="left" data-title="670 — 670 × 1003"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/DSC_9960_small_1340_c.jpg" /><br />
166<a href="https://www.galerist.com.tr/exhibitions/10-starry-heavens-above-me-and-within-me-lara-ogel/" target="_blank">Starry Heavens Above Me and Within Me, solo exhibition at Galerist, 2023</a><br />
167<br />
168<img src="https://payload.cargocollective.com/1/9/292331/14582159/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_670.jpg" width="670" height="446" width_o="2000" height_o="1334" src_o="https://payload.cargocollective.com/1/9/292331/14582159/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_2000.jpg" data-mid="80167925" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/9-Arter_Koyun-Koyuna_Rounded-by-Sleep_SNT_DSC08668sm_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/DSC08671_editsm_670.jpg" width="670" height="446" width_o="2000" height_o="1333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/DSC08671_editsm_2000.jpg" data-mid="80167926" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/DSC08671_editsm_1340_c.jpg" /><br />
169<i>houses were rooms, I had forgotten</i> <a href="https://www.arter.org.tr/EN/exhibitions/koyun-koyuna/362" target="_blank">as part of Rounded by Sleep, curated by Eda Berkmen, Arter, 2022</a><br />
170<br />
171“Keeping and preserving are often connected with the past. The closet of unsettling dimensions which Lara Ögel installed within the exhibition space delivers a multi-layered interpretation of the distinction between interior and exterior, and individual and collective memory. In her work titled Houses Were Rooms, I Had Forgotten, oblivion and remembrance, matter, frontiers, smells and connotations follow and/or substitute one another. Realised in the form of a closet, the installation both preserves the closet doors that Ögel inherited from her grandmother and allows one to cast a look at a different space which extends perpetually into the past.”<br />
172- Eda Berkmen, the curator of ‘ROUNDED BY SLEEP’<br />
173<br />
174<img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1418_670.jpg" width="670" height="502" width_o="4032" height_o="3024" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1418_4032.jpg" data-mid="80167741" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1418_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1442_670.jpg" width="670" height="502" width_o="4032" height_o="3024" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1442_4032.jpg" data-mid="80167742" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1442_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1441_670.jpg" width="670" height="893" width_o="3024" height_o="4032" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1441_3024.jpg" data-mid="80167743" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1441_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1443_670.jpg" width="670" height="893" width_o="3024" height_o="4032" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1443_3024.jpg" data-mid="80167744" border="0" align="left" data-title="670 — 670 × 893"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_1443_1340_c.jpg" /><br />
175In the Hour of Terra, 2022. Installation with bronze, clay, gold lustre and dirt, variable dimensions.<br />
176<br />
177The installation titled In the Hour of Terra is composed of clay tablets that safekeep dreams of the earth. Each piece contains 
177natural symbols of transformation found in various cosmologies. Half-buried in dust lie glittering pieces of bronze imitating classical asaroton (Greek for unswept floor) mosaics depicting traces of banquets, conceived with the intention of rekindling the plenitude of the hearth. Bronze, clay and gold are all elements borrowed from alchemy, a science that aims to transform matter into gold. In a manner similar to the Swiss psychoanalyst, Carl Jung’s readings of alchemy where gold metaphorises psychological maturity/purity, Ögel’s asaroton pieces become tokens of the subconscious offered to the great alchemical hearth — the earth — to be cooked anew. This is the kind of semiotic kitchen the installation dwells in.<br />
178<br />
179<br />
180The work’s turn to mythology derives from the current state of the unknown and a perceived urgency to ‘reopen our imaginations,’ to borrow words from the ecofeminist, Anna Tsing. Put otherwise, the belly of the whale signifies to the artist, a space for semiotic cultural reinterpretation. Through the act of witnessing, acknowledging and internalising such images of metamorphosis, the work invites meditations on creative death, where an end of something could bring forth another. The ceremonial return of the pieces fired from the earth marks the paving of the ground for more imaginative symbols to come.<br />
