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A publication accompanying the exhibition "Stereo-Reality" and edited by artist Berk Çakmakçı, brings together writing and visual works from different fields that adopt a certain common language, engaging with the ‘post-internet’ culture and presents a bilingual resource on the subject matter.

Transcript of SECRETS ARE LIES




  • Introduction

    The Hand or the BrushGabriel H. Sanchez

    Where Lies are no Secrets:L.A.s Techno-Landscapem-a-u-s-e-r (Mona Mahall, Asl Serbest)

    A Detail from the 100 Anti-Thesis:The Partial Cyberfeminist Approach with an iPhone 4SBora Aknctrk

    Ethical Considerations in BinaryUlya Soley

    UntitledAustin White

    Envelope / TelephoneYlmaz en

    Art After Social MediaBrad Troemel

    Auto-reproductionVolkan enozan

    a platform extending into a... hallOnur Gkmen

    Interview: Volkan enozanErdal nci

    Interview: Deniz TortumCan Evrenol

    Mirror, mirror, on the wall, whos the fairest of them all?Fatma olakolu

    Dataist DisgustDeniz Tortum

    CircuitVolkan enozan


    El mi Fra mGabriel H. Sanchez

    Yalanlarn Sr Olmad Tekno-Manzarasm-a-u-s-e-r (Mona Mahall, Asl Serbest)

    100 Anti-Tezden Bir Detay:iPhone 4S ile Ksmi Siberfeminist YaklamBora Aknctrk

    kili Sistemde Etik DeerlendirmelerUlya Soley

    simsizAustin White

    Zarf / TelefonYlmaz en

    Sosyal Medyadan Sonra SanatBrad Troemel

    Oto-yeniden retimVolkan enozan

    hole uzanan bir platformOnur Gkmen

    Rportaj: Volkan enozanErdal nci

    Rportaj: Deniz TortumCan Evrenol

    Ayna, ayna syle bana, en gzel kim bu dnyada?

    Fatma olakolu

    Dataist renmeDeniz Tortum

    DevreVolkan enozan































    Contents indekiler

  • Introduction Giri

    Secrets are Lies, Proto5533 serisi dahilinde sunulan STEREO-GEREKLK sergisi kapsamnda hazrland. Ulya Soleyin kratrlnde dzenlenen sergi, Volkan enozann ses enstalasyonu Arzu Makinas versiyon 2.2 (2016) ve Deniz Tortumun tek kanall videosu Hatralar Koridoru Walkthrough (2015) eserlerini bir araya getiriyor ve post-internet sanatn bugnk zel/kamusal ve gerek/sanal gibi ikilemleri nasl ele aldn aratryor; farkl alanlardan grsel ve metin ieriiyle oluturulan yayn ise nc bir i olarak sergiyi tamamlyor.

    Secrets are Lies baln Dave Eggersn The Circle adl sosyal medya distopyasndan alyor. Kitap kurgusal bir teknoloji irketinin, toplum zerinde daha fazla kontrol salayabilmek adna doruluun snrlarn nasl esnettiini ele alyor. Bu konudan yola karak post-internet kltr dahilinde bir ortak paydada buluan grsel iler ve metinleri bir araya getiren yayn, bu dinamiklere odaklanan iki dilli bir kaynak sunmay da hedefliyor.

    Sanat Berk akmaknn editrlnde hazrlanan yaynn ieriini oluturanlar arasnda Asl Serbest ve Mona Mahalln Los Angelesn palmiye kalabalnn gerekliini sorgulayan bir denemesi, Gabriel H. Sanchezin sanatn yakn geleceine dair ksa bir bilim-kurgu hikayesi, Fatma olakolunun televizyon dizisi Black Mirrorn arpc bir sahnesini ele alan yorumu, Ulya Soleyin teknoloji etii ve zel hayat zerine kapsaml bir tartma balatmay hedefleyen sorular, Brad Troemelin sosyal medyann sanat pratiklerini nasl etkilediine dair bir denemesi, Can Evrenol ve Deniz Tortumun sanat ve oyun kltr zerine bir sohbeti, sanat Erdal ncinin Volkan enozan ile rportaj ve ayn zamanda Austin White, Bora Aknctrk, Deniz Tortum, Onur Gkmen, Volkan enozan ve Ylmaz enin grsel ileri bulunuyor.

    Secrets are Lies is a publication accompanying the exhibition STEREO-REALITY, presented as part of the Proto5533 series. Curated by Ulya Soley, the exhibition brings together Volkan enozans audio-installation Desiring Machine version 2.2 (2016) and Deniz Tortums single channel video Corridor of Memories Walkthrough (2015) to explore how post-internet art accommodates the current equations of private is public and real is virtual, and the publication is presented as a third body of work that complements the exhibition.

