2017. 8.5x11, 24 pages.
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from the introduction:
“Hür” means “free” in Turkish. Just replace the consonant “p” in the adjective “pure” with “h” & read it. That is the very adjective that secures the work as a whole by the assemblage which is us, hâle & gökhan. A snapshot of our becoming amongst the sets of becomings which we help transcend the limits of the pseudo-knowledge stripped bare off its genuine psûkhe, let’s confirm, in the last 2500 years alone. Hence, ours is a free-will (hür irade) to claim our very own becoming on an earth that’s trapped under the mediocre realities of an æthereal embodiment of native tedium and ennui that we have unabashedly come to call everyday life. Thus, the work you are holding is an act of free enterprise (hür te?ebbüs) into the affective resonance and rhythymscape of the earthly possibilities of aesthetics & poetics of remix oriented ontology of Remixocene, especially within the spheres of speculative Xeroxocene.
When experiencing these manifold collaborations of hâle turhan & gökhan turhan, one feels a great sense of liberation, and of what it is like to truly “dwell in possibility.”
The 24 pieces in this collection move between layers and worlds, never settling or dwelling but seeking into the next pathway into thought. These pieces insist upon freedom and exploration; their words, letters, images rising off of the page into the organism of the imagination. They are filled with glyphs and engrossing mindscapes of grey and black. Some of the images feel as one is looking into the depths of a shadowy river; others sizzle with light and energy.
In their introduction the authors/artists refer to the “assemblage which is us, hâle & gökhan,” and this long collaboration is fascinating. The core of their work— or as they say, its psûkhe (ψυχη or “psyche”), a much better and encompassing idea than “soul”— reminded me of the Pando, a clonal colony of a single quaking aspen at the edge of the Colorado Plateau in Utah, which looks like many, but is actually one ancient organism, possibly the oldest on earth still living, each part communicating to the other parts through its fungal networks in feathery roots and soil. Or something on that scale. So these pieces also talk to one another, seeing and then seeing again, bringing the reader/viewer back and forth into their life force, their indefatigable and nourishing imagination.
The poet C.D Wright once wrote, “It is a function of poetry to locate those zones inside us that would be free, and declare them so.” These pieces do that, and grow on the viewer with each viewing. Holding a wild and needed balance in their visual language of fugitive intensity, meaning, and feeling.