181<br />
182Text by Adwait Singh<br />
183<a href="https://en.mardinbienali.org/arsivdetay.aspx" target="_blank">Commisioned and Exhibited at the 5th Mardin Biennial The Promise of Grass curator Adwait Singh. May 2022, Mardin, Turkey.</a><br />
184<br />
185<img src="https://payload.cargocollective.com/1/9/292331/14582159/S-I_670.jpg" width="670" height="963" width_o="2654" height_o="3816" src_o="https://payload.cargocollective.com/1/9/292331/14582159/S-I_2654.jpg" data-mid="80190356" border="0" align="left" data-title="670 — 670 × 963"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/S-I_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/S-II_670.jpg" width="670" height="954" width_o="2655" height_o="3781" src_o="https://payload.cargocollective.com/1/9/292331/14582159/S-II_2655.jpg" data-mid="80190357" border="0" align="left" data-title="670 — 670 × 954"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/S-II_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/S-III_670.jpg" width="670" height="948" width_o="2712" height_o="3839" src_o="https://payload.cargocollective.com/1/9/292331/14582159/S-III_2712.jpg" data-mid="80190358" border="0" align="left" data-title="670 — 670 × 948"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/S-III_1340_c.jpg" /><br />
186LIBER I, gold gilded press on linen, birch frame, 2021<br />
187exhibited at <a href="https://art.ykykultur.com.tr/exhibitions/this-place" target="_blank">BURASI, Yapı Kredi, Istanbul</a><br />
188<br />
189<img src="https://payload.cargocollective.com/1/9/292331/14582159/DSC09091_670.jpeg" width="670" height="446" width_o="5000" height_o="3335" src_o="https://payload.cargocollective.com/1/9/292331/14582159/DSC09091_5000.jpeg" data-mid="80167885" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/DSC09091_1340_c.jpeg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/DSC09051_670.JPG" width="670" height="446" width_o="5000" height_o="3335" src_o="https://payload.cargocollective.com/1/9/292331/14582159/DSC09051_5000.JPG" data-mid="80167886" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/DSC09051_1340_c.JPG" /><br />
190<i>the pea</i>, site-specific installation, 2021<br />
191<br />
192the pea is a site-specific installation inspired by Hans Christian Andersen’s fairy tale The Princess and The Pea. Whereas most of the guest rooms look towards the Bosphorus, the garden etc. the atrium room used in the installation has windows facing the interior of the hotel. The act of looking within recalls the gaze onto the sources and causes of behaviors and attitudes that have surfaced on the facade of a culture. As the fairy tales travel through oral tradition similar to the ways cultural codes are carried on, the pea aims to open new interpretations to both the fairy tale and the theme of the exhibition.<br />
193<br />
194The Princess and The Pea is a tale of a young woman who takes shelter in a palace on a rainy night. In the palace lives a king, a queen and a young prince who has reached the marrying age. The queen, who questions the young girl’s royalty as she claims to be a princess and puts her to a test. The queen makes a bed consisting of ten layers and places underneath a pea. As the young girl awakes with pain in the morning, she has proven with her very sensitive body that she is 
194indeed royalty. At the end of the tale, the young girl marries the prince.<br />
195<br />
196The installation approaches ideas on the delicacy of the women’s body alongside the rich visual world of the tale. For Andersen, the sensitivity of the girl comes from her compassion and susceptibility towards life, that is beyond her royalty. The young girl is not trying to convince or trick those that question her identity. As she sleeps in discomfort , she feels, responds to something that is buried way underneath. Anderson puts himself in place of the young girl, and carries into the aristocracy the sensitivity and susceptibility he nurtures within. As Anderson has observed the problematic of the aristocratic ethics, he criticises through his tale, a feudal cast system imposed onto the young girl’s body.<br />
197<br />
198I liken the pea hidden underneath the bed to a wound. A wound not covered or healed completely but one that emits light… The pea hidden under the beds is exchanged with light, and the test imposed on the young girl is equated to a social wound. The beds are stacked up like a monument, one that hides our wound, a monument that represents accumulations, those that we borrowed and perhaps that do not even belong to us. Despite our efforts shines a light underneath, a guide that will bring us hope. And perhaps a little perspective.<br />
