ZEKİ
ZİHNİ
KIVANÇ
YILMAZ
INSIDE;
The presence of the object can manifest itself as a reflection of the subject's designs, as well as its mere perceptibility. There are also areas -such as art- within this circulation where the object can be stripped of these conditions.
Although there are a number of variables involved in the selection of the considered object, which is the first and most raw stage of the production process of the art object, there is actually no reason that can be systematically explained. If it can be said that there is always an attraction between the object and the artist, the reasons for this attraction will be a synthesis of eternal perception and life experiences that are impossible to decipher, stretching back to the past. “A subject is singular/unique because it is always an event that establishes it within a truth. In other words, a subject is both a place of possible rationality and what can be called the point of truth of the event” (Badiou, 2015, p. 41).
Conditional subordination can be considered through points that indicate one's own existence as an intermediary of the existence of another. The condition is not related to the possibility/functionality. A provision is a living condition that also varies with the subject interacting with it, except that each object is variable in the state relevant to it. Not depending on the provision, situations that do not contain comments related to the subject, where the object is related to its own existence, in relation to its environment as an object, can be understood as allusions of the subject.
The subject needs to be aware of his/her own perception, and to realize the situation cannot be perceived based on the perceivings, comprehendings. In other words, the subject makes a decision about whether the object can exist without any conditions or not. With this decision, the subject offers subjective perception to see the object with its mere perceptibility, and the object continues to exist as its own. The way the subject can experience transcendental perception is possible by trying to see the object in its mere perceptibility.
The thought of ''subjectless art'' is not a kind of culture that the subject produces by setting out with knowledge that has a certain value or meaning. Although the object has information such as certain meanings and functions, awareness in the art framework is about trying to see the object as a perceptible, experiential image by abstracting it from this information. This awareness provides the subject with the opportunity to see the potential states of the object and the perception of the object. The subject needs to analyze this situation in his own subjectivity and to exist outside of it as much as he can.
An object of subjectless art does not contain any design of possibility or functionality in the perception of this object. Any interpretation that is included in the object's own temporal and spatial continuity is now related to the subject's designs. However, being subjectless is related to the motion in which the subject is consciously removing what is about him from the object. Such a form of perception is possible with the self-awareness of the subject.
The idea of subjectless art does not take place in a space where there is no subject, because it can be said that the thought of existence in a space where there is no subject is meaningless. In the subjectless human existence, the object is independent of the ideas and interpretations of the subject. “Subjectless" does not mean that there is no subject at all. A subjectless object can exist when the subject's relation is disconnected from the object. In this case, when the object is in the position of an object that can exist without a subject, although ideas from the subject continue to exist, this object can be viewed as an object that is unrelated to the subject and associated based on the subject.
In Yansı, it is aimed to separate the thought, and perception of the object that is making sense of it. In making this distinction, a transparent mirror was used to represent the situation that cannot be inseparable, the movement between the subject and the object, and the feeling based on the fact that objects can exist in their own spaces was processed. Without any design considerations, the objects are put together. The subject must realize himself, separate himself from the object that he is witnessing in his perception and memory, and be able to witness the object becoming an object as its own. In the mirrored triangular frame, unlike other examples, natural objects, light and rope were used. The conditions under which the objects are included here are not beyond the possibilities that the objects themselves have to offer. These objects were left as they were at the time of their selection and were considered in the context of their cluster. They do not carry a view beyond the mere perception of the subject and do not contain any subjective states.
By contacting the object of his choice, the artist shares his own subjectivity with the object opposite him. It makes an intervention both conceptually and formally to purify the object from this subjectivity and the meanings it acquires together, to ensure that the object can express its own essence.
Without exhausting the work, traces surround the self timelessly, they make the solid beauty live within the object's trace
The disappearing contour lines of the place as if they were moving away from the place quickly,
though it looks like they are turning into tiny tracks, those tracks are still spaces.
The space is the base and the self, and the self of the work is timelessness.
Then it is only the beauty that surrounds you in a timeless circle,
it's a stream of being yourself, resistingly.
Zamansızlığın Çemberi is a space created with a motor, energy and magnets that move the circle.
If you create the place with the object, you will become a traveler who's pack is his house.
Life is the movement of space. Beauty is the trace of the space.
By giving the trail its space, you become a walking stick for objects that are eager to move.
The ritual that our works do by crawling is like a painting on a pedestal.
While processing an object, the object can not be read, there are objects everywhere.
If you follow the crowd and the whole, you will achieve beauty.
Now you will be the circle that perceive its surroundings.
If the production of the memories is now, don't you search for your essence far away, somewhere else
Do not confuse who you are with your desires, you are what you are doing right now, you are what you are.
It may not be possible to make the idea of subjectless art visible with any object. What makes the object visible in relation to this subject is the subject that interprets the object, makes sense of it. The object exhibits a non decision making existence in the subject's life. An object is not something that can be perceived by the subject without problems and can be experienced as what it is in subjective perception. Because different objects have different processes of existence and formation. The object, as itself, is not possible through the perception of the subject. Subjective perception, albeit regarding the object, can be the place where subjective knowledge and collective knowledge are located. The information belonging to the subject, on the other hand, covers the existence of the essence of the object. The subject - object distinction may seem seamless, as it is based on a clear pattern, such as perceiver and perceived. As a living being not only ontologically, but also culturally, it is impossible for the subject to understand the objects in his life through mere perceptibility. Because the existence of the object in the subject contains abstract equivalences, transcendental contexts beyond the physical laws. When thinking about objects, the subject uses not a transcendental way of perceiving, but concepts that are already born of his agreement with other subjects. Subjects create a collective world of concepts due to the active situations and conditions around them. “Everything conditional in this world is subject to the law of circulation of objects, money and images.” (Badiou, 2015, p. 31).
The act of choosing something as a subject, deciding on something, is not a falsifiable circumstance. Thus, it can also not be said that this choice is due to a determinable reason other than subjectivity. For example, such categories of objects as organic or inorganic have no significance. As the rawest form of an art object, it doesn't matter what the object has been until that moment. This object may have a specific definition, meet various definitions, be intended for a function or aesthetic purpose, or resemble nothing at all. Similarly, an intervention in the physical form, existence or function of the object can be carried out, or the object can also remain in its rawest form in this process, without interference. The main thing is that in the transition between the object and the object of art, the definition of the object, its form, its history, can be called undefined and its decency towards the unknown.
Although the object is not selected for a specific reason, we can say that the object can maintain a state of unknowability in the artist's eyes leads the subject to choose that object. Although the state of unknowability is similar to the unidentified object, it works at different levels. The inability to identify an object is akin to a lack of opportunities within the state of being a person. An unidentified object can become relatively defined by expanding the definition's framework. In case of unknowability, it is necessary that the description of the object is irrelevant to the person or his environment, only the state relevant to the object should be visible. The unknowable can be understood as a definition for the essence of the object. It is related to the subject's inability to know, and in a situation that is not related to the subject itself. Thanks to this self-directed state, the object moves away from the state related to the subject, turns into the unknown by the subject, and it can be said that it represents the unknown. For this reason, when the selected object turns into an art object, it has nothing to do with the artist. Thus, it turns into a work that can emphasize what it means to the subject, other than what it means to the artist.
We will call this differential point of the artistic method the subject of art. A work is a subject of the considered artistic procedure or the artistic procedure to which the work belongs. In other words: A work of art is one of the subject points of an artistic truth (Badiou, 2020, p. 23)
