Zeren Göktan
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Above Ground

“Aboveground”, Video, Duration 10′ each, 2009

Eng

“Reciprocal Visit”

In all the visited countries including Turkey, Zeren Göktan worked with ‘Pigeon raisers’, which is a hobby-like profession both many people are familiar, but also it is a very particular profession of this region as an Eastern phenomenon. The name of this project is ‘aboveground’ because this culture is only visible if you look at the sky. It also exists in United States, Europe and Asia but it shows huge cultural dis-similarities. Through these people whom she filmed and interviewed she focuses on the relations of these men with pigeons because it is a ‘man’ thing to do and also look for a woman which on some level she know she will never able to find. However, she choose to remain optimistic and persistently ask each man if they ever saw a woman doing this and then ask why they aren’t any. For these man this is a place where they can free their soles and genuinely love.  It is also a place where they can escape from the struggles of real life and “bad habits” like going to coffee houses and playing cards. In the end some form of ideology is created through an obsession based on pigeons.  This ideology seems to exist in a universe that is beside the realm of everyday life and not in it. The work is a poetic-editing from her research work.

Tr

“Yerüstü”, Video, Süre 10′ döngü, 2009
“İ-adeyi Ziyaret”

In all the visited countries including Turkey, Zeren Göktan worked with ‘Pigeon raisers’, which is a hobby-like profession both many people are familiar, but also it is a very particular profession of this region as an Eastern phenomenon. The name of this project is ‘aboveground’ because this culture is only visible if you look at the sky. It also exists in United States, Europe and Asia but it shows huge cultural dis-similarities. Through these people whom she filmed and interviewed she focuses on the relations of these men with pigeons because it is a ‘man’ thing to do and also look for a woman which on some level she know she will never able to find. However, she choose to remain optimistic and persistently ask each man if they ever saw a woman doing this and then ask why they aren’t any. For these man this is a place where they can free their soles and genuinely love.  It is also a place where they can escape from the struggles of real life and “bad habits” like going to coffee houses and playing cards. In the end some form of ideology is created through an obsession based on pigeons.  This ideology seems to exist in a universe that is beside the realm of everyday life and not in it. The work is a poetic-editing from her research work.

  • DEPO Turkey /KIBLA Slovenia
  • 20.11.2009
  • Curator: Serra Özhan, Selda Asal
  • "Aboveground", Video, Duration 10’ each, 2009

    List Content goes here

With a certain slow-motion poetry her first video focuses on pigeons of all colours who seem to have surrendered to the palm of their raisers. While watching captivating hand gestures that stroke pigeons’ bodies, hold their feathers like playing cards and fiddle with their collars the viewer bears witness to the peculiar relationship between man and bird whose nature is to fly. This silent video of the dance of hands and pigeons gently grasps the viewer who is then drawn into a situation where she experiences an urge to substitute herself with one or the other: “am I the hand? or am I the pigeon?”. In her other video of interviews with pigeon raisers Goktan seems to look for clues as to the unknowns of manhood when she asks them “aren’t there any women pigeon raisers?”

For more information visit

http://www.apartmentproject.com/projects.asp?PROJE_ID=75

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About Zeren Goktan

Zeren Göktan is a Turkish contemporary artist born in Ankara 1975. She lives and works in Istanbul. She is renowned for her practice in photography, installation, and video.

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Black Swan Event – 2009 In-Flux-video
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