ongoing project

“We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.”
F.T. Marinetti - Manifesto of Futurism

“It’s delirium, essentially. It is a technological delirium, but not just the delirium of the “Formula One” driver in his race car. It is the delirium of the politician, of all those who are trapped in this milieu of speed. I keep on saying it: speed is not only a problem of time, it’s a problem of milieu.”
Paul Virilio - Crepuscular Dawn

Formula 1 Grand Prix Motor Racing is one of the most vigorous symbols for the current dominant economical system. In the most “cutting edge” products of this competitive franchise - compared to the other similar events worldwide- the characteristics of free market ideology along with speculative capitalism becomes more visible, since they are fundamentally embedded in the event. For artistic studies and analysis Grand Prix Racing offers extraordinary possibilities to capture the particularly perceivable semiotics of late capitalism through the architecture, landscape and visual language. In Abu Dhabi, the venue Yas Island is an artificial topography which is correlating to a picture of utopia/dystopia. Eventually in these locations an extreme version of the non place emerges, which has geographically, historically and contextually shifted.

The possibilities of access to those exclusive sport events are limited. With using a press pass card issued by a news publication, during my visits to the Grand Prix races in Abu Dhabi, Baku, Spielberg, Spa and Monza, I had the chance to have unlimited access to the restricted areas and to the trackside as a photographer/journalist. The question of power becomes very present when working in the form of photojournalism. While working there as a photographer, one can find themselves easily reproducing the images that is being manufactured by the mass media. It becomes almost impossible to look at somewhere else or to re-appropriate the spectacle by different means. By deploying the methods of photo-journalism, the artist takes the role of “the re-photographer”, in a similar fashion to classical appropriation in photography.

After the non-place is created as a race location, this non-place also sucks up other realities which surrounds itself. The architecture is gigantic, blinding and totalitarian, which is simultaneously overshadowing and emphasising realities of the location, such as Neoliberal globalism, and the event emerges into a festival of hyper-modernity. In this hyper-modern environment the human turns into the trans-human, when the car becomes an extension of the body. But unlike the related modern ideas of the technological salvation of the human, this events offer more of a dystopian view of the normative, controlled space/society and totalitarian corporate power, which corresponds to the “air-conditioned nightmare” of the non-place.

silver-gelatine prints on baryta paper in acrylic glass frames
58x38cm each

silver-gelatine prints on baryta paper in acrylic glass frames
60x40cm / 40x30cm
Mercedes F1 W07 Hybrid Front Wing Piece - Moulded Carbon Fiber
installation shot "The Racing Driver And His Double" at Mixer, Istanbul. (photo: Nazlı Erdemirel)

Jean Baudrillard - The Racing Driver and his Double