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    Rights statement: This is an Accepted Manuscript of an article published by Taylor & Francis in International Journal of Performance Arts and Digital Media on 02/04/2021, available online: http://www.tandfonline.com/10.1080/14794713.2021.1905264

    Accepted author manuscript, 283 KB, PDF document

    Embargo ends: 2/10/22

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Representations of everyday life in İnci Eviner’s We, Elsewhere: Comedy, use and free will

Research output: Contribution to journalJournal articlepeer-review

Published
<mark>Journal publication date</mark>31/12/2021
<mark>Journal</mark>International Journal of Performance Arts and Digital Media
Issue number3
Volume17
Number of pages18
Pages (from-to)387-404
Publication StatusPublished
Early online date2/04/21
<mark>Original language</mark>English

Abstract

İnci Eviner’s latest installation We, Elsewhere1 for the Turkey Pavilion2 at the 58th Venice Art Biennial offers an inspiring spectacle of the incomplete, in which the objects, videos and their characters, figures and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced
through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is endered visible through the cross-sections of buildings and the subterranean. Consequently, we bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational
space to a lived space.

Bibliographic note

This is an Accepted Manuscript of an article published by Taylor & Francis in International Journal of Performance Arts and Digital Media on 02/04/2021, available online: http://www.tandfonline.com/10.1080/14794713.2021.1905264