Interview by

Güliz Karaköse




We talked to academician and artist Aslı Işıksal about the equation of academy, art and life.


"I think that the most dangerous beast is our own inner voice."


How do you manage the relationship between academia and art simultaneously?

I think the academy has contributed a lot to the artistry. Because you are constantly active. You are in contact with students. You collide with new ideas. They contribute to us as much as we do to them. So I think he has a creative side. But of course, you lose a lot of time like this. This, of course, creates a situation that requires extra work. Maybe we can say that it has a little more disadvantage in this sense.



How do you think we can get out of this sleep state that we're stuck in?


With some action. By standing. But the conversation we had with you before this interview was also a bit mind-opening. You've obviously changed my perspective here. So you said that being asleep, being horizontal has a feminine side, standing is a more masculine side. Maybe this has given birth to something that we can look at from this perspective as well. Maybe activating those masculine-feminine aspects within us can cause us to look at the world differently. I think that this can get us out of this risk-free living space where we are stuck more easily.




How do you think a more fundamental communication with the earth can be established?

At this point Heidegger was talking about two kinds of worlds. One was the earth, that is, an untouched land as a planet. He also talks about a world that people divide and rule, which he shares, dominates, draws borders, and rules. So here, too, I think it is necessary to change those borders and perspectives. In other words, we need to be aware of the earth one more piece. Maybe we need to remember how precious the earth itself is. Because the world we build creates a very conformist side. It is entirely made for humans. We even discovered the thing while working on parks. 


In order to create the park, an existing piece of nature is completely destroyed and a park is built there. In other words, a piece of nature is reconstructed. “


We can say that this actually shows how strange the fictional world is.


Do you think there could be a beast undermining justice? And what or who is the most dangerous beast for you?

Because there really is something that acts more independently than ourselves and that we cannot control there. So there is an entity, and it's actually the thing that undermines us the quickest. That's why I think the most dangerous beast is our inner voice.


"I think that the most dangerous beast is our own inner voice."


Through the situation we are in, we always come across the concept of stagnation. The use of everyday objects dominates your work. What do you think is the position and meaning of the quilt?

Yes, there is a stagnation there, which is really one of the things I'm interested in. I am now interested in movement and the fragmentation of movement. So I settled in the opposite place. The use of the quilt in everyday objects is a bit of a thing. Quilt is an object that makes you feel good. This is how you hug, you hug, a protect arms do something. It gets you cold. That's why it's like that. It's one of those feel-good items. But of course, I had acted by thinking that this quilt bed was sleeping and it was a kind of state completely, how to close my eyes to what happened. 


The outside world is very active, there is a lot of chaos and everything is renewed every day. Maybe at a speed we can't even comprehend. We are in a comfortable area there again.


In other words, we are in a state that we are used to and we close our eyes to this whole situation. So the quilt has a double meaning here. In other words, we can say that it represents a side that we are comfortable and accustomed to, and a side to the outside world where we are really buried in that thing, can't get out of it, and close our eyes.


What is it that pushes you to use mobility in your work, to work in your work right now?



Maybe because I deal with too many static things. This time, various movements began to appear in that stagnation. I actually did this at the first Gallery Siyah Beyaz exhibition. In "Stronger Than Me", there were sculptures affected by such wind next to such a rough sea, and there was a statue that fell right in the middle. In fact, they created a stagnation in which a movement was frozen. It was giving a bit of a clue, so for the next job. This time, “How can I break this movement further?” I started with a question like: So I became more active. Maybe that stagnation breeds that thing. More standing. I think it has to do with moving to a different side.




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