199<br />
200as part of <i>Intervention</i> at the Artisan Istanbul Hotel, 2021<br />
201<br />
202<img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1968LR_670.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1968LR_1200.jpg" data-mid="80167888" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1968LR_1000.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1974LR_670.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1974LR_1200.jpg" data-mid="80167889" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC1974LR_1000.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC2001LR_670.jpg" width="670" height="1005" width_o="800" height_o="1200" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC2001LR_800.jpg" data-mid="80167890" border="0" align="left" data-title="670 — 670 × 1005"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC2001LR_800.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/_DSC2029LR_670.jpg" width="670" height="446" width_o="1200" height_o="800" src_o="https://payload.cargocollective.com/1/9/292331/14582159/_DSC2029LR_1200.jpg" data-mid="80167891" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/_DSC2029LR_1000.jpg" /><br />
203<i>houses were rooms, I had forgotten (variation III)</i>, ceramics, soil, grass, wood, seeds, single channel video of digitised 8mm footage 4:3, 2019<br />
204<br />
205Ballon Rouge Collective at Hannah Barry Gallery, London<br />
206<br />
207I remember;<br />
208<br />
209with merve Işeri, Jean Feline, & Lara Ögel<br />
210<br />
211September 25 - November 2, 2019<br />
212Opening September 25, 6:30-9:00pm<br />
2134 Holly Grove, Peckham<br />
214London SE15 4DF, UK<br />
215<br />
216“the places in which we have experienced day-dreaming reconstitute themselves in a new day-dream, and it is because our memories of former dwelling-places are re-lived as day-dreams these dwelling-places of the past remain in us for all time.”<br />
217- Gaston Bachelard, The Poetics of Space<br />
218<br />
219I remember; is an exhibition about the day-dream of a place once lived in or imagined. It is about the body in those spaces both actual and imaginary, and it is nostalgic and nihilist about its own nostalgia.<br />
220<br />
221Merve Işeri’s works on canvas are day-dreams encapsulated, representations of half-remembered, embodied and outer body experiences. The sometimes soft outlines are mi
221xed with frames, hard and assured lines. Sometimes there is simply space and there appears to be forms human or otherwise. These forms hover in the ground of the canvas, a ground that may be common to both but in constant movement; the relationship between them, like the daydream itself, is fragile but pulsing with energy.<br />
222<br />
223Jean Feline’s works vary in media from drawing to sculpture and installation. Each work, whether through scale or functionality of the thing represented and re-formed, plays with the idea of personal, cultural and historical memory; and too, plays with ideas surrounding how we live with objects and inhabit spaces and how objects themselves have a memory. A perfect example of the way an object, like a person, can have a day-dream-like memory is the Tam Tam stool designed by Henry Massonnet in 1968 - a chair which features prominently in the body of works Jean presents here.<br />
224<br />
225Lara Ögel’s installation, video, sound, and works on paper also speak to the memory of and in objects as well as the lives lived and living that relate to them. In an installation of a time-worn bedroom, with earth overtaking and grass growing, Lara’s suggestion of a bed is noted only with ceramic paw foundations and wooden bars. Each made by hand and from memory the paws reference both her personal memory of a home once lived-in but also the muscle memory of and in making and remembering itself. The reliance on a day-dream state that takes you to a final form and feels like a memory brought to life.<br />
226<br />
227<img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5387_-Converted.00_02_25_11.Still003_670.jpg" width="670" height="376" width_o="1920" height_o="1080" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5387_-Converted.00_02_25_11.Still003_1920.jpg" data-mid="80167894" border="0" align="left" data-title="670 — 670 × 376"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5387_-Converted.00_02_25_11.Still003_1340_c.jpg" /><br />
228A young woman walks into a labyrinth in a park in the middle of the city of Istanbul. During the journey she encounters a variety of sensory environments where she watches, interacts with and reflects upon. As she spirals towards the center of the labyrinth in a dream state of wandering, the echos of her encounters take her on a journey into her memory.<br />