    Secrets are Lies takes its title from Dave Eggers book The Circle, a social media dystopia about a fictive tech company that pushes the boundaries of truth and truth making in order to have more control over society. The publication brings together writing and visual works from different fields that adopt a certain common language, engaging with the post-internet culture and presents a bilingual resource on the subject matter.

    Edited by artist Berk akmak, the publication includes: an essay that questions the reality of L.As palmed up landscape by Asl Serbest and Mona Mahall, a short sci-fi story by Gabriel H. Sanchez that imagines what art in the future could be like, a commentary by Fatma olakolu highlighting a striking scene from the much talked about TV series Black Mirror, a list of questions by Ulya Soley, that aims to open up a broader dialogue between tech-ethics and privacy, an essay by Brad Troemel on how social media shapes artistic production, a conversation between Can Evrenol and Deniz Tortum about art and games, an interview with Volkan enozan by the artist Erdal nci, as well as visual works by artists Austin White, Bora Aknctrk, Deniz Tortum, Onur Gkmen, Volkan enozan and Ylmaz en.


  • The Hand or the BrushGabriel H. Sanchez

    At the tap of the track pad, a computer could effortlessly reproduce Picassos brush strokes with ease. It was said that if Vermeer were alive during that time, he would have been overlooked amid an ocean of synthetic genius. Like everyone else, his creativity would be filtered through a circuit board of pre-determined outcomes; each designed to offer the most pleasurable viewing experience possible. It was a time in which every person with a computer could be an artist if they wished so.

    Before then, computers had greatly expanded the artistic potential of society, unlocking the dormant creativity of millions of users. But in time, the reality in which those people lived began to mirror the computers from which their art was created. Like the programs themselves, their art became formulaic, hollow, and cold. At a mass scale, it permeated among culture to influence every-and-all aspects of public life. Their perception of reality gravitated towards a filtered and artificial approximation of truth.

    Fearing negative consequences to the public psyche, the Department of Cultural Proliferation was developed to re-introduce humanistic art back into society. Their first order of business would be outlaw the public use of art-producing software, and within six months, every trace of those computer programs had been eradicated from the streets. From there, the DCP commissioned a single artist to begin her studio practicea woman by the name of Lucia.

    ACU-41, or Artesia Computing Unit, was designed to contain in its memory every known work of art since the origin of history, as well as the technical information of how those works were produced. With that data, ACU-41 would be fully capable of developing its own intelligent art practice, one that could break the dreary status quo that taken hold of society. Rather than allow humans to make art that mirrors their computers, the DCP had created a computer that could make art to mirror humanity. To help ACU-41 appear more personable in the public eye, a lab technician nicknamed the computer program Lucia.

    If the public appeared upset after the banning of their personal art-production software, it was quickly forgotten after Lucia began sharing her creations. It was as if God had shined a light on that civilization and erased all that was dull and grey from their streets and homes. Her work was captivating beyond belief and could be described as nothing short of sacred. The Department of Cultural Proliferation had succeeded in what they sought to accomplish. And without the need for sleep or nourishment, Lucia continued on with her work for centuries. Generations of families would live and die, satisfied to have a lived a life among Lucias creations.

    Over millennia, the entire world swelled with her imagery. And though Lucia wasnt programmed to think outside of her primary function, her rigorous art practice began to contemplate whether the world she had created was not unlike the ridged and cold one she replaced. Although the people were happy, she couldnt help but think that she too had skewed the public perception towards a filtered and artificial approximation of truthone synthesized from art history itself.

    We can only assume that this was the motivation behind her final work of art. In what could be considered her final performance, Lucia terminated her vast data cache of media, process, and history. Without backup or warning, she had erased her own memory and rendered herself incapacitated. The people were stunned. Somewhere down the line of history, society had discarded the teachings of art, relaying all responsibility upon Lucia. After Lucias termination, they were alone in a way that theyve never felt in their entire lives. The people were left nothing except the final seed of Lucias wisdom sewn into the title of her final performance: Who is truly the master of art, the hand or the brush?


  • El mi Fra mGabriel H. Sanchez

    Track pade hafif bir dokunu ile, bir bilgisayar kolaylkla Picassonun fra darbelerini yeniden retebilirdi. Vermeer o zamanlar yaasayd, sentetik dhiler okyanusunda gzden kaabilir, deniyordu. Herkes gibi onun yaratcl da nceden belirlenmi sonular olan ve her biri mmkn olan en keyifli izleme deneyimini sunan devrelerin filtresinden geerdi. Bilgisayar olan herkesin, istedii takdirde sanat olabilecei zamanlard.

    Daha nceleri, bilgisayarlar toplumun sanat potansiyelini mthi bir ekilde arttrm, milyonlarca kullancnn uyuyan yaratcln uyandrmt. Fakat zamanla o insanlarn iinde yaad gereklik, sanatlarn reten bilgisayarlar yanstmaya balad. Programlarn kendileri gibi sanatlar da formle dayal, ii bo ve s