Endless Ends (5+1 Edition) 2012

Endless Ends 2012 (Edtion 1/5)

Endless Ends 2012 (Edtion 1/5)

“Value” on art market is created through artificial scarcity. Medias as photographs and videos which per nature are not subject to any materialistic restriction, to be reproduced endlessly by myriads are restrained to 5+1, 10+1 editions by market regulations and legal impositions. This installation composed of 6 photographs can be observed at a glance as entity according the standardization, restriction imposed from the art market. That’s the work, no other edition of other dimensions will be produced. Six photographs standardized by the art market rules, each of same dimensions: 60x90cm. 5+1 Edition.

Nevertheless, these six photographs are not quite identical. It is a serial of an identical frame’s shot successively at very high speed. The differences can hardly be distinguished because the shooting speed is 1/320 per second.  The technical serialisation of the industrial production fall short catching and controlling the nature, something always escapes. This fugitive gismo imply a probable destruction veiled behind an horizon of uncertainty: ecological disaster as entropy.

Coupled with this primal insufficiency, “Endless Ends” refers to an extreme actual and crucial controversy generated from imposed market rules.  Surrounded by the ecological crisis, we perceive in striking manner that the earth has an end; we now know bitterly that the horizon image of this photograph looking endless and symbolizing the unknown, the adventure, the capitalist growth, the not-yet-productive exotic markets has an end. But nonetheless, we also know that as long as the earth and the civilization will exist, this photograph can indeed be reproduced endlessly. These photographs which symbolize the endless are not possessing “endlessness” as a representation, or outlook nor as an illusion; these photographs, similar to all immaterial production possess materialistically an endless reproducibility. As Gabriel Tarde declared at the beginning of the 20th century, the immaterial production is not consumed as the material production. The mentality of the material production-consumption cycle is based on sacrifice while the immaterial production-consumption is free of the destruction of what is consumed. Expressed simply, a book is not ending or disappearing when read, but an apple ends and disappears when eaten.

However, market logic driven by speculative “value” creation is not hesitating for its own continuation to sacrifice a discovered infinity.

Endless Ends 2012 (View from Full Art Prize Exhibition, 2012, Photo credit: Rıdvan Bayrakoğlu)

Endless Ends 2012 (View from Full Art Prize Exhibition, 2012, Photo credit: Rıdvan Bayrakoğlu)

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