CODE UNKNOWN
A Precarious Perspective on New Media Cultures
Curation: Ebru Yetişkin
Mehmet Ali Boran, Mehmet Çeper
13 Kasım 2014 – 11 Aralık 2014
42Maslak Art!Space, İstanbul
# We are left with no option but to construct code that
# concretizes its opposition to this meager lifestyle.
package DON’T::CARE;
use strict; use warnings;
sub aspire {
my $class = POOR;
my $requested type = GET_RICHER;
my $aspiration = “$requested_type.pm”;
my $class = “POOR::$requested_type”;
require $aspiration;
return $class- >new(@_);
}
1;
Graham Harwood, Class Library, 2008
ARTICLES
WORKS
ZONE DEFENSE, 2011
Mehmet Ali Boran
Photograph Installation
80×120
: an exposed defense position
~~ in a desert rural zone
Full < alert >
@anxiety2014
of super_stimulations
// the desire of having pleasure
& >run at the same time
< incompatibility >
< 0bscurity >
< paranoia >
< danger >
Our being out of sync…
under stress…
# free time…
# free space…
HALF-TIME, 2010
Mehmet Ali Boran
Photograph Installation
140×260
= we are becoming more than ‘1
: becoming even more than a group…
it’s getting _precarious
(WATCH)
(yourself)!
– let’s jam into the corner!
THE GATE, 2013
Mehmet Ali Boran
Video
2’57’’
: the gat€s & the gat€keepers:
= those determine
what we < know > and how we < judge >
( no exit )
: the gat€s & the gat€keepers:
selection & add & reuse & remix
& withhold & channel & reform & manipulation,
(dis)integrate, (dis)regard, (dis)play
: the gat€s & the gat€keepers:
< open >
one after another…
>> coded contents
>> coded forms
<< coded structure
))
IN THE MIDST OF THE BORDER, 2014
Mehmet Ali Boran
Video
5’
_an _artist_
wants to pass the borderline
a _trafficker_ smuggles (an artist)
to the other side of the border
a @chat while
< fleeing > + < negotiating >
: why would an artist ~~depart to other $paces?
= those who roam around the borderlines,
?? what do they say to the artists,
and art critics of our times
^about the borderlines?
# how does the a®tist respond?
WIRE WALKER, 2014
Mehmet Ali Boran
Video Installation
2’20’’
∑ wire walker ≈
>> Explore
How to conTROLL
the _balance_
on ‘high-tension lines
<< Copy>>
: Pls, hold the line
!
ILLEGIBLE PAPER, 2014
Installation and Online
Mehmet Ceper
43X28
www.illegiblepaper.org
< illegible >
<< coded worlds >>
! this is not a foreign language
: this language is foreign to us
§ reading seems to be not a problem anymore
our inter+action with the un/known is changing
†instead of trying to grasp
what’s going on in every instant
< why not>
† write your own singular code ∂
∆ create other worlds?
THEORETICAL EXPLOSION, 2013
Photograph
Mehmet Ceper
80×120
“concepts” “theories” “thinkers”
operating as / codes of @control
(net)tached (as attached)
to our (coded) :minds :bodies
= can they really
to the current problems?
or/ do they rather turn into
¬ loads of bombs ∆
: ready to explode ?
– can’t move (inanimate)
^ leaning on some specific knowledge,;
(the authority) and (dominance)
of same power structures
= are reproduced
<< do not be/moan >>
>> can you give up and give back
> (the codes that you are attached)?
HORIZONTAL VERTICAL, 2014
Mehmet Ceper
Installation
† a media archeology of
2 expired tv tubes
: the interaction of
black box_ed
vertical & horizontal mechanisms
< CUT >
: what if we become the new media of our age?
^ how do you transmit
ideas, affects, moods and energies
§ to one another by (which) codes?
// what kind of codes do you
> reuse,
> reappropriate
> reproduce
?
NO GAME, 2010
Mehmet Ceper
Photograph
80×120
: both the game
† and the rules of the game
unknown
cannot complete with each other
Keep watching < creeptic
< control > 1 another
= what now?
No game x 0= is game?
< START >
: how can you < play > something else?
when fragmented
with the _code unknown?
RAW DATA, 2014
Mehmet Ceper
Photograph
80×150
† speculative visualization:
< A speculative reality: >
of the fights and murders
@Mardin @Kızıltepe
: never-ending fights over
^patriarchal^ spaces
¥ despite
the updated version (3.0)
of > hegemonic
∆ knowledge
production_methods :/
today, for what?
do we write & use the codes?
<p€ac€>?
