OZANATALAN
Antinomy: Wall
Istanbul-Syracuse, NY, Mixer Arts, 2022
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Antinomy is an artistic duo by Chong-ha Peter Lee & Ozan Atalan that is co-organizing discussions and producing exhibitions within the Neganthropocene Summit and the Amasian Biennale.
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Both events synthesize new concepts from physics, philosophy and sociology to produce a flexible platform for dialogue and an accessible toolbox for antifascism.
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Components of the work are currently installed in Istanbul, 2022. Ozan Atalan and Chong-ha Peter Lee have been collaborating theoretically and practically since 2016 in different locations.
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The duo criticizes the romanticizing yet insoluble terms of the Anthropocene's current formulation of ecological destruction by anchoring its core engine in 1980's neoliberal military interventions and socioeconomic legal policies which result in a culture that otherizes and commodifies the vulnerable and the nonhuman.
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The installation draws inspiration from Bernard Stiegler's theory of the Neganthropocene. It immediately captures the audience's attention through a 'facade' that showcases the Pentacle symbol, representing the world's new materialist transformation, while revealing the unfiltered concept map behind the metaphorical wall, referred to as the "backstreet." The objective was to create an interactive forum in front of a kiosk wall.
The video is divided into three parts: In the upper section, Ozan Atalan and Chong-ha Peter Lee propose to a fictional art star, using an engagement ring made of antimony—a material abundant in Turkey that is often overlooked for its dangers, similar to asbestos. The lower part provides information about antimony itself, while the middle part reenacts a specific scene from Richard Linklater's film "Waking Life" in the exact location where it was originally shot in New York City.
The Antinomy wall serves as a platform for comprehending, documenting, and critiquing complex system structures. It takes a non-binary approach, combining interfaces with command lines, ideals with materials, and bridging transcendent concepts with the everyday aspects of private life.
Installation view from exhibition 'The New Grammar of Images' curated by Uras Kızıl.