Rights statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Third Text on 4/10/2019, available online: https://www.tandfonline.com/doi/full/10.1080/09528822.2019.1667622
Accepted author manuscript, 556 KB, PDF document
Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License
Final published version
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
}
TY - JOUR
T1 - From Melling’s Harem to Eviner’s Harem
T2 - displacement as parrhesia
AU - Diken, Bulent
AU - Tuncer, Ezgi
N1 - This is an Accepted Manuscript of an article published by Taylor & Francis in Third Text on 4/10/2019, available online: https://www.tandfonline.com/doi/full/10.1080/09528822.2019.1667622
PY - 2019/12/1
Y1 - 2019/12/1
N2 - Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, İnci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.
AB - Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, İnci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.
KW - Bülent Diken
KW - Ezgi Tuncer
KW - İnci Eviner
KW - Antoine-Ignace Melling
KW - Harem
KW - parliament
KW - Orientalism
KW - becoming
KW - resistance
KW - resurrection
KW - virtual
KW - sacrifice
KW - refugees
U2 - 10.1080/09528822.2019.1667622
DO - 10.1080/09528822.2019.1667622
M3 - Journal article
VL - 33
SP - 671
EP - 686
JO - Third Text
JF - Third Text
SN - 0952-8822
IS - 6
ER -