229<br />
230<i>dream lives of debris (and what has location may be approached),</i> video and sound, 10', 2019<br />
231<br />
232Screenings and exhibitions:<br />
233Sanctuary, fused space, San Francisco, 2019<br />
234Public Intimacy, açıkekran, Istanbul, 2019<br />
235<br />
236Screenings at Protocinema Screening Tour 2019<br />
237Kundura Sinema (Beykoz, Istanbul)<br />
238Rampa (Porto Portugal)<br />
239Sculpture Center (New York, USA)<br />
240sub (Çanakkale, Turkey)<br />
241Teatro Union (Honda, Colombia)<br />
242Cinémathèque de Tangier (Tangier, Morocco)<br />
243Lumbardhi (Prizen, Kosovo)<br />
244Onde – Artrum, of 37th Torino Film Festival (Torino, Italy)<br />
245<br />
246<img src="https://payload.cargocollective.com/1/9/292331/14582159/2_670.JPG" width="670" height="501" width_o="1080" height_o="809" src_o="https://payload.cargocollective.com/1/9/292331/14582159/2_1080.JPG" data-mid="80167898" border="0" align="left" data-title="670 — 670 × 501"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/2_1000.JPG" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/5_670.JPG" width="670" height="501" width_o="1080" height_o="809" src_o="https://payload.cargocollective.com/1/9/292331/14582159/5_1080.JPG" data-mid="80167899" border="0" align="left" data-title="670 — 670 × 501"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/5_1000.JPG" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/yalnz-selviler--5_670.jpeg" width="670" height="874" width_o="1774" height_o="2315" src_o="https://payload.cargocollective.com/1/9/292331/14582159/yalnz-selviler--5_1774.jpeg" data-mid="80167900" border="0" align="left" data-title="670 — 670 × 874"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/yalnz-selviler--5_1340_c.jpeg" /><br />
247As I leave my cycle at the Anel Building at Galeri 5, I am leaving my collaborator Sena Başöz the piece titled Lone Cypress.<br />
248I am watching the work that was left in January by Merve Ünsal, I am watching my own position, I am watching people coming in an out of Anel Building and especially those that choose to come in to Galeri 5. From Merve’s clues, I am drawn to the concept of ‘moving bodies’, of those that c
248ome in and out of the gallery space I draw with red marker their traces on the papers I modified as the plan of the gallery.<br />
249Ümraniye, the location where the corporate building resides was once called Lone Cypress as there was not much but a few cypress trees, graveyards and a few houses in between. I see myself and the people arriving and leaving the gallery as Lone Cypress’. I apply the drawings on white marble used for gravestones and fill the traces of the movements with red yarn. I select four drawings on marble and arrange them together to perform as a vase for the young cypress tree I bring into the gallery space to be further nurtured by the rest of the participants of the exhibition. I rearrange the printed photograph of Clara Rockmore so that she may watch the tree grow.<br />
250The word Ümran means prosperity, progress, develop, refined and civilisation. The marble represents the rigid and determined characteristics of the corporate buildings Anel and the others now occupying Ümraniye while contrasting with the organic and soft material of the yarn that represents the bodies and souls that encounter the corporate lifestyle.<br />
251<br />
252as part of <i>Devir</i>, ANEL building, 2019<br />
253<br />
254<img src="https://payload.cargocollective.com/1/9/292331/14582159/dustdust.gif" width="670" height="503" width_o="1200" height_o="900" src_o="https://payload.cargocollective.com/1/9/292331/14582159/dustdust.gif" data-mid="80167903" border="0" align="left" data-title="670 — 1200 × 900"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/dustdust.gif" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/15_670.jpg" width="670" height="446" width_o="5000" height_o="3334" src_o="https://payload.cargocollective.com/1/9/292331/14582159/15_5000.jpg" data-mid="80167904" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/15_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/19_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/19_5000.jpg" data-mid="80167905" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/19_1340_c.jpg" /><br />
255<div style="padding:62.32% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/293095515?title=0&byline=0&portrait=0&badge=0&autopause=0&player_id=0&app_id=58479" frameborder="0" allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="all seeds / bütün tohumlar"></iframe></div>
