Gerd G.M. Brockmann
such a channel of communication between your works, that springs from the way you juxtapose ideas and media: as Thomas Demand once said, "nowadays art can no longer rely much on symbolic strategies and has to probe psychological narrative elements within the medium instead". What's your point about this? And in particular, how much do you explicitly think of a narrative for your works?
EGO HAS FALLEN has certainly parallels to Boltanski's work “Exit” to pull, since this dimly the likeness of a human being gives and gets a mood of melancholy forth the leaves appear the presence of the past as irretrievably past. The memory work thus becomes a part of the work. This work contributes similar Boltanski's “Exit” not only a media criticism in itself but also an institutional critique that affects society as a whole. The criticism of social conditions and media criticism as well contextuality are a concern to me in my artistic work. To additionally provide on the symbolic strategy, the work with a psychological level I have title and visual impact related to the subject of the individual in a mass society. Decisive for this is the communicative process between the individual and the group and the new media increasingly confusing Terrain of communication in the own EGO never seem to fall, because we always show on the social media only the best side of our lives and it outwards raises towards no shadows. During these years your works have been exhibited in several occasions, both in the Europe and in Turkey: your shows are marked out with a successful attempt to delete the barriers between the artists and the viewers, who are urged to evolve from the condition of a mere passive audience to more conscius participants. So before taking leave from this interesting conversation I would like to pose a a question about the nature of the relation with your audience: in particular, do you
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