Excerpts of the text created for the catalogue “filetieren.SCHNITT” (to filet.CUT), published for the same-titled exhibition at Gallery Januar, Bochum, Germany in 2013
text by Samira Yildirim // Translation: Nadja Gremmel
(complete text: denisewinter.de)
From Basement to Basement (part2)
Definitely no feelings of warmth are to set in at the experience of Calving_Reversed (Kalben_umgekehrt) in fact rather the opposite. Slides showing distorted icebergs seem to be clicking everywhere in the exhibition room; the sound perpetuates itself from corner to corner, from one wall to the next one. The five slide projectors alternate with one another, filling the room with projections of empty slides or light-blue icebergs, surrounded by infinite amounts of water.
Here dismemberment and derailment are not being initiated by the hands of managers as in Tarlabaşı. Ice calving denotes the breaking off of chunks of ice at the edge of a glacier. These chunks eventually become icebergs. As the process of splitting-off is irrevocable the procedure does not only contain the diminishing of glaciers, at the same time it displays an inherent temporality which makes the past apparent. Calving_Reversed (Kalben_umgekehrt) might as well be called a fulgurous rhythmic visualisation of the past, an example of the remembering present . The blurred and hazy shot reveals the historicity of the icebergs. The empty slides however, turn the attention to the here and now, the exhibition room. Parts of the room are being illuminated, revealing its specific architectural characteristics which in their materiality can be compared to masses of ice and snow. Winter is concerned with a testing of limits, a bridging of gaps between fragmented parts. These parts are being cut out, cut in or cut through, they are being transformed and fractured - “filleted”, as the exhibition’s title announces.
Winter only picks the views she considers most adequate for the exhibition space surrounding us. In the basement, she focuses the empty slides on architectural situations of transition, the crossings from the wall to the floor, from the wall to the ceiling and from the wall to the window. Every brief lighting up is accompanied by a loud clicking and it always means a change of the lighting in the room which subsequently creates jagged shadows. In the alternation of the projected icebergs with the empty slides, a permanent switch of the reception process is required, oscillating between the experience of representationalism and abstraction. A connection is being created between the three-dimensional depth of the sea and the two-dimensional surface texture of the pure, white light. As the five slide projectors alternate with one another in their projection process, producing images at different time sequences, in separate rhythms adding to the impression of a montage both levels can in fact be experienced at the same time, forming a dialectic image.
We speak of a dialectic image if there is in fact one image which can be seen. What happens, if no image at all is being projected, what if the source generating images is the image itself?
The slide projector on the top floor does not convey a story by creating an image, it only contains empty slides. In the mirror it sees itself, knowing of the light-source and thus obstructing itself in generating images. Hence it is in fact the source of light itself but due to the reflection, it casts its own shadow onto the wall behind of it.
According to Plato’s allegory of the cave it is fire, guard, shadow and the seeing prisoner at once. It casts the pure light of imageless projection onto the mirror, onto the cave’s wall and onto the radiator. There is no contemporaneity, only the situational power of the moment. Every clicking of the projector emphasizes it. Every moment constitutes itself in the very room we are situated in and it is a new moment with all its peculiarities. This is exactly what the split projection brings to mind. It is fragmented (or filleted) and leads into two opposite directions at once, forwards and backwards.
The dismantling within the urban context and the sheer violent magnitude of fragmentation within natural processes, subject to the two installations Above_Tarlabaşı (Über_Tarlabaşı) and Calving_Reversed (Kalben_umgekehrt) are being reduced to only a focused distribution of light. Contrary to these two installation’s dialectic of contemporaneity, the single slide projector only focuses on the here and now, the present moment.
In this respect the projection works all bear an aspect of temporality which emanates as visualisation of the past, of contemporaneity of past and present or a combination of the two.