255<script src="https://player.vimeo.com/api/player.js"></script>
255<br />
256<i>dust is not the homogeneous residue of decay, but an intimate trace, a spatial testimony to the singular journey of each being through time</i><br />
257excerpt from Dust by Michael Marder<br />
258<br />
259Upon invitation to make a site specific work, I combined my ongoing research on time, space, memory, archives, concepts of home and domesticity into the subterranean exhibition space at riverrun. As the work developed through these phenomena, they all inevitably led me to thoughts on dust and cyclical time. As I worked more on time and space, dust began to breed. Not just as an evidence of time itself but also as a holder of space and the very subject of the installation itself. Mundessa (the name of the dust you swept up in Adriatic Italian dialect) features a two channel video where I capture the floating dust in my living/working space, a frozen bedskirt that traces the edges of a phantom bed, inside a composition of a collection of dust from my home. When the visitors enter the space, they walk through the projected image of The Soul of Man, borrowed from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History. A depiction of a human figure, made up of freckles of dust.<br />
260<br />
261Installation view of Mundessa<br />
262two channel video, lace, elastic band, poliol, household dust, photographic slide<br />
263<br />
264Exhibited at riverrun as part of the group show Large Meadow August 2 - September 29, 2018<br />
265<br />
266Soul of Man image from Guttorm Guttormsgaard archive Orbis Sensualium Pictus book, accessed through a residency at PRAKSIS The Collective Subject of History.<br />
267<br />
268Documentation photography by Barış Gültürk.<br />
269<a href="https://www.artforum.com/events/lara-ogel-241229/" target="_blank">Critic's Picks Istanbul review by Kaya Genç on ARTFORUM</a><br />
270<br />
271<img src="https://payload.cargocollective.com/1/9/292331/14582159/DSD_8932_670.jpg" width="670" height="447" width_o="5000" height_o="3336" src_o="https://payload.cargocollective.com/1/9/292331/14582159/DSD_8932_5000.jpg" data-mid="80167906" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/DSD_8932_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_670.JPG" width="670" height="447" width_o="5000" height_o="3337" src_o="https://payload.cargocollective.com/1/9/292331/14582159/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_5000.JPG" data-mid="80167910" border="0" align="left" data-title="670 — 670 × 447"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/NIKON-CORPORATION_NIKON-D800_47524864-475463643311_1340_c.JPG" /><br />
2725cm brass sculpture of a bent baba.<br />
273<a href="https://www.zilbermangallery.com/restless-monuments-e228.html" target="_blank">Exhibition view from group show Restless Monuments, curated by Bettina Klein and Naz Cuguoğlu, at Zilberman Gallery, Istanbul. 2018.</a><br />
274<br />
275<img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7769_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7769_5000.JPG" data-mid="80167921" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7769_1340_c.JPG" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7773_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7773_5000.JPG" data-mid="80190362" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7773_1340_c.JPG" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/dawn-small_670.jpeg" width="670" height="446" width_o="2953" height_o="1969" src_o="https://payload.cargocollective.com/1/9/292331/14582159/dawn-small_2953.jpeg" data-mid="80167923" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/dawn-small_1340_c.jpeg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7789_670.JPG" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7789_5000.JPG" data-mid="80190361" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7789_1340_c.JPG" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7760sm_670.jpg" width="670" height="446" width_o="1500" height_o="1000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7760sm_1500.jpg" data-mid="80167922" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_7760sm_1340_c.jpg" /><br />
2764th Floor /// Open School Library<br />
277Galata Greek School<br />
278<br />
279Galata Greek School is pleased to present Lara Ögel’s exhibition titled ’İmtidâd ‘ at Open School Library initiated as a reading room and project space.<br />
280<br />
281Oh the things that constantly change<br />
282In the threshold of time!<br />
283This bright game awaits<br />
284On the bedside of each dream...<br />
285<br />
286-Gradually Illuminated, Ahmet Hamdi Tanpınar<br />
287<br />
