[-empyre-] Intro from The Red Hookian, that is Mustafa Ziyalan

Murat Nemet-Nejat muratnn at gmail.com
Wed Nov 2 02:01:20 AEDT 2016

Welcome to the site, Mustafa.


On Tue, Nov 1, 2016 at 10:53 AM, Mustafa Ziyalan <ziyalan at mindspring.com>

> ----------empyre- soft-skinned space----------------------
> https://www.instagram.com/theredhookian/
> I was shot at. I was in bomb explosions. That was in Turkey.
> I watched "Blood of the Beasts" by Georges Franju, “Carnival of
> Souls" by Herk Harvey and "Der Todesking" by Jörg Buttgereit. In Austria
> I saw Hermann Nitsch’s works in blood. In Germany I saw the works of
> Gerhard Richter.
> In United States I saw photography of Francesca Woodman. I thought it
> was about (self)erasure, among other things. I watched "Decasia" by
> Bill Morrison.  I worked with HIV+ individuals. What ultimately
> reminded me of transience, disintegration, decay and mortality was 9/11.
> I experienced the Salton Sea, a phenomenon I had seen in Bill Viola's
> videos before. I took photographs. Then there was
> Hurricane Sandy. I was in Red Hook then. Cars were moving in the storm
> surge. I started taking photographs again, this time with my Android
> phone, and posting them. I wandered through places, abandoned or still
> inhabited, above or below ground. I wandered through subway stations. I
> took in the palimpsest of grime, stains, paint and posters.
> More recently I saw the works by D*Face.
> I have been using software decidedly less evolved than Photoshop:
> Gimp and GraphicConverter. I have been mainly going with what the image
> yields. I have been trying and tinkering, leaving quite a bit to chance.
> https://www.instagram.com/theredhookian/
> My images are attempts to reconstitute and move beyond things, even if
> they stumble and fail. I think it is important that I use a phone to
> take photographs.  That is the closest to capturing a glimpse while
> moving past whatever I choose to photograph. It is unobtrusive and
> discreet. This is important when you are taking a photograph of a detail
> in an elevator or hallway in the projects, in a subway station or in a
> SRO hotel.
> What the digital camera of the phone is able to capture from what you
> see is where you start. You may crop the image, change its brightness
> and/or contrast. Details and colors change accordingly. Where do I stop?
> When I see something as far removed from the original as possible,
> still, without becoming nondescript again. There seems to be a spot
> between the familiar and over-processed, where I pause, I think.
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
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