Issue #13

This essay is an exploration on Şahin Kaygun who we follow enthusiastically and curiously, and who keeps widening our horizons in our quest in photography; an exploration enabling us to ask new questions about our art world.

Deniz Güzel wrote about Dayanita Singh’s exhibition “Go Away Closer.” Güzel is one of the founders of Fotomat which is not in publication anymore, and one of the curators of K2 Contemporary Art Center. Doing her masters in the history of photography in London at the moment, Güzel will appear in Orta Format's updates with her essays.

I'd like to start with an anecdote a photographer told me once. One day when he was travelling with his car and he passes by a car accident. He sees a body under newspapers. Not able to suppress his instinct to document, he takes some photographs.

Once upon a time here was all mosaic. I guess, some think of human beings as concrete made up of cement. That is why they try to make everything uniform and gray. Yet, this kind of a muddy structure how mighty it may seem, is cold, disharmonious with nature, inanimate.

G.E.M. continues to serialize via No: #03.

"Crisis Performance" is a collective work from Emma Grosbois and Gulia Piermartiri who study in Florence.

The project “Carpet Man” is the story of a man wrapped up in a carpet on a never-ending journey.

“I Am Not Like My Mother" is a photography project about a relationship between a mother and daughter. In the photographs, we see the identification process of young women via their role models.

“What You See,” is Sheri Lynn Behr's project which consists of screenshots from television programs. Behr focuses on security cameras and she tries to show they are even part of the programs and series we watch in the television.

“541 Days” is Ines Molina Navea's project that is comprised of portraits of people with masks who are voicing their discontent and in which she criticizes the hostile attitude of governments towards them.