288As we climb the steps to reach to the exhibition space, we witness amongst the old dark walls colourful blocks that carry us through. Slowly announcing themselves, these embedded squares seem to have come home from far away lands. The squares become more frequent, asking the viewer to follow them, leading us to an old classroom. Surrounding the entire room, the squares n
288ow have shapes, letters, texts written on their surface. We are readings bits from Sappho’s fragments; some, similar to the remains of the poetry of Sappho are not read in full, half completed, or in Anne Carson’s words are breathing. The installation titled dawn, composed of colourful book covers, are subtle hints at the previous condition of the school, when the blocks on the walls were full of colors.<br />
289on the stairs of the trees we mount is a sculptural work composed of the old windows from the school and iron construction. Hinting at the characteristics of the school’s staircases, the windows are climbing up a half circular construction. The sculptural work dreams of the students that once filled up the space, looking out towards the unknown, climbing up the reaching steps.<br />
290Displayed in the Open School Library are watercolour sketches, drawings and collages by the artist that reveal the process of the exhibition, amongst the abstract watercolour paintings done by the kindergarten students, who are the last students of the Galata Greek School. These abstract paintings are the foundations of the composition and characteristics of the works displayed in the exhibition. The reading sessions that will be held in this space throughout the exhibition display compositions where the abstract watercolour paintings by the students are harmonised with the works on paper taken out of the artist’s sketchbook.<br />
291Lara Ögel invites the viewer to an unusual journey amongst the memory of the Galata Greek School, taking steps with the idea of İmtidâd, brought into our culture by Yahya Kemal and defined by his pupil Ahmet Hamdi Tanpınar as “to evolve as you go on and to go on as you evolve”. The school’s evolution throughout the years is highlighted and its spirit reincarnated, blending into today.<br />
292<br />
293<img src="https://payload.cargocollective.com/1/9/292331/14582159/1_670.jpg" width="670" height="461" width_o="3000" height_o="2067" src_o="https://payload.cargocollective.com/1/9/292331/14582159/1_3000.jpg" data-mid="80190366" border="0" align="left" data-title="670 — 670 × 461"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/1_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/2_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/2_3000.jpg" data-mid="80190368" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/2_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/detay-small_670.jpeg" width="670" height="446" width_o="1772" height_o="1181" src_o="https://payload.cargocollective.com/1/9/292331/14582159/detay-small_1772.jpeg" data-mid="80190369" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/detay-small_1340_c.jpeg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_3815_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_3815_3000.jpg" data-mid="80190370" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_3815_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5366_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5366_3000.jpg" data-mid="80190372" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5366_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5379_670.jpg" width="670" height="446" width_o="3000" height_o="2000" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5379_3000.jpg" data-mid="80190373" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_5379_1340_c.jpg" /><br />
294<br />
295houses were rooms, I had forgotten, site-specific installation with ceramics, soil, grass, crystals, seeds, closet doors and woo
295d, 2017<br />
296produced and exhibited on the occasion of the exhibition <a href="https://www.fondazioneprada.org/project/driftwood-or-how-we-surfaced-through-currents/?lang=en">DRIFTWOOD, OR HOW WE SURFACED THROUGH CURRENTS</a> Athens, Greece. <br />
297<br />
298In an old Athenian mini market, Lara Ögel draws on notions of the home, familiarity and constructing a safe haven in turbulent times. Such as is often the case in Ögel’s site-specific approach, her installation originates from physical elements found in her surroundings, bearing memories of an environment once inhabited. In this case a set of closet doors generously decorated with Italian Baroque motives, as well as the feet of tables and cabinets, hint at her upbringings in Izmir with her grandparents. The journey of the doors accompanying the artist subsequently to Istanbul and now to Athens evokes thoughts on the construction of a home, both physical and imagined. To what extent can migrating bodies - taking into account both forced diaspora’s and nomadic lifestyles - sustain their idea of a home and their sense of belonging in foreign contexts? In what way can we rely on our memories when trying to convey a life once lived elsewhere?<br />
