“As photographers, by accompanying the spirit of the times, the state
of the world, and the world’s course with the images we create, could
we be witnessing, objecting to, or rebelling against a city, the city’s
emotions, its people, places, and various states by reflecting our own
perspectives, questions, and feelings?”

standing close to the urban defiance
with one or many frames.

touching the faces,
streets,
(inner) voices and feelings,
the things we’ve kept silent,
emptiness, ruins,
our loneliness, and the rebellions accumulated in our hearts

as Feride Çiçekoğlu says,
For a new “threshold of rebellion”

Can we look at ourselves,
life, the changing world, and “vibrant and permeable” images
with our dreams and stories, we’ve never known,
from the times when images will be part of the “defiant” notes of the city?
and it's like,
“The individual pieces will cluster in such a way, quotes taken out of context
(and photos) so that it will be juxtaposed, objects that seem distant from each
other that constellations will be formed between them, the image that flashes
in one's mind with lightning speed in illuminating the early history of
modernity can be more illuminating than the greatest abstraction.”
Instead of chasing a magical moment, will expose the imbalance-reality will
catch you off guard
between(in)-moments that they're willing to go after him,
documents and stories of the infernos that fill the world.

In photography and with photography, “to create an atmosphere of
‘nowhere’—a place that is no longer connected through memory”.
Because the photograph can only become universal as it becomes more
personal/subjective; it cannot become personal as it becomes more universal.
The creators of optical images are mental images.
Mental images do not carry the static nature of optical images, and when
captured, they can be a reflection of a different reality.
As Susan Sontag expressed in ‘on photography,’ “when the spirit that
conquers the mechanical adds a new interpretation to the likeness in life”,
images that are concerned with ‘what I perceive from reality’ rather than
‘what actually happened’ can transcend what the image shows (and the frame)
and, with the context constructed by the photographer, become the ‘now,’
replacing the time within the photograph.
The photographer must take refuge in new/different ways of seeing, speaking,
thinking, in the uncanny, in unanswered questions, in unease, in doubt, and in
discomfort; the photographer should escape into restlessness.

Because the image needs opposition and the share of the silent.

To become a photograph,
To stay in the photograph.

Because with every photograph, the possibility that the viewer might [each
time they look] notice or discover an unknown emotion is magical.”

Laleper Aytek
curator