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Ergin Cavusoglu - Cinefication

Ergin Çavu?o?lu - Cinefication


Ergin Cavusoglu is currently developing a large-scale film and sculpture project under the broader concept of Cinefication that was commissioned in a partnership between Extra City Kunsthal, Antwerp, with 0090 Festival, Belgium, FLACC, Genk, Focal Point Gallery, Southend-on-Sea, and Witte de With, Rotterdam. The collaboration will result in a series of solo exhibitions and site-specific projects in the 2014 – 2015 period, including a solo exhibition at Rampa Gallery, Instambul, in March-Arpil 2014.

The wider concept refers directly to the ‘The Soviet project of “cinefication” that represents the most grandiose scheme of film distribution, exhibition, and reception that the world has known to date.’, as described by Thomas Lahusen [1]. Çavu?o?lu borrows this framework to comment on the current globalised system of ‘cinefication’ of the arts.

[1] Thomas Lahusen, Filming Riazan: The History of Cinefication in a Russian Province (University of Toronto, 2005).

Cinefication - Tarot and Chess (2013)

The first instalment of the project is entitled Cinefication - Tarot and Chess (2013) and was exhibited at Extra City Kunsthal, Antwerp. Tarot and Chess consists of a large-scale three-channel video and sound installation. The conceptual framework is based on the tarot and the game of chess. The Tarot section takes its cue from Italo Calvino’s book ‘The Castle of Crossed Destinies’ (1973), whereas Chess remotely reflects on elements from Vladimir Nabokov’s book ‘The Luzhin Defence’ (1930). Calvino’s book portrays an encounter of travellers who tell their adventures (or whose adventures are told for them) using tarot cards instead of words. The interpretations of the cards in the book allude to classic tales such as Faust, Oedipus, and Shakespearian narratives such as Hamlet, Macbeth and King Lear. The third component of the installation is a scene that depicts a poetry-reading event.

Relating directly to the Tarot and Chess project, three further video pieces were commissioned by s[edition] in 2013.

The three recent video pieces entitled One Hundred Thousand Balls (2013), Joker Shuffle (2013) and Bubble Dart (2013), are all commenting on different contextual aspects of Marcel Duchamp’s piece from 1924 called Monte Carlo Bond or Obligation pour la Roulette de Monte Carlo.

Joker Shuffle (2013, HD Video, 01:05 min) remarks on the photograph taken by Man Ray of Duchamp with his hair covered in foam, shaped into “two devilish-looking horns” and superimposed onto an image of a roulette wheel. Bubble Dart (2013) conversely replaces the roulette wheel with a dartboard. The pointed horns on the other hand become darts, the bubbles of the foam are symbolized by balloons which also replace Duchamp’s face in the actual image, the cards in Joker Shuffle (2013) are thrown sideways extending like horns rather then shuffling inwards and so on and so forth. Finally, One Hundred Thousand Balls (2013, HD Video, 01:10 min) reflects directly on the Company Statutes document, which Duchamp used to legitimize the bonds and the associated monetary transactions within the perceived system for playing roulette:

"Clause No. 2: The annual income is derived from a cumulative system, which is experimentally based on one hundred thousand rolls of the ball; the system is the exclusive property of the Board of Directors."

Thus One Hundred Thousand Balls offers an alternative “cumulative system” of chance.