299<br />
300Following the fragments of her childhood, the artist embeds these questions in a site of healing and comfort by drawing further on the physical residues such as the closet doors and found pictures, collected from home.<br />
301Patches of grass and organic matter dispersed throughout the space form a common ground for diverse elements to coexist. Ceramic paws move in pairs along this excavation site where personal and collective remembrances, and memories yet to be made intertwine. The fact that they stand as disconnected body parts expresses a certain sense of disruption, hinting at the challenges that migration bring about. Challenges regarding the balance between processes of integration and assimilation, while ceasing to forget one’s origins. houses were rooms, i had forgotten (variation II) is therefore also inhabited by gemstones and archetypal furniture remnants, suggesting recognition and rootedness.<br />
302<br />
303Text by Evelyn Simons, available at the catalogue produced on the occasion of the exhibition <a href="https://www.fondazioneprada.org/project/driftwood-or-how-we-surfaced-through-currents/?lang=en" target="_blank">Driftwood, or how we surfaced through currents</a><br />
304Documentation photographs by Paris Tavitian.<br />
305<br />
306<br />
307<img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9519_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9519_5000.jpg" data-mid="80208560" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9519_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9582_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9582_5000.jpg" data-mid="80208561" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9582_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9629_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9629_5000.jpg" data-mid="80208562" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9629_1340_c.jpg" /><img src="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9595_670.jpg" width="670" height="446" width_o="5000" height_o="3333" src_o="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9595_5000.jpg" data-mid="80208563" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="https://payload.cargocollective.com/1/9/292331/14582159/IMG_9595_1340_c.jpg" /><br />
308<a href="https://www.protocinema.org/exhibitions/lara-%C3%B6gel" target="_blank">Come Back! All is Forgiven, Protocinema, Paris, 2016</a><br />
309</projectcontent>
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335							
336			<div id="autopaginate_loader" class="moreload" data-view="Autopaginate" data-preload_distance="500">
337				<div class="retinaSpinner loading"><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(0deg) translate(6px, 0px); transform: rotate(0deg) translate(6px, 0px);" class="spinner_circle part1"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(45deg) translate(6px, 0px); transform: rotate(45deg) translate(6px, 0px);" class="spinner_circle part2"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(90deg) translate(6px, 0px); transform: rotate(90deg) translate(6px, 0px);" class="spinner_circle part3"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(135deg) translate(6px, 0px); transform: rotate(135deg) translate(6px, 0px);" class="spinner_circle part4"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(180deg) translate(6px, 0px); transform: rotate(180deg) translate(6px, 0px);" class="spinner_circle part5"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(225deg) translate(6px, 0px); transform: rotate(225deg) translate(6px, 0px);" class="spinner_circle part6"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(270deg) translate(6px, 0px); transform: rotate(270deg) translate(6px, 0px);" class="spinner_circle part7"></div></div><div style="position: absolute; top: -2px;"><div style="-webkit-transform: rotate(315deg) translate(6px, 0px); transform: rotate(315deg) translate(6px, 0px);" class="spinner_circle part8"></div></div></div>			</div>
338		</div>
339
340
341
342	</body>
343</html>

Line numbers count LF bytes from the start of the resource, as the search results do. Vendor segments are library code the classifier recognised; they are stored but not indexed. Bytes are shown as Latin1 characters, one per byte.