46 minutes, 2012, video installation, 46'

"The Tunnel",  Solo Exhibition, Tophane-i Amire Kültür Sanat Merkezi Sarnıç Galeriler, Istanbul-Turkey




Video recordings from the trip to Chios from Çeşme lies on a projection screen.
On the facing screen, just about the same projection, goes from Chios to Çeşme...

Both films, like the trip itself, last exactly 46 minutes …

The same sea… the same air… the same land.
The only thing that changes is the direction of the water.

The viewer crosses a border continuously…
…goes back and forth between two continents, two languages, two religions.
Lives my past and present… unconsciously.

Or nothing happens.

11 years







11 years, 2013, video installation, endless loop

"The Tunnel",  Solo Exhibition, Tophane-i Amire Kültür Sanat Merkezi Sarnıç Galeriler, Istanbul-Turkey




A video runs with its mirror projection on the screen in an empty room at the gallery.
Another trip.
Following the trees, and gardens, through the sun…

The mirror effect, like a kaleidoscope, pulls the voyage to an unknown inner center, to a light source.
Continuously and in slow motion…
The road lies and lies long… to another world, to the grave of my father, who I lost 11 years ago.

Or nothing happens.

13 seconds




13 seconds, 2013, video installation, 13''

"The Tunnel",  Solo Exhibition, Tophane-i Amire Kültür Sanat Merkezi Sarnıç Galeriler, Istanbul-Turkey



There is a forgotton corridor at the back of the galleries.
A cave, a tunnel…

The viewer finds a little screen there.
On the screen, there is a 13 second video, shot on a road trip.

When pressed on Play…
…the sky, the telephone wires… and a phrase:
states, reminds, points out and hides.

Or nothing happens.

I had to give him the keys back...




I had to give him the keys back..., 2011, site specific installation
Thomas Kilpper work.lab 2011, deja.vu, Museo Marino Marini, Florence, Italy 

Leaving Florence.

Learning from Maghreb. How to get rid of unwanted presidents



"Learning from Maghreb. How to get rid of unwanted presidents", 2011, installation
Thomas Kilpper work.lab 2011, deja.vu, Museo Marino Marini, Florence, Italy 

Constructing a slum at the entrance of Museo Marino Marini with Thomas Kilpper.

All the Mornings


All the Mornings, 2010, 4 screen video installation
"Lives and Works in Istanbul" Project, Istanbul 2010 European Capital of Visual Arts, Antrepo, Istanbul


I left the place that I call “home” for a long time. Then, I missed home when I was abroad, and abroad when I was home. And then, it became ambiguous what home was. I was in peace only when I was moving,  when I was going from somewhere to another… In time, I left all the roots, all the nationalities, all the memorized histories and commitments. It wasn’t rejecting an identity, but rather rejecting an identity defined by  a nationality or a religion, a flag or a piece of land.

I belong, not to my government or my country, but to my homeland; and my homeland belongs  to the World.

I always watch the birds. Because they fly away, they can fly away… Because they don’t have borders or barriers. Because they don’t need any Visa or Permit of  Stay. Because they are never “citizens”.

Istanbul, where I was born, where I grew up, that I once called “home”, that I love and hate; unites and divides two continents. Deletes and rewrites cultures, civilisations and histories… loves, pains, mistakes, and folksongs variant and alike…

In between the two continents, birds go back and forth. The seagulls flow.
And I watched those. Again.
My concern is the poetry of a moment. I want to slow down and breathe.
To see, to remember and to care.

I have thus created a skysphere… where you can enter.

The respirations heard belong to an Armenian, a Greek, a Jewish, a Roma, a Kurdish, an Alevite citizen of Turkey; and to me. Because “All the Mornings” are and have always been the same. 

Hotel Afrika


Hotel Afrika, 2009, photo installation
Rotte Metropolitane, Tools for Revolution or just for Sale, Villa Romana, Florence -Italy

Jarbel, Cheikh, Ndaraw, Materassi, Sar, Papà, Thiaw Modou, Tallà and Sillah Sehr are Senegalese people without permissions of stay in Italy, who are trying to earn €200-300 a month to send home...
I've hid their photos in the gallery building with the little information they gave me about their lives.
Nobody saw them.

