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By Rhizome



Ergin Çavuşoğlu's video installations reflect the complex and constantly changing migration of people between places and countries. Often filmed in ports, airports or markets, his videos treat the themes of travel and the process of transition that determines our reality. In this way they construct a lyrical narrative about the personal experiences of individuals within a broader collective history.

At the centre of the exhibition is the video installation Point of Departure, 2006 that was filmed in two airports, Stansted in southern England and Trabzon in the Turkish Black Sea region. Facing each other from the opposite ends of the European landmass, these two locations are subtly separated and recombined. Point of Departure explores the airport both as architectural structure, a machine for processing travellers and their belongings, but also as a space that lends itself to a certain poetic treatment.

Midnight Express, 2008 is a single channel video work that explores ideas on transience and mobility. The work was filmed on the Asian side of Istanbul on the main train line, which connects the Western part of the country to the East. The footage was filmed at night when the city space becomes liminal, showing the trains carving their ways in both directions at irregular intervals with only their lit windows visible. The work interprets the passage of the trains as a poetic representation exposing the boundaries of economic and personal motivations for movement.

The new two channel video installation Silent Glide, 2008 presents a 'point of departure', from a cut 'different' multitude of perspectives. The work is presented across two screens, which respectively show scenes from the downward spiral of a couple's relationship, and their surroundings. The setting is the dim industrial town of Hereke, Turkey. Once famous for the production of the finest silk carpets, nowadays the landscape is dominated by the largest cement factory in Europe. The mixture of and the striking contrast between history and modernity in Hereke, the aesthetic and the obtrusive and their coexistence in an absurd harmony further highlight the themes explored in the video.

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