This exhibition presents a space for movement where art practices are organized with the things installed and transformed by those living and producing in Umurbey Neighborhood. It reveals the unpredictable, local interactions in the neighborhood bending the system and its connection to the installations.

…We boil and rise in a close sphere, we give ourselves to display, empty words gain victory. Every time, which is a date that we identify gradually less and had turned into the destiny that carries the sphere; the things we do, are a hurricane to which our actions give certain acceleration, whether we like it or not, but our ideas can’t master it. We can’t imagine ourselves anymore, can’t carry our self-responsibility and bury ourselves to a pleasing situation, only a disaster can take us out of that, we are losing our manhood against our own reality, we are a woman against fate.

That is why our reality’s symbol is the labyrinth. Because it is the image of the labyrinth that gives us the summary of the time. The Labyrinth is the herd. We can’t meet with ourselves for we don’t have a common ground anymore. If community wasn’t the problem, would the word “communication” have become a fashion? Actually, we are a pile of loners and yet we are rolling in a mixed up manner. We are the victims of the thing that makes us alone by confounding us. *

Neighborhoods like Darağaç, Çamdibi, Gürçeşme and  Pınarbaşı have a meaning about invisible and unexpected thing for an ordinary person stuck in the city center. Business and industrial opportunities and relatively more suitable places to live can even be the essential factors in the formation of neighborhood culture. These features – or the idea of an independent workshop – make the neighborhood attractive for artists. As Güneş, Fatih, Cansu, Nazım, Inese, Brother Cem who is a Turkish classical music soloist and has a chemistry shop, and Master Hasan paint and install automobile pieces in a workshop close to the art of installation… In this sense, maybe Darağaç has a geocultural importance.

* Albert Caraco (1982). Bréviaire du chaos. P. 28-29.

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