Hikmet, "il turco"

Hikmet, "il turco", 2007, video-art, 8’18”
Networking Toscana 2007 “Gecekondu – artistic practices in conflict places”, Florence – Italy;
Networking Toscana 2007 “Integration and Conflict”, workshop and exhibitionwith The Yes Men, Florence – Italy

Hikmet is a Turk that I have found in Italy, who lives on the street.
He talks to me while he is lying on the street…

It has been 22 years that he is there.
He had 3 shops.
Carpet shops.
Italy owes him.
Italy has to pay.
He has many friends around.
He can protect me.
He’s from Cappadocia.
He misses.
He’s weak now.
He wants to return strong.

Hikmet was found dead one week after this film was shot, very close to the place I live…


appraisal to insanity

“appraisal to insanity”, 2006, 5 piece video installation

Appraisal to insanity… doesn’t actually know what it is appraising or what is insanity.
They are recordings of the people whom I found and followed in Italy, who had given up.

hard on

“hard on”, 2008, photograph


hard on:

1- (kaba argo) penis sertleşmesi
2- dikilme
3- kalkma

to be hard on somebody: birine acımasızca davranmak

to ride hard on something: bir şeyi kontrol etmek


lucertole / kertenkele

“lucertole” / “ kertenkele”, 2007, video-meeting and photos
Networking Toscana 2007 “Integration and Conflict”, workshop and exhibition with Mario Rizzi, Prato - İtalya


Three young women, one Turkish and two Italian, start talking as they push the record buttons of three different cameras.

The work takes its name from a kind of lizard which can reproduce on its own by changing sex.


the embrace

“the embrace”, 2006, photograph


the visit, 03.05.2004

“the visit 03.05.2004”, video-art, 7’45”
Bilgi’de Sinema – Avrupa Üniversiteleri Sanatsal Video Film Sergisi, İstanbul;
Braunschweig Technische Universität Elementares Formen, Braunschweig, Almanya;
Braunschweig Hochschule für Bildende Künste, Braunschweig, Almanya;

Burg Giebichenstein – Hochschule für Kunst und Design Halle, Almanya;

University of Ulster Faculty of Fine Arts, Belfast, İrlanda


On his deathday, to the place he lies…

I am shooting and watching myself secretly almost like with a hidden camera.
I secretly document an “un-communication”, an alone speech.

Very personal, a bit embarassing…
An unheard dirge, a shrive…

Completely deaf.

(The work is exhibited in a secret corner of the gallery, with the smallest screen possible.)

accompaniment

“accompaniment”, 2004, video-art, 5’00”
Bilgi’de Sinema – Avrupa Üniversiteleri Sanatsal Video Film Sergisi, İstanbul;
Braunschweig Technische Universität Elementares Formen, Braunschweig, Almanya;
Braunschweig Hochschule für Bildende Künste, Braunschweig, Almanya;

Burg Giebichenstein – Hochschule für Kunst und Design Halle, Almanya;

University of Ulster Faculty of Fine Arts, Belfast, İrlanda



The flow of a serum bottle… An unhealthy mode of waiting and watching…

In contrast to other videos, nothing changes here.
Neither the images, nor the sounds…

It’s only a serum bottle in a fixed shot, its shadow in the dim light, and the air bubbles inside…
As a sign of life…
As a sign that the liquid still goes to through the vein.
As a sign that the owner of the vein is still alive.

An insomniac, hopeless, meaningless, empty waiting…

(The place where the video is exhibited is regularly cleaned with a special antiseptic substance so that it reminds a hospital smell)

220 days

“220 days”, 2004, installation

The used blister covers of the Cipram form a paralel line to the ground on a white wall…

The title of the work is determined according to the number of the Cipram pills used.

I solved a puzzle when he died

“I solved a puzzle when he died”, 2004, photograph or "readymade"

The work is the puzzle I have solved on the week I lost my father.

the visit, 16.11.2003


“the visit 16.11.2003”, video-art, 5’26”

The last piece of three videos which seem to create a whole…

The meditative and melancholic mood which started with “Cipram 20mg” (2002); moved to “Mourning”(2003) with the feelings of death, loneliness and especially longing.

In both of these videos, the images seem to repeat themselves, and the work needs a specific attention as a whole. There is a stable shot, a stable color in both of them.

