The Guiding Light:

A part of the SINOPALE 4: WISDOM OF SHADOW: ART IN THE ERA OF CORRUPTED INFORMATION curated by: Aslı Çetinkaya, Elke Falat, Işın Önol, Dimitrina Sevova, Janet Kaplan, Beral Madra, Sean Kelly, Associazione E (Francesco Ragazzi & Francesco Urbano), Jacqueline Heerema and Ana Riaboshenko. Participating artists: Alpin Arda Bağcık, Francesco Bertele, Brigitta Bödenauer, Quynh Dong, Amélie Brisson-Darveau, Evelina Domnitch & Dmitry Gelfand, Monika Drożyńska, Harun Farocki, Karen Geyer, Shilpa Ghupta, Andreas (muk) Haider, Berglind Hlynsdottir, Minna Hint, Ashley Hunt, İnsel İnal, Volkan Kaplan & A. Erdem Şentürk, Eléonore de Montesquiou, Chris Oakly, Petra Elena Köhle & Nicolas Vermot, Petit-Outhenin, Bernd Oppl, David Rych,Cat Tuong Nguyen, Monika Rechsteiner, Reinigungsgesellschaft, Sümer Sayın, Liddy Scheffknecht, Lina Selander, Özlem Sulak, Riikka Tauriainen, Hande Varsat, Stefanie Wuschitz, Francis Alys. The 4th International Sinop Biennal in Sinop, Turkey 2012.

Experts from the soundwork – guided tour:

Hello, I am a lamp and a light – I am a tool, I am an object, I am a cultural production, I am a form of movable light that has evolved over time. The form I embody at this moment in time was produced in China but is now for sale in Sinop. My form is the consequence of my use and an image of my user, whose human body, my size and weight, are figured from and proportional to, my function is the production of the mind belonging to this body and is at its will. At this moment in time it is your body, mind and will which I am referring to.

You first encounter with me is as your tool, one that you sign for and take responsibility for like the prisoners of the past signed for workshop tools to be accounted for at the end of the day. .... Let’s start here where we are, in the Sinop Penitentiary-Children’s Ward which was added to the prison complex in 1936, with a lesson that was once taught here to the young inmates about the Cardinal Directions of north, east, south and west. The teacher of this lesson was soon interrupted by a young voice whose question was about the use of these directions for himself and the others as their movements were confined within this space and heading in any direction was not on the horizon. The magnet of a compass would find no peace in a place like this but would just spin its needle in circles slowly forgetting there ever was such a direction as north that used to give it reference.

Just as I am the product of multiple authors, one of whom now gives me a voice, these walls within which we stand, the ones that are not companionate to magnets and give no need for directions, these walls also have multiple authors. They are the ideas, product and labor of numerous leaders, architects, city planners, workers, politicians and civilians which have at some point moved these stones around, shaped their role and with it the city itself.

... Like Diogenes I ask you to bring my light with you even in the daylight to animate the act of seeing, and to use my light to remind you of the things we forget can be seen or at least sensed. Things drowned out by the sunlight, voices lost in the crowd, ethics whose value has been lost to society. I am speaking in this sense of both the visible and invisible constructions that are possible to be sensed in the world. When Diogenes brings his light to the market to look for an honest man he is performing the act of looking and affirming what he is looking for at the same time. He creates a tool through which others can see what he feels is missing.

.. Maybe we can never really reach reality, which, for me is the understanding of every component of everything in all its complexity in both time and space, through all matter and all moments at once. But like the archaeologist we can chisel at the grounds of these great ruins and find our way along its trajectory but not forgetting that we are already a part of that trajectory ourselves. For that reason we will never have a fixed vantage point because we can never stop time whether it exists or is only a perception of organic lifetimes.