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İnci Eviner: Beuys Underground

En su obra para la Bienal de Sharjah, Eviner diseña un mundo alternativo, subterráneo, en el que artistas y poetas comienzan a recalibrar lo visual y verbal.
abr 2017

En su práctica artística que abarca dos décadas, İnci Eviner ha explorado la perspectiva femenina, los procesos de organización de sociedades y la formación de subjectividades. Sus obras imaginan formas alternativas de expresión y existencia que interrogan normativas de representación. En la Bienal de Sharjah 13, su video Beuys Underground (2017) imagina una alternativa del mundo presente, en el que un gobierno dictatorial y fracasado ha creado enemigos ficticios para cubrir sus falencias. Como el pasado y futuro son inservibles como puntos de referencia de la conciencia contemporánea, un grupo de poetas y artistas decide sumergirse en la clandestinidad…
(De la guía SB13, trad. UiU)


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In another country and in present tense...

Oppressive governance with an anti-freedom agenda has invented fictional enemies to cover up its failures. These enemies are located outside the country borders and are intangible to the extent that digital technologies cannot reach them. The enemies are entirely outside our knowledge domain. The fear is so high, that all controversies and discrepancies are eliminated, and everyone goes back to his/her safe sphere. Another obvious result is the elimination of all possible opposition. People voluntarily delete their memories to be able to endure this situation. People who lose their pasts, childhood and incongruous longing included, begin a new life disconnected from this current world. Consequently, they drag themselves into a new search, once they realize that they are not able to endure the violence of forgetting and of loss.

They are forced to rediscover their existence through finding a shelter underground. The only emotion they can recognize is solitude, and the only tool they have at their disposal, is a limited number of art history books.

As relayed by an inhabitant:
We never felt as lonely as this; we never knew another world that’s different from ours. All our foreign relations were broken and therefore, we forgot our universal values. It was impossible to understand what was happening. Our faces disappeared from the mirrors in a world where no others existed. The past and the future fell into the well of forgetting. We did not know how to prove our existence in a reality where memory and the other were terminated. In order to remember, we had to find images, symbols, allegories, and an expression that would make a community out of us. The most appropriate way to do so was to utilize the opportunities offered to us by the arts, and find new nouns and visuals for redefining objects and our behaviors. We had to first and foremost think of how and through what we would define ourselves. Painters and poets took on this work and began to craft a recalibration of the visual and the verbal. This craft of the visual/verbal would become the guidebook for understanding what was going on in the country.

The following notions had to be defined immediately: Justice, laughter, cloud, headscarf, family, woman, drum, soldier, nurse, death, sculpture, separation, jealousy, hearing, mosque, Atatürk Cultural Center, Persian vase, love, cypress tree etc.

Joseph Beuys was one from the world of art and literature whom we asked for help, and it seemed wise to benefit from his healing and creative powers.

İnci Eviner, 2017

 

 

Stills de detalles del video:

 

 

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Beuys Underground, 2017

Instalación de video
2 min 40 seg
Por encargo de Sharjah Art Foundation

Bienal de Sharjah 13: Tamawuj Act 1
10 marzo - 12 junio 2017
Sede: Centro de Caligrafía

Uno de los premios de la Bienal de Sharjah 2017


İnci Eviner
* 1956 Ankara, Turquía. Vive en Estambul, Turquía.


Vea también:

Bienal de Sharjah 13, 2017
Especial: Bienal de Sharjah 13

UiU Magazín
Hacia arriba