Just like a moving photograph…

“Cipram 20mg” is grey; “Mourning”is red…
There is a fairy tale that has to be listened in “Cipram”; and a letter that has to be read in “Mourning”…
“The Visit”, as a continuation of these two videos, is again about the ‘loss’ and the ‘death’…

This time the color is white …

Again, a stable shot and a movement on its own…
And in this movement, photos which have to be seen…
The photos of the one I have lost… The photos of my father…

This video was shot on his first birthday without him , on November 16th 2003…

mourning

"mourning", 2003, video-art, 4'45",
"The Sphinx Will Devour You" Exhibition, Karsi Art Works, 2003

i have written a letter to him.
i couldn’t guess where and how he shall be listening.

so I created a world for him.
and there I added the sound of his breath...

here are my words that you read among the red bubles:


where are you
is it dark
is it cold
is it that
silent
were you afraid
while going…

have you heard
me
have you felt

where are you
do you see
do you watch
always

do you love
still…

cipram 20mg

"cipram 20mg", 2002, video-art, 4'52",
Borusan Culture and Art Center, "New Suggestions/New Propositions 9" Exhibition, Istanbul;
Diyarbakir Art Center “In Image We Trust 2”, Diyarbakır-Turkey

The most important aspect of this project is that it has details that need to be solved by the spectator...
It is made of pieces that are deliberately left blurred or hidden. And only a very attentive watcher can notice these little but important details.
Above all, Cipram[*], is the name of an antidepressant medicine... But this, is going to remain meaningless for the ones who don’t know or use these pills.

The main intent of this project is to create the feeling of a stress, a depression; and to make this depression immortal.
To document an insistant cycle...

The image was shot when I literally had my stress balls in my hands, when somebody was literally reading my future, and when I was literally sitting near a patient. The work has created itself...

I only wanted the image to be in black&white, so that it would be as plain as it could.
To be able to prevent all the throng...

While mounting, I deliberately wanted the movements to be slow and soft.
I wanted only the ones who really pay attention to be able to see, that there is somebody who passes through under my thumb, whom I love, caress and touch...
I wanted the spectator to be forced to find the details...

It is the same with the sounds and words...
With the eternal and continuous cycle of the balls, the words also create a cycle, a repetition, again understood only with careful attention.
I wanted the story to break into pieces, to be repeated, to create an eternal and meaningless fairy tale; instead of following a logical order... A fairy which is too utopic and surrealist for the present stress...

This work is completely an expression of personal depression. But I believe that leaving the personal aspects to the interest and attention of the spectator, makes the image become a ‘document of stress’ for everyone who sees it. Also maybe by reflecting some of this stress to the viewer...
[*] LUNDBECK Medicine Ltd. Comp.


"...Cemile Kaptan'ın Cipram 20 mg başlıklı video çalışması, yine kişisel boyutuyla dikkat çeken bir iş; oldukça resimsel bir etki uyandıran bu videonun işe adını veren antidepresan türü ilaçlar gibi sakinleştirici, neredeyse meditatif bir etkisi var - aynı süreçte belli belirsiz duyduğumuz sözcükler de anlamını yitiriyor (bir kahve falının uçup giden sözleri bunlar), izleyici, şimdi ile gelecek arasında, gerçek ile olasılıklar arasında sonsuz bir döngüyü izliyor..." Ahu Antmen, 2003

BOM

"BOM", Cemile Kaptan, Ata Öztürk, Murat Çalışkan, 2003, video-art, 8',
The Association of Painting and Sculpture Museums,
22nd Exhibition of Today’s Artists Exhibition, AKSANAT, Istanbul

A rocket appears on the seashore.
It walks on the streets, looking for an adress.
It finds the adress, rings the bell, enters,
spends an ordinary day and explodes.

BOM: Is our place in the fiction.
BOM: Is a formatted end to the formatted lives.
BOM: Is the end of our sublime being.
BOM: Is the end point of the civil life.
BOM: Is the reference to the silent and unknown traffic of the death.
BOM: Is the appraisal of the real God.
BOM: Is the materialized destiny.

beloved

"beloved I", 2001, video-art, 7'22",
The Association of Painting and Sculpture Museums, 21st Exhibition of Today’s Artists
“In Image We Trust”, AKM Exhibition Hall, Istanbul;
Diyarbakır Art Center “In Image We Trust 2”, Diyarbakir


could I be born more "female" than another?
or how "female" would another life, another world, would make me?