BIBLIOGRAPHY  
2010

"Komsuluk Sanati", Finans Dunyasi, Ocak, Sayi 241/Irmak Canevi

Magazine

Komsuluk Sanati

IGöktan ziyaret ettigi ülkeler ve Istanbul’da yaptigi cekimlerde ‘güvercin yetistiriceleri’ni gösteriyor bize. Videolardan ilki yavaslatilmis bir siirsellikte yetistiricilerin ellerine ve avuclarinda teslim olmus öylece duran rengarenk güvercinlere odaklaniyor. Güvercinlerin gövdelerini oksayan, eski bir kumarbaz edasiyla kanatlarini iskambil kagidi gibi acan, gerdanlarini minciklayan büyüleyici el hareketlerini izlerken dogasinda ucmak olan kusla insanin bu tuhaf iliskisine tanik oluyorsunuz. Kuslarla ellerin dansinin bu sessiz videosu “el miyim? kus muyum?” sorulari arasinda gidip gelen seyirciyi icine aliyor ve birakmiyor. Güvercin yetistiricileriyle yaptigi röportajlarin yer aldigi diger videoda ise Göktan erkek yetistiricilere “bu isi yapan hiç mi kadin yok?” diye sorsa da erkek olmanin bilinmeyenlerine dair ipuçlari ariyor adeta.

n her video recordings from Istanbul and the countries she visited in the Caucuses Göktan presents 'pigeon raisers'. With a certain slow-motion poetry her first video focuses on pigeons of all colours who seem to have surrendered to the palms of their raisers. While watching captivating hand gestures that stroke pigeons' bodies, hold their feathers like playing cards and fiddle with their collars the viewer bears witness to the peculiar relationship between man and bird whose nature is to fly. This silent video of the dance of hands and pigeons gently grasps the viewer who is then drawn into a situation where she experiences an urge to substitute herself with one or the other: "am I the hand? or am I the pigeon?". In her other video of interviews with pigeon raisers Göktan seems to look for clues as to the unknowns of manhood when she asks them "aren't there any women pigeon raisers?".

 

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DEEPBLUE
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UNEXPECTED MOVEMENTS
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