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Ergin Çavuşoğlu

Ergin Çavuşoğlu’s spatially orchestrated installations consider the broader interpretation of Jacques Rancière’s notion of ‘régime d’imagéité’ (Rancière, 2010) and the ‘emergent’ spaces of ‘intervisuality’ (Mirzoeff, 2001) as platforms for the re-enactment and critique of historical narratives.

All images Courtesy by the artist

His layered practice clarifies critical positions in art, focusing on the development of interconnected and coherent ideas that converge into an art form. In the process, he locates sources from various disciplines, including visual arts, literature, philosophy, and cinema.
Conceptually his works explore different propositions on liminality, surreality, in-betweenness, mobility, and rhythm analysis. Çavuşoğlu frequently probes the notions of place, non-place, heterotopia, and dystopia, and conveys these themes through a diverse range of media such as film, 3D animations, anamorphic drawings, paintings, and sculptures.
Çavuşoğlu frequently works with fiction and non-fiction texts in various forms and contexts. He produces cinematographic and theatrical adaptations from these writings, and often writings institute concepts or ideas that are seeded within the main body of the script and act as forms of conceptual clarifications. The patterns of literary references in his works are not mere storytelling devices but instead allude to the deconstruction of narrative elements, thus presenting a form of introspective and institutional critique of contemporary art. Another distinct body of works exemplifying Çavuşoğlu’s thinking is the large-scale anamorphic floor and wall drawings that reflect on the intrinsically spatial elements in his installations by probing the notion of post-object and informal architecture. In the process, this mundane and fleeting act of walking across the drawings is observed by a camera relaying the images onto a display which shows the audiences housed within three-dimensional architectural and sculptural spaces. Ultimately beyond the conceptual concerns behind the objects, the often-site-specific installations present a critical discourse around representability, through the portrayal of collapsing surfaces and manipulation of perspective and space.

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