In this exhibition, Caner Çoban sets Dada’s critical sardonic, attitude of Arte Povera’s and the world of dreams that surrealism has reached as the starting point. He chooses his materials among abandoned objects that he encountered on the street, left beside the garbage, along with idle objects. He tries to keep the dying alive. He renames, edits and presents these objects he has chosen, based on the associations that have been evoked on himself. He interprets his engagement with objects as the quietest state of communication. Umurbey, where his workshop is located: Darağaç, was its former name, seems to experience the present state of the past. He mostly chooses his materials from this region. In this region, efforts are in progress to keep the dying completely alive.
The past itself concentrates on memories, which is why he emphasizes the “drawer” object. His choosing an object that burns and transforms into smoke emphasizes the temporality. He also highlights the plastic material. When using plastic, which is the most useless form of oil; He realizes and uses the most useless substance that comes out of the same material as the most functional material of the age, which he sees as a despotic structure: processed into brutalist architecture. He establishs a parallel between the window frame and the notion of the tomb, so both represent the transition.
He designed a sculpture for Gomel Square, the only square in the neighborhood where his workshop is located. He uses the car parts and scrap materials to define the characteristic in that area. People who live in the Umurbey (Darağaç) region make a living by improving already existing cars and motorcycles.