The New Chronic

The New Chronic observes how perception of time differs under heightened conditions and how things behave under varying qualities of attention. Ertufan and Kuselman, following their own respective interests, focus on prolonged phases of uncertainty, destability and collapse. How to keep the balance, how to wait out the fall? Eyes on the horizon, as up becomes down, falling headfirst. Mind split.

In Merve Ertufan’s video work An Echo Too Late, a woman fails to recognize herself. Taking cues from the stories of Ateh and Narcissus, she tries to reiterate her causal connection with her reflection. Echoes and overlaps do a somersault; off-synch voices with disparate origins arrange themselves into a first-person narrative. A peek into the lags and delays of conscious experience.

Tamara Kuselman is showing Beating Stone, a video that works around the idea of falling as a subject of study. The video presents a narration about the rocking stone of Tandil in Argentina, which fell down the hill and that was replaced with a resin replica, at the same time that three performers try to hold unstable poses, the ones that could correspond to the track of a fall before collapsing. Accompanying this work, there is an installation of objects that point towards the fragile balance of keeping up, holding, supporting. Their shape and composition is furnished by the specific circumstances of each show, and every time they are presented, they are allowed to become something else, giving way to the uncontrolled affecting bodies and objects.

Merve Ertufan makes installations, videos and sounds. Her practice engages with what might be called the microphysics of the mind, observing inconsistencies, gaps and dead-ends in language and habit. Minor autobiographical fictions are made in the process, entangled in riddles and impossible stories. Ertufan attended Home Workspace Program (2015-16) at Ashkal Alwan, Beirut, received her BA in Visual Arts from Sabancı University, Istanbul, and graduated from the Art in the Public Realm program at Konstfack, Stockholm. Her selected group exhibitions include ”Bahar”; the Istanbul off-site project of Sharjah Biennial 13 (2017); “Take You There Radio” at Magasin CNAC, Grenoble (2015); “PRODUCE 2” with SPOT Production Fund, Istanbul (2014); “ISKELE 2. The Unanswered Question” at Tanas, Berlin (2013); “Envy, Enmity, Embarrassment” at Arter, Istanbul (2013) and “Repeaters” at Verkstad, Norrköping (2010).

Tamara Kuselman is focusing her research on falling, fascinated with the tension between the control and the lack of control in relation to movement and thoughts. She’s been exploring through performance, video and installation the relation between improvisation, rehearsal, randomness and the impact of the unexpected in our behaviour. She’s based in Amsterdam where she did an MFA at the Sandberg Institute. In the last years she attended residencies at Jan van Eyck (NL), Delfina Foundation (UK), Vijfde Seizoen (NL). Her work were presented at Hilo Galeria (AR, 2019), Frascati Theater (NL, 2019), Tegenboschvanvreden (NL, 2019), (UK), La casa encendida (ES,2018), Arnhem Museum, NL (NL, 2016), Stedelijk Museum Bureau Amsterdam (NL, 2016), Frestas Trienal de Artes (BR, 2014), CA2M (ES, 2014), De Appel Arts Center (NL, 2013), MACBA (ES, 2012), among others. She’s starting a residency at Hotel Maria Kapel (NL) in the fall.

 

Available to view every Friday to Sunday from 2 PM – 6 PM

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Each season, Corridor Project Space focuses on one main theme that is explored through a series of exhibitions. Frozen Time attempts to explore our current societal obsession with time. Invited artists approach the theme through different angles and practices, leading us to think about solidarity, economy, and boundaries formed by and through time.

Corridor Project Space is kindly supported by Gemeente Amsterdam.

Merve Ertuan is kindly supported by @SAHA Dernegi