Site-specific, long-term photo-performance, in progress from the 3rd to the 8th of September 2015. Created for the exhibition “Playground”, curated by Füsun Ipek at Macar Kültür Merkezi, Hungarian Cultural Institute Istanbul. 

The work started by taking photographs 5 days before the opening of the exhibition, studying unheeded patterns of waste, spoilage, excess and garbage, visiting waste processing facilities, industrial areas and illegal landfills in Istanbul. On the day of the opening, a selection of 25 images were printed in A0 format with a common inkjet plotter. The prints were then crumpled into small pellets of waste paper and put in a black trash bag. At the opening I took random prints out of the bag, carefully unfolded and mounted them on the wall with common poster glue. For the upcoming 5 days I continued the same routine, periodically placing the prints upon each other, mimicking the act of postering. As a result, only one single image is visible at any given time of visit, yet due to the growing thickness, and the inaccuracies in the mounting of the work, all other images beneath the latest one have a suggested, bodily presence. The close to wall lighting of the work emphasises this effect.

The layered, temporary nature of the work is meant to signify impermanence, incompleteness and continuity, an aesthetic focused on the acceptance of transience and imperfection, a concept derived from the Buddhist teaching of the three marks of existence, impermanence (無常 mujō), suffering (苦 ku) and the absence of self-nature (空 kū). The title of the work refers to a dialogue between philosopher Jiddu Krishnamurti and physicist David Bohm addressing the human conflict, as documented in the book “The Ending of Time”.

Documentation: Lilla Szántói, Bálint Rádóczy. Thanks to Füsun Ipek, Bálint Liptay, Yutaka Goto, Judit Ujszegi, Andrea Gál, Umut Can Pektetik, Banu Narciso, Bazil Duliskovich, Gergely Bényi, Gábor Kerekes, Gyula Várnai, Júlia Vécsei, Neopaint Works, Tamás Kaszás, Yetis Zeyd Murat Arıgboğa.

Collection of raw images used for the performance: