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“Beware of the void” (could have also been translated as "mind the gap") takes its name from the phrase that can be read on a signboard placed at a construction site in Mardin’s Yenisehir (newcity) district, cautioning passers-by against a gigantic hole in the ground.

In time, through an artistic research process (or through life itself) this phrase, finding its reflection as a feeling of loss on a personal level, starts to correspond to various forms of “gaps” in social, historical, political, economic, cultural, artistic and architectural scale.

“Beware of the Void” is an installation and artist's book that traces a particular feeling triggered by the experience of being at a particular place. (I had felt the presence of the void; yet had not named it. Upon arriving at the newly constructed part of Mardin and upon encountering a sign, i named it: DİKKAT BOŞLUK VAR. Translating it into English is tricky. One could have translated as MIND THE GAP, which I also do sometimes. However, BEWARE OF THE VOID is a better translation to transfer the feeling. Between an ironic text besed encounter and an almost terrifying feeling, I went after the voids in Mardin.

The second stage: I asked around. I asked: I have this feeling in Mardin. Is it because I am new to the city or do you feel it too? Various people I made acquaintance with in time lead me to the places where they felt this feeling the most. And one thing lead to another. Pages of a book were formed through our conversations and gestures. The iron rods of that construction were shaped to construct BOŞLUK (void). I carried the iron word around, triggering conversations, jokes. The iron void looked for a place to settle. And finally found its place upon a rock that is a continuation of a rock formation below. The rock stood at the BORDER of new and the old (historical) MArdin. And the language chosen to write the word, the TUrkish language itself stood like a gap hosted by the rock. Children around took care of the installation for three months at least. At the spot was a fire; the fire changed the route of the installation and transformed it into another work: d as in void...

I especially favor the book. he first page starts with NEEDLE LACE flowers held together by a metal pin. Aysel Abla, the maker of the lace, has to "balance the holes" every time she constructs a flower.
Forceful displacements of Armenians in historical Mardin leave behind a heavy feeling of loss. However, various voids lack a certain address; they are full of memories of unresolved past and present uncertainities. - evrim kavcar.jpg - evrim kavcar.jpg