Bir Bellek İmgesi Olarak Kuyu

Abstract

The installation series titled Bîr, which is discussed in this study, is based on the relationship between image and language, and since this word which means memory also corresponds to the word well, the installations have been constructed in the form of a well or a cylindrical form that evokes the well. Firstly, the relationship of the series with the concepts of intuition, duration and memory which form the basis of Bergson’s philosophy has been mentioned, since the construction process has largely been intuitive.

Considering that the images seen in the installations constitute an autobiographical language that is not determined by facial expressions, the series has been analyzed through its connection with autobiographical approaches in contemporary art, and in addition to being visual diaries, their relations with the art of photography have been examined in terms of being constructed as traces in memory and having partly the characteristics of documentary.

The relationship of the series with the collective memory of socially marginalized, oppressed groups has been discussed under the chapter titled counter-memory, also in the last part of the series, the expression of the massacres against the Yazidis through religious symbols and the ways in which similar subjects are approached in contemporary art have been mentioned and the possibilities and difficulties of transmission of major social traumas such as genocide through art have been discussed.